Do not put statements in the negative form.
And don't start sentences with a conjunction.
If you reread your work, you will find on rereading that a
great deal of repetition can be avoided by rereading and editing.
Never use a long word when a diminutive one will do.
Unqualified superlatives are the worst of all.
De-accession euphemisms.
If any word is improper at the end of a sentence, a linking verb is.
Avoid trendy locutions that sound flaky.
Last, but not least, avoid cliches like the plague.
~William Safire, "Great Rules of Writing"
Wednesday, May 27, 2009
Thursday, January 22, 2009
Rejections: Form Letter vs. Personal Note
This month I've gotten two rejection letters from publishers. One, was the form letter and the other was a personal note with comments letting me know I was close this time.
I totally understand the reason for a form letter. Editors are busy and taking time to send personal notes to everyone just doesn't make sense. They'd spend all day writing rejection notes instead of the many other tasks on their plate.
However...I've gotten some less than business-like form rejections in my short career. Like the bad copy of a bad copy rejection. I read one writer complain about getting this kind of rejection letter. He said something to the effect that it diminished him. That the editor or assistant couldn't take the time to at least send a nice form rejection to him, as if he wasn't worth the effort. While I'm sure this isn't the editorial thought behind the letter, sometimes it makes us writers wonder what message they are trying to send.
Then there was the rejection which consisted of "I really don't like this." scrawled across my cover sheet and mailed back to me. No signature, no reason why they didn't like it. I'd much rather have a Thanks but no thanks. Or even that form letter.
What about you? Are you getting your share of rejection letters? If not, then you need to be sending out more work.
Make it your goal this month to get a story, article or query out there.
I totally understand the reason for a form letter. Editors are busy and taking time to send personal notes to everyone just doesn't make sense. They'd spend all day writing rejection notes instead of the many other tasks on their plate.
However...I've gotten some less than business-like form rejections in my short career. Like the bad copy of a bad copy rejection. I read one writer complain about getting this kind of rejection letter. He said something to the effect that it diminished him. That the editor or assistant couldn't take the time to at least send a nice form rejection to him, as if he wasn't worth the effort. While I'm sure this isn't the editorial thought behind the letter, sometimes it makes us writers wonder what message they are trying to send.
Then there was the rejection which consisted of "I really don't like this." scrawled across my cover sheet and mailed back to me. No signature, no reason why they didn't like it. I'd much rather have a Thanks but no thanks. Or even that form letter.
What about you? Are you getting your share of rejection letters? If not, then you need to be sending out more work.
Make it your goal this month to get a story, article or query out there.
Tuesday, January 13, 2009
Creating Memorable Characters
I think every writer wants the reader to remember the characters they create long after the book is read and put on the shelf. And, as I pondered this, a couple characters came to mind. Scarlett O'hara, Capt. Ahab, Black Beauty, Johnny Castle and all those Disney princesses.
But what is it about these characters that make them memorable? I have a couple thoughts...
First, they have strong personalities. Or at least well defined ones.
Next, they take us to places we've never been to or might never get the chance to visit. We get to share their world through how they live and see things.
Also, characters do and say things that we might never dare do or say.
We identify with these characters. We bond with them, share in the journey they take, struggle, and eventually rejoice with them.
We all know it's a hard road to publication and the future looks even more difficult. But I believe there are always going to be readers. No matter what happens in the real world, people will want to be entertained. They'll want to escape to other worlds and become part of it. They'll want to become that character and take part of his or her adventure.
This is where memorable characters come in. The more memorable our character, the better chance we have of publication.
So...what characters do you remember best and what makes them memorable for you?
But what is it about these characters that make them memorable? I have a couple thoughts...
First, they have strong personalities. Or at least well defined ones.
Next, they take us to places we've never been to or might never get the chance to visit. We get to share their world through how they live and see things.
Also, characters do and say things that we might never dare do or say.
We identify with these characters. We bond with them, share in the journey they take, struggle, and eventually rejoice with them.
We all know it's a hard road to publication and the future looks even more difficult. But I believe there are always going to be readers. No matter what happens in the real world, people will want to be entertained. They'll want to escape to other worlds and become part of it. They'll want to become that character and take part of his or her adventure.
This is where memorable characters come in. The more memorable our character, the better chance we have of publication.
So...what characters do you remember best and what makes them memorable for you?
Thursday, January 08, 2009
DUH!!!
Time to get this blog active again. Here's an older post of mine to get things started.
I'm a list maker. No way around it. And most of the time, most of the things get done. Usually the ones that are most important. Or at least the ones with deadlines looming. I'm getting better about meeting deadlines. In this business, you have to be.
However there was a time when my favorite thing about deadlines was the "whooshing" sound they make rushing by.
I've done the goal setting thing, the resolution thing, the do it and reward yourself thing and failed at all of them. I want to share what works for me. It's a little thing called DUH!
D - Do it first or as close as humanly possible.
U - Understand it may be inconvenient and/or difficult and do it anyway.
H- Hurray, celebrate! You did it!
Here's why it works for me. There isn't much worse than going to bed with things that needed to be done still needing to be done. The guilt robs me of sleep and I lay there berating myself for not getting things done. By applying "D", I don't have to dread doing it or the results of not doing it.
The "U" also reminds me it may not be fun. For example, exercise. Not fun but definitely got to be done.
My favorite is the "H". We should celebrate our accomplishments everyday. No matter how small they are.
I'd love to take credit for this little system but just can't. I found it on Margie Lawson's website. Give it a good read over. She explains it very well.
Now, apply as needed:--)
I'm a list maker. No way around it. And most of the time, most of the things get done. Usually the ones that are most important. Or at least the ones with deadlines looming. I'm getting better about meeting deadlines. In this business, you have to be.
However there was a time when my favorite thing about deadlines was the "whooshing" sound they make rushing by.
I've done the goal setting thing, the resolution thing, the do it and reward yourself thing and failed at all of them. I want to share what works for me. It's a little thing called DUH!
D - Do it first or as close as humanly possible.
U - Understand it may be inconvenient and/or difficult and do it anyway.
H- Hurray, celebrate! You did it!
Here's why it works for me. There isn't much worse than going to bed with things that needed to be done still needing to be done. The guilt robs me of sleep and I lay there berating myself for not getting things done. By applying "D", I don't have to dread doing it or the results of not doing it.
The "U" also reminds me it may not be fun. For example, exercise. Not fun but definitely got to be done.
My favorite is the "H". We should celebrate our accomplishments everyday. No matter how small they are.
I'd love to take credit for this little system but just can't. I found it on Margie Lawson's website. Give it a good read over. She explains it very well.
Now, apply as needed:--)
Tuesday, September 02, 2008
Back to School and Your Writing Schedule
Back to School and Your Writing Schedule
Copyright Cheryl C. Malandrinos - All Rights Reserved
Back to school season is upon us and that means it’s time to get your writing schedule back on track now that the lazy days of summer are almost behind us.
Even if you don’t have kids going back to school, it’s a great time to get serious about your writing career so that the last two quarters of the year are productive.
Here are some tips to get you started:
Clean Up Your Work Area
Nothing puts the stops on motivation quicker than a messy work area. Clean out everything you don’t need to make room for all those exciting new projects you want to tackle.
Stock Up on Office Supplies
If you have a child going back to school you’re probably going to be visiting an office supply store anyway. Why not make a list of everything you need to stock up your home office for the next month or two? This will save you an additional trip to pick up envelopes etc when you’re ready to submit that next query.
And don’t forget to swing by the Post Office to buy stamps.
Create or Revise Your Contact List
Every writer needs to have one of these. Yes, it’s a time consuming task, but once it’s done all you have to do is add new contacts as you make them or update the information for your current contacts. I keep all my contacts in Microsoft Outlook. It sure beats looking for one business card in a pile of hundreds. And my contacts automatically feed into my electronic Address Book so I don’t waste time looking for a person’s email address when I need it. Just one click, and it’s done.
Now that you’re ready to start writing, here are a few ways to stick to your writing schedule:
Review Your Goals
Summer usually means we don’t set as many goals or try not to stress when we don’t meet them. It’s time to figure out what you’ve accomplished and what is still outstanding. Make a new to-do list and post it over your desk so you can keep it in plain sight.
Track Your Time
As a writer, you’re probably juggling multiple projects, performing research for assignments, and balancing all that with your home life.
Knowing where your time goes can help you accomplish more.
Whether you use a spreadsheet, time-tracking software, or a pencil and paper, record how you spend your day.
A sample of my day might look like this:
9 - 9:30AM: Answer/send emails
9:30 - 10AM: Eat breakfast
10 AM - 11AM: Marketing/Promotion
11 - 11:15AM: Short break
11:15AM - 12PM: Marketing/Promotion
12 - 1PM: Lunch and Laundry
1 - 1:30PM: Get Sarah down for a nap
1:30 - 2PM: Research Writer2Writer article
2 - 2:15PM: Short break
2:15 - 3PM: Begin first draft of Writer2Writer article
3 - 10PM: Family Time
10 PM - 12AM: Work on next chapter of memoir
12 - 12:30AM: Read books that need reviewing
Not only will this help you know where your times goes, it will help you get a handle on where time is wasted.
Write When You Feel Most Productive
I’m not a morning person. So, I don’t try to write in the morning. Ever!
If you look at my schedule above, you’ll notice that I do research and write for a short time in the early afternoon and then again late at night.
Each person has his/her own time of day when he/she is the most productive. That’s when you need to write. It might not always be possible, but do try to schedule your normal routine around your peak writing time if you can.
Take Breaks
It might feel right to forgo a break to get more work done, but it’s not a good idea.
