Beem Weeks's Blog, page 11
June 3, 2013
POV Revisited!
WOW! What a crap storm my post on POV stirred up--at least on Twitter. It seems there are some who took exception to the notion of writing your story in a fixed point of view. One fellow on Twitter even went so far as to claim a single POV is a lazy way of writing. So by his rationale, Harper Lee's To Kill A Mockingbird is lazy. That brilliant novel is written from one POV. Never once does Ms. Lee stray from the point of view of Scout Finch. So, too, is Alice Sebold's The Lovely Bones, Daniel Woodrell's masterpiece Winter's Bone, and White Oleander by the amazing Janet Fitch. This tweeter is either bold or ignorant.
This same individual claimed my post suggested writing in only one POV and never straying from this idea. Yet, near the end of that post, I wrote: Sure, it's not a problem if one character tells the story in one chapter, while another character takes over in the next. Have a read of the brilliant Barbara Kingsolver novel The Poisonwood Bible to see it done properly. But to shift the POV in the middle of a scene or chapter is confusing to the reader. Who the hell is telling the story? Entice your readers, enthrall them, but don't confuse them. Who wants to shell out hard-earned money just for the headache that comes with confusion?
What? Didn't he read the entire post? Hmm. Sure seems that way to me.
I actually love the idea that one of my little posts could get a few people talking. The point of view is seriously important. To switch the POV within a scene will expose the author as amateur. Yes, I said amateur.
And the all-knowing POV is plausible, sure, but it is considered outdated by many publishers and reviewers. It was argued that it doesn't take God to know what every character is thinking. Fine. But it would take a mind reader.
In Jazz Baby, Emily Ann is telling the story. She's not a mind reader, and God isn't telling the story, so we never know what Tanyon Thibbedeaux is thinking. We don't know what Jobie Pritchett is up to when he's away from Emily, because Emily isn't a remote viewer. She tells us what she sees and knows. That is a single POV story. If I'd decided to share what the other characters thought or what they did in their alone-time, I could have given them their own chapters to ponder these things. That's perfectly acceptable--as I clearly pointed out with the Poisonwood Bible reference. But to shift a POV in the middle of the same scene--that's just plain awful. Argue for it as loudly as you want. It's still crap.
So why argue this point? Why put words in my mouth at which I never even hinted? Because that's an individual who clearly doesn't comprehend the concept of POV. The bottom line: the author can write whatever and however he/she chooses. But there are readers, reviewers, and publishers that will reject blatant disregard for simple writing mechanics. But, hey, what do I know?
This same individual claimed my post suggested writing in only one POV and never straying from this idea. Yet, near the end of that post, I wrote: Sure, it's not a problem if one character tells the story in one chapter, while another character takes over in the next. Have a read of the brilliant Barbara Kingsolver novel The Poisonwood Bible to see it done properly. But to shift the POV in the middle of a scene or chapter is confusing to the reader. Who the hell is telling the story? Entice your readers, enthrall them, but don't confuse them. Who wants to shell out hard-earned money just for the headache that comes with confusion?
What? Didn't he read the entire post? Hmm. Sure seems that way to me.
I actually love the idea that one of my little posts could get a few people talking. The point of view is seriously important. To switch the POV within a scene will expose the author as amateur. Yes, I said amateur.
And the all-knowing POV is plausible, sure, but it is considered outdated by many publishers and reviewers. It was argued that it doesn't take God to know what every character is thinking. Fine. But it would take a mind reader.
In Jazz Baby, Emily Ann is telling the story. She's not a mind reader, and God isn't telling the story, so we never know what Tanyon Thibbedeaux is thinking. We don't know what Jobie Pritchett is up to when he's away from Emily, because Emily isn't a remote viewer. She tells us what she sees and knows. That is a single POV story. If I'd decided to share what the other characters thought or what they did in their alone-time, I could have given them their own chapters to ponder these things. That's perfectly acceptable--as I clearly pointed out with the Poisonwood Bible reference. But to shift a POV in the middle of the same scene--that's just plain awful. Argue for it as loudly as you want. It's still crap.
So why argue this point? Why put words in my mouth at which I never even hinted? Because that's an individual who clearly doesn't comprehend the concept of POV. The bottom line: the author can write whatever and however he/she chooses. But there are readers, reviewers, and publishers that will reject blatant disregard for simple writing mechanics. But, hey, what do I know?
May 29, 2013
What's The POV?
Point of view: (in fictional writing) the narrator's position in relation to the story being told; the position from which something or someone is observed.
