Susan Spann's Blog, page 31

The Mountain Subshrines of Fushimi Inari

(To start this series from the beginning, click here.)

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Although each station is unique, most feature large and small shrines:

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And places for worshippers to leave offerings (like the small red torii in these photos, each of which is an offering for Inari) or burn candles.

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Purification is an important part of Shintō worship; visitors are supposed to use the dipper to cleanse their hands and mouths (by spilling water into the hand and raising it to the lips – you never put your mouth directly on the dipper) before approaching the holy place to pray.

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After a stop to pray, refresh, and rest, it’s time to continue up the mountain – and when this series resumes on Friday, we’ll finally reach the summit of Mount Inari.

If Friday has already come and gone, click here to continue the journey!

Stopping for Lunch At Fushimi Inari Shrine

(Click here to start this blog series on Fushimi Inari Shrine from the beginning.)

Fushimi Inari’s famous gates continue all the way up the mountain.

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My favorite place to stop sits about halfway up Mount Inari, at a crossroads where a lovely traditional restaurant welcomes guests and offers amazing views of Kyoto:

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Here’s another view:

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Reputed to be a favorite of the kami Inari as well as his kitsune messengers (kitsune are shape-changing spirits that often appear in the form of a fox–hence the fox statues that populate Fushimi Inari and other Inari shrines), inarizushi consists of sweet sushi rice and black sesame wrapped in fried tofu skin:

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After lunch and a cup of tea, it’s time to hit the trail again for the next leg of our journey up the mountain. Click here for the next installment!

BookFace Friday!

I’m currently in New Orleans for Bouchercon (the World Mystery Convention) and having a great time creating #BookfaceFriday images with the fantastic cover of The Ninja’s Daughter.

And one from fellow Seventh Street Books author James W. Ziskin, author of the fantastic Ellie Stone novels…

Tune in later this afternoon (and over the weekend) because I’ll be posting more bookface photos as I gather them at the conference!

Avoiding Common Freelance Writing Scams*

Scammers and the unscrupulous flourish where dreams and business intersect, and writing is no exception. Many authors take on freelance writing opportunities to supplement longer-format writing.

Here are some tips for avoiding some of the common writing-related scams and “opportunities” that cost you more than they benefit:

1. When freelancing or writing for third-party publications, always get a written contract BEFORE you write the piece.

Many times, writers agree to work “on a handshake,” only to discover that the deal terms were not what they expected. Make sure you understand the terms, and have a written agreement (preferably a real contract, but even terms of use will do) so everyone is clear on the terms and conditions of employment.

Note: Evaluate the terms of your contract carefully, and get professional guidance if there’s anything you don’t understand. Use business judgment when evaluating freelance opportunities. Don’t sell yourself–or your work–more cheaply than you deserve.

2. When writing for pay on freelance assignments, get at least half of the money up front.

This one is fairly self-explanatory: if you get paid up front, it’s harder for someone to get away without paying for your work.

3. Never, ever, cash checks on behalf of a client or employer.

A popular freelance scam involves sending the writer a check for more than the employer owes. The employer asks the author to cash the check & return the overage…but the check was never good in the first place, leaving the author holding the bag (and paying for the privilege).

If you receive a check for more than you’re owed, ask the publisher/employer to write you a new one. You are not their bank.

4. Keep the copyrights in your work – unless you knew and agreed in advance (and in writing) to creating “works for hire.”

Most of the time, freelance authors should retain copyright in the works they create for publication. Keeping the copyright enables the freelancer to “recycle” articles (or parts of them) and keep the income cycle rolling.

However, sometimes the circumstances (topic, fee, or other business reasons) justify working on a “work for hire” basis. Be aware: when you write a “work for hire,” the copyright belongs to the person who hired you (not to you). If asked to write a work for hire, evaluate the circumstances and make a reasoned business decision. It’s not an automatic “yes” or “no.”

5. Reputable freelance clients and publishers don’t charge reading or submission fees (for articles or queries).

Submit queries and articles only to markets that do not charge fees for the “privilege” of evaluating your work.