Regular breaks are important to keep you focused and healthy. Our bodies simply aren’t meant to be sitting down for long periods of time. And a short break might help you figure out what role that secondary character plays in your latest novel.
Make this back to school season a time to commit to your writing. With these few simple steps you’ll be ready to make the most out of your writing time.
Copyright Cheryl C. Malandrinos - All Rights Reserved
Back to school season is upon us and that means it’s time to get your writing schedule back on track now that the lazy days of summer are almost behind us.
Even if you don’t have kids going back to school, it’s a great time to get serious about your writing career so that the last two quarters of the year are productive.
Here are some tips to get you started:
Clean Up Your Work Area
Nothing puts the stops on motivation quicker than a messy work area. Clean out everything you don’t need to make room for all those exciting new projects you want to tackle.
Stock Up on Office Supplies
If you have a child going back to school you’re probably going to be visiting an office supply store anyway. Why not make a list of everything you need to stock up your home office for the next month or two? This will save you an additional trip to pick up envelopes etc when you’re ready to submit that next query.
And don’t forget to swing by the Post Office to buy stamps.
Create or Revise Your Contact List
Every writer needs to have one of these. Yes, it’s a time consuming task, but once it’s done all you have to do is add new contacts as you make them or update the information for your current contacts. I keep all my contacts in Microsoft Outlook. It sure beats looking for one business card in a pile of hundreds. And my contacts automatically feed into my electronic Address Book so I don’t waste time looking for a person’s email address when I need it. Just one click, and it’s done.
Now that you’re ready to start writing, here are a few ways to stick to your writing schedule:
Review Your Goals
Summer usually means we don’t set as many goals or try not to stress when we don’t meet them. It’s time to figure out what you’ve accomplished and what is still outstanding. Make a new to-do list and post it over your desk so you can keep it in plain sight.
Track Your Time
As a writer, you’re probably juggling multiple projects, performing research for assignments, and balancing all that with your home life.
Knowing where your time goes can help you accomplish more.
Whether you use a spreadsheet, time-tracking software, or a pencil and paper, record how you spend your day.
A sample of my day might look like this:
9 - 9:30AM: Answer/send emails
9:30 - 10AM: Eat breakfast
10 AM - 11AM: Marketing/Promotion
11 - 11:15AM: Short break
11:15AM - 12PM: Marketing/Promotion
12 - 1PM: Lunch and Laundry
1 - 1:30PM: Get Sarah down for a nap
1:30 - 2PM: Research Writer2Writer article
2 - 2:15PM: Short break
2:15 - 3PM: Begin first draft of Writer2Writer article
3 - 10PM: Family Time
10 PM - 12AM: Work on next chapter of memoir
12 - 12:30AM: Read books that need reviewing
Not only will this help you know where your times goes, it will help you get a handle on where time is wasted.
Write When You Feel Most Productive
I’m not a morning person. So, I don’t try to write in the morning. Ever!
If you look at my schedule above, you’ll notice that I do research and write for a short time in the early afternoon and then again late at night.
Each person has his/her own time of day when he/she is the most productive. That’s when you need to write. It might not always be possible, but do try to schedule your normal routine around your peak writing time if you can.
Take Breaks
It might feel right to forgo a break to get more work done, but it’s not a good idea.
Regular breaks are important to keep you focused and healthy. Our bodies simply aren’t meant to be sitting down for long periods of time. And a short break might help you figure out what role that secondary character plays in your latest novel.
Make this back to school season a time to commit to your writing. With these few simple steps you’ll be ready to make the most out of your writing time.
Monday, July 21, 2008
Thoughts on Dark Fantasy by Janrae Frank
The definition of dark fantasy is still widely debated. The label is claimed by both fantasy authors and horror authors. Some horror authors perceive dark fantasy to be merely a way of side-stepping the horror label and the current industry prejudice against it. In a debate about the term, dark fantasy, on a messageboard called "the messageboard of the damned" several years ago, Nick Mamatas stated that dark fantasy is matter of ambiance.
Certainly Laurel K. Hamilton's Anita Blake series and her Merry Gentry series can be called dark fantasy. The former series is set on an alternate earth in which vampires have been given full civil rights and courses in magic are taught in colleges. The latter series involves a princess of Faery who is working as a private investigator. Most urban fantasies can be equally considered dark fantasies.
As more and more cross-genre works appear, with elements of both horror and fantasy, the classification is often left up to both the publishers and the distributors.
Please allow me a few personal anecdotes.
My ebooks that come out from Renaissance Ebooks (renebooks) are listed as dark fantasy at Fictionwise. There my works are a bit of an odd man. The vast majority of books listed under dark fantasy on that list involve vampires and werewolves. Often with a romantic element.
There is the connection for me. I write about vampires, wolfweres (which are often tossed in with werewolves by definition), and necromancers. Such things are staples of horror novels. However, because I am writing in an alternate world with a semi-medieval setting, my work is often classified as fantasy.
Wikipedia says that dark fantasy involves "a bleak pessimistic outlook … and moral ambiguity." It can also involve brutality.
Anne Bishop's Dark Jewels trilogy is extremely dark. Grey Keyes is another excellent example of dark fantasy, especially his series that begins with the Briar King. George R. R. Martin's "Swords of Fire and Ice" series has some of the most brutal, edgy dark fantasy out there.
All of those qualities mentioned in wikipedia are present in their novels.
They are also present in my own, up to a point. I believe in the triumph of the human spirit, that people can pull themselves up by their bootstraps and overcome both their inner and outer challenges. Lyn McConchie says that what makes the darkness and despair in my novels work is that I "don't compromise with evil."
I have had horror authors who write about werewolves say that my work is fantasy and try to deny me a place at the table. I write about werewolves also. My first professional sale was "Wolves of Nakesht" (Amazons, edited by Jessica Amanda Salmonson, DAW 1979) that involved a woman and her children fleeing across the grasslands of an alternate world pursued by werewolves.
I have had fantasy authors tell me that I write horror because I have werewolves and vampires in my novels.
Only time will tell whether the label 'dark fantasy' becomes fully accepted by both the writers and the readers.
Discover Janrae's Serpent's Quest at Buzz the Book and then get your own copy.
Certainly Laurel K. Hamilton's Anita Blake series and her Merry Gentry series can be called dark fantasy. The former series is set on an alternate earth in which vampires have been given full civil rights and courses in magic are taught in colleges. The latter series involves a princess of Faery who is working as a private investigator. Most urban fantasies can be equally considered dark fantasies.
As more and more cross-genre works appear, with elements of both horror and fantasy, the classification is often left up to both the publishers and the distributors.
Please allow me a few personal anecdotes.
My ebooks that come out from Renaissance Ebooks (renebooks) are listed as dark fantasy at Fictionwise. There my works are a bit of an odd man. The vast majority of books listed under dark fantasy on that list involve vampires and werewolves. Often with a romantic element.
There is the connection for me. I write about vampires, wolfweres (which are often tossed in with werewolves by definition), and necromancers. Such things are staples of horror novels. However, because I am writing in an alternate world with a semi-medieval setting, my work is often classified as fantasy.
Wikipedia says that dark fantasy involves "a bleak pessimistic outlook … and moral ambiguity." It can also involve brutality.
Anne Bishop's Dark Jewels trilogy is extremely dark. Grey Keyes is another excellent example of dark fantasy, especially his series that begins with the Briar King. George R. R. Martin's "Swords of Fire and Ice" series has some of the most brutal, edgy dark fantasy out there.
All of those qualities mentioned in wikipedia are present in their novels.
They are also present in my own, up to a point. I believe in the triumph of the human spirit, that people can pull themselves up by their bootstraps and overcome both their inner and outer challenges. Lyn McConchie says that what makes the darkness and despair in my novels work is that I "don't compromise with evil."
I have had horror authors who write about werewolves say that my work is fantasy and try to deny me a place at the table. I write about werewolves also. My first professional sale was "Wolves of Nakesht" (Amazons, edited by Jessica Amanda Salmonson, DAW 1979) that involved a woman and her children fleeing across the grasslands of an alternate world pursued by werewolves.
I have had fantasy authors tell me that I write horror because I have werewolves and vampires in my novels.
Only time will tell whether the label 'dark fantasy' becomes fully accepted by both the writers and the readers.
Discover Janrae's Serpent's Quest at Buzz the Book and then get your own copy.
Monday, July 07, 2008
Whereunto, Fantasy Genre by Danny Birt
The Lord of the Rings. The Chronicles of Narnia. The Golden Compass. Harry Potter. All of these titles are now common household names. The movies these titles describe have reached tens of millions of viewers, child and adult alike, capturing and enhancing those viewers’ imagination with a vivacity no other genre could manage to procure.
And yet, none of those movies could have come about were it not for books.
Yes, books. Virtually every fantasy-genre movie that has been produced in the last decade has been based off of a book in the same genre. Movie producers find a bestselling fantasy book, adapt a screenplay from it, then produce it. As a bonus, the movie has a preexisting audience of the book’s readers.
Part of the reason the production of fantasy movies has taken off recently is the advent of affordable computer graphics, which has made fantastic creatures and magical occurrences capable of being displayed on the big screen, rather than solely in the mind of a reader.
These movies have propelled the fantasy genre from relative obscurity in the back corners of bookstores to the New York Times bestseller list. The number of individuals who will readily admit to being fans of fantasy has never been higher. And yet, the fantasy genre has shown little adaptation to this sudden unexpected surge in popularity.
Consider: of all the fantasy works that are currently available for consumption in any format, what percentage of them is written on a child’s reading level?
Despite its popularity, the fantasy genre by and large remains considered immature. Yet, this creates a Catch-22: since fantasy is seen as being for children, most of the fantasy that is written is written for children.
Fantasy’s current surge in popularity is the genre’s best hope to spruce up its old image. Children who are currently growing up with fantasy in their lives will want to continue to read fantasy as adults – but only if there is a large selection of adult-level fantasy literature available for them to read. After all, who wants to remain stuck in childhood, reading the same old plotline?
The question remains of how those who create the works of the fantasy genre will deal with this brave new world. Will they create new, thought-filled fantasy literature for the discerning adult, or will they continue along in the old, proven rut?
Whereunto, my fellow fantasy authors?
Whereunto, fantasy genre?
You can find Danny Birt’s website at http://www.DannyBirt.com
Danny’s most recent work of fantasy literature, “Ending an Ending,” is available through Ancient Tomes Press at http://www.cyberwizardproductions.com/ancienttomes/eae.html
And yet, none of those movies could have come about were it not for books.
Yes, books. Virtually every fantasy-genre movie that has been produced in the last decade has been based off of a book in the same genre. Movie producers find a bestselling fantasy book, adapt a screenplay from it, then produce it. As a bonus, the movie has a preexisting audience of the book’s readers.
Part of the reason the production of fantasy movies has taken off recently is the advent of affordable computer graphics, which has made fantastic creatures and magical occurrences capable of being displayed on the big screen, rather than solely in the mind of a reader.
These movies have propelled the fantasy genre from relative obscurity in the back corners of bookstores to the New York Times bestseller list. The number of individuals who will readily admit to being fans of fantasy has never been higher. And yet, the fantasy genre has shown little adaptation to this sudden unexpected surge in popularity.
Consider: of all the fantasy works that are currently available for consumption in any format, what percentage of them is written on a child’s reading level?
Despite its popularity, the fantasy genre by and large remains considered immature. Yet, this creates a Catch-22: since fantasy is seen as being for children, most of the fantasy that is written is written for children.
Fantasy’s current surge in popularity is the genre’s best hope to spruce up its old image. Children who are currently growing up with fantasy in their lives will want to continue to read fantasy as adults – but only if there is a large selection of adult-level fantasy literature available for them to read. After all, who wants to remain stuck in childhood, reading the same old plotline?
The question remains of how those who create the works of the fantasy genre will deal with this brave new world. Will they create new, thought-filled fantasy literature for the discerning adult, or will they continue along in the old, proven rut?
Whereunto, my fellow fantasy authors?
Whereunto, fantasy genre?
You can find Danny Birt’s website at http://www.DannyBirt.com
Danny’s most recent work of fantasy literature, “Ending an Ending,” is available through Ancient Tomes Press at http://www.cyberwizardproductions.com/ancienttomes/eae.html
Tuesday, June 17, 2008
Journals & Forgiveness by Debbie Williamson
I started out keeping a journal. I was on my fourth year with this journal when I decided to make it a memoir. It wasn’t really my decision to write a book; it was a message from the other side. I had been ill and one evening while I was in bed, I was trying to finish my journals for my children. I wasn’t sure if I would be around much longer. I had a visit from my grandmother on the other side; she told me I was going to write a book. She told me to put my life stories along with hers and mom’s in a book. She said it would not only help my children, but it would help a lot of people understand what forgiveness really means. She said I was meant to do this and I needed to just believe in the message. My journals were much more personal and detailed then the book and they were also addressed to my children. So when I started to feel better I began the process of putting my words into a book. The chapters about my childhood were the most difficult part to write about. It is a part of my life that I am not fond of reliving and to write about it you relive it. This was never in detail in my journals and I ended up hiring a ghostwriter to interview me and help me transform my memories into words on paper. My journal entries about my adult life were in detail and it was not difficult to transform them into the book. It was actually healing to watch the book take form and realize with clarity what an incredible life I had. The gifts that I had been given I could now share with people and hope that the message of forgiveness would be understood. The dream of writing “Stand” was always about the message of forgiveness.
It took me a long time to convince my mother to help me with her part of the book. She wasn’t ready to share her personal life with the world and she had not even begun to heal from the abuse she had lived with. I told her about grandma coming to see me and it was months after that she told me she had prayed about the book and the answers she received were, to just do it. She finally agreed to write the book with me. We were going to interview her about her childhood because the memories were so very hurtful and this process helped me get through them. When it came time to start that process she passed away and left me with her journals. She also made me promise her that I would finish the book and not give up. She said she believed in my visit from grandma and she knew how important this book would be. I kept my promise and started the process of reading all her journals. She had always kept journals and they were in meticulous detail. She had about sixty journals that I read through looking for the information I needed. It was not an easy task for me, reading about my mother’s childhood horrors nearly took its toll on me. I came very close to giving up several times. I kept a clear focus on the message I had to share and when the first draft was done I sat alone in my office, and the impact of missing her finally set in. I was glad I kept my promise to her; somehow she knew that her journals would be devastating for me to read. The book was compiled from mine, my mother’s and a few of my grandmother’s journals. I have often thought about those journals and what to do with them. I decided to leave them for my grandchildren, and although some of them are heartbreaking, there is a lot of history in them.
The message of forgiveness has been misunderstood in the past and the impact it could have on our world is important.
I never understood how profound the meaning of forgiveness was until I went through it. Forgiveness can change the cycle of abuse and stop it from passing to future generations. I believe this with all my heart and I am proof that you can change your family and stop abuse from continuing on in its vicious cycle.
Healing yourself through forgiveness will change our world!
It took me a long time to convince my mother to help me with her part of the book. She wasn’t ready to share her personal life with the world and she had not even begun to heal from the abuse she had lived with. I told her about grandma coming to see me and it was months after that she told me she had prayed about the book and the answers she received were, to just do it. She finally agreed to write the book with me. We were going to interview her about her childhood because the memories were so very hurtful and this process helped me get through them. When it came time to start that process she passed away and left me with her journals. She also made me promise her that I would finish the book and not give up. She said she believed in my visit from grandma and she knew how important this book would be. I kept my promise and started the process of reading all her journals. She had always kept journals and they were in meticulous detail. She had about sixty journals that I read through looking for the information I needed. It was not an easy task for me, reading about my mother’s childhood horrors nearly took its toll on me. I came very close to giving up several times. I kept a clear focus on the message I had to share and when the first draft was done I sat alone in my office, and the impact of missing her finally set in. I was glad I kept my promise to her; somehow she knew that her journals would be devastating for me to read. The book was compiled from mine, my mother’s and a few of my grandmother’s journals. I have often thought about those journals and what to do with them. I decided to leave them for my grandchildren, and although some of them are heartbreaking, there is a lot of history in them.
The message of forgiveness has been misunderstood in the past and the impact it could have on our world is important.
I never understood how profound the meaning of forgiveness was until I went through it. Forgiveness can change the cycle of abuse and stop it from passing to future generations. I believe this with all my heart and I am proof that you can change your family and stop abuse from continuing on in its vicious cycle.
Healing yourself through forgiveness will change our world!
Friday, June 13, 2008
A Neglected Genre by Slawomir Rapala
Writing in a genre as unique as Fantasy is difficult because you don’t get a lot of credibility as a writer and as a result you must strive twice as hard to get your point across. Fantasy has always been a neglected genre, dismissed as frivolous at best and as down right offending at worst. The truth, however, is that the genre offers us, as writers, tools that our mainstream colleagues do not enjoy and which enable us to venture deeper both into the human psyche and the structure of the world around us. We enjoy worlds not constricted by the rules that govern everyday lives: neither the laws of physics and science, nor the social rules and norms that define cultures and societies around us.
Consequently, I feel, if used properly, Fantasy offers us an opportunity to create something unique and rein-free: a world and characters that are completely subjected to us, as creators. As writers, therefore, we can take what we observe around us and make a social commentary by superimposing these observations onto a world and characters unrestricted by rules. This, I believe, allows us to arrive at unique insights about the world and the people around us: sometimes scary, sometimes difficult to accept, but mostly, completely blunt and honest.
The beauty of Fantasy is that even when you take the social commentary away; in fact, even if it is not present at all in the work, it is still a thoroughly interesting and fascinating read, offering the common reader a form of escapism. Fantasy can be easy and fun to read, offering a glimpse of a world that’s borne out of the author’s imagination and even if the reader does not wish to involve himself in the social commentary that underlies most of Fantasy and would rather take the work solely at face value, he can still spend an enjoyable few hours that can be best described as carefree and pleasantly detached from the reality of everyday life.
Slawomir Rapala
Cambridge, June 1st
For more information about Slawomir and his new release, The Legend of Aezubah: The Crimson General, visit Bewildering Press.
Consequently, I feel, if used properly, Fantasy offers us an opportunity to create something unique and rein-free: a world and characters that are completely subjected to us, as creators. As writers, therefore, we can take what we observe around us and make a social commentary by superimposing these observations onto a world and characters unrestricted by rules. This, I believe, allows us to arrive at unique insights about the world and the people around us: sometimes scary, sometimes difficult to accept, but mostly, completely blunt and honest.
The beauty of Fantasy is that even when you take the social commentary away; in fact, even if it is not present at all in the work, it is still a thoroughly interesting and fascinating read, offering the common reader a form of escapism. Fantasy can be easy and fun to read, offering a glimpse of a world that’s borne out of the author’s imagination and even if the reader does not wish to involve himself in the social commentary that underlies most of Fantasy and would rather take the work solely at face value, he can still spend an enjoyable few hours that can be best described as carefree and pleasantly detached from the reality of everyday life.
Slawomir Rapala
Cambridge, June 1st
For more information about Slawomir and his new release, The Legend of Aezubah: The Crimson General, visit Bewildering Press.
Monday, June 09, 2008
Call for Submissions, Writing Challenge and Heroic Fantasy plus Free Poster
Discover author Slawomir Rapala at Bragging Rites and read the synopsis to his new release, The Legend of Aezubah: The Crimson General.
The Legend of Aezubah: The Crimson General is a sword and sorcery epic of human aspirations and tragedy. It shows how anyone can be both a villain and a hero and how even the smallest actions can change the world. You can order your copy from Bewildering Press.
Don't forget to check out the latest installment of The Marsh God by Bruce Durham. A new page of the comic is added each Thursday to the Flashing Swords website. If you haven't started reading with us yet, you can still catch up. All the pages are archived.
While you're at Flashing Swords, order your copy of the Special Summer Edition. It's stuffed full of stories, poems, articles and interviews. Plus, your copy will come with a free 11 x 17 poster by artist Johnney Perkins
Flashing Swords Press is now accepting submissions for their "Rage of the Behemoth" anthology. This Heroic Adventure Anthology will contain 21 stories about the biggest, baddest, boldest behemoths ever to roar across the pages of heroic adventure! You can find all the details and guidelines here.
Like a good writing challenge? Then you'll love this! You must use the prompt given but you can write in any genre you would like, even non-fiction. This is the perfect chance to try something new and flex those creative muscles. The deadline is July 25th, there's no entry fee and there's even a small cash prize.
The Legend of Aezubah: The Crimson General is a sword and sorcery epic of human aspirations and tragedy. It shows how anyone can be both a villain and a hero and how even the smallest actions can change the world. You can order your copy from Bewildering Press.
Don't forget to check out the latest installment of The Marsh God by Bruce Durham. A new page of the comic is added each Thursday to the Flashing Swords website. If you haven't started reading with us yet, you can still catch up. All the pages are archived.
While you're at Flashing Swords, order your copy of the Special Summer Edition. It's stuffed full of stories, poems, articles and interviews. Plus, your copy will come with a free 11 x 17 poster by artist Johnney Perkins
Flashing Swords Press is now accepting submissions for their "Rage of the Behemoth" anthology. This Heroic Adventure Anthology will contain 21 stories about the biggest, baddest, boldest behemoths ever to roar across the pages of heroic adventure! You can find all the details and guidelines here.
Like a good writing challenge? Then you'll love this! You must use the prompt given but you can write in any genre you would like, even non-fiction. This is the perfect chance to try something new and flex those creative muscles. The deadline is July 25th, there's no entry fee and there's even a small cash prize.
Wednesday, May 28, 2008
Top Ten Ways to Break a Deal by David M. Pitchford
10. Deadline? There was a deadline? Follow up to be certain you've gotten ALL materials, drafts, etc. in to the publisher by the time stated in the contract.
9. You needed the contract back when? Camping out on a contract until your brother-in-law can fit it in for a gratis legal opinion can kill the deal. Contracts tend to be time-sensitive. If you have questions, ask them. But don't allow it to become an excuse for procrastination. There's far too much of that stuff (procrastination) in this whole process already.
8. But I don't like that advice. Once you have the contract, picking at nits with the publisher is not always in your best interest. Again, the edits and such are time-sensitive just as are contracts. With start-up publishers, this is even more important, as many small publishers have to push things through to achieve profitability before they go broke. Be sensible about the editing process, but refrain from being sensitive about it.
7. Oh, sorry, I forgot to tell you that story was picked up by Acme. The number one reason publishers don't want you to engage in simultaneous submissions is that too many authors ahead of you have forgotten to inform prospective publishers when a work is accepted elsewhere. Inform the publisher of previous acceptance of your work; this keeps them from sending a contract for first rights only to find out you've sold those rights already. Track your submissions assiduously.
6. No, really, it's a different story! Changing character and place names is rarely enough to make a new story out of a recycled one. If your current story won't go through a plagiarization filter against a story you've already published, you're treading dangerous ground. Recycling stories is not a bad strategy, in my opinion, but it is vital that the new story be *substantially* different. And it darn well should be better!
5. Oh, you wanted what you asked for in your guidelines? This is rather obvious, but I've actually seen rewrites go from following the guidelines to creation of a story that barely resembles the submitted works. What were they thinking? Most of the time I've seen this is in regard to writers who want to retro-fit their story to a series or pet world. Rarely is that acceptable to a publisher, and even more rarely when that retro-fit violates the guidelines to which you formerly adhered.
4. Can you pay me now? This is a serious contractual matter. If you've agreed to pay-on-publication, then you really don't have stable ground from which to request payment. To avoid the necessity of this, negotiate the contract up front. If the publisher doesn't have a 'kill clause' in the contract, then ask for one that guarantees something if the project is cancelled. Sometimes the small publishers can only promise a return of full rights. Ask up front. Negotiate before signing. Be very judicious about trying to renegotiate a contract after the fact, if at all.
3. What do you mean you couldn't reach me?! Yes. This is common sense. But common sense is where ninety percent of misunderstandings occur. If you relocate, or change *any* of your contact information, then contact the publisher - every publisher with whom you have any relationship - and ensure that they have your current information. I have actually made this mistake myself from both sides of the desk; it cost me a number of great stories as well as two publication credits. Notify. Notify. Notify.
2. But these edits violate my personal style; why are you cramping my artistic integrity? Whiners are just inconvenient. Very few of us like to deal with them in any capacity. Editors and publishers are people, too. Don't be a whiner. If you seriously cannot stomach criticism or editorial changes, then you're likely too early in your development as a writer to be publishing anyway. [I'm talking here about whining to the publisher/editor. Whine all you like to your friends, but do so *privately* and NEVER on an online forum.] Whining might not break the current deal, but it will likely break the next deal you might have made with this publisher.
1. What are you miscreants doing to MY story?! Worse than the whiner is the bitching Narcissist. Again, any given publisher might put up with the prima donna once, but they'll likely take a great deal more convincing for further projects once you've insulted them and thrown a tantrum over things that are likely far more trivial than they seem. This behavior tends to show not only an immaturity in the industry, but also a personal immaturity. This is, in my opinion, the number one way to break a deal: act like a brat. [Once you've signed the contract and cashed the check, your story is no longer *your* story. If you *have* to have creative input, consider strongly whether you're really ready to publish. If you decide you are, then be very certain of how the contract is written.]
Read more of David's writing in The Return of the Sword anthology. You can order your copy here.
9. You needed the contract back when? Camping out on a contract until your brother-in-law can fit it in for a gratis legal opinion can kill the deal. Contracts tend to be time-sensitive. If you have questions, ask them. But don't allow it to become an excuse for procrastination. There's far too much of that stuff (procrastination) in this whole process already.
8. But I don't like that advice. Once you have the contract, picking at nits with the publisher is not always in your best interest. Again, the edits and such are time-sensitive just as are contracts. With start-up publishers, this is even more important, as many small publishers have to push things through to achieve profitability before they go broke. Be sensible about the editing process, but refrain from being sensitive about it.
7. Oh, sorry, I forgot to tell you that story was picked up by Acme. The number one reason publishers don't want you to engage in simultaneous submissions is that too many authors ahead of you have forgotten to inform prospective publishers when a work is accepted elsewhere. Inform the publisher of previous acceptance of your work; this keeps them from sending a contract for first rights only to find out you've sold those rights already. Track your submissions assiduously.
6. No, really, it's a different story! Changing character and place names is rarely enough to make a new story out of a recycled one. If your current story won't go through a plagiarization filter against a story you've already published, you're treading dangerous ground. Recycling stories is not a bad strategy, in my opinion, but it is vital that the new story be *substantially* different. And it darn well should be better!
5. Oh, you wanted what you asked for in your guidelines? This is rather obvious, but I've actually seen rewrites go from following the guidelines to creation of a story that barely resembles the submitted works. What were they thinking? Most of the time I've seen this is in regard to writers who want to retro-fit their story to a series or pet world. Rarely is that acceptable to a publisher, and even more rarely when that retro-fit violates the guidelines to which you formerly adhered.
4. Can you pay me now? This is a serious contractual matter. If you've agreed to pay-on-publication, then you really don't have stable ground from which to request payment. To avoid the necessity of this, negotiate the contract up front. If the publisher doesn't have a 'kill clause' in the contract, then ask for one that guarantees something if the project is cancelled. Sometimes the small publishers can only promise a return of full rights. Ask up front. Negotiate before signing. Be very judicious about trying to renegotiate a contract after the fact, if at all.
3. What do you mean you couldn't reach me?! Yes. This is common sense. But common sense is where ninety percent of misunderstandings occur. If you relocate, or change *any* of your contact information, then contact the publisher - every publisher with whom you have any relationship - and ensure that they have your current information. I have actually made this mistake myself from both sides of the desk; it cost me a number of great stories as well as two publication credits. Notify. Notify. Notify.
2. But these edits violate my personal style; why are you cramping my artistic integrity? Whiners are just inconvenient. Very few of us like to deal with them in any capacity. Editors and publishers are people, too. Don't be a whiner. If you seriously cannot stomach criticism or editorial changes, then you're likely too early in your development as a writer to be publishing anyway. [I'm talking here about whining to the publisher/editor. Whine all you like to your friends, but do so *privately* and NEVER on an online forum.] Whining might not break the current deal, but it will likely break the next deal you might have made with this publisher.