That's how the Oxford American College Dictionary (2001) defines POV. It's a simple, basic storytelling element that puts the reader in the position of the one telling us what's what. We see each scene unfold through this character's eyes, we experience their feelings, we know their thoughts. It's usually the main character, though it doesn't have to be.
I wrote my novel Jazz Baby in the first person POV of thirteen-year-old Emily Ann Teegarten. She's the only one telling us her story, telling us about her life, about the trials and triumphs she's encountered. She may comment on what other characters are doing, what they say directly to her or within earshot of her hearing, or of the activities of those around her--as Emily sees these activities unfold. What she doesn't tell us is, the thoughts of the other character, what they are feeling, or what they are doing when they aren't anywhere near Emily. How would this girl know these things without being a mind reader?
This POV thing seems to be a big issue with many indie writers these days. If the POV shifts from one character to another, within the same scene, there's a serious flaw in the story. I see this often. I usually close the book at this point and never finish it. Pick a POV and stick with that character. Don't let every character in your story have a go at telling readers what's really going on. It's such a major disappointment to purchase a book, to settle in for a good read, only to find the Point Of View bouncing around like a Ping-Pong ball in a blender.
To Kill A Mockingbird is told from the point of view of young Scout Finch. Never once does she tell us of something she hasn't personally seen, heard, or felt. Scout can't tell us what her brother Jem is feeling or thinking. She can't possibly know what father Atticus is contemplating as he prepares to represent an innocent man accused of a heinous crime. Why? Because Scout Finch is a little girl, not an all-knowing entity. She's not God. She certainly isn't a mind reader. But she is the one telling us this amazing story, relaying to readers all that she is seeing and understanding with her child's mind.
Yet, any serious reader has seen far too many of these mind-boggling POV-shifting published works. They usually go something like this: Jimmy slides into the restaurant unnoticed. He slips into a corner booth and pretends to read the menu. Mary, a girl from his office, is already there, eating a ham and cheese sandwich, though she'd really rather have had a turkey on rye.
Everything is fine until we read that Mary really wanted that turkey on rye. How the hell would Jimmy know what's going through Mary's mind? He just arrived at the restaurant. He's not sitting with Mary. Nowhere in this brief scene do we see these two characters chatting about turkey sandwiches--or anything else, for that matter.
And Jimmy can't tell us that the waitress who took his order is about to be evicted from her apartment, which is why she screwed up and brought him a steak well-done, rather than the bloody-rare hunk of meat he'd asked for. Did she tell him her troubles? If she did, the author must show this to the readers before it's mentioned, then it's a known angle to the plot. If she didn't tell him, then Jimmy can't possibly know this detail.
Another example of bad POV shifting goes like this: Jimmy slides into the restaurant unnoticed. He slips into a corner booth and pretends to read the menu. Mary notices the stain on her skirt as the waitress brings her ham and cheese sandwich to the table. Club soda, she decides, will get that stain out.
What's up with that? We see the scene through Jimmy's eyes at first, then poof! we're seeing the scene through Mary's eyes. That is a serious flaw that will ultimately cost this writer readers.
Sure, it's not a problem if one character tells the story in one chapter, while another character takes over in the next. Have a read of the brilliant Barbara Kingsolver novel The Poisonwood Bible to see it done properly. But to shift the POV in the middle of a scene or chapter is confusing to the reader. Who the hell is telling the story? Entice your readers, enthrall them, but don't confuse them. Who wants to shell out hard-earned money just for the headache that comes with confusion?
And a word to the up-and-coming indie author: Forget the all-knowing POV idea; it's outdated and just plain amateurish--unless God is your narrator.
Remember: Just pick a POV and stick with it. A good writer makes for many happy readers.
That's how the Oxford American College Dictionary (2001) defines POV. It's a simple, basic storytelling element that puts the reader in the position of the one telling us what's what. We see each scene unfold through this character's eyes, we experience their feelings, we know their thoughts. It's usually the main character, though it doesn't have to be.
I wrote my novel Jazz Baby in the first person POV of thirteen-year-old Emily Ann Teegarten. She's the only one telling us her story, telling us about her life, about the trials and triumphs she's encountered. She may comment on what other characters are doing, what they say directly to her or within earshot of her hearing, or of the activities of those around her--as Emily sees these activities unfold. What she doesn't tell us is, the thoughts of the other character, what they are feeling, or what they are doing when they aren't anywhere near Emily. How would this girl know these things without being a mind reader?
