S.L. Viehl's Blog, page 57
May 22, 2015
Dream Always
Here's a look at the sketchworks of Palma Rea, a self-taught artist whose watercolors and sketches are filled with color, drama and beauty (with background music, for those of you at work):
The Sketchworks by Palma Rea from PalmaRea on Vimeo.
May 21, 2015
Just Write
I'm back! And today I'm off to write something new and post it online before midnight. Everyone inclined to do the same is invited to join me.
For more details on Just Write Thursdays, click here to go to the original post.
Image credit: windujedi
May 20, 2015
Blast from the Past #3
From Focus to Palette
After reading my Story Palettes post last month, some of you asked if I would give some working examples of how I create a character palette.
Simone, who is a female protagonist in an upcoming novel of mine, has been gradually developing over the course of the last six months while I've put together her backstory, built her personality and figured out who she is, what she wants and, of course, what is the worst thing I can do to her. Simone is a woman of contradictions; everything about her is new and old, yesterday and tomorrow, fire and ice. The problem with all those lovely contrasts is that they make her very hard to nail down. Despite all the character development I'd done, I still had trouble seeing her in my head.
Recently at an art festival I had the pleasure of meeting and talking with watercolor artist Peggy Engsberg Furlin, who painted this little gem (click on any image to see a larger version):
As soon as I saw it I knew it was the focus piece I needed for Simone's character. I can't tell you why; most of the time there isn't a why, it just clicks and I know. So I bought the painting and brought it home, at which point I began building the character palette. First, I took a photo of the painting and cropped it so that no other colors showed:
I then ran the image through DeGraeve's Color Palette Generator to get a working palette, and set up the page for my novel notebook. From there I cut and pasted the DeGraeve palette, and began adding images from my digital collection that I felt suited Simone and worked inside the framework of the palette, until I had this page of visuals:
Colors are an important part of my process. They're symbolic and evocative, and so are the real world elements that I associate with them. They also create new ideas when I combine them. All of these images and colors echo different aspects of Simone's character and what she has to face in the story; defiance, temptation, risk, silence, loneliness, endurance, realization, fruition. They relate to each other, too: Old death, new life; the transition from winter to spring; flowers blooming in snow, what ends to begin/what begins to end, etc etc.
I could go on for pages because now that I have Simone's colors, I know her better. I feel as if I can make her come to life on the page now. Because while I can imagine all the character elements I want, if I don't make the connections between them I can't feel the character or get inside her head. Having a character palette often helps me navigate my way through a lot of uncertainty.
As for inspiration, you should always be ready for it to come at you from any direction or source. Take these gorgeous lampwork beads, which I purchased last week from Pond Art Glass Studio:
I have been revising and updating Korvel, a character who has appeared in the Darkyn series, to serve as one of the protagonists in the new trilogy (there, you have some insider info no one else but my editor has, too.) I never created a character palette for Korvel, and I needed one, but I kept dithering around with old visuals I had from the original series notebooks, none of which were really tailored to his character.
It wasn't until the lampwork beads arrived and I was photographing them for an appeciation shot that I saw Korvel's colors gleaming at me from the intricate swirls in the glass. Twenty minutes later I had put together this palette for him:
For most character palettes I usually narrow it down to three colors, but Korvel and I have a lot of history together, so that's probably why he got a wider range. Readers know a lot about him as a secondary character; now they need to rediscover him as a protagonist, which requires a different approach than presenting a brand-new character. This palette will definitely guide my choices and help me shed some light on the Korvel no one but me yet knows.
I think the key to creating palettes that help you with writing is not to cheat on the focus factor. Inspiration is not something you can artificially generate by throwing together all your favorite colors. You'll be creating a pretty palette that looks nice, but you'll find it does nothing to help you explore your character. Instead, look for something (and not just art, it can be anything at all) that inspires you to think of your character in ways you haven't before you saw it. That's when you know you've got the beginnings of a great character palette.