1. What are you miscreants doing to MY story?! Worse than the whiner is the bitching Narcissist. Again, any given publisher might put up with the prima donna once, but they'll likely take a great deal more convincing for further projects once you've insulted them and thrown a tantrum over things that are likely far more trivial than they seem. This behavior tends to show not only an immaturity in the industry, but also a personal immaturity. This is, in my opinion, the number one way to break a deal: act like a brat. [Once you've signed the contract and cashed the check, your story is no longer *your* story. If you *have* to have creative input, consider strongly whether you're really ready to publish. If you decide you are, then be very certain of how the contract is written.]
Read more of David's writing in The Return of the Sword anthology. You can order your copy here.
Tuesday, May 20, 2008
Be Unique
Stan took another manuscript from the top of the slush-pile and propped himself against the wall for a quick read. His eyes grew wider as they scanned down the page until finally he burst into uncontrollable laughter. “Hey Jill…take a look at this!”
His co-editor took the papers out of his hands, skimmed the text, and began to chuckle. She glanced at the author’s cover letter and gave a derisive snort. “I can’t believe she had the nerve to submit this garbage to us. Who does she think she is?”
Stan wiped streaming eyes and drew in a deep breath. “I know…and she works in a food store, for God’s sake…and imagines she’s a WRITER!” His fingers traced quote marks in the air. “She needs to stop daydreaming and do something she’s actually got talent for.”
Jill tossed the manuscript to her assistant. “Form rejection.”
If this little fantasy gives you goose-bumps and a cold shiver, then my words are aimed squarely at you! There’s a great deal of advice out there for short story writers who have already started submitting their work, but I want to address the rest of you. The writers who have dreamed of, but never achieved, that first step – and it is a huge step to some. Submission.
I understand the size of that step, believe me. It’s measured in fear – of rejection. Nobody likes to be rejected, but in some writers the fear can reach a level that seems insurmountable. I was a guest at a writers’ group one time and found, to my dismay, that most of the members had never submitted a piece of work for publication. The reason? Terror of receiving a rejection letter. It was clear that being turned down would be felt deeply and personally. When we write a story we are sharing – exposing – something deep within ourselves. When we offer it up for judgement, we are inviting judgement of ourselves. This may sound frightening, especially to us sensitive writer types, but I’m going to tell you that this is a Good Thing. Sharing something individual – a part of our creativity – is a vital step in becoming unique. There may not be an I in Team, but there is an I in Writer.
This is what makes your stories different from all those others – your own perspective, your own take on life. If you don’t make each story uniquely your own, then what is the point in writing? Hire a ghost writer instead.
Is it just a matter of finding the courage to submit a story? Essentially, yes. But that courage may be hard to come by. It will help if you understand that the fear comes partly from a misunderstanding of the nature of publishing and, in particular, rejections from editors.
Rejection is a fact of publishing – and of life itself. When you go to a restaurant, and read the menu, you engage in the act of rejecting most of what the chef has to offer. Yet neither you, nor the chef, take it personally, or expect anything else. The same is true of the publishing industry. When a publisher is handed a story, he or she must decide if the story is one that they can use. If not, they must refuse it. That means it’s still available to offer to others. Keep trying. If you want to be published, you must harden yourself to rejection. It’s how things work. There aren’t enough slots in all the magazines for all the stories that get sent out.
I want you to imagine you have at last gathered the courage to submit your best story to a fiction magazine. You’ve read the submission guidelines and formatted the manuscript correctly. You’ve done your utmost. You wait weeks, months, and then finally…exactly what you feared. A rejection. What next?
It’s easy to get so depressed that you don’t send the story out again. Surely if one editor didn’t want it then no-one is going to want it. Not true! There’s a whole catalogue of reasons why editors reject stories. There’s only so much space in each issue. This means that while an editor might like your story, he or she might not be able to use it. Sometimes it’s not quite right for their magazine. The wrong tone, or style, or subject perhaps, and sometimes they’ve just bought one almost exactly like yours. Had yours been in their hands first, they would have bought it and rejected the other one. Always remember, the editor is rejecting the story, not the author. It’s not personal (unless you get mad and fire off a nasty email – something that’s definitely not recommended).
You can improve your chances by targeting magazines carefully – be certain that they want what you are offering. Read several issues so you are familiar with what they have recently published. You should also expand your horizons. While it’s admirable to start at the top and submit to the leading magazines, don’t ignore the plethora of other print and online fiction magazines. For example: Bewildering stories, Flashing Swords, Residential Aliens,Fear and Trembling. Visit the markets site www.ralan.com and check out all the places you can try. Although many of these ‘small’ magazines don’t pay for your story, they are often writer-friendly and will help you learn your craft and gain exposure.
Frequently, rejections are just a matter of the editor’s personal taste. It’s out of your control, so why beat yourself up about it? Just keep on trying and, in between those submissions, work on other stories, and polish them till they shine, and submit them and, before you know it, you’ll be acting like a professional.
Don’t imagine it all ends when you achieve publication. If you wind up with a review, you’ll find that reactions can vary from “love it” to “hate it”. As an example, my story “The Defenders”, which appeared in Asimov’s Science Fiction and in The Year’s Best Science Fiction #22 gathered the following reviews:
“This is a great short story.”
“I didn't really care for "The Defenders."
“…complex and mystical vignette.”
“Stupid story.”
“…expertly dissects colonialism in quintessential science-fictional terms.”
Writers don’t all think alike. Neither do reviewers. So why should editors?
Think you can find the courage? Maybe it’s time to don your hard hat and bullet-proof vest. Time to get tough.
Time to be unique.
Colin P. Davies
His co-editor took the papers out of his hands, skimmed the text, and began to chuckle. She glanced at the author’s cover letter and gave a derisive snort. “I can’t believe she had the nerve to submit this garbage to us. Who does she think she is?”
Stan wiped streaming eyes and drew in a deep breath. “I know…and she works in a food store, for God’s sake…and imagines she’s a WRITER!” His fingers traced quote marks in the air. “She needs to stop daydreaming and do something she’s actually got talent for.”
Jill tossed the manuscript to her assistant. “Form rejection.”
If this little fantasy gives you goose-bumps and a cold shiver, then my words are aimed squarely at you! There’s a great deal of advice out there for short story writers who have already started submitting their work, but I want to address the rest of you. The writers who have dreamed of, but never achieved, that first step – and it is a huge step to some. Submission.
I understand the size of that step, believe me. It’s measured in fear – of rejection. Nobody likes to be rejected, but in some writers the fear can reach a level that seems insurmountable. I was a guest at a writers’ group one time and found, to my dismay, that most of the members had never submitted a piece of work for publication. The reason? Terror of receiving a rejection letter. It was clear that being turned down would be felt deeply and personally. When we write a story we are sharing – exposing – something deep within ourselves. When we offer it up for judgement, we are inviting judgement of ourselves. This may sound frightening, especially to us sensitive writer types, but I’m going to tell you that this is a Good Thing. Sharing something individual – a part of our creativity – is a vital step in becoming unique. There may not be an I in Team, but there is an I in Writer.
This is what makes your stories different from all those others – your own perspective, your own take on life. If you don’t make each story uniquely your own, then what is the point in writing? Hire a ghost writer instead.
Is it just a matter of finding the courage to submit a story? Essentially, yes. But that courage may be hard to come by. It will help if you understand that the fear comes partly from a misunderstanding of the nature of publishing and, in particular, rejections from editors.
Rejection is a fact of publishing – and of life itself. When you go to a restaurant, and read the menu, you engage in the act of rejecting most of what the chef has to offer. Yet neither you, nor the chef, take it personally, or expect anything else. The same is true of the publishing industry. When a publisher is handed a story, he or she must decide if the story is one that they can use. If not, they must refuse it. That means it’s still available to offer to others. Keep trying. If you want to be published, you must harden yourself to rejection. It’s how things work. There aren’t enough slots in all the magazines for all the stories that get sent out.
I want you to imagine you have at last gathered the courage to submit your best story to a fiction magazine. You’ve read the submission guidelines and formatted the manuscript correctly. You’ve done your utmost. You wait weeks, months, and then finally…exactly what you feared. A rejection. What next?
It’s easy to get so depressed that you don’t send the story out again. Surely if one editor didn’t want it then no-one is going to want it. Not true! There’s a whole catalogue of reasons why editors reject stories. There’s only so much space in each issue. This means that while an editor might like your story, he or she might not be able to use it. Sometimes it’s not quite right for their magazine. The wrong tone, or style, or subject perhaps, and sometimes they’ve just bought one almost exactly like yours. Had yours been in their hands first, they would have bought it and rejected the other one. Always remember, the editor is rejecting the story, not the author. It’s not personal (unless you get mad and fire off a nasty email – something that’s definitely not recommended).
You can improve your chances by targeting magazines carefully – be certain that they want what you are offering. Read several issues so you are familiar with what they have recently published. You should also expand your horizons. While it’s admirable to start at the top and submit to the leading magazines, don’t ignore the plethora of other print and online fiction magazines. For example: Bewildering stories, Flashing Swords, Residential Aliens,Fear and Trembling. Visit the markets site www.ralan.com and check out all the places you can try. Although many of these ‘small’ magazines don’t pay for your story, they are often writer-friendly and will help you learn your craft and gain exposure.
Frequently, rejections are just a matter of the editor’s personal taste. It’s out of your control, so why beat yourself up about it? Just keep on trying and, in between those submissions, work on other stories, and polish them till they shine, and submit them and, before you know it, you’ll be acting like a professional.
Don’t imagine it all ends when you achieve publication. If you wind up with a review, you’ll find that reactions can vary from “love it” to “hate it”. As an example, my story “The Defenders”, which appeared in Asimov’s Science Fiction and in The Year’s Best Science Fiction #22 gathered the following reviews:
“This is a great short story.”