This POV thing seems to be a big issue with many indie writers these days. If the POV shifts from one character to another, within the same scene, there's a serious flaw in the story. I see this often. I usually close the book at this point and never finish it. Pick a POV and stick with that character. Don't let every character in your story have a go at telling readers what's really going on. It's such a major disappointment to purchase a book, to settle in for a good read, only to find the Point Of View bouncing around like a Ping-Pong ball in a blender.
To Kill A Mockingbird is told from the point of view of young Scout Finch. Never once does she tell us of something she hasn't personally seen, heard, or felt. Scout can't tell us what her brother Jem is feeling or thinking. She can't possibly know what father Atticus is contemplating as he prepares to represent an innocent man accused of a heinous crime. Why? Because Scout Finch is a little girl, not an all-knowing entity. She's not God. She certainly isn't a mind reader. But she is the one telling us this amazing story, relaying to readers all that she is seeing and understanding with her child's mind.
Yet, any serious reader has seen far too many of these mind-boggling POV-shifting published works. They usually go something like this: Jimmy slides into the restaurant unnoticed. He slips into a corner booth and pretends to read the menu. Mary, a girl from his office, is already there, eating a ham and cheese sandwich, though she'd really rather have had a turkey on rye.
Everything is fine until we read that Mary really wanted that turkey on rye. How the hell would Jimmy know what's going through Mary's mind? He just arrived at the restaurant. He's not sitting with Mary. Nowhere in this brief scene do we see these two characters chatting about turkey sandwiches--or anything else, for that matter.
And Jimmy can't tell us that the waitress who took his order is about to be evicted from her apartment, which is why she screwed up and brought him a steak well-done, rather than the bloody-rare hunk of meat he'd asked for. Did she tell him her troubles? If she did, the author must show this to the readers before it's mentioned, then it's a known angle to the plot. If she didn't tell him, then Jimmy can't possibly know this detail.
Another example of bad POV shifting goes like this: Jimmy slides into the restaurant unnoticed. He slips into a corner booth and pretends to read the menu. Mary notices the stain on her skirt as the waitress brings her ham and cheese sandwich to the table. Club soda, she decides, will get that stain out.
What's up with that? We see the scene through Jimmy's eyes at first, then poof! we're seeing the scene through Mary's eyes. That is a serious flaw that will ultimately cost this writer readers.
Sure, it's not a problem if one character tells the story in one chapter, while another character takes over in the next. Have a read of the brilliant Barbara Kingsolver novel The Poisonwood Bible to see it done properly. But to shift the POV in the middle of a scene or chapter is confusing to the reader. Who the hell is telling the story? Entice your readers, enthrall them, but don't confuse them. Who wants to shell out hard-earned money just for the headache that comes with confusion?
And a word to the up-and-coming indie author: Forget the all-knowing POV idea; it's outdated and just plain amateurish--unless God is your narrator.
Remember: Just pick a POV and stick with it. A good writer makes for many happy readers.
May 27, 2013
Finding A Publisher
Okay. So now after many months--or even years--of researching, plotting, outlining, and writing, the novel that had been rattling around inside your head is finally finished, established on paper or an e-file, and ready for an audience. What now? Well, there are about a million online publishers who are willing and able to take your money, throw your hard work onto paperback, hardcover, or ebook format for Amazon and Barnes and Noble to offer to the world, making you a published author. Yes, folks, it's that easy. The world we live in today makes anybody with a dream a player in this writing game.
But before you throw your money at just anybody, take a few moments to consider who it is you're willing to pay for this honor. There are questions you should always ask. Do they offer professional editing? Is the quality of the book (paper, binding, cover art) going to be something I'll be proud to show my loved ones or will it just be an embarrassment to me? Believe me, these are legitimate issues to consider when choosing to self-publish your hard work. Nothing says garbage like pages coming loose while a reader thumbs through a new book. It happens, though.
Why is professional editing an important option? Even the very best writers are prone to errors in punctuation, spelling, word usage. Editors clear these items from the final product. They scour your manuscript for any little slip that takes away from the quality of your work.
There are far too many publishers who are willing to just take your money and put your story on the market, as is. Problems arise (for the author) after two or three reviews focus on these mistakes rather than touting the actual story. I won't buy a book or ebook once I've read such reviews. And neither would any serious reader. Let's face it, there are thousands of books arriving monthly. We can afford to be picky.
When I went searching for a publisher for my novel Jazz Baby, I knew what I wanted and what I didn't want. What I didn't want was some company taking my money and putting my work on the market, warts and all, to be ridiculed for errors, lack of plot, or any number of things that can kill a book. It happens. I review books on GoodReads. Many books I've started, only to put down and never finish, suffer from these maladies. I won't embarrass the authors by publishing a review slagging the work--or lack thereof. But I won't recommend the book, either.
I discovered The Fresh Ink Group while searching for a publisher. Actually, a good friend pointed me in their direction. He'd been publishing through iUniverse, became disillusioned with their lack of personal interest with the authors paying good money for their services, and decided to look elsewhere. The Fresh Ink Group proved to be a fantastic fit. Here is why: They won't just take your money and dump error-filled work into the already-crowded marketplace. The Fresh Ink Group offers a free manuscript evaluation. This means they'll carefully comb through your manuscript and give you honest and respectful feedback. If it's not ready for an audience, they'll tell you the truth. You can then take it to another publisher who just wants to make a few bucks. But if your work is ready for readers to devour, the team at The Fresh Ink Group will devote their time and energy to making your finished product something you are proud to share with the world.
They offer professional editing, design, marketing, and publishing in all major print and ebook formats. Audiobooks are coming soon.
The Fresh Ink team takes personal interest in the authors they work with. Best of all, The Fresh Ink Group offers a 75% author royalty rate. Authors maintain complete ownership of their fully copyrighted work. And the author has final say in every aspect of the process. Don't like the cover design? Just say so. Don't care for the suggested tweak of the second sentence in chapter four? It remains untouched.
If you want your book published, it's an easy thing to do. If you want your best work to shine, take your time and research the self-publishing market. I am thrilled with the work The Fresh Ink Group has done for me. If there's an issue, a problem of some sort, a question that needs asking, I can pick up the phone and call and have an answer in no time. I've never had to jump through hoops of fire to get their attention.
If you're looking to publish, check out The Fresh Ink Group at http://www.publishing.freshinkgroup.com
They'll take care of you.
But before you throw your money at just anybody, take a few moments to consider who it is you're willing to pay for this honor. There are questions you should always ask. Do they offer professional editing? Is the quality of the book (paper, binding, cover art) going to be something I'll be proud to show my loved ones or will it just be an embarrassment to me? Believe me, these are legitimate issues to consider when choosing to self-publish your hard work. Nothing says garbage like pages coming loose while a reader thumbs through a new book. It happens, though.
Why is professional editing an important option? Even the very best writers are prone to errors in punctuation, spelling, word usage. Editors clear these items from the final product. They scour your manuscript for any little slip that takes away from the quality of your work.
There are far too many publishers who are willing to just take your money and put your story on the market, as is. Problems arise (for the author) after two or three reviews focus on these mistakes rather than touting the actual story. I won't buy a book or ebook once I've read such reviews. And neither would any serious reader. Let's face it, there are thousands of books arriving monthly. We can afford to be picky.
When I went searching for a publisher for my novel Jazz Baby, I knew what I wanted and what I didn't want. What I didn't want was some company taking my money and putting my work on the market, warts and all, to be ridiculed for errors, lack of plot, or any number of things that can kill a book. It happens. I review books on GoodReads. Many books I've started, only to put down and never finish, suffer from these maladies. I won't embarrass the authors by publishing a review slagging the work--or lack thereof. But I won't recommend the book, either.
I discovered The Fresh Ink Group while searching for a publisher. Actually, a good friend pointed me in their direction. He'd been publishing through iUniverse, became disillusioned with their lack of personal interest with the authors paying good money for their services, and decided to look elsewhere. The Fresh Ink Group proved to be a fantastic fit. Here is why: They won't just take your money and dump error-filled work into the already-crowded marketplace. The Fresh Ink Group offers a free manuscript evaluation. This means they'll carefully comb through your manuscript and give you honest and respectful feedback. If it's not ready for an audience, they'll tell you the truth. You can then take it to another publisher who just wants to make a few bucks. But if your work is ready for readers to devour, the team at The Fresh Ink Group will devote their time and energy to making your finished product something you are proud to share with the world.
They offer professional editing, design, marketing, and publishing in all major print and ebook formats. Audiobooks are coming soon.
The Fresh Ink team takes personal interest in the authors they work with. Best of all, The Fresh Ink Group offers a 75% author royalty rate. Authors maintain complete ownership of their fully copyrighted work. And the author has final say in every aspect of the process. Don't like the cover design? Just say so. Don't care for the suggested tweak of the second sentence in chapter four? It remains untouched.
If you want your book published, it's an easy thing to do. If you want your best work to shine, take your time and research the self-publishing market. I am thrilled with the work The Fresh Ink Group has done for me. If there's an issue, a problem of some sort, a question that needs asking, I can pick up the phone and call and have an answer in no time. I've never had to jump through hoops of fire to get their attention.
If you're looking to publish, check out The Fresh Ink Group at http://www.publishing.freshinkgroup.com
They'll take care of you.
May 23, 2013
The Way We Write
When you're hard at work writing your next great literary piece, be it short form or novel, do you listen to music or TV, or are you like me, a writer needing silence to accomplish anything of substance?
A few months ago, some of us writers posted comments concerning this very issue on the Koobug.com site. It surprised me that there are so many writers who can, not only write with music blaring in the room, but actually prefer this method. And they tend to put out high-quality work!
I recall reading in Stephen King's On Writing an interesting account of the author's early writing habits. These included drinking large quantities of beer, snorting piles of cocaine, and cranking up the stereo with the latest from AC/DC and Metallica, before sitting down at his typewriter and delivering some of his best work.
I scratch my head at these rituals. I won't lie; I did my fair share of booze and drugs way back in those crazy days of the 1980s. Someday maybe I'll write a post about those experiences. But for today, I'm trying to get at the heart of what it takes for individual authors to create their best work.
I've mentioned before that it took me nearly ten years to finish my novel Jazz Baby. But that's because I put the manuscript through several rewrites, changed the plot numerous times, researched the hell out of the 1920s, and eventually put it away for more than two years, deciding that it would never see publication. The time away from it actually helped me to see the story in a clearer light. When I returned to the manuscript, it all fell into place.
During those years of writing Jazz Baby, I did so in nearly complete silence. Sure, there were a few nights where I played some 1920s jazz to set the vibe for certain scenes. But silence is something I cherish while at work writing. That's because in my mind I'm building the scenes, I'm hearing the voices of the characters, I'm imagining the moment as if I'm watching a movie. Maybe all writers do this sort of thing. Maybe some can only do it with Metallica raining metal upon them. (I love Metallica. My second favorite band, right behind Led Zeppelin.)
I wrote the entire manuscript for Jazz Baby by hand. I wrote with Bic ballpoint pens (black ink) on plain white typing paper, using a piece of lined writing paper underneath to keep the sentences straight. I sat on my bed, hunched over the work, with an old high school history book and various notes scattered around me for quick and ready access into the past. I wrote most of my short stories this way, as well. It's a tough way to write. It's hard on the neck and back. I certainly don't recommend it.
As I write what's to be my second novel, I'm taking a different approach. I'm writing on a laptop these days. And I'm sitting at a proper desk, as well. Even Stephen King changed his rituals to writing. Gone are the booze and drugs. Does he still crank up the music? I know many who do. And it works for them.
So how do you write? What are your rituals? Are there certain elements needed before you feel comfortable enough to put words in the mouths of your characters? We're all different, we authors, we human beings. We're quirky and strange and maybe even a little insane. But if we find fans of our work, well, it's all going to be okay.
A few months ago, some of us writers posted comments concerning this very issue on the Koobug.com site. It surprised me that there are so many writers who can, not only write with music blaring in the room, but actually prefer this method. And they tend to put out high-quality work!
I recall reading in Stephen King's On Writing an interesting account of the author's early writing habits. These included drinking large quantities of beer, snorting piles of cocaine, and cranking up the stereo with the latest from AC/DC and Metallica, before sitting down at his typewriter and delivering some of his best work.
I scratch my head at these rituals. I won't lie; I did my fair share of booze and drugs way back in those crazy days of the 1980s. Someday maybe I'll write a post about those experiences. But for today, I'm trying to get at the heart of what it takes for individual authors to create their best work.
I've mentioned before that it took me nearly ten years to finish my novel Jazz Baby. But that's because I put the manuscript through several rewrites, changed the plot numerous times, researched the hell out of the 1920s, and eventually put it away for more than two years, deciding that it would never see publication. The time away from it actually helped me to see the story in a clearer light. When I returned to the manuscript, it all fell into place.
During those years of writing Jazz Baby, I did so in nearly complete silence. Sure, there were a few nights where I played some 1920s jazz to set the vibe for certain scenes. But silence is something I cherish while at work writing. That's because in my mind I'm building the scenes, I'm hearing the voices of the characters, I'm imagining the moment as if I'm watching a movie. Maybe all writers do this sort of thing. Maybe some can only do it with Metallica raining metal upon them. (I love Metallica. My second favorite band, right behind Led Zeppelin.)
I wrote the entire manuscript for Jazz Baby by hand. I wrote with Bic ballpoint pens (black ink) on plain white typing paper, using a piece of lined writing paper underneath to keep the sentences straight. I sat on my bed, hunched over the work, with an old high school history book and various notes scattered around me for quick and ready access into the past. I wrote most of my short stories this way, as well. It's a tough way to write. It's hard on the neck and back. I certainly don't recommend it.
As I write what's to be my second novel, I'm taking a different approach. I'm writing on a laptop these days. And I'm sitting at a proper desk, as well. Even Stephen King changed his rituals to writing. Gone are the booze and drugs. Does he still crank up the music? I know many who do. And it works for them.
So how do you write? What are your rituals? Are there certain elements needed before you feel comfortable enough to put words in the mouths of your characters? We're all different, we authors, we human beings. We're quirky and strange and maybe even a little insane. But if we find fans of our work, well, it's all going to be okay.
May 22, 2013
Another Great Site For Authors
Here's another place we writers can post short stories and info concerning our books. It's FREE! But if you desire a full experience, they offer several pay packages. Use every site at your fingertips. Use them as a network. Just click on the icon and take that trip!
Where authors and readers come together!
Where authors and readers come together!
May 21, 2013
Digging up bones
You know it's bound to happen in this era of easy access to information. I'm sure we've all done it a time or two. Some may have had a good experience, some may have found only disappointment. I'm talking about looking up old girlfriends (or if you're a woman, old boyfriends) on the internet.
It's just too easy, too tempting to let sleeping dogs lie. Especially if there lies decades between you and the last time you saw that certain person. Just Google the name, find them on FaceBook, read their thoughts as delivered through Twitter. There are just so many ways to drag the past right into the present. That's the world we live in today; technology reigns supreme, grants us the tools to make it possible.
I've searched for a few--three, to be exact. Here's what I've learned: Age does terrible things to a cute girl. Some people just don't age gracefully. But maybe that has more to do with expectations than anything else. What I mean by that is, the last time I saw these particular girls Ronald Reagan occupied the White House, Miami Vice dominated the TV ratings, and big hair ruled the club scene.
One girl, the first serious relationship I'd ever entered, was all of 16 the last I saw her. That's the face I kept in my mind's eye all these years. To see photos of her suddenly at age 45--YOWZA! Quite the shock.
My high school sweetheart did a little better in the looks department. I'd last set eyes on her when she was 19 years old. She's 44 these days and remains cute. I can still see the girl in her face.
Then there's the girl I'd lived with while residing in Florida. She, I must admit, fared quite nicely. This girl aged with grace and beauty, which I wouldn't have guessed for this particular young woman. She'd been just too wild, drinking and drugging, sleeping around. Her current photos show wisdom and lessons learned. Bravo for her!
Then there's me. How would I appear to these same woman after 25 years or longer? Would this face stuck to the front of my head shock them? I'm guessing the same shock I felt in viewing their pictures is the same they'd feel gawking at my ugly mug. Age just does things to the human body that we might never recognize if we'd been with them day after day.
So why write this blog post? Because there's a story here. It might be a short story or an essay or maybe even a novel. It's real life. Country singer Garth Brooks even sang a song about this very subject called "Unanswered Prayers."
Those of us of a certain age, we've all pondered that long-ago love, the one who saw us at our youngest and wildest. What do they look like now?
Ponder that thought, then write about it. You might surprise yourself with a great read.
It's just too easy, too tempting to let sleeping dogs lie. Especially if there lies decades between you and the last time you saw that certain person. Just Google the name, find them on FaceBook, read their thoughts as delivered through Twitter. There are just so many ways to drag the past right into the present. That's the world we live in today; technology reigns supreme, grants us the tools to make it possible.
I've searched for a few--three, to be exact. Here's what I've learned: Age does terrible things to a cute girl. Some people just don't age gracefully. But maybe that has more to do with expectations than anything else. What I mean by that is, the last time I saw these particular girls Ronald Reagan occupied the White House, Miami Vice dominated the TV ratings, and big hair ruled the club scene.
One girl, the first serious relationship I'd ever entered, was all of 16 the last I saw her. That's the face I kept in my mind's eye all these years. To see photos of her suddenly at age 45--YOWZA! Quite the shock.
My high school sweetheart did a little better in the looks department. I'd last set eyes on her when she was 19 years old. She's 44 these days and remains cute. I can still see the girl in her face.
Then there's the girl I'd lived with while residing in Florida. She, I must admit, fared quite nicely. This girl aged with grace and beauty, which I wouldn't have guessed for this particular young woman. She'd been just too wild, drinking and drugging, sleeping around. Her current photos show wisdom and lessons learned. Bravo for her!
Then there's me. How would I appear to these same woman after 25 years or longer? Would this face stuck to the front of my head shock them? I'm guessing the same shock I felt in viewing their pictures is the same they'd feel gawking at my ugly mug. Age just does things to the human body that we might never recognize if we'd been with them day after day.
So why write this blog post? Because there's a story here. It might be a short story or an essay or maybe even a novel. It's real life. Country singer Garth Brooks even sang a song about this very subject called "Unanswered Prayers."
Those of us of a certain age, we've all pondered that long-ago love, the one who saw us at our youngest and wildest. What do they look like now?
Ponder that thought, then write about it. You might surprise yourself with a great read.
May 17, 2013
Bookgoodies
Here's a great site that promotes indie authors and our work. If you haven't submitted your books or short stories yet, get cracking! This is a wonderful site designed to give your work even more coverage.
Just click on this logo and get started!
May 16, 2013
Great Sites
Just a little heads-up on a few other websites for indie authors looking to spread the word about your latest creation. I search high and low for places to post a little something about my work, look to discover other authors' writing, and generally meet those who share that same passion for the written word.
http://www.koobug.com is a wonderful place that supports and promotes indie authors all over the world. The site allows writers to post where their books are available. They provide a blog space for authors to post short stories, ideas, or just rant and rave if you like. The Koobug motto is: Koobug is about authors. They live up to this motto.
http://www.writing.com is another site dedicated to indie writers looking to share their work. This site offers a free level, which allows for the posting of short stories. But they also have several pay packages that grant greater privileges depending on the level purchased. This is a writers community, meaning your short stories are posted for potential reviews and feedback from other writers. This is an amazing site for those who are struggling with such things as sentence construction, proper usage of word, or punctuation issues. But it's also for established writers who may want to share their work and expertise with others. There are thousands of writers on this site, most willing to offer a hand where needed.
http://www.readwave.com offers writers a place to post short stories for others to read and critique. This is a site that prides itself on promoting top-level stories and writers, so have a second and third set of eyes have a look at your work before posting. Remember, proofreading is not a sin.
http://www.youngwritersonline.net offers writerly advice, community feedback, and a place to post and read book reviews. This is a growing site that really deserves any attention it receives.
There are other sites, but this is enough for now. I'll post links to others in the future. The key for indie authors is to get word out that, Hey! I've written a book! Use these sites as a network that reaches as many potential readers as possible. And above all, have fun with this journey.
http://www.koobug.com is a wonderful place that supports and promotes indie authors all over the world. The site allows writers to post where their books are available. They provide a blog space for authors to post short stories, ideas, or just rant and rave if you like. The Koobug motto is: Koobug is about authors. They live up to this motto.
http://www.writing.com is another site dedicated to indie writers looking to share their work. This site offers a free level, which allows for the posting of short stories. But they also have several pay packages that grant greater privileges depending on the level purchased. This is a writers community, meaning your short stories are posted for potential reviews and feedback from other writers. This is an amazing site for those who are struggling with such things as sentence construction, proper usage of word, or punctuation issues. But it's also for established writers who may want to share their work and expertise with others. There are thousands of writers on this site, most willing to offer a hand where needed.
http://www.readwave.com offers writers a place to post short stories for others to read and critique. This is a site that prides itself on promoting top-level stories and writers, so have a second and third set of eyes have a look at your work before posting. Remember, proofreading is not a sin.
http://www.youngwritersonline.net offers writerly advice, community feedback, and a place to post and read book reviews. This is a growing site that really deserves any attention it receives.
There are other sites, but this is enough for now. I'll post links to others in the future. The key for indie authors is to get word out that, Hey! I've written a book! Use these sites as a network that reaches as many potential readers as possible. And above all, have fun with this journey.
May 7, 2013
Book Sales
Sell, sell, sell! Sales often seem to be the overriding motivator to the indie author. We all want to see huge sales of our work, putting us in that rare position of earning a comfortable living from said sales.
But that isn't always the case. That's not even close to being a reality for 98% of us who've chosen the indie route for publishing our work. I've spoken of the struggles of self-marketing we all face--even with a fantastic tool like the internet at our fingertips. The truth of the matter is really quite simple: There are a million other authors out there scratching and clawing for a share of the book-buying marketplace. Indie book sales are on the rise, no doubt about it. CBS Sunday Morning ran a segment some months back touting the bestsellers in the bunch, quoting market watchers' claims of indie being the wave of the future, a threat to traditional publishers.
Then how come the majority of indie authors aren't seeing this amazing trend? Because there are so many of us out there. And this truly is unexplored territory, this notion of publishing and promoting our own work without a budget, without the big machinery that is able, with a phone call, to put you on Jay Leno's couch, telling all of America the plot of your latest. We have to search for sites, send review requests, and hope a handful of readers will be willing to part with the price of our work.
This notion of indie writing takes patience, determination, and talent. If your work is good, word of mouth will be a small but acceptable side effect. I've read many really good indie efforts. I've even managed to discover a few truly great offerings. Unfortunately, there are many more subpar and downright awful novels saturating this seriously clogged market.
Not to worry, though; cream always rises. If your work is good, worthy of spent money and time, it will find readers. All you need as an indie author is talent, patience, and determination.
So why do we do this? Why do we subject ourselves to the aggravation of dismal sales and those feelings of abandonment? I can't speak for all writers, but this author loves the act of creating that character and place and storyline that previously never existed. I just NEED to write. For me, it's almost as important as eating and breathing. This should be the main motivation for our creative endeavors. Sales are nice. They make us all smile when we find them. But finishing a story that excites you as the author, well, that has to be worth something, doesn't it?
We're not all going to sell a million copies and find our work atop the New York Times Bestseller list. But, hey, I'll be excited to sell a thousand copies, hear from readers who enjoyed the story, and find my name and work atop the Indie Tribe Top Ten Indie Books weekly list. If we set the bar too high, we'll surely fail. Set it realistically and we'll certainly be pleasantly surprised.
But that isn't always the case. That's not even close to being a reality for 98% of us who've chosen the indie route for publishing our work. I've spoken of the struggles of self-marketing we all face--even with a fantastic tool like the internet at our fingertips. The truth of the matter is really quite simple: There are a million other authors out there scratching and clawing for a share of the book-buying marketplace. Indie book sales are on the rise, no doubt about it. CBS Sunday Morning ran a segment some months back touting the bestsellers in the bunch, quoting market watchers' claims of indie being the wave of the future, a threat to traditional publishers.
Then how come the majority of indie authors aren't seeing this amazing trend? Because there are so many of us out there. And this truly is unexplored territory, this notion of publishing and promoting our own work without a budget, without the big machinery that is able, with a phone call, to put you on Jay Leno's couch, telling all of America the plot of your latest. We have to search for sites, send review requests, and hope a handful of readers will be willing to part with the price of our work.
This notion of indie writing takes patience, determination, and talent. If your work is good, word of mouth will be a small but acceptable side effect. I've read many really good indie efforts. I've even managed to discover a few truly great offerings. Unfortunately, there are many more subpar and downright awful novels saturating this seriously clogged market.
Not to worry, though; cream always rises. If your work is good, worthy of spent money and time, it will find readers. All you need as an indie author is talent, patience, and determination.
So why do we do this? Why do we subject ourselves to the aggravation of dismal sales and those feelings of abandonment? I can't speak for all writers, but this author loves the act of creating that character and place and storyline that previously never existed. I just NEED to write. For me, it's almost as important as eating and breathing. This should be the main motivation for our creative endeavors. Sales are nice. They make us all smile when we find them. But finishing a story that excites you as the author, well, that has to be worth something, doesn't it?
We're not all going to sell a million copies and find our work atop the New York Times Bestseller list. But, hey, I'll be excited to sell a thousand copies, hear from readers who enjoyed the story, and find my name and work atop the Indie Tribe Top Ten Indie Books weekly list. If we set the bar too high, we'll surely fail. Set it realistically and we'll certainly be pleasantly surprised.
May 4, 2013
Discovering Indie
Hey indie authors. If you haven't discovered Christoph Fischer yet, I invite you to have a look at his book-review/author-interview blog. If you're an avid reader, this is a great place to find a new book, meet an up-and-coming indie author, and maybe take a chance on a genre you might not normally be interested in reading.
If you're an author, he's the guy you want reviewing your work. But I'll warn you up front: Christoph Fischer is honest with his opinion. There's no sugar-coating his reviews. If he likes the work, he'll say so. If he doesn't like it, he'll say so. He even offers each new review/interview in an email to those who sign up for this service. So click on and discover what indie is all about.
http://writerchristophfischer.wordpre...
If you're an author, he's the guy you want reviewing your work. But I'll warn you up front: Christoph Fischer is honest with his opinion. There's no sugar-coating his reviews. If he likes the work, he'll say so. If he doesn't like it, he'll say so. He even offers each new review/interview in an email to those who sign up for this service. So click on and discover what indie is all about.
http://writerchristophfischer.wordpre...
