Rod Raglin's Blog, page 44
March 3, 2013
The industry of writers teaching other writers to write
In less than a half a minute, my Google search engines provides me with the following:
How to write a query letter to a publisher – 139,000 results
How to pitch an editor – 8,500,000 results
How to write fiction – 48,900,000 results
Ever wonder why so many writers are so keen to teach others how to write?
Is it that writing somehow elevates the human spirit and elucidates the masses about esoteric concepts and endeavors?
Well, yes. That, and money.
Here’s a few sobering statistics provided by the Writer’s Union of Canada:
- The average writer in Canada makes $12,000 (that’s all kinds of writing, not just fiction).
- The average book in Canada sells 400 copies.
- In Canada a best seller is 5,000 copies.
I’m not even going to attempt the math, but suffice to say that the royalties for a best selling author in Canada would make his income below the poverty level – significantly.
The e-publishing industry is even more dismal. New Concepts Publishing, an e-publisher, has the courage to head up the submissions page of their website with the following royalty information from their stable of authors:
Science Fiction/Futuristic range: $127.89--$8455.46
Paranormal range: $78.00--$5673.50
Contemporary range: $55.18--$7913.78
Historical range: $75.16--$3863.12
Romantic Suspense range: $124.24--$1977.20
Fantasy range: $44.00--$4774.80
Average payout over the three year contract period $450.00
How many hours did I put in writing my two e-published novels? My wife could probably tell you, but there’s no question my hourly wage would be well below the minimum, probably closer to that of an itinerant laborer in a destitute third world country.
I’ve always believed, somewhat cynically I must admit, that those who can – do; and those who can’t – teach, give seminars, workshops, online courses, etc. In light of this information I’m rethinking this. Poverty is a mighty motivator and who am I to judge other writers, most whom are more skilled at the craft than myself?
Where am I going with this, other than the poorhouse?
Recently I had the opportunity to pitch my latest manuscript to an editor at a conference. Having been a sales person all my adult life it seemed to me nothing more than a cold call, of which I’ve made countless thousands.
However, my writing group loop was filled with anxious missives about what to say, how to say it, and how to present it. Was there more to this than being personable, knowing your product, and presenting it in a way to benefit the buyer? I decided to look at a few of the 8,500,000 results from my Google search.
Here’s some of the invaluable information I gleaned (actual quotes) from a few of these sites:
- neatness counts when making first impressions... set the example by presenting a professional appearance. And leave the chewing gum, snacks, and cigarettes behind.
- remember, you must first believe in yourself and your work before you can persuade others to believe in it. Be proud of your writing.
- exude self-assurance, but not arrogance. It's okay to convey enthusiasm, but temper your zeal with a patina of humility.
- pretend this is someone you've met at a party. Offer a personable handshake and some small talk to start things off in a relaxed manner. You'll then find it easy to segue into the business at hand.
- take a couple of calming breaths before you go in, smile, and be yourself.
If you don’t think this is ridiculous and self-evident than consider the opposite. Would you go into an interview a mess, chewing gum, giving attitude and being rude? Maybe in highschool.
What does this say to me about the writing industry – or more specifically about the industry of advising, teaching and coaching aspiring writers – the conferences, the workshops, the online courses? I was further dismayed when I took in the conferences keynote address delivered by a best-selling, making-the-circuit author. She focused on Malcolm Gladwell’s book Outliers – basically that practice, a lot of it, makes perfect.
No insights, no anecdotes, no secrets, not even any gossip.
I’m inclined to say that it’s all bogus. A self-serving undertaking capitalizing on the zeal and inexperience of those that dream of becoming writers.
Unfortunately, the best advice I’ve received about my writing comes from other writers, from discussions with them, and reading their how-to books.
It’s a conundrum.
So before seeing the editor (remember the editor?) I’m not taking any chances. I spit out my gum, slick back my cowlick, park my ego, take a few deep breaths, smile and introduce myself just like I would if I was meeting someone at a party.
Seven minutes later I’m out the door. He doesn’t ask to see my manuscript.
How to write a query letter to a publisher – 139,000 results
How to pitch an editor – 8,500,000 results
How to write fiction – 48,900,000 results
Ever wonder why so many writers are so keen to teach others how to write?
Is it that writing somehow elevates the human spirit and elucidates the masses about esoteric concepts and endeavors?
Well, yes. That, and money.
Here’s a few sobering statistics provided by the Writer’s Union of Canada:
- The average writer in Canada makes $12,000 (that’s all kinds of writing, not just fiction).
- The average book in Canada sells 400 copies.
- In Canada a best seller is 5,000 copies.
I’m not even going to attempt the math, but suffice to say that the royalties for a best selling author in Canada would make his income below the poverty level – significantly.
The e-publishing industry is even more dismal. New Concepts Publishing, an e-publisher, has the courage to head up the submissions page of their website with the following royalty information from their stable of authors:
Science Fiction/Futuristic range: $127.89--$8455.46
Paranormal range: $78.00--$5673.50
Contemporary range: $55.18--$7913.78
Historical range: $75.16--$3863.12
Romantic Suspense range: $124.24--$1977.20
Fantasy range: $44.00--$4774.80
Average payout over the three year contract period $450.00
How many hours did I put in writing my two e-published novels? My wife could probably tell you, but there’s no question my hourly wage would be well below the minimum, probably closer to that of an itinerant laborer in a destitute third world country.
I’ve always believed, somewhat cynically I must admit, that those who can – do; and those who can’t – teach, give seminars, workshops, online courses, etc. In light of this information I’m rethinking this. Poverty is a mighty motivator and who am I to judge other writers, most whom are more skilled at the craft than myself?
Where am I going with this, other than the poorhouse?
Recently I had the opportunity to pitch my latest manuscript to an editor at a conference. Having been a sales person all my adult life it seemed to me nothing more than a cold call, of which I’ve made countless thousands.
However, my writing group loop was filled with anxious missives about what to say, how to say it, and how to present it. Was there more to this than being personable, knowing your product, and presenting it in a way to benefit the buyer? I decided to look at a few of the 8,500,000 results from my Google search.
Here’s some of the invaluable information I gleaned (actual quotes) from a few of these sites:
- neatness counts when making first impressions... set the example by presenting a professional appearance. And leave the chewing gum, snacks, and cigarettes behind.
- remember, you must first believe in yourself and your work before you can persuade others to believe in it. Be proud of your writing.
- exude self-assurance, but not arrogance. It's okay to convey enthusiasm, but temper your zeal with a patina of humility.
- pretend this is someone you've met at a party. Offer a personable handshake and some small talk to start things off in a relaxed manner. You'll then find it easy to segue into the business at hand.
- take a couple of calming breaths before you go in, smile, and be yourself.
If you don’t think this is ridiculous and self-evident than consider the opposite. Would you go into an interview a mess, chewing gum, giving attitude and being rude? Maybe in highschool.