“I didn't really care for "The Defenders."
“…complex and mystical vignette.”
“Stupid story.”
“…expertly dissects colonialism in quintessential science-fictional terms.”
Writers don’t all think alike. Neither do reviewers. So why should editors?
Think you can find the courage? Maybe it’s time to don your hard hat and bullet-proof vest. Time to get tough.
Time to be unique.
Colin P. Davies
Thursday, May 15, 2008
Niche Writing - The Opposing View by Emilio Corsetti
The general consensus in publishing today is that writers should create a niche for themselves and stick to writing what they know. This has certainly worked well for authors such as Steven King, Tom Clancy, Patricia Cornwell, John Grisham, and a long list of other bestselling authors. They are some of my favorite authors. But I am also a fan of Mark Bowden and Michael Crichton. Mark Bowden is the author of Black Hawk Down. He is also the author Killing Pablo, Guests of the Ayatollah and the upcoming book The Best Game Ever. The only thing these books have in common is that they are all nonfiction narratives. Some of Michael Crichton’s books include Jurassic Park, Congo, The Andromeda Strain, and Airframe. He has also written a number of screenplays. I don’t consider either of these two writers as niche writers.
Writers who stick to a niche often fall victim to repeating themselves and producing uninteresting books. To me, writing something to fit a perceived niche is like writing a story because some marketing guy says that’s what’s selling now. The end result is an uninspired, boring manuscript.
I don’t want to be pigeonholed into a niche. I want the freedom to pick and choose my projects based on how strongly I feel about the story. My latest project is a screenplay about patent medicine from the 1900s. It’s a comedy. It’s as far removed from a disaster story as you can get.
I used to describe myself in my bio as a professional pilot and aviation writer. My bio now says professional pilot and author. That’s how I want to be perceived.
Find out more about Emilio at his website.
Writers who stick to a niche often fall victim to repeating themselves and producing uninteresting books. To me, writing something to fit a perceived niche is like writing a story because some marketing guy says that’s what’s selling now. The end result is an uninspired, boring manuscript.
I don’t want to be pigeonholed into a niche. I want the freedom to pick and choose my projects based on how strongly I feel about the story. My latest project is a screenplay about patent medicine from the 1900s. It’s a comedy. It’s as far removed from a disaster story as you can get.
I used to describe myself in my bio as a professional pilot and aviation writer. My bio now says professional pilot and author. That’s how I want to be perceived.
Find out more about Emilio at his website.
Friday, May 09, 2008
Guest Post by Heidi Saxton
When I became a foster parent to a sibling group of three, it was soon obvious that many of the activities I had formerly enjoyed were going to have to go on the back burner, at least for now. I didn't mind -- I had always wanted to be a mom, and I looked forward to investing my time and energies into the lives of these children. But as time went on, the challenges I was facing became overwhelming ... and I longed for the simpler days of rejoining infinitives and weeding out extraneous modifiers. There was no way I could do this, of course. Sleep depravation and intensive ... togetherness ... had worked their magic; my highest aspiration each day was to get out of my pajamas and into the shower before it was time for bed again.
And yet, somehow I found time to journal. The time my husband coaxed Christopher out from under a table with a bowl of Cheetos. The time our foster son dealt a round-house blow into the midsection of our elderly priest ... right in the middle of Mass. One time, just for the fun of it, I took down a whole morning in ten-minute increments here: http://mommymonsters.blogspot.com/2007/02/day-in-life-of-foster-mom.html
Those moments at the keyboard, as it turned out, provided rich writing material for my subsequent books -- books written several years after these early motherhood experiences, such as my current book entitled Behold Your Mother: Mary Stories and Reflections from a Catholic Convert (http://www.christianword.com).
So now, when one of my writers at Canticle cries on my shoulder (either in person or online) about how she hasn't been able to string together two coherent sentences since the baby arrived, I offer the following pointers:
* Force yourself to pencil a few lines (or type them into a computer) every night. Create a habit you look forward to ... keep a pretty journal beside your bed, and write as you drink a soothing cup of herbal tea.
* Don't worry about creating something that future generations will consider profound or even coherent. Just jot down a few impressions, using all your senses. What did you see, hear, feel...?
* Skip the weather and the argument with your girlfriend over cloth vs. disposable. Concentrate on stories, discoveries, and miracles. What did your child teach you about yourself today?
* Parenthood is often a time when our spiritual side can blossom in new or unexpected ways. Try journaling in the form of a letter to God, or to your favorite saint. Use your journal time to record both your prayers ... and any answers you receive as well.
* As the children grow older and your writing projects become more ambitious, go back and read your journals. Mine them for memories and insights that have slipped your consciousness. As you read, other memories might surface ... be sure to record those as well. "Mommy Brain" can kick in at unexpected times; don't assume that something is so funny, startling, or momentous to forget. Put it down!
* When you are done recording your children's memories for them, begin working on family at the other end of the age spectrum. Record the stories of your parents and grandparents ... go through old photo albums and get them to talk about their own childhoods so those precious family memories are not lost.
And yet, somehow I found time to journal. The time my husband coaxed Christopher out from under a table with a bowl of Cheetos. The time our foster son dealt a round-house blow into the midsection of our elderly priest ... right in the middle of Mass. One time, just for the fun of it, I took down a whole morning in ten-minute increments here: http://mommymonsters.blogspot.com/2007/02/day-in-life-of-foster-mom.html
Those moments at the keyboard, as it turned out, provided rich writing material for my subsequent books -- books written several years after these early motherhood experiences, such as my current book entitled Behold Your Mother: Mary Stories and Reflections from a Catholic Convert (http://www.christianword.com).
So now, when one of my writers at Canticle cries on my shoulder (either in person or online) about how she hasn't been able to string together two coherent sentences since the baby arrived, I offer the following pointers:
* Force yourself to pencil a few lines (or type them into a computer) every night. Create a habit you look forward to ... keep a pretty journal beside your bed, and write as you drink a soothing cup of herbal tea.
* Don't worry about creating something that future generations will consider profound or even coherent. Just jot down a few impressions, using all your senses. What did you see, hear, feel...?
* Skip the weather and the argument with your girlfriend over cloth vs. disposable. Concentrate on stories, discoveries, and miracles. What did your child teach you about yourself today?
* Parenthood is often a time when our spiritual side can blossom in new or unexpected ways. Try journaling in the form of a letter to God, or to your favorite saint. Use your journal time to record both your prayers ... and any answers you receive as well.
* As the children grow older and your writing projects become more ambitious, go back and read your journals. Mine them for memories and insights that have slipped your consciousness. As you read, other memories might surface ... be sure to record those as well. "Mommy Brain" can kick in at unexpected times; don't assume that something is so funny, startling, or momentous to forget. Put it down!
* When you are done recording your children's memories for them, begin working on family at the other end of the age spectrum. Record the stories of your parents and grandparents ... go through old photo albums and get them to talk about their own childhoods so those precious family memories are not lost.
Monday, April 21, 2008
Controversial Subjects by Peter Nennhaus
Suppose you wish to compose a writing on a contentious or controversial subject. Perhaps you have unconventional ideas in religion or about your own country, thoughts you know may be seen as offensive by some readers. How would you approach it?
First of all, you must be convinced of the correctness of your thesis and your right to express it. Next, it is helpful to be tactful about it and express your ideas the way a friend speaks, one who does neither lecture nor reprimand, but rather who gives advice to his brother and tries to convince rather than rebuke. Thirdly, do your research before you speak up. That would certainly include the honest assessment of your opponents’ views. If possible, seek to discuss the subject first with those who think differently, for a serious dialogue is likely to make you improve your own thoughts. I like such a discussion better than a debate, as a debate is dishonest. It is a one-upmanship type of contest aimed at finding not necessarily the truth but the winner, as we witness presently in the political debates in an election campaign. In other words, I personally prefer such a writing to be done in a spirit of honesty and goodwill. Not that such goodwill will forestall angry counter-attacks, for sure enough they will be launched at you. But, again like in political debates, it resembles the difference between a dirty campaign and a nasty campaign.
Being controversial will only rarely lead to universal acclaim, if ever, but fear not, you will have left a mark that others may carry further. Thinking outside the box may certainly lead to ridicule, but it is the basis for progress, too. Without it we would have never built a computer or walked on the moon.
For more info on Peter's book go to his website.
First of all, you must be convinced of the correctness of your thesis and your right to express it. Next, it is helpful to be tactful about it and express your ideas the way a friend speaks, one who does neither lecture nor reprimand, but rather who gives advice to his brother and tries to convince rather than rebuke. Thirdly, do your research before you speak up. That would certainly include the honest assessment of your opponents’ views. If possible, seek to discuss the subject first with those who think differently, for a serious dialogue is likely to make you improve your own thoughts. I like such a discussion better than a debate, as a debate is dishonest. It is a one-upmanship type of contest aimed at finding not necessarily the truth but the winner, as we witness presently in the political debates in an election campaign. In other words, I personally prefer such a writing to be done in a spirit of honesty and goodwill. Not that such goodwill will forestall angry counter-attacks, for sure enough they will be launched at you. But, again like in political debates, it resembles the difference between a dirty campaign and a nasty campaign.
Being controversial will only rarely lead to universal acclaim, if ever, but fear not, you will have left a mark that others may carry further. Thinking outside the box may certainly lead to ridicule, but it is the basis for progress, too. Without it we would have never built a computer or walked on the moon.
For more info on Peter's book go to his website.
Story Behind the Stories – by Jason M. Waltz, Managing Editor, Flashing Swords Press
Just what did it take to find, bind, and mind the twenty-one entries that create The Return of the Sword: An Anthology of Heroic Adventure (RotS)? Nothing more than access to a remaining inventory of accepted stories, a couple years’ worth of reviewing and critiquing, a remembered blog post, and an expectant boss.Did we have a theme in mind? Not from the start. The concept of publishing an anthology arose as a vehicle for returning to glory some stories accepted by the previous incarnation of Flashing Swords Magazine that had not received the attention they deserved. Once we agreed on this option, well, the anthology required a creator. As Managing Editor, Kelly chose me.
Doing so created our first dilemma. Or my first dilemma I should say. Though I eagerly accepted the role and the responsibility, I was the lone newbie in the group. The person with less than one year’s experience as an editor. The only person without a publishing history. Who was I to orchestrate this thing?
Simply the guy my exceptional boss allowed me to be.
The summary of what I went through to bring RotS to the masses is too long to recount here. Simply told, once assigned, I bent to my task with a passion. I tracked down authors with tales I’d read long ago and asked them for those titles. I recalled an accomplished author’s blogging wisdom and asked him for it. I learned a lot about editing and publishing, working with authors and artists, design and layout – and more design and layout! – before finally being content. Could I have done better? Absolutely – but I’m damn proud of the final result as it is.
Theme, you ask? Why, I only required each tale to rock me in some fashion and contain a figure heroic . . . or able to be heroic. All the RotS tales have a character filling that heroic role: some obviously, some by default, some in denial, and some not quite apparent – but still with that character who has the opportunity, no matter how slim, to be heroic.I wanted slam-bam adventure while simultaneously giving readers that heroic figure all of us look for. He didn’t have to be the biggest guy, the baddest guy, the smartest guy, or even a guy. I wanted, really, heroic attitude more than anything else, coupled with action-adventure that made readers sit up in their seats and pay attention.I think I captured what I sought. I don't think anyone can read this anthology lying in bed an evening. If you can, I didn't do my job.
Return now to the days of true adventure! Join fierce warriors in savage battles of survival and supremacy as they face hordes of vile foes, vie against inner demons, or struggle before onslaughts of both. Enter the halls of heroic fantasy in awe and marvel at the deeds of the mighty. Close upon the heels of Howard's Conan, Moorcock's Elric, and Leiber's Fafhrd and the Gray Mouser come Ehart's Ninshi, Heath's Brom, and Hawkes' Kabar. Unsheathe your sword and follow in their steps if you dare!
Get your copy of this great anthology at The Return of the Sword
Friday, April 18, 2008
Establishing a Brand Name by Theresa Chaze
Most writers think their work is done once the manuscript has been sent to the printer; it is the reason that so many books fail to live up to their potential. Even with a PR team or a traditional publishing house working back up, the bulk of the marketing and promotions is still the writer's responsibility and obligation. No one else knows the book’s potential or the uniqueness of the work better than the writer does.
PR and publishing marketing teams divide their attention among all their clients. However, their limited time and resources are given first to those authors and books that show the most potential. Therefore, it is up to the author to establish a brand name with the primary target market that will be easily expandable into the general readership. In many ways, publishing is just like finding any other job--in order to get a job you have to have experience; in order to get experience you have to have a job. In publishing, in order to be successful you have to have readers; in order to gain a readership you have to be successful.
By definition, a brand name is the general field or focus the product. Who does the product appeal to and why? For writers, it would be the genre. Although genres are intertwined, most books are labeled with one primary. It is the core the author works from not only when writing, but also for the marketing plan. It is this structure that allows the readership to know what to expect when they open the book. Stephen King’s novels are primarily horror, while Stephen Hawking is non-fiction physics. If the branding is effective, it will not only creating a niche market for the work, but for the author as well.
A major mistake most authors make is limiting their promotions to just their work. By creating bridges to similar topics or causes, the author expands their target readership to those who have similar interests but who would not normally read the genre. By allow the reader to see the back story behind the development or to get to know the person behind the work, the author creates more of a buzz.
If the author's blog is solely focused on promoting the book, it will rapidly become boring and will loose readership. However, if it also includes posts about the author's activities and interests, it will diversify the SEO keywords and expand who will be drawn to the blog. A fiction author cannot only write about her or his specific genre, but she or he can also generalize about related topics. A science fiction author could very easily talk about new technologies, NASA, research projects or write reviews of other science fiction novels. In addition, if an author is involved with social issues or caused, writing about these topics will not only make the author a real person, but also catch the search engines attention on those topics as well.
Home sites are different. Although they can have the blog listed, most author's sites focus entirely on the author and her or his work. Stephen King's site contains:
News
Biography
His works
Future works
Miscellany
Message Board
The last two listings contain more diverse information that Stephen King fans would find interesting. His page is continually updated and expanded with new information. By keeping it fresh, it insures return visitors as well as new ones, which have found the site through the search engines. The message board makes the site interactive, giving the fans an active role. Readers and fans cannot only ask questions of King but each other as well, which once again increases the number of times individuals return to the site.
In order for a book to be successful, the marketing plan needs to be kept current. Stagnation on any level can cause a good book to become lost in the sea of new releases. To continue the analogy, promoting a book needs to be like waves rolling onto the coast; even during calm seas, one wave is always followed by another, which keeps the shore continually saturated. Book promotions are the same. In order to keep the interest of fans and expand the readership, promotional material must remain fresh and constant. One wave of press release or ads, no matter how effective, will soon dry up if it isn’t quickly followed up by another new wave.
From Blank Page to Book Shelves--How to Successfully Create and Market Your Book explains not only more about marketing and promotion, but also has tips about writing and publishing. Currently, my ebook is available as an Amazon Kindle or on my website, for $7.00. Copies bought on the author's site are accompanied by a 345 page listing of over 2000 independent bookstores.
PR and publishing marketing teams divide their attention among all their clients. However, their limited time and resources are given first to those authors and books that show the most potential. Therefore, it is up to the author to establish a brand name with the primary target market that will be easily expandable into the general readership. In many ways, publishing is just like finding any other job--in order to get a job you have to have experience; in order to get experience you have to have a job. In publishing, in order to be successful you have to have readers; in order to gain a readership you have to be successful.
By definition, a brand name is the general field or focus the product. Who does the product appeal to and why? For writers, it would be the genre. Although genres are intertwined, most books are labeled with one primary. It is the core the author works from not only when writing, but also for the marketing plan. It is this structure that allows the readership to know what to expect when they open the book. Stephen King’s novels are primarily horror, while Stephen Hawking is non-fiction physics. If the branding is effective, it will not only creating a niche market for the work, but for the author as well.
A major mistake most authors make is limiting their promotions to just their work. By creating bridges to similar topics or causes, the author expands their target readership to those who have similar interests but who would not normally read the genre. By allow the reader to see the back story behind the development or to get to know the person behind the work, the author creates more of a buzz.
If the author's blog is solely focused on promoting the book, it will rapidly become boring and will loose readership. However, if it also includes posts about the author's activities and interests, it will diversify the SEO keywords and expand who will be drawn to the blog. A fiction author cannot only write about her or his specific genre, but she or he can also generalize about related topics. A science fiction author could very easily talk about new technologies, NASA, research projects or write reviews of other science fiction novels. In addition, if an author is involved with social issues or caused, writing about these topics will not only make the author a real person, but also catch the search engines attention on those topics as well.
Home sites are different. Although they can have the blog listed, most author's sites focus entirely on the author and her or his work. Stephen King's site contains:
News
Biography
His works
Future works
Miscellany
Message Board
The last two listings contain more diverse information that Stephen King fans would find interesting. His page is continually updated and expanded with new information. By keeping it fresh, it insures return visitors as well as new ones, which have found the site through the search engines. The message board makes the site interactive, giving the fans an active role. Readers and fans cannot only ask questions of King but each other as well, which once again increases the number of times individuals return to the site.
In order for a book to be successful, the marketing plan needs to be kept current. Stagnation on any level can cause a good book to become lost in the sea of new releases. To continue the analogy, promoting a book needs to be like waves rolling onto the coast; even during calm seas, one wave is always followed by another, which keeps the shore continually saturated. Book promotions are the same. In order to keep the interest of fans and expand the readership, promotional material must remain fresh and constant. One wave of press release or ads, no matter how effective, will soon dry up if it isn’t quickly followed up by another new wave.
From Blank Page to Book Shelves--How to Successfully Create and Market Your Book explains not only more about marketing and promotion, but also has tips about writing and publishing. Currently, my ebook is available as an Amazon Kindle or on my website, for $7.00. Copies bought on the author's site are accompanied by a 345 page listing of over 2000 independent bookstores.
Tuesday, April 15, 2008
The Anatomy of a Cozy Mystery by Bernadette Steele
A cozy murder mystery is a story that features an amateur sleuth and that takes place in a narrow setting such as a house, building or small community. When I was a child, I discovered the cozy murder mystery by watching the Hardy Boys and Nancy Drew mysteries on television. I have always enjoyed murder mystery books, movies and television shows of any kind but my favorite has always been the cozy murder mystery featuring an amateur sleuth because I could always relate to the character, and I was able to imagine myself in a similar situation.
Because some people in the literary world look down on the cozy mystery because it is the type of book that will never win a Pulitzer Prize, the level of detail and skill required to write a cozy is not appreciated.
Although there is no official format for a cozy mystery, there are several best practices that can be gleaned from past works, and they are:
· Decide on the title of your cozy mystery
A great title will compel readers to pick up your book. It will also provide you with direction during the writing process. It is easier to become attached to something that has an identity. Thus, when your cozy mystery has a title, it will become a living and breathing entity for you.
· Know the ending of your cozy mystery and who committed the crime
Knowing the ending and the culprit at the beginning will help you to develop the plot and the characters.
· Define your clues and where they will be placed in the story
· Decide what information will be foreshadowed, will serve as red herrings and constitute clues.
· Create a sleuth that is:
1. An amateur and not a professional crime solver
2. Has an interesting occupation
3. Has the ability to travel widely and meet a variety of people
4. Gets involved in complicated personal relationships
5. Humanized with faults that are socially acceptable and that she needs to struggle with internally
· Develop a plot that:
1. Contains a well-designed plot that presents an intellectual puzzle for the reader and that provides the answer at the end of the book
2. Has the sleuth uncover the criminal through the emotional or intellectual examination of the scene, suspects and clues
3. Takes place close to home or within a confined community in which the victim, suspects and sleuth all know one another
4. Discreetly depicts violence
5. Discreetly depicts sex in romantic entanglements
· Create supporting characters who are:
1. Motivated by human traits of greed, jealously or revenge
2. Eccentric, exasperating or entertaining
A cozy is not about murder but rather it is an examination of human frailty presented as a brain stimulating puzzle where in the end the main character and justice prevail.
You can visit Bernadette at her website to learn more about her and her writing.
Because some people in the literary world look down on the cozy mystery because it is the type of book that will never win a Pulitzer Prize, the level of detail and skill required to write a cozy is not appreciated.
Although there is no official format for a cozy mystery, there are several best practices that can be gleaned from past works, and they are:
· Decide on the title of your cozy mystery
A great title will compel readers to pick up your book. It will also provide you with direction during the writing process. It is easier to become attached to something that has an identity. Thus, when your cozy mystery has a title, it will become a living and breathing entity for you.
· Know the ending of your cozy mystery and who committed the crime
Knowing the ending and the culprit at the beginning will help you to develop the plot and the characters.
· Define your clues and where they will be placed in the story
· Decide what information will be foreshadowed, will serve as red herrings and constitute clues.
· Create a sleuth that is:
1. An amateur and not a professional crime solver
2. Has an interesting occupation
3. Has the ability to travel widely and meet a variety of people
4. Gets involved in complicated personal relationships
5. Humanized with faults that are socially acceptable and that she needs to struggle with internally
· Develop a plot that:
1. Contains a well-designed plot that presents an intellectual puzzle for the reader and that provides the answer at the end of the book
2. Has the sleuth uncover the criminal through the emotional or intellectual examination of the scene, suspects and clues
3. Takes place close to home or within a confined community in which the victim, suspects and sleuth all know one another
4. Discreetly depicts violence
5. Discreetly depicts sex in romantic entanglements
· Create supporting characters who are:
1. Motivated by human traits of greed, jealously or revenge
2. Eccentric, exasperating or entertaining
A cozy is not about murder but rather it is an examination of human frailty presented as a brain stimulating puzzle where in the end the main character and justice prevail.
You can visit Bernadette at her website to learn more about her and her writing.
Monday, April 07, 2008
Tips to Organize Your Poetic Writing Life by Charlotte Barnes
(1) Always keep paper or a tape recorder handy to capture inspiration. Many a grand idea has been lost in the dark of night!
(2) Simplify your life. Remove physical and emotional clutter.
(3) Set clear, specific goals, such as ten poems in ten days, etc.
(4) Listen to motivational CD’s to help counteract negativity.
(5) Reward yourself when milestones are reached.
(6) Set boundaries—say “no.”
(7) Have a writing area or room and make it known when you want no disturbances.
(8) Organize your poems into categories such as “Poems to Definitely Keep,” “Possibilities—Need Work,” or “Trash.”
(9) Use an accordion file or other filing system—just for poetry.
(10) Share your poetry with supportive friends.
You can visit her website at http://www.charlottebarnesonline.com/ or her blog at www.charlottebarnesonline.com/apositiveplace.
(2) Simplify your life. Remove physical and emotional clutter.
(3) Set clear, specific goals, such as ten poems in ten days, etc.
(4) Listen to motivational CD’s to help counteract negativity.
(5) Reward yourself when milestones are reached.
(6) Set boundaries—say “no.”
(7) Have a writing area or room and make it known when you want no disturbances.
(8) Organize your poems into categories such as “Poems to Definitely Keep,” “Possibilities—Need Work,” or “Trash.”
(9) Use an accordion file or other filing system—just for poetry.
(10) Share your poetry with supportive friends.
You can visit her website at http://www.charlottebarnesonline.com/ or her blog at www.charlottebarnesonline.com/apositiveplace.
Tuesday, April 01, 2008
It's the Characters by David H. Brown
For us fiction writers our characters most often come from real life. So how do we fictionalize them? Much of my personal writing in HONOR DUE is autobiographical in nature and reflects the folks I've known who have made an impression on me. It sure helps to have lived a varied life and paid attention to the people in it.
From being the son of missionary parents with a lot of travel around the Ring of Fire parts of the world and with Uncle Sam-- all over Europe and the Middle East before 2 tours in Vietnam, I've been a jack of all trades in everything from day laborer hauling railroad ties off ship at Seward, Alaska to the Director of Security for Loomis when anti-hijacking measures went into effect back in '73. Also drove Armored Car, joined the Anchorage Police force and worked undercover for drugs and vice. The list goes on: Professional Trapper; Dog Sledder; Homesteader; Truck Driver; General Contractor; Minister; Editor; Writer; Speaker; Restaurateur; Movie Producer; Antique Restoration Specialist; Personal Care Worker (which my wife wrote about in her own book "STANDING THE WATCH: The Greatest Gift" which will be out in May); PC Repair Specialist; Computer Instructor; Book Reviewer; Webmaster and Web Designer.
Many of the editors and authors I've known over the years told me to write what I know. So I do. The rub is how to create fictional characters out of all that.
Sometimes it's easy. I start with the memory of a certain person. An image or caricature will appear in my mind's eye. Physical traits will be exaggerated or diminished. A voice softened or given more bluster. Eye color or motion is brought into focus. 'As his soft voice spoke those cruel words, his empty blue eyes flitted about like a termite taking wing on a hot summer day.' Voila! A character is born, needing only to be filled out. In most cases the original person wouldn't recognize themselves.
Other characters come from an amalgamation. If the character is to be strong, I pull those points from several people I remember place them into a setting and fit them together. Weak, then the opposite.
One thing I find tremendously helpful is opening a file on each character and spending time with them. Putting in a few hours or several days with each in the setting in which I wish to be. I build out their physical characteristics, language, type of work they do, who their family relations are, where they live, even to their clothes and the kind of food they like. I talk to them, make up regular conversations with them about their lives. (Pssst... never do this out loud.) I think of the process much like building an intelligence dossier on a subject. I do this until that character is as real to me as the family that lives down the road or the girl I've watched grow up who now works at the deli counter. When I reach the point where I'm going to put them in the story, I usually really like or detest them, in which case I kill them. Either way I know the reader is going to feel much the same way... at least I hope so.
Remember, it's fiction and we're all members in good standing in the Liars Club of Writing. However, much is real and believable, and that I try to always keep in mind.
Find out more about David and Honor Due at his website.
From being the son of missionary parents with a lot of travel around the Ring of Fire parts of the world and with Uncle Sam-- all over Europe and the Middle East before 2 tours in Vietnam, I've been a jack of all trades in everything from day laborer hauling railroad ties off ship at Seward, Alaska to the Director of Security for Loomis when anti-hijacking measures went into effect back in '73. Also drove Armored Car, joined the Anchorage Police force and worked undercover for drugs and vice. The list goes on: Professional Trapper; Dog Sledder; Homesteader; Truck Driver; General Contractor; Minister; Editor; Writer; Speaker; Restaurateur; Movie Producer; Antique Restoration Specialist; Personal Care Worker (which my wife wrote about in her own book "STANDING THE WATCH: The Greatest Gift" which will be out in May); PC Repair Specialist; Computer Instructor; Book Reviewer; Webmaster and Web Designer.
Many of the editors and authors I've known over the years told me to write what I know. So I do. The rub is how to create fictional characters out of all that.
Sometimes it's easy. I start with the memory of a certain person. An image or caricature will appear in my mind's eye. Physical traits will be exaggerated or diminished. A voice softened or given more bluster. Eye color or motion is brought into focus. 'As his soft voice spoke those cruel words, his empty blue eyes flitted about like a termite taking wing on a hot summer day.' Voila! A character is born, needing only to be filled out. In most cases the original person wouldn't recognize themselves.
Other characters come from an amalgamation. If the character is to be strong, I pull those points from several people I remember place them into a setting and fit them together. Weak, then the opposite.
One thing I find tremendously helpful is opening a file on each character and spending time with them. Putting in a few hours or several days with each in the setting in which I wish to be. I build out their physical characteristics, language, type of work they do, who their family relations are, where they live, even to their clothes and the kind of food they like. I talk to them, make up regular conversations with them about their lives. (Pssst... never do this out loud.) I think of the process much like building an intelligence dossier on a subject. I do this until that character is as real to me as the family that lives down the road or the girl I've watched grow up who now works at the deli counter. When I reach the point where I'm going to put them in the story, I usually really like or detest them, in which case I kill them. Either way I know the reader is going to feel much the same way... at least I hope so.
Remember, it's fiction and we're all members in good standing in the Liars Club of Writing. However, much is real and believable, and that I try to always keep in mind.
Find out more about David and Honor Due at his website.
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