6. Evaluate the potential employer BEFORE you submit your work.

Research the market online, or in industry guides like Writer’s Digest. Talk to experienced freelancers about how they find employment, and seek recommendations when you can.

Adhering to these tips can’t guarantee that you will never fall prey to a scam or an unscrupulous employer, but they will help you stay alert and protect your rights.

Have other freelancing tips, or things that have worked for you? I’d love to hear your thoughts in the comments!

*Today’s post is a re-post from 2015, because I’m traveling to Bouchercon in New Orleans. I’ll be back with new content next Wednesday at noon Pacific!

The Dry Waterfall at Kyoto’s Tenryu-ji

During my recent trip to Japan, I visited Tenryuji, a Zen temple and monastery in the mountains northwest of Kyoto.

The temple is famous not only for the “heavenly dragon” (Tenryu) painted on the ceiling of its worship hall, but also for its lovely botanical gardens and Zen landscape.

The primary garden at Tenryuji was designed by Muso Soseki (1275-1351, also called Muso Kokushi), a follower of the Rinzai sect of Zen Buddhism. His major contributions to Zen garden design and landscaping include the “dry waterfall”–a stone arrangement designed to mimic the appearance of water without the use of any actual water in the element.

Although I’m not a practitioner, I appreciate the meditative elements of Zen Buddhist culture, and love the beautiful, peaceful landscaping elements found in Zen gardens. They’re lovely to look at, and splendid places to sit and meditate, pray, or think, regardless of a person’s personal beliefs. Zen gardens offer a unique, relaxing, and lovely opportunity to see and connect with nature–and in that, Tenryuji did not disappoint!

Have you ever seen a dry waterfall? What you enjoy most about Zen gardens? 

*This is a re-post of an earlier post, because I’m traveling this week for Bouchercon.*

 

Creating a Sleuth Your Readers Will Love

Sherlock Holmes. Jane Marple. Jack Reacher.

Three famous names with something important in common … aside from the fact that each solves crimes in mystery or thriller novels.

What is this common element? Readers love them.

The key to writing successful mysteries and thrillers doesn’t lie in careful plotting, clever crimes, or sneaky suspects. The heart of these stories beats in the chest of the sleuth.

Everyone enjoys a puzzle, and a tightly-woven plot is important, but readers return to a mystery (or thriller) series because they want to spend more time with a favorite hero(ine). Solving the puzzle is much more fun when you “ride along” with a friend, and a well-written sleuth is a reader’s friend indeed.

Before you sit down to commit—and solve—the initial crime in your manuscript, hunt down a compelling hero (or heroine) your readers will remember long after they turn the final page.

But how to create a successful sleuth? 

Let’s look at a few of the characteristics that many successful fictional sleuths (and thriller heroes) have in common:

1. Unusual Occupations.

Mystery and thriller shelves are filled with police and FBI agents doing their best to catch the killer and save the world. But with so many “standard” crime solvers already in circulation, sometimes readers like to see a different kind of sleuth.

Brother Cadfael is a monk. Miss Marple, a widow. My detective, Hiro Hattori, is a master ninja.

Giving your hero an unusual occupation opens new worlds for the reader and offers the writer a different range of crime-solving skills to utilize.

2. Battle Scars.

In his popular screenwriting how-to, SAVE THE CAT, Blake Snyder recommends giving every character “a limp and an eyepatch” to distinguish him (or her) from other characters in the scene. That applies to novels, too; a good detective always has an unusual “tell.”

The characteristic can relate to physical appearance or you can give her a definitive tic or reaction that sets her apart. My detective, Hiro Hattori, raises an eyebrow for ironic effect. In addition to adding uniqueness, these characteristics offer effective shorthand for a character’s mood or thought.

3. A Trunk Full of Baggage.

Jack Reacher has a shadowed past, and lives like he’s on the run. Miss Marple never married, and she’s crotchety as the day is long.