What does this say to me about the writing industry – or more specifically about the industry of advising, teaching and coaching aspiring writers – the conferences, the workshops, the online courses? I was further dismayed when I took in the conferences keynote address delivered by a best-selling, making-the-circuit author. She focused on Malcolm Gladwell’s book Outliers – basically that practice, a lot of it, makes perfect.
No insights, no anecdotes, no secrets, not even any gossip.
I’m inclined to say that it’s all bogus. A self-serving undertaking capitalizing on the zeal and inexperience of those that dream of becoming writers.
Unfortunately, the best advice I’ve received about my writing comes from other writers, from discussions with them, and reading their how-to books.
It’s a conundrum.
So before seeing the editor (remember the editor?) I’m not taking any chances. I spit out my gum, slick back my cowlick, park my ego, take a few deep breaths, smile and introduce myself just like I would if I was meeting someone at a party.
Seven minutes later I’m out the door. He doesn’t ask to see my manuscript.
The industry of writers teaching other writers to write
In less than a half a minute, my Google search engines provides me with the following:
How to write a query letter to a publisher – 139,000 results
How to pitch an editor – 8,500,000 results
How to write fiction – 48,900,000 results
Ever wonder why so many writers are so keen to teach others how to write?
Is it that writing somehow elevates the human spirit and elucidates the masses about esoteric concepts and endeavors?
Well, yes. That, and money.
Here’s a few sobering statistics provided by the Writer’s Union of Canada:
- The average writer in Canada makes $12,000 (that’s all kinds of writing, not just fiction).
- The average book in Canada sells 400 copies.
- In Canada a best seller is 5,000 copies.
I’m not even going to attempt the math, but suffice to say that the royalties for a best selling author in Canada would make his income below the poverty level – significantly.
The e-publishing industry is even more dismal. New Concepts Publishing, an e-publisher, has the courage to head up the submissions page of their website with the following royalty information from their stable of authors:
Science Fiction/Futuristic range: $127.89--$8455.46
Paranormal range: $78.00--$5673.50
Contemporary range: $55.18--$7913.78
Historical range: $75.16--$3863.12
Romantic Suspense range: $124.24--$1977.20
Fantasy range: $44.00--$4774.80
Average payout over the three year contract period $450.00
How many hours did I put in writing my two e-published novels? My wife could probably tell you, but there’s no question my hourly wage would be well below the minimum, probably closer to that of an itinerant laborer in a destitute third world country.
I’ve always believed, somewhat cynically I must admit, that those who can – do; and those who – can’t; teach- give seminars, workshops, online courses, etc. In light of this information I’m rethinking this. Poverty is a mighty motivator and who am I to judge other writers, most whom are more skilled at the craft than myself?
Where am I going with this, other than the poorhouse?
Recently I had the opportunity to pitch my latest manuscript to an editor at a conference. Having been a sales person all my adult life it seemed to me nothing more than a cold call, of which I’ve made countless thousands.
However, my writing group loop was filled with anxious missives about what to say, how to say it, and how to present it. Was there more to this than being personable, knowing your product, and presenting it in a way to benefit the buyer? I decided to look at a few of the 8,500,000 results from my Google search.
Here’s some of the invaluable information I gleaned (actual quotes) from a few of these sites:
- neatness counts when making first impressions... set the example by presenting a professional appearance. And leave the chewing gum, snacks, and cigarettes behind.
- remember, you must first believe in yourself and your work before you can persuade others to believe in it. Be proud of your writing.
- exude self-assurance, but not arrogance. It's okay to convey enthusiasm, but temper your zeal with a patina of humility.
- pretend this is someone you've met at a party. Offer a personable handshake and some small talk to start things off in a relaxed manner. You'll then find it easy to segue into the business at hand.
- take a couple of calming breaths before you go in, smile, and be yourself.
If you don’t think this is ridiculous and self-evident than consider the opposite. Would you go into an interview a mess, chewing gum, giving attitude and being rude? Maybe in highschool.
What does this say to me about the writing industry – or more specifically about the industry of advising, teaching and coaching aspiring writers – the conferences, the workshops, the online courses? I was further dismayed when I took in the conferences keynote address delivered by a best-selling, making-the-circuit author. She focused on Malcolm Gladwell’s book Outliers – basically that practice, a lot of it, makes perfect.
No insights, no anecdotes, no secrets, not even any gossip.
I’m inclined to say that it’s all bogus. A self-serving undertaking capitalizing on the zeal and inexperience of those that dream of becoming writers.
Unfortunately, the best advice I’ve received about my writing comes from other writers, from discussions with them, and reading their how-to books.
It’s a conundrum.
So before seeing the editor (remember the editor?) I’m not taking any chances. I spit out my gum, slick back my cowlick, park my ego, take a few deep breaths, smile and introduce myself just like I would if I was meeting someone at a party.
Seven minutes later I’m out the door. He doesn’t ask to see my manuscript.
How to write a query letter to a publisher – 139,000 results
How to pitch an editor – 8,500,000 results
How to write fiction – 48,900,000 results
Ever wonder why so many writers are so keen to teach others how to write?
Is it that writing somehow elevates the human spirit and elucidates the masses about esoteric concepts and endeavors?
Well, yes. That, and money.
Here’s a few sobering statistics provided by the Writer’s Union of Canada:
- The average writer in Canada makes $12,000 (that’s all kinds of writing, not just fiction).
- The average book in Canada sells 400 copies.
- In Canada a best seller is 5,000 copies.
I’m not even going to attempt the math, but suffice to say that the royalties for a best selling author in Canada would make his income below the poverty level – significantly.
The e-publishing industry is even more dismal. New Concepts Publishing, an e-publisher, has the courage to head up the submissions page of their website with the following royalty information from their stable of authors:
Science Fiction/Futuristic range: $127.89--$8455.46
Paranormal range: $78.00--$5673.50
Contemporary range: $55.18--$7913.78
Historical range: $75.16--$3863.12
Romantic Suspense range: $124.24--$1977.20
Fantasy range: $44.00--$4774.80
Average payout over the three year contract period $450.00
How many hours did I put in writing my two e-published novels? My wife could probably tell you, but there’s no question my hourly wage would be well below the minimum, probably closer to that of an itinerant laborer in a destitute third world country.
I’ve always believed, somewhat cynically I must admit, that those who can – do; and those who – can’t; teach- give seminars, workshops, online courses, etc. In light of this information I’m rethinking this. Poverty is a mighty motivator and who am I to judge other writers, most whom are more skilled at the craft than myself?
Where am I going with this, other than the poorhouse?
Recently I had the opportunity to pitch my latest manuscript to an editor at a conference. Having been a sales person all my adult life it seemed to me nothing more than a cold call, of which I’ve made countless thousands.
However, my writing group loop was filled with anxious missives about what to say, how to say it, and how to present it. Was there more to this than being personable, knowing your product, and presenting it in a way to benefit the buyer? I decided to look at a few of the 8,500,000 results from my Google search.
Here’s some of the invaluable information I gleaned (actual quotes) from a few of these sites:
- neatness counts when making first impressions... set the example by presenting a professional appearance. And leave the chewing gum, snacks, and cigarettes behind.
- remember, you must first believe in yourself and your work before you can persuade others to believe in it. Be proud of your writing.
- exude self-assurance, but not arrogance. It's okay to convey enthusiasm, but temper your zeal with a patina of humility.
- pretend this is someone you've met at a party. Offer a personable handshake and some small talk to start things off in a relaxed manner. You'll then find it easy to segue into the business at hand.
- take a couple of calming breaths before you go in, smile, and be yourself.
If you don’t think this is ridiculous and self-evident than consider the opposite. Would you go into an interview a mess, chewing gum, giving attitude and being rude? Maybe in highschool.
What does this say to me about the writing industry – or more specifically about the industry of advising, teaching and coaching aspiring writers – the conferences, the workshops, the online courses? I was further dismayed when I took in the conferences keynote address delivered by a best-selling, making-the-circuit author. She focused on Malcolm Gladwell’s book Outliers – basically that practice, a lot of it, makes perfect.
No insights, no anecdotes, no secrets, not even any gossip.
I’m inclined to say that it’s all bogus. A self-serving undertaking capitalizing on the zeal and inexperience of those that dream of becoming writers.
Unfortunately, the best advice I’ve received about my writing comes from other writers, from discussions with them, and reading their how-to books.
It’s a conundrum.
So before seeing the editor (remember the editor?) I’m not taking any chances. I spit out my gum, slick back my cowlick, park my ego, take a few deep breaths, smile and introduce myself just like I would if I was meeting someone at a party.
Seven minutes later I’m out the door. He doesn’t ask to see my manuscript.
Why I critique
The best way I've found to become a better writer is to have my work critiqued by other writers. It can be painful, disappointing, even infuriating but it’s been absolutely essential for me and contributed immensely to the small measure of success I've had.
It’s ironic that the best advice is also the least expensive. The price of a critique is paid in time not cash, which makes it more practical than conferences, online courses, night school, or creative writing programs.
To get the most from the experience I adhere to a few guidelines. Here is my Critiquing W5.
WHAT to have critiqued.
I send my best work. Critiquers aren’t editors nor are they book doctors. They aren’t there to write my story only to comment on what I’ve written. To send in less than my best is disrespectful, not to mention unprofessional to those taking the time to read it.
I submit the beginning, the end, or anywhere in between, but no more than 3,000 words, about ten pages. I get the most response (on-line) when my submission is short enough to read in one sitting. If my critiquers are sitting across from me I go shorter still. It’s very discouraging to see stifled yawns and fidgeting half way through reading aloud your opening chapter.
WHERE to critique.
I prefer on-line critique groups since I get more and varied responses. Not only are there several different perspectives, but the critiquers can take their time and give me a considered and in depth opinion. In your face critique groups are, by definition, spontaneous and can be confrontational.
Local chapters of the RWA likely have a critique group but other sites include:
Scribophile www.scribophile.com
Writer’s Digest http://community.writersdigest.com/?p...
Romance Writers Community (RWC) http://www.charlottedillon.com/RWC.html
WHEN to critique.
I don’t submit work until I’ve completed a second draft. By that time I’ve corrected most spelling and grammatical errors as well as plot glitches in the first draft. Most importantly, I fully understand my plot and characters, which allows me to consider if the comments I receive are relevant. By this point I’ve also invested too much time to get sidetracked by criticisms that address the story and not the writing.
I use to rush to submit. It was embarrassing. Now I let my writing rest and revisit it a week or so later. I’ll also read it aloud before I sending it.
WHO to critique.
Ideally, you will give and get critiques from people writing in the same genre and at the same level of skill or better. I find it difficult to fully critique genres that involve werewolves or vampires because I’m not steeped in their culture. Sending erotica to someone who writes inspirational may not only be personally insulting but also professionally a waste of time.
WHY to critique.
Having my work critiqued by other anonymous writers provides two essential things – an objective opinion, and instruction. The person analyzing and assessing my work doesn’t know who I am and has no vested interest in pleasing or displeasing me. Equally important is that the criticism is coming from another, ideally better writer, who knows more about the craft and the pitfalls than I do.
When I was a kid I use to watch Dick Clark’s American Bandstand – yes, that’s how old I am. One of the features on the show was “hit or miss” where Bandstand regulars would rate a new record (yes, record, not CD). After jiving up a storm the teens would gather around Dick and rate the song out of ten.
“It had a good beat, you know,” a young man with skin-tight pants and a Brylcreamed waterfall would volunteer. “I’d give it a seven.”
“The words were groovy,” a pony-tailed, bobby-soxer would swoon. “It’s a nine for me.”
“Only a four, it was hard to dance to. ”
Thus the new song was “critiqued”.
In the beginning, my critiques were reminiscent of this. On one hand, coming from a reader they were honest and important, but on the other hand, coming from a writer they were superficial and unprofessional. Because I’ve learned so much from the well-considered and knowledgeable insights of magnanimous strangers I wanted to return the same. I wanted my critiques to be of value so I began to read books on the craft of writing to learn how other writers addressed the issues I was seeing in the submissions I read (see a short list at the end).
Some submissions I critique are from beginners. In those I try to explain Point of View, Goal, Motivation and Conflict, and Showing instead of Telling. I do this in broad strokes and try to be patient. Regardless of how sensitive I think I’m being some people still get their feelings hurt.
When I submit a work for critiquing I assume it’s going to be criticized. After all, that’s why I sent it in. Even after several rewritings it’s still not perfect, I seldom get it right, and for sure it can always be improved upon. In my opinion, a critique that’s not critical is an oxymoron.
I have to admit sloppy submissions do make me crazy. Poor punctuation, bad grammar and repetition of errors leads me to believe the writer is either not serious or not skilled enough to take this step at this time.
A submission from an accomplished writer can be intimidating. I usually look for subtleties and nuances like voice, the characters’ and the author’s; pacing that involves a variety of sentence lengths; plotting including leaving room for the readers imagination; and, character development – consistency and believability. I’ll often comment on language – a more appropriate word sometimes makes all the difference.
When I submit my work and begin receiving critiques back, I remind myself of two things: everyone is entitled to their opinion; and, unlike almost any other situation I can think of, all opinions have some validity and should be appreciated. I watch for common threads in the criticisms because that's likely where the work is needed. And though it might make sense to defend my work to an editor, it never does to a critiquer.
This mental task of addressing the errors and weaknesses in other people’s writing makes mine better. The adage that ‘to teach is to learn twice’ has no other better application than then when it comes to critiquing other writers.
Here are a few books on the various aspects of writing fiction including the writing experience. I’ve found these books educational, entertaining and, not surprising, well written.
Things Feigned and Imagined – by Fred Stenson
Self-editing for Fiction Writers – Renni Browne and Dave King
Stein on Writing – By Sol Stein
The Fiction Writer’s Guidebook – by Edwin Silberstang
Show, Don’t Tell – by William Noble
Make that Scene – by William Noble
It’s ironic that the best advice is also the least expensive. The price of a critique is paid in time not cash, which makes it more practical than conferences, online courses, night school, or creative writing programs.
To get the most from the experience I adhere to a few guidelines. Here is my Critiquing W5.
WHAT to have critiqued.
I send my best work. Critiquers aren’t editors nor are they book doctors. They aren’t there to write my story only to comment on what I’ve written. To send in less than my best is disrespectful, not to mention unprofessional to those taking the time to read it.
I submit the beginning, the end, or anywhere in between, but no more than 3,000 words, about ten pages. I get the most response (on-line) when my submission is short enough to read in one sitting. If my critiquers are sitting across from me I go shorter still. It’s very discouraging to see stifled yawns and fidgeting half way through reading aloud your opening chapter.
WHERE to critique.
I prefer on-line critique groups since I get more and varied responses. Not only are there several different perspectives, but the critiquers can take their time and give me a considered and in depth opinion. In your face critique groups are, by definition, spontaneous and can be confrontational.
Local chapters of the RWA likely have a critique group but other sites include:
Scribophile www.scribophile.com
Writer’s Digest http://community.writersdigest.com/?p...
Romance Writers Community (RWC) http://www.charlottedillon.com/RWC.html
WHEN to critique.
I don’t submit work until I’ve completed a second draft. By that time I’ve corrected most spelling and grammatical errors as well as plot glitches in the first draft. Most importantly, I fully understand my plot and characters, which allows me to consider if the comments I receive are relevant. By this point I’ve also invested too much time to get sidetracked by criticisms that address the story and not the writing.
I use to rush to submit. It was embarrassing. Now I let my writing rest and revisit it a week or so later. I’ll also read it aloud before I sending it.
WHO to critique.
Ideally, you will give and get critiques from people writing in the same genre and at the same level of skill or better. I find it difficult to fully critique genres that involve werewolves or vampires because I’m not steeped in their culture. Sending erotica to someone who writes inspirational may not only be personally insulting but also professionally a waste of time.
WHY to critique.
Having my work critiqued by other anonymous writers provides two essential things – an objective opinion, and instruction. The person analyzing and assessing my work doesn’t know who I am and has no vested interest in pleasing or displeasing me. Equally important is that the criticism is coming from another, ideally better writer, who knows more about the craft and the pitfalls than I do.
When I was a kid I use to watch Dick Clark’s American Bandstand – yes, that’s how old I am. One of the features on the show was “hit or miss” where Bandstand regulars would rate a new record (yes, record, not CD). After jiving up a storm the teens would gather around Dick and rate the song out of ten.
“It had a good beat, you know,” a young man with skin-tight pants and a Brylcreamed waterfall would volunteer. “I’d give it a seven.”
“The words were groovy,” a pony-tailed, bobby-soxer would swoon. “It’s a nine for me.”
“Only a four, it was hard to dance to. ”
Thus the new song was “critiqued”.
In the beginning, my critiques were reminiscent of this. On one hand, coming from a reader they were honest and important, but on the other hand, coming from a writer they were superficial and unprofessional. Because I’ve learned so much from the well-considered and knowledgeable insights of magnanimous strangers I wanted to return the same. I wanted my critiques to be of value so I began to read books on the craft of writing to learn how other writers addressed the issues I was seeing in the submissions I read (see a short list at the end).
Some submissions I critique are from beginners. In those I try to explain Point of View, Goal, Motivation and Conflict, and Showing instead of Telling. I do this in broad strokes and try to be patient. Regardless of how sensitive I think I’m being some people still get their feelings hurt.
When I submit a work for critiquing I assume it’s going to be criticized. After all, that’s why I sent it in. Even after several rewritings it’s still not perfect, I seldom get it right, and for sure it can always be improved upon. In my opinion, a critique that’s not critical is an oxymoron.
I have to admit sloppy submissions do make me crazy. Poor punctuation, bad grammar and repetition of errors leads me to believe the writer is either not serious or not skilled enough to take this step at this time.
A submission from an accomplished writer can be intimidating. I usually look for subtleties and nuances like voice, the characters’ and the author’s; pacing that involves a variety of sentence lengths; plotting including leaving room for the readers imagination; and, character development – consistency and believability. I’ll often comment on language – a more appropriate word sometimes makes all the difference.
When I submit my work and begin receiving critiques back, I remind myself of two things: everyone is entitled to their opinion; and, unlike almost any other situation I can think of, all opinions have some validity and should be appreciated. I watch for common threads in the criticisms because that's likely where the work is needed. And though it might make sense to defend my work to an editor, it never does to a critiquer.
This mental task of addressing the errors and weaknesses in other people’s writing makes mine better. The adage that ‘to teach is to learn twice’ has no other better application than then when it comes to critiquing other writers.
Here are a few books on the various aspects of writing fiction including the writing experience. I’ve found these books educational, entertaining and, not surprising, well written.
Things Feigned and Imagined – by Fred Stenson
Self-editing for Fiction Writers – Renni Browne and Dave King
Stein on Writing – By Sol Stein
The Fiction Writer’s Guidebook – by Edwin Silberstang
Show, Don’t Tell – by William Noble
Make that Scene – by William Noble
Leaving genre
"If reading a story is like taking a trip, then the literary novel or short story is adventure travel: we don’t know when and how we’ll eat or sleep, we have only a glimmer of where we’re going, and we usually end up dirty, startled, disillusioned, or exhilarated. We’re hitchhiking, backpacking, taking the third-class train, and getting to know the countryside. In the end, we know both ourselves and the world better; we’ve grown and changed in the process.
The genre novel, on the other hand, is like a package tour. We don’t expect to have our view of the world unsettled. What we want is a cruise with all the expenses paid ahead of time, umbrella drinks by the pool, and a good floorshow in the evenings. Genres are all about the pleasures of the familiar."
- The Longman Guide to Intermediate and Advanced Fiction Writing
- by Sarah Stone and Ron Nyren
I had a plan to become a published author.
I would write romance novel(s) because they are the most read (biggest market) of any kind of fiction and the easiest to get published. This is not to say that authors of genre fiction aren’t good writers. I sometimes think it’s more difficult to be creative when you have restrictions.
Back to the plan.
Once I had a bit of a publishing track record traditional publishers of mainstream, literary fiction would be more likely to consider me. Right?
I wrote three contemporary romance novels. All have been e-published. All have bombed. No traditional publishers of literary fiction are knocking on my door.
What happened?
My novels, I’ve been told, were not popular with romance readers for a number of reasons. I didn’t introduce the love interests soon enough. My ‘Happily Ever After’ was lukewarm or not at all. I needed to ‘sex it up’. My subplots overshadowed the romance. My heroes lacked testosterone. My heroines didn’t show enough vulnerability. My words were too big, my plots too real, my characters too unlikable. My stories were out of control.
I suspect it might have something to do with the notion “you are what you read” – more specifically, you write what you read.
When I read I want the experience of the literary novel, such as described in the opening quote from the The Longman Guide to Intermediate and Advanced Fiction Writing by Sarah Stone and Ron Nyren. Writing for me is the same. I want adventure – similar to my style of hiking. When I head into the backcountry I like to leave the marked trail. At least once I want experience the panic of being lost – I don’t know where I am, where I’m going, or how or when I’ll get back. Terror is undeniably exhilarating, and overcoming it is oh so satisfying.
I miss the adventure when I conform to the confines of genre fiction. That and the fact that I don’t do it well, makes moving on (not necessarily upward) easy, without risk or anxiety, and without even the faintest indication of success.
Norman Mailer said, “Until you see where your ideas lead to, you know nothing.” This is resonates for me. Especially “the you know nothing” part.
"What’s important, finally, is that you create, and that those creations define for you what matters most, that which cannot be extinguished even in the face of silence, solitude, and rejection."
- Betsy Lerner
The Forest for the Trees
An Editor’s Advice to Writers
It appears that I’m in the company of a lot of great writers, at least in sentiment if not talent. I will continue to do what matters most for me in the “face of silence, solitude and rejection.” And rejection. And rejection.
According to George Seidel, author of The Crisis of Creativity; “An artist will always have one thing no one else can have: a life within a life.” Ultimately, that may be my only accomplishment.
Is that a bad thing?
The genre novel, on the other hand, is like a package tour. We don’t expect to have our view of the world unsettled. What we want is a cruise with all the expenses paid ahead of time, umbrella drinks by the pool, and a good floorshow in the evenings. Genres are all about the pleasures of the familiar."
- The Longman Guide to Intermediate and Advanced Fiction Writing
- by Sarah Stone and Ron Nyren
I had a plan to become a published author.
I would write romance novel(s) because they are the most read (biggest market) of any kind of fiction and the easiest to get published. This is not to say that authors of genre fiction aren’t good writers. I sometimes think it’s more difficult to be creative when you have restrictions.
Back to the plan.
Once I had a bit of a publishing track record traditional publishers of mainstream, literary fiction would be more likely to consider me. Right?
I wrote three contemporary romance novels. All have been e-published. All have bombed. No traditional publishers of literary fiction are knocking on my door.
What happened?
My novels, I’ve been told, were not popular with romance readers for a number of reasons. I didn’t introduce the love interests soon enough. My ‘Happily Ever After’ was lukewarm or not at all. I needed to ‘sex it up’. My subplots overshadowed the romance. My heroes lacked testosterone. My heroines didn’t show enough vulnerability. My words were too big, my plots too real, my characters too unlikable. My stories were out of control.
I suspect it might have something to do with the notion “you are what you read” – more specifically, you write what you read.
When I read I want the experience of the literary novel, such as described in the opening quote from the The Longman Guide to Intermediate and Advanced Fiction Writing by Sarah Stone and Ron Nyren. Writing for me is the same. I want adventure – similar to my style of hiking. When I head into the backcountry I like to leave the marked trail. At least once I want experience the panic of being lost – I don’t know where I am, where I’m going, or how or when I’ll get back. Terror is undeniably exhilarating, and overcoming it is oh so satisfying.
I miss the adventure when I conform to the confines of genre fiction. That and the fact that I don’t do it well, makes moving on (not necessarily upward) easy, without risk or anxiety, and without even the faintest indication of success.
Norman Mailer said, “Until you see where your ideas lead to, you know nothing.” This is resonates for me. Especially “the you know nothing” part.
"What’s important, finally, is that you create, and that those creations define for you what matters most, that which cannot be extinguished even in the face of silence, solitude, and rejection."
- Betsy Lerner
The Forest for the Trees
An Editor’s Advice to Writers
It appears that I’m in the company of a lot of great writers, at least in sentiment if not talent. I will continue to do what matters most for me in the “face of silence, solitude and rejection.” And rejection. And rejection.
According to George Seidel, author of The Crisis of Creativity; “An artist will always have one thing no one else can have: a life within a life.” Ultimately, that may be my only accomplishment.
Is that a bad thing?
The Miracle of New Relationships
“I don’t agree.”
“Critiques are not about right or wrong, Marjorie. They’re just an opinion for you to consider or disregard.”
Marjorie is one of the members of a creative writing circle I facilitate at a seniors’ residence. She’s brought the group her next weekly post for her blog, 'Marjorie Remembers'. Like all her writing, it’s very good. But like all writing, it isn’t perfect.
Marjorie writes about growing up on the prairies; dust storms, blizzards, snaring gophers, one room school houses, and the bonds of rural communities. The stories are filled with high drama, history, and caring.
Marjorie wants to write better and seriously considers all comments, but she is also a staunch defender of her work.
Next up is David. He reads a short story about a mercy killing in which a husband confesses to smothering his terminally ill wife. It’s a poignant story that asks more questions than it answers and all within about five hundred words. David is a retired United Church Minister.
The group has some questions about clarification and structure of his story. David listens, nods, and makes notes.
Kay reads us her Christmas poem. It’s a thoughtful witty piece about retirees celebrating the season around the pool in Florida. It’s four stanzas, of four lines – flawless meter and not a trace of forced rhyme.
Nothing but praise for Kay, who smiles graciously.
Elizabeth reads the last submission. It’s a memoir of her move from Trinidad, where she and she and her husband served as a missionaries, to rural New Brunswick where he had his first parish.
It it’s a remarkable tale of change, adversary and the resilience of the human spirit. It’s also an accounting of the ordeals of a mother and homemaker in rural Canada fifty years ago.
Elizabeth has a gift for writing humour and her entertaining stories always have the group chuckling.
“I’d cut the first six paragraphs,” says David. “All back story that the reader doesn’t need to know.”
Elizabeth frowns. “I see your point, David.”
I’m pleased because this is an issue that we frequently address. It would be easier to help them improve if they all weren’t such accomplished writers. As it is, their stories are very good as they’re presented and the changes will only make subtle improvements. However, we all recognize that a critique that doesn’t contain criticism is an oxymoron.
I had no idea what to expect when I began facilitating the Creative Writing Circle in the library of the residence. I worried that it might be and hour and a half of listening to bad writing, insincere, vague and unproductive comments, and assuaging hurt feelings. Did I really want to do this? Would teaching really be ‘learning twice’?
What I’ve learned about writing has been overshadowed by what I’ve learned about life. My hard core group are four sophisticated, educated and successful individuals who are also accomplished writers.
There stories have stimulated, entertained and educated me and I have added more than a tweak here and a suggestion there in improving them.
They have inspired me with their continuing thirst for knowledge, they way they still embrace a world that is evolving faster everyday, their generosity of spirit and their firm grasp of what is really important in this world. They live every day with passion and intensity tempered with a pragmatic realism.
Two months ago Kay died. Sweet, petite Kay was found in her bed surrounded by her papers and books. She was determined to write something unique and significant about the evils of war. She’d seen enough of them. She was ninety-five when she died.
That brought the average age of the members (facilitator not included) down to ninety years old.
I use to think there was not one good thing about growing old. My group has taught me that physical aging is a fact, but being old is an attitude.
Learning need never end, the beauty of nature can continue to inspire, and with every new person we meet we can experience the miracle of unique relationship that enriches our life and our spirit.
“Critiques are not about right or wrong, Marjorie. They’re just an opinion for you to consider or disregard.”
Marjorie is one of the members of a creative writing circle I facilitate at a seniors’ residence. She’s brought the group her next weekly post for her blog, 'Marjorie Remembers'. Like all her writing, it’s very good. But like all writing, it isn’t perfect.
Marjorie writes about growing up on the prairies; dust storms, blizzards, snaring gophers, one room school houses, and the bonds of rural communities. The stories are filled with high drama, history, and caring.
Marjorie wants to write better and seriously considers all comments, but she is also a staunch defender of her work.
Next up is David. He reads a short story about a mercy killing in which a husband confesses to smothering his terminally ill wife. It’s a poignant story that asks more questions than it answers and all within about five hundred words. David is a retired United Church Minister.
The group has some questions about clarification and structure of his story. David listens, nods, and makes notes.
Kay reads us her Christmas poem. It’s a thoughtful witty piece about retirees celebrating the season around the pool in Florida. It’s four stanzas, of four lines – flawless meter and not a trace of forced rhyme.
Nothing but praise for Kay, who smiles graciously.
Elizabeth reads the last submission. It’s a memoir of her move from Trinidad, where she and she and her husband served as a missionaries, to rural New Brunswick where he had his first parish.
It it’s a remarkable tale of change, adversary and the resilience of the human spirit. It’s also an accounting of the ordeals of a mother and homemaker in rural Canada fifty years ago.
Elizabeth has a gift for writing humour and her entertaining stories always have the group chuckling.
“I’d cut the first six paragraphs,” says David. “All back story that the reader doesn’t need to know.”
Elizabeth frowns. “I see your point, David.”
I’m pleased because this is an issue that we frequently address. It would be easier to help them improve if they all weren’t such accomplished writers. As it is, their stories are very good as they’re presented and the changes will only make subtle improvements. However, we all recognize that a critique that doesn’t contain criticism is an oxymoron.
I had no idea what to expect when I began facilitating the Creative Writing Circle in the library of the residence. I worried that it might be and hour and a half of listening to bad writing, insincere, vague and unproductive comments, and assuaging hurt feelings. Did I really want to do this? Would teaching really be ‘learning twice’?
What I’ve learned about writing has been overshadowed by what I’ve learned about life. My hard core group are four sophisticated, educated and successful individuals who are also accomplished writers.
There stories have stimulated, entertained and educated me and I have added more than a tweak here and a suggestion there in improving them.
They have inspired me with their continuing thirst for knowledge, they way they still embrace a world that is evolving faster everyday, their generosity of spirit and their firm grasp of what is really important in this world. They live every day with passion and intensity tempered with a pragmatic realism.
Two months ago Kay died. Sweet, petite Kay was found in her bed surrounded by her papers and books. She was determined to write something unique and significant about the evils of war. She’d seen enough of them. She was ninety-five when she died.
That brought the average age of the members (facilitator not included) down to ninety years old.
I use to think there was not one good thing about growing old. My group has taught me that physical aging is a fact, but being old is an attitude.
Learning need never end, the beauty of nature can continue to inspire, and with every new person we meet we can experience the miracle of unique relationship that enriches our life and our spirit.
February 6, 2011
Eagleridge Bluffs - five years later the injustice still resonates
An individual who breaks a law that conscience tells him is unjust, and who willingly accepts the penalty of imprisonment in order to arouse the conscience of the community over its injustice, is in reality expressing the highest respect for the law.
- Martin Luther King
The B.C. Court of Appeal recently dismissed an argument by 82 year-old environmentalist, Betty Krawczyk, that her 10-month jail sentence for refusing to abandon the protest at Eagleridge Bluffs was unduly harsh.
Ironically, the appeal was heard after Betty had served seven months of the sentence and been released.
Krawczyk was arrested three times between May 25 and June 27, 2006 inside an area of highway construction at Eagleridge Bluffs protesters had been ordered out of by a B.C. Supreme Court injunction. In sentencing her to 10 months in jail, the sentencing judge noted Krawczyk had deliberately disobeyed that order to court publicity for her cause.
Eagleridge Bluffs was a unique ecosystem home for migrating birds and many environmentally rare and endangered plants and animals. The BC Liberal government decided to blow up the Bluffs so the Sea to Sky Highway could bypass the congestion at Horseshoe Bay. This would cut a few minutes off the trip to Whistler, the destination of the 2010 Olympic Winter Games, a promise the government made in its game-winning proposal to the IOC.
Despite alternatives that were not only environmentally friendly but cost effective, and in the face of international outrage, the government stuck to its guns, or more aptly, its explosives.
Twenty-four protestors were eventually arrested. All received $1000 fines with additional fines from $250 to $400. Three were jailed for criminal contempt of court including Betty and Harriet Nahanee, a 71 year-old Native elder.
Harriet served nine days of a 14-day sentence. A week after her release she was hospitalized with pneumonia at which time doctors discovered she had lung cancer. She died of pneumonia and complications at St. Paul’s Hospital in Vancouver on February 24, just one month after her original sentencing.
Harriet had been weak from the flu and asthma in January, and it was widely suspected that her condition worsened during her incarceration. An independent public inquiry into her death was called for in the Legislative Assembly of British Columbia , however Solicitor-General John Les, while expressing "regret", denied any government responsibility and refused opposition requests for an inquiry.
Eagleridge Bluffs was a rare and special place not only to me but to hundreds of others. The Liberal provincial government’s intransigence to consider other options was not only frustrating but incomprehensible. Only when it was suggested that the contractor that would carry out the project had donated ten of thousands of dollars in campaign contributions did it begin to make sense. A sickening sense.
Upstanding citizens were so outraged they took it upon themselves to violate a court injunction to abandon the blockade. They were arrested and forcibly removed.
When confronted by an immoral government that uses just laws for unjust causes, what options does a citizen of conscience have?
This is the question I pose in my novel, Eagleridge Bluffs. Challenged with this reality, a law-abiding citizen takes the next step and becomes involved in eco-terrorism.
One has to wonder how many citizens that loved the Bluffs, citizens that were frustrated by an immoral government, and paralyzed by the legal system, considered taking the same step that my fictional heroine took?
Gandhi said, ‘In matters of conscience, the law of the majority has no place.’
Five years later the injustice of Eagleridge Bluffs still resonates.
Eagleridge Bluffs, the novel is available at www.devinedestinies.com
Royalties are being donated from the sale of Eagleridge Bluffs to The Friends of Cypress Provincial Park Society to support the ongoing work in the preservation of the park's natural environment, its special historical and cultural features; and through education, an understanding and appreciation of the park's natural features. For more information about The Friends of Cypress Provincial Park Society and their work visit http://www.cypresspark.bc.ca
- Martin Luther King
The B.C. Court of Appeal recently dismissed an argument by 82 year-old environmentalist, Betty Krawczyk, that her 10-month jail sentence for refusing to abandon the protest at Eagleridge Bluffs was unduly harsh.
Ironically, the appeal was heard after Betty had served seven months of the sentence and been released.
Krawczyk was arrested three times between May 25 and June 27, 2006 inside an area of highway construction at Eagleridge Bluffs protesters had been ordered out of by a B.C. Supreme Court injunction. In sentencing her to 10 months in jail, the sentencing judge noted Krawczyk had deliberately disobeyed that order to court publicity for her cause.
Eagleridge Bluffs was a unique ecosystem home for migrating birds and many environmentally rare and endangered plants and animals. The BC Liberal government decided to blow up the Bluffs so the Sea to Sky Highway could bypass the congestion at Horseshoe Bay. This would cut a few minutes off the trip to Whistler, the destination of the 2010 Olympic Winter Games, a promise the government made in its game-winning proposal to the IOC.
Despite alternatives that were not only environmentally friendly but cost effective, and in the face of international outrage, the government stuck to its guns, or more aptly, its explosives.
Twenty-four protestors were eventually arrested. All received $1000 fines with additional fines from $250 to $400. Three were jailed for criminal contempt of court including Betty and Harriet Nahanee, a 71 year-old Native elder.
Harriet served nine days of a 14-day sentence. A week after her release she was hospitalized with pneumonia at which time doctors discovered she had lung cancer. She died of pneumonia and complications at St. Paul’s Hospital in Vancouver on February 24, just one month after her original sentencing.
Harriet had been weak from the flu and asthma in January, and it was widely suspected that her condition worsened during her incarceration. An independent public inquiry into her death was called for in the Legislative Assembly of British Columbia , however Solicitor-General John Les, while expressing "regret", denied any government responsibility and refused opposition requests for an inquiry.
Eagleridge Bluffs was a rare and special place not only to me but to hundreds of others. The Liberal provincial government’s intransigence to consider other options was not only frustrating but incomprehensible. Only when it was suggested that the contractor that would carry out the project had donated ten of thousands of dollars in campaign contributions did it begin to make sense. A sickening sense.
Upstanding citizens were so outraged they took it upon themselves to violate a court injunction to abandon the blockade. They were arrested and forcibly removed.
When confronted by an immoral government that uses just laws for unjust causes, what options does a citizen of conscience have?
This is the question I pose in my novel, Eagleridge Bluffs. Challenged with this reality, a law-abiding citizen takes the next step and becomes involved in eco-terrorism.
One has to wonder how many citizens that loved the Bluffs, citizens that were frustrated by an immoral government, and paralyzed by the legal system, considered taking the same step that my fictional heroine took?
Gandhi said, ‘In matters of conscience, the law of the majority has no place.’
Five years later the injustice of Eagleridge Bluffs still resonates.
Eagleridge Bluffs, the novel is available at www.devinedestinies.com
Royalties are being donated from the sale of Eagleridge Bluffs to The Friends of Cypress Provincial Park Society to support the ongoing work in the preservation of the park's natural environment, its special historical and cultural features; and through education, an understanding and appreciation of the park's natural features. For more information about The Friends of Cypress Provincial Park Society and their work visit http://www.cypresspark.bc.ca
January 28, 2011
Romancing the environment
My novels may be romances, but my agenda is the environment. I want people to read my books and take action to protect and preserve wild things and wild places.
Over the past few years, I began to realize that I was most frequently preaching to the converted. The readers of my community newspaper knew where I stood and accordingly endorsed my rants or dismissed them. What was the point? Many people were saying it better and more eloquently.
But still it’s a fight that must continue to be fought. Protecting our natural environment is, in my opinion, the only real issue of our time – everything else pales in comparison.
I wanted to reach a new audience, one that had the potential to initiate real change, so I wrote a romance novel (actually three) with an environmental subplot.
Romance fiction generated $1.37 billion in sales in 2008 and remained the largest share of the consumer market at 13.5 percent – bigger than mysteries, sci-fi, inspirational, literary, etc. 74.8 million people read at least one
romance novel in 2008. The core of the romance fiction market is 29 million regular readers.
Women, which comprise 90 per cent of romance readers, have incredible potential to positively impact the environment.
Women purchase or influence the purchase of 80 percent of all consumer goods, including home furnishing and products, houses, vehicles, computers and stocks.
A woman that’s sensitive to environmental issues could influence the purchase of an energy efficient vehicle, products from recycled materials, stocks in a sustainable industry, even environmentally friendly cleaning products.
Not Wonder More – Mad Maggie and the Mystery of the Ancients, is the third book in my stand-alone series, ECO-WARRIORS. The story pits mystery, magic and madness against logic, cause and affect, and asks the question, “can love find a middle ground?”
Maggie, the heroine talks to trees. Dieter, the hero, talks to corporations.
Maggie embraces mystery and flirts with magic. Dieter adheres to logic and the doctrine of Nietzsche
Dieter’s client wants to destroy the trees. The trees want Maggie to protect them.
Dieter has terminal cancer. Maggie is schizophrenic.
Maggie says she can save him, if he’ll save the trees. Dieter thinks she’s crazy, but what choice does he have?
A week together alone on Deadman’s Island changes everything for both of them.
Is it madness? Is it magic? Or is it love?
Like all the books in the series, Not Wonder More addresses important environmental issues in the context of a contemporary romance, in this case the issues of species extinction and habitat loss.
In ECO-WARRIORS Book 1, Spirit Bear, a corporate climber goes to battle with an eco-warrior over a ski development that threatens the habitat of the rare, mystical Spirit Bear.
Kimberley James is an ambitious corporate relations executive whose client wants to build a world-class ski village on the slopes of a wilderness mountain in north British Columbia. Jonah Baker is an eco-warrior who is not about to permit a development that threatens ancient rainforests and the habitat of the rare and endangered Spirit Bear.
Eagleridge Bluffs, the second novel in the series, examines the morality and motivation of the young leader of a group of eco-terrorists and his unwitting accomplice, a naïve, affluent, middle-age woman involved in an protest to stop a highway expansion. It asks the question "What would you be prepared to sacrifice to save a wild place you love?"
Miriam is forty and frustrated. In an attempt to enhance her living-just-to-breathe life, she joins some neighbours protesting a highway bypass that will destroy Eagleridge Bluffs. Not only are the Bluffs her special sanctuary, they’re also the beautiful home of rare and endangered plants and animals.
The protest gains the support of environmental organizations, including the attention of a group of eco-radicals led by an enigmatic young man named Zaahir.
Miriam is mesmerized by this charismatic leader and sees him as someone that can save her as well as the Bluffs.
But is Zaahir just using Miriam to help him further his radical political agenda? As legal channels fail and civil disobedience falters, Miriam is seduced into the murky world of eco-terrorism.
All the royalties from the sale of these books are being donated environmental organizations:
Spirit Bear to The Wilderness Committee www.wildernesscommittee.org to help them continue their work to protect the Spirit Bear and preserve the Great Bear Rainforest.
Eagleridge Bluffs to The Friends of Cypress Provincial Park Society www.cypresspark.bc.ca to support the ongoing work in the preservation of the park's natural environment, its special historical and cultural features; and through education, an understanding and appreciation of the park's natural features.
Not Wonder More – Mad Maggie and the Mystery of the Ancients to the Burns Bog Conservation Society to support the ongoing work they are doing to protect and preserve Burns Bog with their stewardship and public education programs. For more information about the Burns Bog Conservation Society and their work, visit http://www.burnsbog.org
So far my membership to these organizations has generated more revenue for them than the royalities have, but sentiment is sincere.
It’s a simple truth, but a profound one that human beings have no more right to life and the resources of this planet than any other living thing.
Once you realize this, everything changes.
To order any of these books visit my publisher’s website
www.devinedestinies.com
For more information about the books, environmental issues, enviro-tips for green living, and my blogs on the human condition (mostly my own) visit
www.rodraglin.com
Over the past few years, I began to realize that I was most frequently preaching to the converted. The readers of my community newspaper knew where I stood and accordingly endorsed my rants or dismissed them. What was the point? Many people were saying it better and more eloquently.
But still it’s a fight that must continue to be fought. Protecting our natural environment is, in my opinion, the only real issue of our time – everything else pales in comparison.
I wanted to reach a new audience, one that had the potential to initiate real change, so I wrote a romance novel (actually three) with an environmental subplot.
Romance fiction generated $1.37 billion in sales in 2008 and remained the largest share of the consumer market at 13.5 percent – bigger than mysteries, sci-fi, inspirational, literary, etc. 74.8 million people read at least one
romance novel in 2008. The core of the romance fiction market is 29 million regular readers.
Women, which comprise 90 per cent of romance readers, have incredible potential to positively impact the environment.
Women purchase or influence the purchase of 80 percent of all consumer goods, including home furnishing and products, houses, vehicles, computers and stocks.
A woman that’s sensitive to environmental issues could influence the purchase of an energy efficient vehicle, products from recycled materials, stocks in a sustainable industry, even environmentally friendly cleaning products.
Not Wonder More – Mad Maggie and the Mystery of the Ancients, is the third book in my stand-alone series, ECO-WARRIORS. The story pits mystery, magic and madness against logic, cause and affect, and asks the question, “can love find a middle ground?”
Maggie, the heroine talks to trees. Dieter, the hero, talks to corporations.
Maggie embraces mystery and flirts with magic. Dieter adheres to logic and the doctrine of Nietzsche
Dieter’s client wants to destroy the trees. The trees want Maggie to protect them.
Dieter has terminal cancer. Maggie is schizophrenic.
Maggie says she can save him, if he’ll save the trees. Dieter thinks she’s crazy, but what choice does he have?
A week together alone on Deadman’s Island changes everything for both of them.
Is it madness? Is it magic? Or is it love?
Like all the books in the series, Not Wonder More addresses important environmental issues in the context of a contemporary romance, in this case the issues of species extinction and habitat loss.
In ECO-WARRIORS Book 1, Spirit Bear, a corporate climber goes to battle with an eco-warrior over a ski development that threatens the habitat of the rare, mystical Spirit Bear.
Kimberley James is an ambitious corporate relations executive whose client wants to build a world-class ski village on the slopes of a wilderness mountain in north British Columbia. Jonah Baker is an eco-warrior who is not about to permit a development that threatens ancient rainforests and the habitat of the rare and endangered Spirit Bear.
Eagleridge Bluffs, the second novel in the series, examines the morality and motivation of the young leader of a group of eco-terrorists and his unwitting accomplice, a naïve, affluent, middle-age woman involved in an protest to stop a highway expansion. It asks the question "What would you be prepared to sacrifice to save a wild place you love?"
Miriam is forty and frustrated. In an attempt to enhance her living-just-to-breathe life, she joins some neighbours protesting a highway bypass that will destroy Eagleridge Bluffs. Not only are the Bluffs her special sanctuary, they’re also the beautiful home of rare and endangered plants and animals.
The protest gains the support of environmental organizations, including the attention of a group of eco-radicals led by an enigmatic young man named Zaahir.
Miriam is mesmerized by this charismatic leader and sees him as someone that can save her as well as the Bluffs.
But is Zaahir just using Miriam to help him further his radical political agenda? As legal channels fail and civil disobedience falters, Miriam is seduced into the murky world of eco-terrorism.
All the royalties from the sale of these books are being donated environmental organizations:
Spirit Bear to The Wilderness Committee www.wildernesscommittee.org to help them continue their work to protect the Spirit Bear and preserve the Great Bear Rainforest.
Eagleridge Bluffs to The Friends of Cypress Provincial Park Society www.cypresspark.bc.ca to support the ongoing work in the preservation of the park's natural environment, its special historical and cultural features; and through education, an understanding and appreciation of the park's natural features.
Not Wonder More – Mad Maggie and the Mystery of the Ancients to the Burns Bog Conservation Society to support the ongoing work they are doing to protect and preserve Burns Bog with their stewardship and public education programs. For more information about the Burns Bog Conservation Society and their work, visit http://www.burnsbog.org
So far my membership to these organizations has generated more revenue for them than the royalities have, but sentiment is sincere.
It’s a simple truth, but a profound one that human beings have no more right to life and the resources of this planet than any other living thing.
Once you realize this, everything changes.
To order any of these books visit my publisher’s website
www.devinedestinies.com
For more information about the books, environmental issues, enviro-tips for green living, and my blogs on the human condition (mostly my own) visit
www.rodraglin.com
