Susan Spann's Blog, page 89

A Measure of Peace

Every rose variety has an individual name, granted by the developer and used by growers around the world to identify the cultivar.

One of my father’s favorites (and mine) is known as “peace.”

Just before the German invasion of France during World War II, French horticulturalist Francis Meilland sent cuttings from his newest hybrid tea rose to colleagues in allied nations, so the rose could be protected and cultivated.

The rose was officially named “Peace” on April 29, 1945, a date which coincided with the fall of Berlin and the end of World War II.

A fitting name for such a beautiful flower.

Officially, “peace” has golden petals which flush pink at and near the edges. In reality, some of the flowers (like the ones in these photos) tend to be more pink, with deep yellow at the centers. The other blooms on this plant (unfortunately, too far gone to photograph well) show more of the yellow – I’ll try to get better pictures as summer continues.

Peace looks similar to a later-created rose called “Diana, Princess of Wales.” In fact, unless you see them side by side it can be tough to distinguish the two. Princess Diana roses tend to have a lighter yellow centers and darker pink (closer to fuchsia) around the edges, whereas “peace” has darker yellow at the center and paler pink.

Both are “blended roses,” meaning the blooms have more than one major or primary color.

On this anniversary of the fall of Berlin and the end of a terrible war, it seemed appropriate to share the history of the flower … and a wish for peace – rose-scented and otherwise – to all of you.

Do you have a favorite rose variety or color? Please leave a comment and let me know!

 

http://en.wikipedia.org/wiki/Francis_...

An Interview With Deanna Raybourn

Please welcome New York Times bestselling author Deanna Raybourn, who’s talking with us today about her new release, A SPEAR OF SUMMER GRASS (Harlequin MIRA, April 2013):

A sixth-generation native Texan, New York Times bestselling author Deanna Raybourn graduated from the University of Texas at San Antonio with a double major in English and history. Deanna makes her home in Virginia, where she is hard at work on her next novel.

Paris, 1923

The daughter of a scandalous mother, Delilah Drummond is already notorious, even amongst Paris society. But her latest scandal is big enough to make even her oft-married mother blanch. Delilah is exiled to Kenya and her favorite stepfather’s savannah manor house until gossip subsides.

Fairlight is the crumbling, sun-bleached skeleton of a faded African dream, a world where dissolute expats are bolstered by gin and jazz records, cigarettes and safaris. As mistress of this wasted estate, Delilah falls into the decadent pleasures of society.

Against the frivolity of her peers, Ryder White stands in sharp contrast. As foreign to Delilah as Africa, Ryder becomes her guide to the complex beauty of this unknown world. Giraffes, buffalo, lions and elephants roam the shores of Lake Wanyama amid swirls of red dust. Here, life is lush and teeming-yet fleeting and often cheap.

Amidst the wonders-and dangers-of Africa, Delilah awakes to a land out of all proportion: extremes of heat, darkness, beauty and joy that cut to her very heart. Only when this sacred place is profaned by bloodshed does Delilah discover what is truly worth fighting for-and what she can no longer live without.

I met Deanna through Facebook (she’s very nice and approachable on social media – be sure to say hello!) and I’m delighted she agreed to join me here at the blog during the launch of A SPEAR OF SUMMER GRASS.

And so, with no further ado, on with the questions!

Where did you grow up? Will you share a favorite story from your childhood?

I grew up in San Antonio, and although I haven’t lived in Texas for ten years, I’m still very attached to my roots. I don’t have a favorite childhood story because—with apologies to Tolstoy–I think happy childhoods are often uneventful and mine was very happy.

What inspired you to start writing?

There’s a great line in TO KILL A MOCKINGBIRD where Scout says she doesn’t love reading because one doesn’t love breathing. For me it’s the same with storytelling. There was never a time that it started because I can’t remember a time I wasn’t making up stories. I do recall I was extremely relieved to learn how to print because I could finally get them out of my head and onto paper. Then, when I was 23, I reread JANE EYRE and was feeling blue that it was over. So I turned my hand to writing a Gothic novel which clocked in at 100,000 words in six weeks. It took me fourteen years to get a publishing contract, but when I did I sold three books at once and I haven’t looked back.

If you could go back in time and share one writing lesson with “new writer you” before starting your first manuscript … what would that be?