Nobody’s perfect, including your hero. Everyone has experienced disappointment, injury, and broken dreams . . . your sleuth should too. Whether the suffering happens onstage or off is up to you. But readers respond to damaged heroes, and watching a character overcome her own problems to help someone else is compelling on many levels.

4. Keep the Skeletons IN the Closet (Mostly).

Good detectives or thriller heroes feel like real people, which means the writer needs to create an extensive and detailed backstory for the character.

But readers hate backstory.

Flights of memory, or fancy, interrupt the flow of the narrative and distract from the sleuth’s objective: solving the crime. The answer? Treat your detective’s backstory like a good mystery: drop some clues, but don’t reveal the entire thing.

By keeping your hero’s skeletons IN the closet, except for occasional peeks, you’ll keep your readers engaged, intrigued, and eager for the next reveal.

5. It’s Dangerous to Go Alone … Take This.

Most sleuths have a sidekick, a pet, or both, and they serve an important purpose. Pets and sidekicks humanize the hero(ine) and draw the reader closer. Incorporating one, or both, allows the writer to bring the reader right into the story, alongside the sleuth, and to see the sleuth behaving like a human being as well as a hero.

You don’t have to integrate all of these tips to create a fantastic, compelling sleuth. Select the ones that work for you, and ignore the ones that don’t. Even if you integrate just one or two, you’ll find your hero growing more intriguing, to you as well as your readers.

Understanding “Chibi” With Hiro & Father Mateo

As used in anime and manga culture, “chibi” (ちび / チビ) refers to overly-cute or child-like drawings of characters from anime, manga, or other areas of popular culture. 

Chibi are often characterized by oversized heads, childlike features, and larger-than-normal eyes (though the latter is often true of anime styles generally, and is not unique to chibi).

Hiro’s partner in crime-solving, Portuguese Jesuit Father Mateo Ávila de Santos, is slightly older than Hiro, but looks similarly young in chibi form:

Although some Western readers think it strange to consider that “comics” have such widespread popularity in Japan, anime and manga encompass far more than merely “comic books.” Graphic novels are deeply embedded in Japanese culture – and as a writer, I think it’s a wonderful thing. The fusion of story, words, and art gives storytellers a dynamic, flexible platform – I’m glad to see them growing in popularity in the United States, and hope the trend continues.

Negotiate Like a Pro (Part 3): The Negotiation

Welcome back to the negotiation mini-series!

Last week we took a look at how to create a pre-negotiation plan. To re-cap:

– Read the contract; make a list of points you’d like to change.

– Prioritize your list into deal breakers, important points, and “things to ask for.”

– Consider the publisher’s potential responses to your requests.

– Adjust your list, and strategy, to address potential publisher concerns.

Now, let’s look at tips for increasing your chances of success in an actual publishing contract negotiation*:

Publishers, like flies, prefer honey to vinegar: Be Polite.

No matter how the negotiation opens, proceeds, or finishes, you must remain professional throughout the process. Negotiations may occur by phone or by email. Regardless of method, take the time to phrase your comments in a polite and respectful manner.

Not all publishers (or their lawyers) treat authors (or agents, or anyone) with respect. That doesn’t excuse your rudeness in return. It isn’t easy to keep your temper and stay polite when the other side is hostile, condescending, or both. However, it’s the only way to get the best possible deal.

2. Pay attention to the publisher’s negotiating strategy—it’s an indicator of your future relationship.

A publisher or editor who condescends or ignores your concerns during negotiations probably won’t become more attentive and engaged when the contract is signed. On the other hand, a publisher who listens – even if the answer is no – is offering a positive sign about your future relationship.

Do not expect the publisher to grant everything you ask for. However, it’s reasonable to expect them not to insult you in the process.

One caveat: Sometimes a publisher’s attorney handles the negotiations on behalf of the acquiring editor, and the lawyer’s tactics may not reflect the editor’s normal behavior. In other words: don’t nuke a deal because the lawyer lacked appropriate social skills. (Far too many of us fall short when it comes to social niceties.)