(Originally posted on PBW on 2/9/11)
After reading my Story Palettes post last month, some of you asked if I would give some working examples of how I create a character palette.
Simone, who is a female protagonist in an upcoming novel of mine, has been gradually developing over the course of the last six months while I've put together her backstory, built her personality and figured out who she is, what she wants and, of course, what is the worst thing I can do to her. Simone is a woman of contradictions; everything about her is new and old, yesterday and tomorrow, fire and ice. The problem with all those lovely contrasts is that they make her very hard to nail down. Despite all the character development I'd done, I still had trouble seeing her in my head.
Recently at an art festival I had the pleasure of meeting and talking with watercolor artist Peggy Engsberg Furlin, who painted this little gem (click on any image to see a larger version):
As soon as I saw it I knew it was the focus piece I needed for Simone's character. I can't tell you why; most of the time there isn't a why, it just clicks and I know. So I bought the painting and brought it home, at which point I began building the character palette. First, I took a photo of the painting and cropped it so that no other colors showed:
I then ran the image through DeGraeve's Color Palette Generator to get a working palette, and set up the page for my novel notebook. From there I cut and pasted the DeGraeve palette, and began adding images from my digital collection that I felt suited Simone and worked inside the framework of the palette, until I had this page of visuals:
Colors are an important part of my process. They're symbolic and evocative, and so are the real world elements that I associate with them. They also create new ideas when I combine them. All of these images and colors echo different aspects of Simone's character and what she has to face in the story; defiance, temptation, risk, silence, loneliness, endurance, realization, fruition. They relate to each other, too: Old death, new life; the transition from winter to spring; flowers blooming in snow, what ends to begin/what begins to end, etc etc.
I could go on for pages because now that I have Simone's colors, I know her better. I feel as if I can make her come to life on the page now. Because while I can imagine all the character elements I want, if I don't make the connections between them I can't feel the character or get inside her head. Having a character palette often helps me navigate my way through a lot of uncertainty.
As for inspiration, you should always be ready for it to come at you from any direction or source. Take these gorgeous lampwork beads, which I purchased last week from Pond Art Glass Studio:
I have been revising and updating Korvel, a character who has appeared in the Darkyn series, to serve as one of the protagonists in the new trilogy (there, you have some insider info no one else but my editor has, too.) I never created a character palette for Korvel, and I needed one, but I kept dithering around with old visuals I had from the original series notebooks, none of which were really tailored to his character.
It wasn't until the lampwork beads arrived and I was photographing them for an appeciation shot that I saw Korvel's colors gleaming at me from the intricate swirls in the glass. Twenty minutes later I had put together this palette for him:
For most character palettes I usually narrow it down to three colors, but Korvel and I have a lot of history together, so that's probably why he got a wider range. Readers know a lot about him as a secondary character; now they need to rediscover him as a protagonist, which requires a different approach than presenting a brand-new character. This palette will definitely guide my choices and help me shed some light on the Korvel no one but me yet knows.
I think the key to creating palettes that help you with writing is not to cheat on the focus factor. Inspiration is not something you can artificially generate by throwing together all your favorite colors. You'll be creating a pretty palette that looks nice, but you'll find it does nothing to help you explore your character. Instead, look for something (and not just art, it can be anything at all) that inspires you to think of your character in ways you haven't before you saw it. That's when you know you've got the beginnings of a great character palette.
(Originally posted on PBW on 2/9/11)
May 19, 2015
Blast from the Past #2
The Fabric of Inspiration
In 2007 a friend sent me some specialty watercolors made by LuminArte Inc., which I started playing with while painting. One of the first pieces I painted with them was this one (which I then sent to the friend, as thanks):
I get mildly obsessed with colors and patterns, and since 2007 I've painted the same concept over and over -- a tower, towers, castle or ruins made of opal bricks -- like this one I mentioned back in May:
Recently I was at my favorite fabric store, looking for a dark green batik to finish a holiday project, and I pulled about twelve different bolts out to compare colors when I found one bolt with about two yards of this fabric on it stuck in the back of the display cabinet:
I've been in that store at least fifty times over the last two years, and have never seen this fabric in the past. I've never seen this fabric before in my life -- and I've been pretty much painting it nonstop since 2007. So either I've become a fabric psychic, this is one cosmic coincidence, or the universe has been trying to tell me something.
I bought the fabric (how could I even resist?) brought it home and put it on the sewing table. Immediately I began cutting it and making part of it into a book bag -- it just wanted to be a quilted book bag. The rest of the yardage I hung on the wall in my office until the universe figures out what it wants me to make out of it.
I know my watercolor paintings aren't going to set the world on fire, but I'm a little better with fabric. The bag (almost finished) is turning out nicely. The fabric sings through my sewing machine. It pairs beautifully with this deep amethyst broadcloth that I'm using to line the bag. It dances in front of my eyes. It's even started telling me stories I need to write. I can only work on it an hour a day or inspiration intoxication would hit me and I wouldn't leave the sewing table until someone dragged me away.
This is what writing is like for me -- why I don't talk about this part of it very often. When you try to explain your inspiration, or your process, or your joy in creation to others, it generally sounds like this. Like you're a little nuts. And writing is like having an entire store filled with hundreds of bolts of fabric in your head that you've been painting for years before you even saw them or tried to make something out of them.
Whatever anyone says about the fabric of my inspiration, it came to me. It belongs to me, but it's also up to me to make something out of it. Something that makes me deserve finding it and having it. When that work is finished, then I can show it to the world, and hopefully the job I do is good enough that they'll see what I saw, and feel what I felt, and know what I knew.
(Originally posted on PBW on 12/03/08)
In 2007 a friend sent me some specialty watercolors made by LuminArte Inc., which I started playing with while painting. One of the first pieces I painted with them was this one (which I then sent to the friend, as thanks):
I get mildly obsessed with colors and patterns, and since 2007 I've painted the same concept over and over -- a tower, towers, castle or ruins made of opal bricks -- like this one I mentioned back in May:
Recently I was at my favorite fabric store, looking for a dark green batik to finish a holiday project, and I pulled about twelve different bolts out to compare colors when I found one bolt with about two yards of this fabric on it stuck in the back of the display cabinet:
I've been in that store at least fifty times over the last two years, and have never seen this fabric in the past. I've never seen this fabric before in my life -- and I've been pretty much painting it nonstop since 2007. So either I've become a fabric psychic, this is one cosmic coincidence, or the universe has been trying to tell me something.
I bought the fabric (how could I even resist?) brought it home and put it on the sewing table. Immediately I began cutting it and making part of it into a book bag -- it just wanted to be a quilted book bag. The rest of the yardage I hung on the wall in my office until the universe figures out what it wants me to make out of it.
I know my watercolor paintings aren't going to set the world on fire, but I'm a little better with fabric. The bag (almost finished) is turning out nicely. The fabric sings through my sewing machine. It pairs beautifully with this deep amethyst broadcloth that I'm using to line the bag. It dances in front of my eyes. It's even started telling me stories I need to write. I can only work on it an hour a day or inspiration intoxication would hit me and I wouldn't leave the sewing table until someone dragged me away.
This is what writing is like for me -- why I don't talk about this part of it very often. When you try to explain your inspiration, or your process, or your joy in creation to others, it generally sounds like this. Like you're a little nuts. And writing is like having an entire store filled with hundreds of bolts of fabric in your head that you've been painting for years before you even saw them or tried to make something out of them.
Whatever anyone says about the fabric of my inspiration, it came to me. It belongs to me, but it's also up to me to make something out of it. Something that makes me deserve finding it and having it. When that work is finished, then I can show it to the world, and hopefully the job I do is good enough that they'll see what I saw, and feel what I felt, and know what I knew.
(Originally posted on PBW on 12/03/08)
May 18, 2015
Off to Finish Up
I'm going to bail on you guys for a few days in order to slay a deadline for a client. So that your stop here was not entirely wasted, here's a PBW archives blast from the past:
Know Thy Hub
While I've been reading Mr. Ray's book on writing, I realized why he is so object-obsessed. He encourages writers to make noun lists and use them to spark ideas because he uses objects as story hubs, or that thing around which everything else in the story revolves. Once you know what a writer's favorite or most frequently used hub is, you can begin picking them out (for Ray Bradbury, the playroom, the carnival, the tattoo, the planet Mars and the book have all served as hubs.)
The object as hub is an effective device: Guy de Maupassant likely used a beautiful diamond necklace to write one of the most miserably ironic short stories of all time; Stephen King used a '58 Plymouth Fury named Christine for a novel that made most of us give our cars an uneasy look or two (two more of his vehicle-as-hub works are From a Buick 8 and Trucks.)
My story hubs are almost always characters (the faceless man, the girl-knight, the golden assassin) or character-based concepts (the doctor who can never get sick or die.) This is probably because I find people more fascinating than objects, settings, events, etc. I've used one character as the hub for a ten-book series, and seven characters as the hub for a single novel. Even in my one dog story, Familiar , the shepherd who serves as the hub used to be a person and still retains most of his human qualities.
Some writers may argue that they never use a hub, and that's a possibility, although I think in those cases the hub may be tucked away in the subconscious. The process of discovering the story as they write it may be more important than knowing the hub up front. Organic writers who just sit down and let it flow might not want to name their hub is because it could kill their momentum. Hubs are not always great things, either; they can repeat on you, and if you're not careful, they can take over your work. This may be why those writers reuse the same hub for their books over and over ad nauseum end up becoming cookie-cutter novelists; they can't escape that one hub that sinks its claws into their brains.
Knowing your hub isn't a requirement of writing, but I think it helps to know what you were planning to write around whenever you get stuck. At times when I falter, stumble or otherwise get mired down in a story, I usually end up thinking about the hub character and asking myself questions as to how my problem relates to them and their situation. Everyone and everything in the story serves the hub, and if it doesn't, I've gotten off-track and wandered away from my story, usually with another character who distracts me (nine times out of ten, that's always the case.)
If you're not sure how to determine what your hub is, think about what inspired you to write the story, or make a list of those elements that are most important to you and/or that you spend the most time developing. If knowing doesn't squash your enthusiasm, having a good grasp of what your hub is gives you some advantages, especially when you write up your story premise for a query or a synopsis for a submission package.
(Originally posted on PBW on 1/15/11)
Know Thy Hub
While I've been reading Mr. Ray's book on writing, I realized why he is so object-obsessed. He encourages writers to make noun lists and use them to spark ideas because he uses objects as story hubs, or that thing around which everything else in the story revolves. Once you know what a writer's favorite or most frequently used hub is, you can begin picking them out (for Ray Bradbury, the playroom, the carnival, the tattoo, the planet Mars and the book have all served as hubs.)
The object as hub is an effective device: Guy de Maupassant likely used a beautiful diamond necklace to write one of the most miserably ironic short stories of all time; Stephen King used a '58 Plymouth Fury named Christine for a novel that made most of us give our cars an uneasy look or two (two more of his vehicle-as-hub works are From a Buick 8 and Trucks.)
My story hubs are almost always characters (the faceless man, the girl-knight, the golden assassin) or character-based concepts (the doctor who can never get sick or die.) This is probably because I find people more fascinating than objects, settings, events, etc. I've used one character as the hub for a ten-book series, and seven characters as the hub for a single novel. Even in my one dog story, Familiar , the shepherd who serves as the hub used to be a person and still retains most of his human qualities.
Some writers may argue that they never use a hub, and that's a possibility, although I think in those cases the hub may be tucked away in the subconscious. The process of discovering the story as they write it may be more important than knowing the hub up front. Organic writers who just sit down and let it flow might not want to name their hub is because it could kill their momentum. Hubs are not always great things, either; they can repeat on you, and if you're not careful, they can take over your work. This may be why those writers reuse the same hub for their books over and over ad nauseum end up becoming cookie-cutter novelists; they can't escape that one hub that sinks its claws into their brains.
Knowing your hub isn't a requirement of writing, but I think it helps to know what you were planning to write around whenever you get stuck. At times when I falter, stumble or otherwise get mired down in a story, I usually end up thinking about the hub character and asking myself questions as to how my problem relates to them and their situation. Everyone and everything in the story serves the hub, and if it doesn't, I've gotten off-track and wandered away from my story, usually with another character who distracts me (nine times out of ten, that's always the case.)
If you're not sure how to determine what your hub is, think about what inspired you to write the story, or make a list of those elements that are most important to you and/or that you spend the most time developing. If knowing doesn't squash your enthusiasm, having a good grasp of what your hub is gives you some advantages, especially when you write up your story premise for a query or a synopsis for a submission package.
(Originally posted on PBW on 1/15/11)
May 17, 2015
Farm & Write
Here's an interesting residency that offers a scholarship for a writer interested in writing about farming to spend a couple of weeks working and writing on a farm:
"Noepe Center for the Literary Arts in partnership with The Farm Institute at Katama Farm is offering a special two-week residency scholarship between September 16-October 31st, 2015. Application is open to writers of any genre interested in learning and writing about the intersection of agriculture and community on Martha’s Vineyard. Applicants need not have previously written about agriculture nor do they need a farming background, merely demonstrate a desire and curiosity to explore the intersection between farming and writing. The scholarship provides two-weeks residency at Noepe as well a living stipend of $200.00 per week.
farm institute jpegThe Farm Institute is 15-year-old educational nonprofit dedicated to connecting people of all ages and circumstances with agriculture through the diverse operations of a working farm. Located on the 180-acre historic Katama Farm (a quick walk, bike ride or bus ride from Noepe Center) The Farm Institute hosts over 1000 children and youth at farm camp every summer, year-round programs through the Island schools, learning events for adults and also opens the farm to some 2500 people visitors from all over the country and world who stop by.
At the Farm Institute the working farm is the curriculum. Katama Farm is one of the largest farms on the Martha’s Vineyard and, with its beautiful grassland environment, it is one of the largest livestock producers as well. With some 60 head of cattle, 65 breeding ewes, chickens, pigs and an occasional goat, The Farm Institute plays an important role in the renewed interest in agriculture and local food on the Island. At one time, Martha’s Vineyard produced all its own food. Today, only 3% of food purchases are Island-grown products. There is much to think and write about in these facts.
The staff at the Farm Institute is passionate about food and the business, science and magic of the agriculture that produces it. With the hectic summer over, fall is a time not just for harvest, but to assess and share ideas. The farm welcomes the opportunity to include a writer in that process.
Requirements of Noepe on the Farm Resident
CHORE RESPONSIBILITIES: The Noepe Farm resident will be part of either the morning or afternoon chore team at the Farm Institute five days per week. Chores equal work, the backbone of the farm: feeding and watering animals, gathering and packaging eggs, weeding or harvesting in the garden, cleaning out the greenhouse, mucking livestock space, moving animals, moving fence. Morning chores in the fall are usually from 8 to 10, afternoon chores from 3 to 5. No prior skills are needed. An experienced staff person will always be on the team and chore assignments may vary from day to day.Grazing picture
In addition to chore time, the Noepe resident is welcome to take part in any other activities or even work at the farm, schedule meetings with staff, read about the farm history, or just watch what goes on.
WRITING RESPONSIBILITIES:
The Noepe Farm resident will make use of his or her writing time to explore issues around agriculture, food production, ethics, sustainability and the past, present and future of farming. The farm staff will be happy to provide ideas for additional resources and experiences on these topics.
READING RESPONSIBILITIES
Toward the end of the residency, the participant will do a reading based on the farm experience. The reading will be open to the public, and invitations will go out to other writers, farmers and supporters of Noepe and The Farm Institute."
I don't see a deadline but I imagine it will be sooner rather than later. For more information and to apply online, go to the information/application page here.
"Noepe Center for the Literary Arts in partnership with The Farm Institute at Katama Farm is offering a special two-week residency scholarship between September 16-October 31st, 2015. Application is open to writers of any genre interested in learning and writing about the intersection of agriculture and community on Martha’s Vineyard. Applicants need not have previously written about agriculture nor do they need a farming background, merely demonstrate a desire and curiosity to explore the intersection between farming and writing. The scholarship provides two-weeks residency at Noepe as well a living stipend of $200.00 per week.
farm institute jpegThe Farm Institute is 15-year-old educational nonprofit dedicated to connecting people of all ages and circumstances with agriculture through the diverse operations of a working farm. Located on the 180-acre historic Katama Farm (a quick walk, bike ride or bus ride from Noepe Center) The Farm Institute hosts over 1000 children and youth at farm camp every summer, year-round programs through the Island schools, learning events for adults and also opens the farm to some 2500 people visitors from all over the country and world who stop by.
At the Farm Institute the working farm is the curriculum. Katama Farm is one of the largest farms on the Martha’s Vineyard and, with its beautiful grassland environment, it is one of the largest livestock producers as well. With some 60 head of cattle, 65 breeding ewes, chickens, pigs and an occasional goat, The Farm Institute plays an important role in the renewed interest in agriculture and local food on the Island. At one time, Martha’s Vineyard produced all its own food. Today, only 3% of food purchases are Island-grown products. There is much to think and write about in these facts.
The staff at the Farm Institute is passionate about food and the business, science and magic of the agriculture that produces it. With the hectic summer over, fall is a time not just for harvest, but to assess and share ideas. The farm welcomes the opportunity to include a writer in that process.
Requirements of Noepe on the Farm Resident
CHORE RESPONSIBILITIES: The Noepe Farm resident will be part of either the morning or afternoon chore team at the Farm Institute five days per week. Chores equal work, the backbone of the farm: feeding and watering animals, gathering and packaging eggs, weeding or harvesting in the garden, cleaning out the greenhouse, mucking livestock space, moving animals, moving fence. Morning chores in the fall are usually from 8 to 10, afternoon chores from 3 to 5. No prior skills are needed. An experienced staff person will always be on the team and chore assignments may vary from day to day.Grazing picture
In addition to chore time, the Noepe resident is welcome to take part in any other activities or even work at the farm, schedule meetings with staff, read about the farm history, or just watch what goes on.
WRITING RESPONSIBILITIES:
The Noepe Farm resident will make use of his or her writing time to explore issues around agriculture, food production, ethics, sustainability and the past, present and future of farming. The farm staff will be happy to provide ideas for additional resources and experiences on these topics.
READING RESPONSIBILITIES
Toward the end of the residency, the participant will do a reading based on the farm experience. The reading will be open to the public, and invitations will go out to other writers, farmers and supporters of Noepe and The Farm Institute."
I don't see a deadline but I imagine it will be sooner rather than later. For more information and to apply online, go to the information/application page here.
May 16, 2015
Well
I always reserve the right to make fun of anyone who SPAMs me. You have been warned many, many times, yes?
Hi,
Hope you are well.
No, you don't. You don't know me. I could be in an iron lung and you'd be completely clueless. So get on with it.
We have a dedicated team of 50 professional’s who are backed by experience and expertise.
Marvelous. Maybe they could teach you how to use contractions correctly.
Has your website become the victim of Google Panda and Penguin update, resulting the down ranking in search engines?
I have no idea what my ranking was, and what it is now is equally of no interest to me. I am intrigued by the idea of being a victim of pandas and penguins, though. What does Google make them do, cute people to death?
Do you want to get more targeted visitors on your website?
I should ask first. Hey guys, do you want this SPAMmer to paint bulls-eyes on your heads for me? Let me know.
If yes, please let us know your domain name which you want to optimize.
Sure. Go with www.pbwdoesn'tcare.com (
We will analysis your website and send full SEO proposal with plan and activities which will be implemented on your website.
As opposed to say, taking a couple more classes in English to analysis your fluency?
Most firms overseas have achieved a significant amount of savings by outsourcing either complete or part of their SEO.
Alas, not a firm. Not overseas. Don't SEO anything. Write my own schlock. Haven't spent a dime on the blog, either. So really nothing to save or outsource. I know this will make you hate me, but there you have it.
Let me know if you are interested I would be Happy to send you more details.
While you're At it, Ask your Dedicated team of experienced, expert professional's if they Know anything about how to Eliminate Random capitalization.
Hi,
Hope you are well.
No, you don't. You don't know me. I could be in an iron lung and you'd be completely clueless. So get on with it.
We have a dedicated team of 50 professional’s who are backed by experience and expertise.
Marvelous. Maybe they could teach you how to use contractions correctly.
Has your website become the victim of Google Panda and Penguin update, resulting the down ranking in search engines?
I have no idea what my ranking was, and what it is now is equally of no interest to me. I am intrigued by the idea of being a victim of pandas and penguins, though. What does Google make them do, cute people to death?
Do you want to get more targeted visitors on your website?
I should ask first. Hey guys, do you want this SPAMmer to paint bulls-eyes on your heads for me? Let me know.
If yes, please let us know your domain name which you want to optimize.
Sure. Go with www.pbwdoesn'tcare.com (
We will analysis your website and send full SEO proposal with plan and activities which will be implemented on your website.
As opposed to say, taking a couple more classes in English to analysis your fluency?
Most firms overseas have achieved a significant amount of savings by outsourcing either complete or part of their SEO.
Alas, not a firm. Not overseas. Don't SEO anything. Write my own schlock. Haven't spent a dime on the blog, either. So really nothing to save or outsource. I know this will make you hate me, but there you have it.
Let me know if you are interested I would be Happy to send you more details.
While you're At it, Ask your Dedicated team of experienced, expert professional's if they Know anything about how to Eliminate Random capitalization.
May 15, 2015
Innovation
How does textile weaving and paper sculpting help someone design shoes? Here's a master of shoes to explain (narrated by the artist and with background music, for those of you at work):
The Innovator from Cineastas on Vimeo.
May 14, 2015
Just Write
Today I'm off to write something new and post it online before midnight. Everyone inclined to do the same is invited to join me.
My link: More on Ghost Writer , with new material beginning on page 49.
For more details on Just Write Thursdays, click here to go to the original post.
Image credit: windujedi
May 13, 2015
Sub Op
Brain Mill Press has an open call for unsolicited fiction submissions about love in all its variations:
"MAY 2015 BRAIN MILL PRESS OPEN CALL FOR SUBMISSIONS — OPENS APRIL 30
Submissions open April 30, 2015
Submissions close May 30, 2015
Submit at brainmillpress.submittable.com
Brain Mill Press invites authors to submit their original, unpublished, complete manuscripts during our first open call of 2015. Complete manuscripts in any genre, including commercial genres (romance, suspense, science fiction, young/new adult, among others), and mainstream and literary genres, are welcome. Illustrated children’s literature is welcome (please submit completely illustrated children’s manuscripts), as is middle grade. Completely illustrated graphic novels are welcome. Novellas and short stories are welcome, but if the editors are interested in your shorter work, you must be prepared to develop a longer project or collection with editors.
Do not submit queries, proposals, pitches, or incomplete manuscripts during this call. Do not submit scripts or screenplays, visual art, or poetry manuscripts during this call (poets should submit to the Brain Mill Press Mineral Point Poetry Chapbook series. For more information, go to brainmillpress.com). Do not submit non-fiction during this call.
Brain Mill Press publishes “Love Books for Humans.” Love Books are books about experiences with love. We’re seeking books that explore love in many different ways, or explore entirely different kinds of love. These are books about humans, all humans, and are meant to reach readers who define humanity based on their own lived experiences, of all kinds. Our purpose as a press is to build a catalog of stories about all facets of the human experience with love. Our upcoming titles include a historical LGBTQ+ novel, a literary novel about an urban vigilante, a late-life love story, a collection of short stories that includes a story about a teenager in love with Valentino, and a romance novella about a musician and a friend from childhood he never forgot. For more information about our philosophies, other open calls, or editors, go to our website at brainmillpress.com.
Your electronic submission will be accepted at the Brain Mill Press submission portal at brainmillpress.submittable.com/submit.... Incomplete submissions and manuscripts, or manuscripts that are discovered to not meet the guidelines of this call, will be automatically rejected. All other submissions will be read by the editors in a timely manner. Authors who have not heard from the editors eight weeks from the end of the open period are welcome to inquire about their submission to inquiries@brainmillpress.com. Form rejection should be anticipated by authors whose submission does not meet the needs of the editors at this time, but comments and feedback may be occasionally offered per the editors’ discretion.
Good luck, and direct inquiries not answered in this call to inquiries@brainmillpress.com."
"MAY 2015 BRAIN MILL PRESS OPEN CALL FOR SUBMISSIONS — OPENS APRIL 30
Submissions open April 30, 2015
Submissions close May 30, 2015
Submit at brainmillpress.submittable.com
Brain Mill Press invites authors to submit their original, unpublished, complete manuscripts during our first open call of 2015. Complete manuscripts in any genre, including commercial genres (romance, suspense, science fiction, young/new adult, among others), and mainstream and literary genres, are welcome. Illustrated children’s literature is welcome (please submit completely illustrated children’s manuscripts), as is middle grade. Completely illustrated graphic novels are welcome. Novellas and short stories are welcome, but if the editors are interested in your shorter work, you must be prepared to develop a longer project or collection with editors.
Do not submit queries, proposals, pitches, or incomplete manuscripts during this call. Do not submit scripts or screenplays, visual art, or poetry manuscripts during this call (poets should submit to the Brain Mill Press Mineral Point Poetry Chapbook series. For more information, go to brainmillpress.com). Do not submit non-fiction during this call.
Brain Mill Press publishes “Love Books for Humans.” Love Books are books about experiences with love. We’re seeking books that explore love in many different ways, or explore entirely different kinds of love. These are books about humans, all humans, and are meant to reach readers who define humanity based on their own lived experiences, of all kinds. Our purpose as a press is to build a catalog of stories about all facets of the human experience with love. Our upcoming titles include a historical LGBTQ+ novel, a literary novel about an urban vigilante, a late-life love story, a collection of short stories that includes a story about a teenager in love with Valentino, and a romance novella about a musician and a friend from childhood he never forgot. For more information about our philosophies, other open calls, or editors, go to our website at brainmillpress.com.
Your electronic submission will be accepted at the Brain Mill Press submission portal at brainmillpress.submittable.com/submit.... Incomplete submissions and manuscripts, or manuscripts that are discovered to not meet the guidelines of this call, will be automatically rejected. All other submissions will be read by the editors in a timely manner. Authors who have not heard from the editors eight weeks from the end of the open period are welcome to inquire about their submission to inquiries@brainmillpress.com. Form rejection should be anticipated by authors whose submission does not meet the needs of the editors at this time, but comments and feedback may be occasionally offered per the editors’ discretion.
Good luck, and direct inquiries not answered in this call to inquiries@brainmillpress.com."
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