I would tell her that it’s going to be a million times harder than she’s afraid it will be. And a million times better. So she needs to put her head down and get to work because she’s got a lot of words ahead of her. I would also tell her to make friends with fear because she is going to be one of those people who isn’t happy unless she’s taking major risks so the fear will always walk hand-in-hand with the work.

Your new novel, A SPEAR OF SUMMER GRASS, features Delilah Drummond, a vain and promiscuous young woman exiled to an African estate in the 1920s while the scandal of her husband’s suicide subsides in Paris. What inspired you to select such an unusual combination of setting and era?

It sounds absurd, but when my editor invited me to pitch her literally anything I wanted to write about, that sort of freedom was almost paralyzing. So I wrote out a list of all the topics I read about for pleasure—and I read a lot of nonfiction. I had dozens of different time periods and places and events and occupations on that list by the time I finished. And then I looked for things that fit together—like “1920s” and “flapper”—and added in one item that didn’t fit at all—“Africa”. That juxtaposition of subjects made for a very interesting conflict. And since I had read a fair bit about the early European settlers in British East Africa, I knew there were some colonists who were absolutely wild. They engaged in outrageous antics and some of them were notorious long before they got to Africa. For some families, Africa was a conveniently remote spot to stash the skeletons from the family closet.

Once I knew that the bones of the story were “black sheep going into exile”, I started asking the obvious questions. “How bad is she?” “What did she do?” “Why does she do these scandalous things?” And then I began fitting together how she will react to this entirely new environment. I didn’t flesh her out hugely before I started because I liked discovering her character through her reactions to the things that happened in Africa. For instance, I had never given her a specific role in the Great War until I wrote a scene early on in Kenya where she is confronted with a medical emergency and deals with it very matter-of-factly. I tossed in a few lines about her backstory that I made up on the spot to account for her reaction, but it also locked into place another whole puzzle piece to her personality. Now that I think about it, there was only one item on the list I circled that I didn’t end up using. Originally I wanted her on a rose farm in Africa, but I ended up modifying that to pyrethrum instead.

Do you have a favorite author, book, or genre?

If so, who (or what) is it, and why? My go-to book is REBECCA. I have loved it since I was fourteen and I always travel with it. My rainy day comfort reading is either cozy, golden age English mystery or classic Gothic—anything by Mary Stewart, Victoria Holt, Agatha Christie. I’m also deeply devoted to Jane Austen. I prefer books where good always comes right in the end, although you could have a pretty spirited debate about whether REBECCA has a happy ending.

On April 1, you released FAR IN THE WILDS, a prequel novella featuring the story of Ryder White, a Canadian hunter and adventurer who also appears in A SPEAR OF SUMMER GRASS. What made you decide to tell Ryder’s story separately, and how did you decide upon the prequel novella format?

My editor invited me to write a prequel novella which I thought sounded like fun. I had just signed a contract to write four novellas attached to my Victorian series, so it seemed like a natural extension to what we were already doing. When SPEAR was finished, we started brainstorming the novella and she was adamant about wanting his story told because SPEAR is told from the perspective of the heroine. That made perfect sense to me, and while we were at a conference together, I sketched out notes on a napkin for about five minutes, pitched her the idea while she was waiting for a taxi, and she accepted it on the spot. It was that quick and painless. I went right home and wrote it up and barely touched it during revisions. It was one of those projects that ends up being pure pleasure–no doubt because I had already killed myself on SPEAR!

Do you have a favorite scene or section from A SPEAR OF SUMMER GRASS? If so (and if you can tell us about it without revealing any spoilers!), what makes that scene stand out for you? 

I’m a very visual writer; I “see” my books as I write them, and the scenes I see most clearly are my absolute favorites. When I emerge from working on them, I’m always a little surprised to find I’m actually at home and not IN my setting. I won’t give spoilers, but I will tell you that the scene depicted on the cover is one that I am particularly proud of.

What is the last book you read, and why did you choose to read it?

I just got my hands on the manuscript for Susanna Kearsley’s June release, FIREBIRD. It was extraordinary—her best yet and that’s really saying a lot because Susanna’s brilliant. And I’m not just saying that because she paid for lunch the last time I saw her.

How did you push yourself to get past difficult moments in writing and editing A SPEAR OF SUMMER GRASS? Do you have a favorite place to write or to edit your work?

I work in my tiny pink study. And when I say tiny, I’m not exaggerating—it’s eight feet by nine. I painted it pink with a pale turquoise ceiling and hung a chandelier so it’s appallingly feminine. But it’s also soothing and cheerful, and I love working there. As far as pushing myself, every single day on SPEAR was work, the bone-deep kind of effort that makes you grow as a writer. There wasn’t a syllable of that book that was easy, but I was so happy to be taking the risk of writing something so far removed from what I had done before. It was terrifying, but I’m also a slave to a deadline. I had a due date for that book, and I am always punctual with my work.

Do you have any upcoming signings or readings?

Loads!

I have upcoming events in Richmond, New York, and Houston as well as Fairfax, Virginia, and a signing with Nora Roberts at her husband’s store in Boonsboro, Maryland in July. Details on my website.

And now, the speed round:

Plotter or pantser?

Both. I’m a Gemini, so I’m of two minds. I like to have the broad strokes—and even a few very intricate details—worked out, but I never know precisely how I’m getting to my destination. Because of time constraints I was forced to pants my last manuscript much more than I ever have before, and that confirmed for me that I’m never going to be a dedicated pantser. I like a happy blend of the two.

Coffee, tea, or bourbon?

Tea, but I’m hardcore—Lapsang souchong.

Socks or no socks?

Stilettos.

Cats, dogs, or reptiles?

Dogs. Always.

For dinner: Italian, Mexican, Burgers or Thai?

I’m a 6th-generation native Texan, so I’m going to have to go with Mexican.

Thank you, Deanna, for joining us today to talk about A SPEAR OF SUMMER GRASS and INTO THE WILDS. It’s wonderful to hear more about you and your work!

A SPEAR OF SUMMER GRASS is available online and at national and independent bookstores everywhere.

 

Improving My Home … With Rose-Colored Memories

April in Sacramento heralds the end of a cold, rainy winter. I clear away weeds, mow the lawn, and get ready for hot,sweaty summer days.

In April, I also get to enjoy the first rosebuds of the season – which makes me happy every year, because I love roses and also because these roses mean something special.

I transplanted them from my father’s garden.

At one point, my father had over a hundred hybrid tea roses in a garden that stretched the entire length of his house and wrapped around into the yards on either side. He spent every weekend pruning, feeding, and caring for them. After I left home, I often visited on the weekends, and we spent many happy hours together taking care of the roses he taught me to love.

My father photographed his roses, either in early morning to catch the dew or at times of the day when the light (or insects) created an interesting composition.

When he passed away several years ago, he left several volumes of photographs that cataloged his roses – and their tiny visitors – over the years.

Rather than leaving his roses for the house’s next inhabitants, I transplanted fifty of them to my home in Sacramento. This spring, as always, they bless me with beautiful roses and precious memories.

Last weekend, when I realized I’d be writing on “home improvement,” I decided to spend some time with the roses – and my camera.

It didn’t take me long to produce more beautiful images than several weeks’ worth of blog posts could support – and to remember the joy I felt when Dad and I pruned the roses, my happiness when I brought them home, and the smiles they bring me every year when the flowers fill my yard with fragrance and with memories.

I’d call that a “home improvement” on every level.

What are your favorite flowers? Are you a “green thumb” kind of person or do you prefer your blooms in a vase?

(And, while we’re at it…did you notice the ladybug and the spider?)

Do I Need A Literary Executor?

Today’s #PubLaw Wednesday post takes a closer look at how to choose an executor (or trustee) to manage your copyrights and other intellectual property after death.

After your death, your copyrights will be owned by your heirs or beneficiaries. These are the people who inherit the right to ownership of and to enjoy the financial benefits of your work.

Unless you appoint a separate executor or literary trustee to manage your works on an ongoing basis, your heirs will also inherit the right to control and manage your creative works.

If you would like for one person (or set of people) to benefit from the works, but for someone else to handle the business issues (e.g., publishing contracts and rights management), then your will or trust needs to name a literary executor or literary trustee.

You can name one executor (or trustee, in the case of a trust) for all estate purposes, or you can name a general executor (or trustee) to handle the other parts of your estate and a separate literary executor (or trustee) whose responsibility covers only your literary and creative works. If you have a large body of works to manage, this may be the smarter choice – especially if many of those works are published and/or under contract for publication in various formats.

The general executor (or trustee, in the case of a trust) handles standard estate issues – distribution of money and personal property, probate proceedings and/or trust administration. The literary executor handles the intellectual property issues only.

While the general executor’s job may be finished in about a year, the literary executor may continue to manage creative works on behalf of the author’s estate until the end of the copyright term.

The larger the author’s literary estate, the more sense it makes to appoint a literary executor. Even with small estates, however, it makes sense to appoint someone to manage copyrights and other intellectual property, especially if the estate plan splits ownership and/or the financial benefits between a number of heirs. Appointing a literary executor can prevent disputes, streamline administration, and facilitate the copyright permissions process after the author’s death.

Next week, we’ll take a closer look at the process of choosing the right person to act as your literary executor.

Have questions about this or other copyright legal topics? Feel free to ask in the comments or tweet me (@SusanSpann) using the #PubLaw hashtag!

 

Life at a (Turbocharged) Snail’s Pace

Many people consider snails a pest, but in the reefkeeping world snails fill a vital role.

I have many different species of snails in my aquarium, each of which has a different “job” with regard to cleaning up the reef. In combination, this slow but efficient “clean up crew” will eat almost every kind of detritus and algae.

Unfortunately, they don’t always get along well with the other inhabitants of the tank. The seahorses mostly ignore the snails (except for the occasional harmless hitch on a passing shell) but I cannot say the same for the shrimp and crabs. Escargot is a delicacy in the sea as well as on land, so the snail population requires replenishment from time to time.

Last week I noticed an abundance of green hair algae, which meant it was time for a few new “maintenance engineers” – in this case, turbo snails:

Turbo snails are molluscs (gastropods, to be exact) of the family Turbinidae, genus Turbo. The earliest species date to the Upper Cretaceous period – making them an ancient, highly experienced group of algae eaters. They grow large (I’ve seen them close to baseball-sized) but, fortunately, they also grow fairly slowly.

As snails go, they’re among the most voracious – the ones I picked up last weekend have already cleared the tank of algae, leaving me in the odd – but entertaining – position of needing to feed the snails.

There are far worse “problems” to have.

What do you think about snails – turbo or otherwise? How many species of snail can you name?

 

An Interview With Robin Martinez Rice

Help me welcome Robin Martinez Rice, author of the historical novel IMPERFECTA (January, 2013)

Robin Martinez Rice was born in Oakland, California many moons ago. She earned a degree in Psychology at Mills College and her Masters of Sciences degree in Counseling/ School Psychology at Cal State Hayward. After many years as an Educational Psychologist and Marriage Family Therapist she retired to follow her dream of writing. Robin has family roots in Northern New Mexico. She has traveled back to the Southwest many times, as the magic of this place invaded her spirit. Her writing ranges from mystical tales to children’s fiction. She is currently working on a new book – Hidden Within the Stones- the story of the Crypto-Jews of Northern New Mexico. Robin lives in Northern California with her husband, their Boston Terrier, three cats, and eight chickens. She has successfully launched two children and is not suffering from empty nest syndrome.

In 1923 fourteen-year-old Perfecta makes the decision she won’t be perfect any more. A face-off with her father, Primitivo, the sheriff of the small Northern New Mexico town, seems to do the trick. But what now, with her mother never leaving the rocking chair at the front window and her father ignoring her? Surely even their harsh Catholic God doesn’t think that dancing, smiling and laughing are sins? But Perfecta knows that falling in love with the twenty-two-year-old blue-eyed Presbyterian Isaac Martinez is a sin. When Isaac leaves for California, she promises to wait for him. But has she escaped one prison only to be trapped by another?

And now, on with the questions!

Where did you grow up? Will you share a favorite story from your childhood?

I was born in Oakland, California and grew up in the East Bay (that’s San Francisco Bay). Things were great in the old days. Kids could take the bus anywhere for 5 cents, although bus fare for adults was around a dollar. It was safe enough so that we would go to San Francisco for the day, visiting the zoo or the original Cost Plus.

I remember when the first mass transit was built. BART – Bay Area Rapid Transit. I was in high school and a friend and I went out to ride it. You could ride for 45 cents if you got off at the same station you got on at. Our mothers said we could ride to the end of the line but “don’t get off anywhere and don’t talk to strangers.” First we rode south to Fremont. Then we headed north, where the train turned around at Richmond. On the way back from Richmond a man came and sat facing us, even though the train was empty. By this time we were pretty tired of riding and he made us nervous. Nudging, Yvonne, my friend, we exchanged glances which mean “How do we get away from him?” Just then he raised his hands, formed his pointer fingers and thumbs into a circle and twisted his arms so that his fingers rested on his cheeks and the circles were around his eyes.

“I see you through my magic glasses.” He leered at us.

Screaming we jumped out of our seats and raced to the end of the train and into the next car.

To this day, forty years later, whenever we see each other, Yvonne and I put on our magic glass, speak in an eery voice, and die laughing.

What inspired you to start writing?

I come from a family of story tellers. From the time I was very young I heard many family stories. When I finally learned to read (first grade in those ancient times) I began to dream in written story. I mean literally. It was as if my dreams were printed on the wall next to my bed.

Fast forward to college and a few creative writing classes. Followed by twenty-five years of writing psych reports. When I finally retired I knew the time had come to put my stories down on paper. I was hooked after the first paragraph, but I soon found out that there was a lot more to writing a novel than just telling a good story. The journey has been wonderful.

If you could go back in time and share one writing lesson with “new writer you” before starting your first manuscript … what would that be?

Go to a general workshop, one which talks about ALL aspects of writing, publishing, marketing and more. Get an overview so that you can do things correctly right from the start. There was a lot of “re-do” in writing Imperfecta. Even simple things, like not knowing the correct way to format a document for Kindle, led to having to do things twice. Much better to know what you’re doing before you start.

Your new novel, IMPERFECTA, is set in small-town northern New Mexico in 1923. What inspired you to choose this place and time?

Tierra Amarilla, the town in Northern New Mexico, is the the town where my father and my grandparents were born. Imperfecta is loosely based on my grandmother’s life and many things in the story actually did take place in this town. I still go back to visit. In fact, I have a book signing scheduled there on May 23, at Three Ravens Coffee House. The area is filled with the mystical voices of the southwest and it is a great place to be creative. The reason I will be back there is that I am writing another book which takes place in Tierra Amarilla.

Do you have a favorite author, book, or genre? If so, who (or what) is it, and why?

Geraldine Brooks. I love everything she has ever written, but People of the Book is my favorite. I love books that are non-sequential. Books that alternate between periods of time. I also love books that focus on human relationships and fears, rather than pretty prose or descriptions. Throw in a little bit of a political message and you have me hooked.

Your novel features a young Catholic woman named Perfecta, who must choose between the family and faith she grew up with and the man with whom she hopes to grow old. What was your favorite aspect of writing a novel with such a deep and emotional conflict? What did you find most challenging?

The biggest challenge of Imperfecta was cutting down my original 150,000 word manuscript! I am never at a loss for words.

I worked as a Marriage, Family Therapist and Educational Psychologist for twenty-five years. This profession gave me insight into people. I think that we all struggle with emotional conflict, and my own comes out in my writing. Many of my friends and family who have read Imperfecta say they can see me in the character. I love the act of taking conflict and showing that, even if not completely resolved, a person can learn important lessons from the trials of life.

Do you have a favorite scene or section from IMPERFECTA? If so (and if you can tell us about it without revealing any spoilers!), what makes that scene stand out for you?  

My favorite scenes are the scenes with ravens. This is because when I was traveling in New Mexico researching for the book, Raven truly became my totem. Every where I went ravens came to me. Even in the form of a magazine article about ravens in my motel room and a PBS special on TV the one night I watched the tube. After a long journey through the Southwest, I knew when I got to Tierra Amarilla I wouldn’t have any internet access. But when I arrived there was a new coffee house . . . aptly named Three Ravens. . . complete with internet and mocha. Just as the Raven guided me and became magic, so he did to Perfecta.

We all need a totem. It has been a great journey for me to have Raven to guide me. If you don’t have a totem, I suggest you get one.

What is the last book you read, and why did you choose to read it?

I read about twenty books a month. I choose books for a wide variety of reasons. Although I seldom read non-fiction, the last book I read was To the End of the Earth: A History of Crypto-Jews in New Mexico by Stanley Hordes. He is a professor in New Mexico who is the expert voice on the conversos and crypto-Jews, the topic of my next book. I read it for research purposes, but it is a pretty cool book.

How did you push yourself to get past difficult moments in writing and editing IMPERFECTA? Do you have a favorite place to write or to edit your work?

I have been writing for three years. I am happy to say there have been NO dry periods. Because I work on several things at once, if I get “stuck” I simply switch to a different piece of work. Because of Susan Spann’s great workshop on writing a business plan, I stick to a schedule. I write nearly every day, for a minimum of three hours. I also have planned hours of marketing, maintaining my website and more. I can do “busy work” when not inspired creatively. I have actually completed the first draft of five novels, and the first two books in a planned series for children. But those are FIRST draft only. Revision is not as much fun. I have found the being organized by having a bulletin board with important facts about my characters greatly reduces what I find most frustrating- remembering what I said the first time around. What color was her horse, where did he work, type things.

My favorite place to work is a yurt in Ukiah, at the top of a mountain. Fortunately for me, this place exists and is owned by one of my best friends, so I can go there whenever I want. No internet, phone or TV, just a beautiful room with a view of a pond and the mountains.

Do you have any upcoming signings or readings?

YES!

April 23:  Placer High School Auditorium – One Book One Community – Author Book Signing

April 27: Gold Country Writers Spring Book Affair, Placer Arts Building in Auburn, 1:00-4:00

May 4: Cinco de Mayo Festival in San Francisco, Delores Park 10-6

May 23: Three Ravens Coffee House, Tierra Amarilla 1-3

And now, the speed round:

Plotter or pantser?

Yikes! I don’t know what this means? I’m guessing do I stop and think or am I impulsive? Hmm . . . plotter, with occasional bouts of pantser.

Coffee, tea, or bourbon?

Coffee.

Socks or no socks?

Socks that don’t match.

Cats, dogs, or reptiles?

I’m married to a veterinarian. All of the above and a few more thrown in.

For dinner: Italian, Mexican, Burgers or Thai?

Navajo fry bread tacos rock!

 Thank you, Robin, for joining us today and telling us about yourself and IMPERFECTA. If you’d like to learn more about Robin, you can find her at her website, and you can watch the YouTube trailer for IMPERFECTA here. You can find the book on Amazon, at Harmony Books in Nevada City and through The Book Seller in Grass Valley, California.

 

 

A Salyut to Space Stations, Old and New

April 19, 1971: The USSR launches the first space station, Salyut-1.

Salyut-1 launched unmanned. Its first inhabitants arrived on June 7, 1971, as part of the Soyuz-11 space mission. The cosmonauts lived on Salyut-1 until June 30, at which time they attempted to return to earth, but perished when their capsule accidentally depressurized shortly before re-entry to earth’s atmosphere.

Six months later, Salyut-1 ran out of fuel and “de-orbited” (essentially suffering the same fate as its original human crew).

As a space station, Salyut-1 didn’t offer much room. It measured only 20 meters long and 4 meters in diameter at its widest point. But those diminutive proportions represent an enormous advance in human science and technology – it marked the first time human beings created a permanent, orbiting platform for space research.

Today, the international space station continues the pioneering work originated by the Salyut-1 and its brave, original three-man crew. The current mission (Mission 35) runs from March to September of 2013 – and if you’d like to see more, you can follow Commander Chris Hadfield’s Facebook page, which features daily photographic updates of the sights the commander and crew of the ISS see during their daily orbits around the planet.

Trust me…I’ve been following Colonel Hadfield for a while now, and his pictures are not to be missed.

A Word or Two About Seppuku

Seppuku (sometimes also referred to as hara-kiri) is a form of Japanese ritual suicide.

Throughout most of Japanese history, only samurai were allowed to commit seppuku. The first recorded seppuku was that of Minamoto no Yorimasa, a warrior and poet who committed suicide by slashing his stomach open with his sword after suffering defeat in battle.

During the medieval period, samurai committed seppuku for several reasons, most commonly to avoid being captured after suffering a defeat (in the manner of Minamoto no Yorimasa), as a penalty for shameful or criminal activity, or to expunge the shame of surviving a battle in which the samurai’s lord was killed.

Although many Westerners think of suicide as an “escape” from life, the practice of seppuku focused on honor rather than death. Seppuku permitted a samurai to maintain, regain, or prevent the loss of honor. For that reason, samurai who committed seppuku were revered, while defeated men who chose surrender instead of suicide often found themselves reviled.

During the seppuku ritual, the samurai stabbed himself in the stomach with a dagger or short sword and then made a horizontal cut across his own abdomen. (In some cases, the samurai then reached into his belly and removed his own entrails.)

As the ritual developed, a second samurai (called the kaishakunin) would sometimes stand behind the person committing seppuku and cut off the dying person’s head to end his suffering. In some cases, the decapitation came as soon as the person committing seppuku plunged the dagger into his belly, but the bravest samurai ordered the kaishakunin to wait until the dagger had completed the cut that opened the abdomen. A more painful death, but also a more honorable one.

Have you ever seen a film, or read a book, involving a samurai seppuku? What do you think about ritual suicide to purge dishonor?

Trusting … But Not in the Force (Author Trusts, Part 2)

Last week we started our examination of trusts in the author estate plan with a discussion of the four steps for selecting the right trustee.

Today we’ll take a look at how to divide your copyrights and other intellectual property within the trust itself.

Dividing your copyrights among your heirs essentially boils down to two different – but equally important – questions:

Who you want to benefit from the copyrights after your death?

and

Who do you want in charge of managing the copyrights after you’re gone?

Many authors consider question #1, but fewer pay attention to #2 – even though that second question impacts the first in serious ways.

Let’s look at how it works.

In most cases, traditional publishing contracts don’t terminate automatically when the author dies. The publisher retains the right to produce and sell the works, and the author’s heirs or estate will receive the author’s share of royalties on sales. For traditionally published authors, “inheritance” essentially means the right to receive these royalties, though it also includes the right to manage and control the contract rights that accompany the works.

If the work goes out of print, for example, the heirs have the right to contract for renewed publication – or to self-publish the works, if the heirs decide to do so.

For independently published works (aka, self-published books) the heirs can either continue self-publishing, seek traditional publication, or take the work off the market altogether.

Clearly, the person–or people–you choose to inherit your copyrights could have an enormous impact on the success (and financial payoff) of your works after you are gone.

The good news is, you can name one person (or set of people) to benefit from the copyrights and another person (who may, but need not also be a financial beneficiary) who gets to manage and make the business decisions about your works. You address this in your trust by specifying (a) who gets to benefit financially from the copyrights, including the percentages each named person receives, and (b) who gets to make the business decisions.

Remember: if you want to split the financial benefits from the business decisions, the trust must state, clearly, who fills each role.

It’s a good idea to include special language naming the person (or people) you want to control the copyrights on behalf of the estate, and to choose a person for this role who has sufficient familiarity with intellectual property (and publishing) to manage your copyrights well. You can’t control the way your works are managed after you’re gone, but you can control the person you trust to manage them on your–and your heirs’–behalf.

Have questions about this or other author estate planning issues? Feel free to ask in the comments!

The Original Ghillie Suit

In the wild, seahorses are masters of disguise.

Their ability to change color – and even shift the patterns on their plated skins – enables them to lie in wait for prey.

Since seahorses have no real defenses (and few offensive skills aside from the powerful “snick” they use to suck in food) camouflage is the seahorse’s first (and only) option, for hunting and for self-defense.

Many seahorse-keepers “lose” their fish from time to time. I’m no exception.

Cygnus and Ceti, my mated pair, tend to stay near the top of the tank and usually hitch to tubes and other inert objects. It’s not hard to tell the seahorse from the powerhead:

But Ghillie, the smaller male, is another story.

True to his name, Ghillie lives for camouflage. He’s always finding new ways to “disappear” in his environment. At first glance, the shot below contains a colony of anthelia and another of yellow clove polyps, with a sun coral off to the right:

A closer look seems very much the same (unless you see the eye and the nose between the anthelia fronds):

The first time Ghillie hid here, I didn’t see him at all until he popped his head up for his dinner.

It’s since become a favorite hiding place – in fact, he’s hiding there as I type this – and every time he pops back out, he seems to think he’s pulled a fantastic joke.

Have you ever had a pet that hides and surprises you? I’d love to hear your stories in the comments…