3. When negotiating by email, remember that writing has trouble conveying tone—on your side or the publisher’s.

Text—especially simple, business-related text—can often convey a “shadow-tone” contrary to the writer’s intentions. When sending and receiving email, phrase your own words carefully and interpret the publisher’s responses generously with regard to tone. For example: “We’ve always done it this way” could be a polite explanation…or a hostile argument-ender; you can’t tell which it is from the words alone.

Proofread all negotiation emails before you hit “send,” not only for content and typographical errors but also for tone. When reading the publisher’s responses, give the benefit of the doubt with regard to tone whenever possible—and remember: don’t lose your temper, no matter what.

4. Negotiate your way through the contract paragraph by paragraph, rather than jumping around in the text.

Shortly before the negotiation, re-order your list of negotiating points to match the paragraph numbers in the contract. During negotiation, address each point as you come to it in the document. This ensures that every important point is discussed—if you work out of order, things often get missed or fall through the cracks.

5. Think on your feet—and outside the box.

If the publisher refuses your first suggestion for a contract amendment, quick thinking may help you to respond with a workable compromise.

Here’s an example: You ask to keep your translation rights. The editor refuses, saying the publishing house wants foreign language rights as part of the contract. “All right,” you say, “would you be willing to language that grants them to you for the first two years after publication, but lets me revert any unused foreign language rights at the end of that period?” Many publishers will consider—and agree to—this language.

6. Plan for more than one round of negotiations.

Sometimes, your requested changes may require permission (or consideration) by someone other than the acquiring editor. Don’t get upset if the editor tells you (s)he has to consider your request, or discuss it with the company lawyers. 

Negotiations can resolve all issues in a single shot, but far more often a publishing contract results from multiple rounds of negotiation over several weeks (or months).

When it comes to contracts, patience is indeed a virtue.

*Note: Authors often have more success in negotiations when assisted by a literary agent or publishing lawyer. I recommend that authors obtain professional contract review and assistance whenever possible. However, I’m offering these tips in recognition of the fact that such assistance isn’t always possible.

Enterprise Bridge Panels – Up Close and Personal

As I mentioned in yesterday’s post, I visited the Star Trek exhibit at Seattle’s EMP (Experience Music Project) museum over the weekend – and thoroughly enjoyed it.

One of the more interesting exhibits I didn’t cover in yesterday’s post was a set of original bridge panels from the original (1960′s) Star Trek TV series.

One thing that really stood out to me, seeing them in person: the set creators didn’t even bother to glue the pieces in a way that avoided smearing, or to keep the glue from showing on the finished pieces. TV cameras filmed with low enough resolution and detail that it didn’t matter, because the smears of glue would never show on-screen. 

An interesting reality-check for those of us who dreamed of one day sitting on the bridge of the Enterprise, watching the computer do its job! 

Boldly Going … To Star Trek at Seattle EMP

While in Seattle for a book signing over the weekend, I spent some time with a very good friend, during which we visited the Seattle EMP Museum and toured the special Star Trek exhibit currently on display.

As a long-time Star Trek AND Star Wars geek.  I enjoyed the exhibit thoroughly, and strongly recommend a visit if you’re in or near the Seattle area. For those who can’t make it in person, I thought I’d share some of the highlights on the blog this week.

Even the stairs leading to the exhibit continue the theme:

With mannequins wearing costumes originally worn by DeForest Kelley:

The exhibit also included a number of costumes worn by guest stars and secondary characters. My favorite showed two iterations of Khan Noonien Singh: the original costume worn by Ricardo Montalbán in Star Trek II: The Wrath of Khan (1982) and the one Benedict Cumberpatch wore when reprising the role in 2013′s Star Trek: Into Darkness.

and The Next Generation:

My husband and I love this particular episode so much that we have a cat named Tribble Trouble (Tribble for short).

Many of the scale models used for exterior shots in the series and feature films were also on display. The larger ones, like this original Enterprise, measured several feet in length and were hung from the museum ceiling: