T.R. Robinson's Blog, page 17

Canticles: A Collection of Poetry by Leila Dutt Sen

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Poetry is not usually reviewed in this website however, due to the excellent quality of the author’s biographical account of her parent’s lives (Where Destiny Commands/The Aegis of Kali) the decision was made to take a chance and also read this collection. It does not disappoint.

Nature forms the basis for the majority of the poems with a few also drawing upon the emotions most people will encounter at some stage in their lives. Bearing in mind, as already stated, poetry is not a norm here, the quality and value of these poems may be appreciated from the following:

First, the collection is inspiring, uplifting and evocative.

Second, it enables readers to visualise the beauty and wonder of nature and the varied garments she displays herself in as well as her strength.

All, whether based upon nature or some other topic, bring an awareness, and it must be said an appreciation, of the readers own inner being (soul, spirit, etc.).

Beside being good in themselves, this poetry collection flows smoothly and would make a good introduction to poetry for anyone who has not ventured to try it before.

Highly recommended.

Five Stars (5*).

Available in paperback and digital (e-book) formats.

Amazon.com            Amazon.co.uk

Felina – A Review

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Thanks are extended to Pamela King for the following review of the fifth book in T. R. Robinson’s Bitches short story series.

 

‘Felina is the 5th book in the authors Bitches Series. They are fictional stories but based on the author’s life and the people she knew.

There are three main characters in this story. Tara is a key character in all stories and based on the author herself. She is attractive, sensible, caring and hard working.

Felina, who epitomises the theme of the series is a greedy, scheming, selfish social climber while her husband is a kind man dedicated to his family and a hardworking, generous provider.

Tara and Felina had met many years earlier at their respective weddings and meet again when Felina calls into the club where Tara meets.

The story centres around Felina’s greed, social aspirations and uncaring attitude, not only towards her husband, but also her two children.

When her husband becomes seriously ill her attitude oscillates between disinterest and pretended interest in an attempt to get him to sign the house over to her. 

The story alternates POV between all three characters but it is well written without confusing the reader.

Is she trying to poison him? I loved the surprising ending, but you won’t find any spoilers her. 

This book was provided to me for free for an honest and unbiased review.

A well written short read. My rating 4*’

Click here to see the original review.

(Pamela’s reviews of many other books are also available in this site.)

Further details, including where Felina is available may be found here.

What is an Epilogue?

[image error]This is the third article in a short series looking at book front and back matter. What is a Preface? was the first and What is a Prologue? the second.

Note: As previously stated elsewhere, this series came about because it was noted, from various comments and observations, principally in social media discussions, there appears to be a lot of confusion about the differences between some elements of book front and back matter. The confusion primarily related to prefaces and prologues however, some comments etc. imply the confusion also extends to other elements. Epilogues are one.

Definitions

‘A concluding section that rounds out the design of a literary work.’ (Merriam-Webster)

‘Short concluding section of a book etc.’ (Oxford English Dictionary)

‘A speech or piece of text that is added to the end of a play or book, often giving a short statement about what happens to the characters after the play or book finishes.’ (Cambridge Dictionary)

‘A section or speech at the end of a book or play that serves as a comment or a conclusion to what has happened.’ (Unknown)

Purpose

The primary aim for an epilogue is to bring closure to a tale where it could not be meaningfully achieved within the main text or alternatively to show what happened after the story has concluded. There are those who will say, if relevant to the story, such information should always be included in the main text. However, this is not always practicable and can lead to the overall, concluding effect of the read being diminished. The following are some suggestions of what could be included in an epilogue:

Provide rounded end: Though the ending to a tale may be appropriate and as it should be, it sometimes leaves the reader with unresolved issues and questions. Not providing a resolution or an answer can occasionally spoil the ultimate impact and effect and deter the reader from choosing another book by the same author.
Clarify discovery process: This may apply to how a protagonist reached conclusions that resolve a situation or how a detective determined who the culprit is, etc. For example, though interesting, many of the Poirot stories do not really require his detailed explanations at the end. His resume is in effect an epilogue. On initial inspection it may appear odd not to automatically include such information within a tale but, as already pointed out, it might not be necessary for the satisfactory conclusion of a story.
Outline Culprit’s end: Again not always necessary to know but may provide a satisfying conclusion for the reader e.g. whether the culprit is punished or escapes through some error, loophole or mitigating circumstance.
Complete protagonist’s story: Throughout most stories the protagonist will have faced challenges. How the events have impacted their emotional and phycological development may be outlined here. For example, have they overcome: a fear; self-doubt; a blockage; or have they grown in some way; or found success in their employment; etc. It may not always be appropriate or relevant to include such details within the body of the book.
Tie up loose ends: All major issues should have been resolved within the main book however, it is possible other, less important ones, remain outstanding. These may not require clarification or resolution to end the story but it would provide reader satisfaction to do so.
Defuse tension: Where the tale is one of excitement and action and it has been appropriate to end on such a note, the reader may feel left midair and exhausted. It would be wrong to spoil the book by inserting something nebulous at the end. Nevertheless, in care for their readers, authors may wish to help them steadily come down from their high. Adding some subsequent results, as suggested elsewhere in this list, may help.
Continue the tale: This is where the book is part of a series or where a further book, even though it may be a standalone, continues the protagonist’s or family’s story or comprises historic accounts of related events.

Naturally, the above is by no means exhaustive. The intention has been to simply provide a framework of principles which will hopefully assist authors determine whether their tale requires an epilogue and if so what to put in it.

Constraints

Bearing in mind an epilogue, in principle, is simply a clarifying addition to a book, there are some points an author should take into account before rushing to write it:

Conciseness: Having hopefully enjoyed their read, that should have ended satisfactorily, readers do not wish to be presented with a further lengthy section to wade through.
Unnecessary resolutions: Not all issues need resolving to complete a story. In fact, in some instances it may detract from the reader’s satisfaction to do so. After all in life not all situations find resolution.
Reader imagination: Throughout the author should be doing their best to engage reader imaginations by hinting at or ‘showing’ events and situations but at the same time, and in unison, they should avoid blocking it by describing everything in minute detail. The best books engage reader imagination in some way. It should be no different for an epilogue.
Value: Content must add something to the reader’s understanding of: the tale; the characters; the story’s world (real or imagined).
Not an ending: An epilogue should never be utilised for the end of the tale. Only a lazy author would do that. The story should, rather must, reach a satisfactory conclusion within the main text. As explained above, an epilogue is simply a clarifying and/or defining addition.

Of course, yet again, this is by no means an all encompassing, comprehensive list. The aim is to help authors understand the principle requirements when it comes to writing an epilogue.

Reminder: An epilogue should only be included when there is truly something of value to add. Authors should never add one just for its own sake or because they think it will look good.

Authors should also be note, many readers admit to skipping front and back book matter. Another reason to ensure there is nothing vital to the story included in either.

Afterwords

‘Afterword’ is sometimes used as a synonym for epilogue and many readers accept it as simply an alternative term. However, it turns out some consider their purpose to be very different to that of an epilogue. These people tend to define the differences as:

Epilogue – Ties up loose ends and resolves situations. Fits what has been shared above.

Afterword – Outlines: how a book came into being; the inspiration; the author’s writing journey; etc. They also state it may be written by either the author or a third party. Many would argue with these premises because they consider much of the suggested content belongs in a preface. There is no intent to try and resolve the argument here but it is worth noting, even where a preface exists, afterwords can have their place.

Conclusion

Epilogues are very much out of fashion in modern publication, along with prologues and prefaces. This is especially true in the independent author realm. Nevertheless, authors should not abandon the concepts all together. All three may have their place and may, if correctly utilised, enhance the book and reader experience.

With each, epilogues in the current discussion, there are principles authors should take into account both as to content and constraints.

As stated at the beginning, this article is the third in a short series. In fact it is the last. However, it should be pointed out there are other sections an author may, and probably should, consider for inclusion in the front and/or back matter of their books: About the Author (Short biography of the author.); Also by the Author (Other books and published works.); Dedication (Where desired and not included elsewhere.); Copyright Statement (A legal requirement if the author wishes to protect their rights.); Social Media Connections (Website, Blog, Facebook, Twitter, etc.); An Appendix (Where there are technical issues that need explaining.).

What is a Prologue?

[image error]This is the second article in the series looking at book front and back matter. What is a Preface? was the first.

Note: As previously stated, this series came about because it was noted, from various comments and observations, principally in social media discussions, there appeared to be a lot of confusion about the differences between some elements of book front and back matter. Regular readers will know a number of surveys were subsequently conduct. The results have shown there is indeed confusion in some quarters.

Definitions

‘The word has it origins in ancient Greek: ‘pro’ for ‘before’ and ‘logos’ for ‘word’. It is an opening to a story that establishes the context and gives background details.’ (Wikipedia)

‘An introduction to a play, poem, etc.’ (Oxford English Dictionary)

‘A part that comes at the beginning of a play, story, or long poem, often giving information about events that happened before the time the play, story, or poem begins.’ (Cambridge Dictionary)

‘A prologue is a separate introductory section that comes before the main body of a poem, novel, or play, and gives some sense as to what’s to come.’ (Literary Devices. com)

‘A preliminary discourse; a preface or introductory part of a discourse, poem, or novel.’ (Dictionary.com)

Note how the word ‘introduction’ and even the word ‘preface’ crop up within some of these definitions. No wonder there is confusion. (In one survey, where participants were asked where they thought some information/details should be placed, Preface or Prologue, twenty-five percent admitted, for most categories, they did not know.)

Content

Naturally, and without question, there is no need to include a prologue when there is nothing to add to the main body of work: book, play, etc. But, when one is considered relevant, what should it contain? Here are some possible scenarios:

Flash Back: ‘A device in the narrative of a motion picture, novel, etc. by which an event or scene taking place before the present time in the narrative is inserted into the chronological structure of the work.’ (Dictionary.com) This will be: an event that has lead up to the current story; something that is motivating the protagonist or circumstance; an occurrence that sets the scene for the following action; etc.
Flash Forward: ‘A device in the narrative of a motion picture, novel, etc. by which a future event or scene is inserted into the chronological structure of the work.’ (Dictionary.com) Sometimes, to make sense of what is happening, readers could do with a hint of where the action is leading. Note: Great care needs to be exercised not to reveal too much otherwise it will act as a ‘spoiler’ and ruin the reader’s experience. If that happens many readers would probably not continue reading.
Background: What is the underlying circumstance or situation. This may be where the events are concurrent with the story but not appropriate for inclusion within the main text. For example: Sometimes the historical setting needs to be established to help the reader place the action in context, or it may be a piece of key information, etc. but to include it in the main text would be distracting and diminish the story flow.
World Building: Particularly important for fantasy and science-fiction though it may be equally appropriate where action takes place in an unfamiliar district or country.
Now What?: Details of an event or action that leaves questions about what will happen next. Only if it will carry the plot and story forward.
Follow on (from previous book): Not necessarily a series. For example: T. R. Robinson is currently in the process of writing a follow up novel to novel ‘Peter’. The prologue enables relevant details, motivations and considerations to be shared so the reader has some degree of understanding as to where the current story has its roots.
Hook: It must be pointed out a prologue should NOT be used for this purpose alone. (Hooks really belong in the first chapter.) Nevertheless, if it genuinely forms part of another element (Flash Back; Flash Forward; Background; etc.) there is no reason not to utilise the prologue for such a purpose. Note: Even if included here the, or a, hook should still be included in chapter one.

Of course, the above are only suggestions. Some elements may be irrelevant or, and this is more than likely, there may be other aspects authors consider appropriate. The above are simply intended to help authors brainstorm and find elements that fit their own tales. Important: Relevance and chronology (even where the story moves back and forth in time) are essential and are only ignored at author’s peril; readers are easily put off if they discover any note of insincerity or an attempt to manipulate or there is timeline confusion.

Chapter 1

There are some authors, and a few of those who refer to themselves as writing professions or experts, who suggest, or in some instances categorically state, prologues are unnecessary. They, bluntly sometimes, declare the additional information, details, background, etc. should be included in chapter one, or in other parts of the text, rather than in a prologue. However, it must be argued this is not always appropriate because following this ethos could result in a hiatus for the reader e.g. where the tale does not naturally flow from the initial event into the body of the story. Naturally, if the inclusion of such information within the body of the text would not hinder flow nor confuse the reader, it is preferable to include it there e.g. chapter one. Prologues are simply a tool to help the author and reader where information does not easily fit into the manuscript. As with many aspects, the author has to decide for themselves.

Constraints

As with most things, there are principles authors should observe and adhere to when drafting prologues.

Conciseness: The prologue should be designed to lead the reader into the story. By nature it should be brief and to the point.
Limit: Not to include information which could be easily and effectively incorporated into the body of the manuscript.
Spoilers: Care should be taken not to reveal too much; not to undermine the tension; not to give answers to problems encountered in the tale; etc. Most of this is self-explanatory but may easily be forgotten.
Relevance: Many readers admit to consistently skipping prologues and other front matter. Authors need to ensure readers are able to immediately see the prologue is relevant to the story they are about to read. This will not be achieved if the terminology and style appear boring: in principle the text and style of a prologue should be similar, if not identical, to those of the main manuscript.

Conclusion

Prologues, in the right circumstances, are a useful tool. Nonetheless, it is necessary to take into account modern attitudes, expectations and habits. Many readers, and authors, no longer consider prologues relevant or desirable. As already pointed out, many skip over front matter material, including prologues.

Where an author concludes a prologue is appropriate, they must bear in mind the necessary constraints, some of which have been indicated above.

It is vital authors accept where information and details may be effectively incorporated into the body of a manuscript, they are! It helps no one to add unnecessary elements which will only distract and take away from the book as a whole and consequently diminish the readers experience.

Note to readers: When asked:

85% of respondents stated they would have missed something vital if they had not read the prologue; and
38.9% admitted their read had been diminished because they had not read the prologue. (There is a suspicion many of those who said otherwise (sixty-one point one percent) had not bothered to look at the prologue. May be unfair but has to be acknowledged as a possibility.)

Google Plus (G+) Closing – Are you ready?

[image error]Most will have heard by now Google has brought their closure of Google Plus (G+) personal accounts forward from August 2019 to

Tuesday 2 April 2019
( just over one week away ).

Google have provided the means for users to save a record of their G+ data (posts etc.) prior to that date: Once an account is closed all related data will be permanently deleted. Of course, it is likely users of G+ will have shared the same, or similar, posts, articles, and information in other social media accounts and may consequently not consider the loss of G+ data an issue to concern themselves about. However, there may be elements they would like to retain a record of, for example, friends etc. they have in their circles; those they follow; collections; etc. It is not intended to go into a lot of detail here. This post is simply designed to be a reminder.

The earlier article Google Plus (G+) is Closing provided some background detail as well as simplified guidance upon how to save data which, readers of this article may wish to avail themselves of.

It will NOT be possible to save and download data on or after
2 April 2019.
If you wish to save your data NOW is the time to do it!

What is a Preface?

[image error]This is the first of a short series of articles looking at some elements of book front and back matter i.e. what comes before chapter 1 and what follows after the story has ended.

Note 1: The majority of visitors to this website have an interest in memoir and fiction consequently the following discussion will primarily centre on such genre though there will be the occasional reference to non-fiction.

Note 2: This series came about because it was noted, from various comments and observations, principally in social media discussions, there appeared to be a lot of confusion about the differences between some elements of book front and back matter. Regular readers will know a number of surveys were subsequently conduct. The results have shown there is indeed confusion in some quarters.

Definitions

‘An introductory statement.’ (Oxford English Dictionary)

‘A preliminary statement in a book by the book’s author or editor, setting forth its purpose and scope, expressing acknowledgment of assistance from others etc.’ (Dictionary.com)

‘The introductory remarks of a speaker or author.’ (Merriam-Webster.com)

Preface or Introduction?

As indicated by the above definitions and others that may be found, a preface is in effect an introduction. However, within the publishing industry ‘Preface’ is the recognised and primary term when it comes to autobiography, biography, memoir and fiction. Naturally, it could also be utilised for non-fiction though there are those who consider ‘Introduction’ the more appropriate term for them.

There is a school of thought that thinks readers are more likely to read an introduction as apposed to a preface because the latter is seen as boringly highbrow. It has to be acknowledged this may be true with some modern readers. Nevertheless, it would probably only add to the confusion if authors constantly interchanged the terms.

The fact there is confusion is exemplified by one respondent to a survey, that asked where certain information should be included, stating they could not complete it because the choices offered did not include ‘Introduction’: Preface was listed as an option.

Of course this may all be academic: many readers admit to skipping all front matter and going straight in at Chapter 1.

It should also be noted not all books require a preface. In the end, as with other aspects of the writing process, it is down to the individual author to decide.

Forward

To further exacerbate the situation, some people get confused between a preface and a forward. The difference is simple:

Preface: Written by the author with information relevant to the book and themselves (where appropriate) as outlined below.

Forward: Written by a third party in support of the author and their work. These are usually by someone with a known name who consequently lends credibility to the author and their book.

Content

As already mentioned, it is not necessary to included a preface in every book. The determining factor is whether there is anything to add that informs and helps the reader.

What to include in a preface may be as varied and unique as the individual writing it. The following suggestions have been compiled from a variety of published thoughts and ideas available on the internet and from the writer’s own experience.

One important point to keep in mind: the preface should be as concise as possible. Readers may, rightly, become irritated if it is not as it is only supposed to be a brief introduction to the book.

To try and help authors determine what is right for them, some observations have been added in italics. Bear in mind, the following are only suggestions. There are no hard and fast rules.

How book came about: Why the author wrote it. Why they chose the subject. What was their motivation/inspiration.
Description of characters and theme(s): Designed to build interest (hook) so reader will continue. Should be brief and not give too much away. Alternatively author may prefer to leave such information for the synopsis and/or prologue (more about prologues in a subsequent article).
Purpose: This is especially relevant for non-fiction. However, it may sometimes be appropriate for other genre e.g. Part of T. R. Robinson’s purpose for her memoirs is, hopefully, to help others who are going through or have been through similar circumstances.
Benefits for reader: What will the reader gain from the book. What may they expect. This may be as simple as ‘have a laugh’, ‘learn what it is to survive abuse’, etc.
Author’s Journey: What they learnt in the writing. What difficulties they faced. Whether the writing has changed them. How long it took to write (May be important e.g. with biography of famous person). Etc.
Research: Obviously mostly applies to non-fiction though some fiction may also require the author to research a topic. Alternative to including such information here is for the author to utilise an appendix such as T. R. Robinson has for the novel ‘Peter’ within which numerous medical conditions are encountered.
Acknowledgments: Thanking those people; editor, friends, fellow authors, family, etc. who helped with the writing, proofreading, publishing, etc. processes. With modern publishing, especially with the advent of digital (e-book) editions and the ‘Look inside’ (sample) feature, acknowledgments now tend to be added as a separate section in the ‘back matter’. Even when included in front matter acknowledgments tend to be separated from the preface.
How to read: If appropriate (where there are special features) suggestions on how the book should be read.
Why this book: Again, if appropriate, what makes the book different to similar ones. Why the reader should choose it in preference to others.
Why author right person to write: What makes the author qualified to write the book. Will primarily apply to non-fiction though it could also apply to fiction if it deals with, or is based upon, something unique.
New Edition: This is the place to explain reason for a new edition.
Language: Clear statement of language, or version of a language, the book is written in. A reader once criticised a book for being full of spelling errors. Turned out the lady was American, where phonetic spelling is used, but the book had been written in British English.
Disclaimer: Authors need to protect themselves against accusations of error, misrepresentation or wrong doing. For example: In most of her books T. R. Robinson unequivocally represents the horrors and cruelty of participants. However, though some are deserving of it, she has no wish for them or their relatives and friends to suffer because of it. Names have therefore been either omitted or changed.

No doubt readers of this article will be able to think of other information that could be included.

Alternatives

Considering the principles of conciseness and relevance, the list of possibilities given above is rather long. Many suggest part of a preface’s purpose is to provide readers with some insight into who the author is as an individual. Not everyone will agree but even if they do it should be noted, with modern publishing ethos, there are alternatives to the preface for such information e.g. ‘About the Author’; ‘Also by the Author’; ‘Author Pages’ (in publishing sites and social media accounts); ‘About Pages’ (by linking to them in website; blog; or social media accounts). It is not proposed to discuss these elements further here beside which they are reasonably self-explanatory.

Naturally, in the end, what and what not to include is down to the individual but they should be influenced by the principles of relevance and conciseness.

Conclusion

As mentioned this series of articles has been motivated by the fact confusion, as to what some elements of book front and back matter should incorporate, exists. Regrettably this is not limited to readers: many authors appear to be just as confused. Survey results suggest, with some points, the confusion could be as high as fifty percent.

To clarify: A preface is primarily intended to be an introduction to the book, not the story though some small elements of it may come through.

It is crucial the principles of conciseness and relevance are constantly born in mind.

The original intention was to provide one all encompassing article however, there are a number of different aspects to consider meaning the resulting article would have been far too long. The next in the series will consider Prologues.

Apologies for only using T. R. Robinson examples but it was not considered fair to use other authors works for the purpose.

Author Advice for New Authors

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Author interviews are a great way for readers to get to know the person behind those books they love. They are also useful to fellow authors as a means of learning: every person is different and has their own unique method and style. The insights into persona are also interesting in their own right. One of the principle aims for this website is to assist fellow authors with their craft, consequently, as regular followers will know, a number of authors have been interviewed. One question always asked of them is:

 

What advice would you give to authors who are just starting out?

 

It is thought new authors, and even those not so new to the craft, may find the varied responses, suggestions and advice helpful. A resume follows.

Note: The order on which these are presented is not preferential. The order is simply chronological, reflecting publication date (Latest last).

Click on the author name to access complete interview.

Win Kelly Charles: ‘Find an excellent editor who is not a friend.’

Cherei Magnus: ‘Write what you want to say, not what you think will sell.’

Martha Ashwell: ‘Find a subject you believe is worth writing about. Perseverance and tenacity come in useful too. You may not get it right first time but continue to try, continue to write. Draw on your own motivation and self-confidence as a writer and see what you can achieve.’

Linda Kovic Skow: ‘Hire a professional editor. I mean it. You can’t edit your own book. You won’t see the mistakes because you are too close to the writing. It will cost you a few hundred dollars for a line editor, a bit more if you need some in-depth editing, but it’s the best money you will ever spend. I cringe every time I read a negative review where the main complaint is editing. You want readers to judge you on the content of your story.’

Jill Dobbe: ‘I would tell authors to write what you know and to keep putting words into print. Write as much and as often as you can. Look for writing contests and enter them.’

Sue Julsen: ‘My advice to people in general is to follow your dreams and never give up. This same advice goes even more so for authors. If a writer has a message to share but gives up, a story that needs to be told remains a secret and people who could have been helped continue to suffer in silence. …………

………….. If the problem is a lack of confidence, the best way I know to gain that confidence is to share your work with a published author you admire. I don’t mean a New York Times bestselling author. They wouldn’t have time for writers just starting out anyway. A self-published author you like to read is an excellent source to go to. Contact that person ask if he or she has time to read your story and give you their honest opinion. If it’s not what you expected, learn from your mistakes, but never give up on yourself or your dreams.’

Pamela King: ‘Start with something you know about so that you are comfortable with the backdrop to your story. That way you can focus on your story line and the scenes will fall into place naturally.

At the same time don’t include too many references to items that people worldwide may not be familiar with. I have just completed a book set in New York and I was totally lost when it came to mention of particular food, clothing brands and landmarks.

This is something I also learnt from you, Tanya, with my last book. It is a very Australian story about a little known state of affairs for the Australian dingo and I should have provided more background information for an international market. (It will be rectified in the next story.)’

Note: The ‘Tanya’ referred to is author T. R. Robinson (Owner of this website and blog).

Alex Pearl: ‘Enjoy your writing. Don’t be afraid to share it with others. And never be put off by rejection letters from literary agents. The best of us have received them. Even JK Rowling has.’

Aaron Blaylock: ‘Just write. Don’t worry about whether it’s good or not. Some of it won’t be. Don’t worry about getting published or discovered. You might not be. Just write. Try new things, different styles, learn the rules of writing and try breaking a few. The more you read and the more you write the better you’ll get. That’s a fact.’

David P Perlmutter: ‘Just write what you feel.’

Dustin Stevens: ‘The two biggest things are, without question, read and write. Stephen King said it best when he stated, “if one doesn’t have the time to read, they have neither the time nor the tools to write.”

As for the second part, write, and continue writing. Try new things, points of view, genres, whatever. Like anything, it is a learned skill, and it only gets better with time.’

Suzy Stewart Dubot: ‘Like singing, writing is good for the soul. Unfortunately, not everyone sings on key and the same thought can be applied to writing. Your work may not be good enough to sell, especially with so many independent writers self-publishing. Before you invest in an expensive editor, I would suggest publishing some works for free to get feedback from readers. They might say the storyline is good but it needs editing. That should tell you your next step if you really sense the writer in you.’

Lucinda E Clarke: ‘Read, read then read some more. Then write, stop talking about writing and write. Then get an expert to edit it and make it the best it can be.’

Julie Watson: ‘I think to be aware it takes a lot of commitment, time and energy. You can do it if you put your heart and soul into it. First there is the writing, then the publishing and then the marketing. All areas need your total commitment and it is ongoing. If you have a passion for writing and don’t give up, it will all be worth the effort. Also there is a lovely, supportive community of authors online that will help you on your journey.’

A. L. Butcher:

‘Write what YOU want to write, not what might be popular today.
Research the FAQs and TOS of the publishing sites (Amazon, Smashwords or where ever). Seriously. It’s not exciting but it is very useful. It never ceases to amaze me how many new writers publish on Amazon (for example) not having understood the contract, the royalty system, and the fact that Amazon does not market their book. There are always scores of newbies complaining that they are being ripped off, or their book is blocked because they didn’t take the time to learn the rules.
Research what you need for your world. I write fantasy which gives me scope to come up with some weird stuff or bend the rules with magic but a sword still hurts if it pokes in you; gravity still works; a horse can’t gallop all day; a person can still only travel so far on foot. If you decide to fiddle with reality as the reader knows it then prepare to back that up. I don’t necessarily mean you need to go into specifics about how your star drive works, or exactly what magic is doing to the space-time continuum but do keep it consistent and believable (to a degree).
Don’t expect the reader to know what you know about the world or the characters. Some explanations are needed. Work on that character building, and world building.
Bad reviews happen. Deal with it. Not everyone is going to like your work. Do you think every book you read is wonderful? Nope. So why should Joe or Joanne Reader necessarily think your work is the bee’s knees? You can’t please everyone – there will be too much sex/violence/romance/teen angst/vampires/description or not enough in the same book for two different readers. Sooner or later someone isn’t going to like your precious and that’s fine. Move on and celebrate the next person who does. Don’t reply to reviews and never ever argue. That will do your reputation far more damage than a couple of one-stars on Amazon.
Read. A lot. All the time.
Learn the craft. Take a course on grammar, creative writing, world building etc. There are loads of style and writing guides available and some are cheap or free. There are plenty of low cost or free courses.
Write because you can’t not.’

Leila Sen: ‘I don’t know if I have much advice to give, I’m still finding my feet and have such a long way to go myself! All I can say is it does take a great deal of diligence and patience, so one really should be able to enjoy the writing process. Pour one’s love of writing and belief in the subject one has chosen into creating a world tangible enough for readers to step into. And then, – oh, this is so much easier said than done! – don’t allow the rejections to get you down.’

Roundup

As already mentioned, author interviews are interesting in themselves but also provide insights and information other authors may find useful to apply to their own work. It is hoped those reading this find the titbits shared above inspiring and helpful.

Only in India by Jill Dobbe

[image error]This is the third in the author’s memoir series. Within each Jill Dobbe shares experiences encountered by her and her family while on teaching engagements in foreign lands (Jill and her husband are teachers). As the title implies, this latest memoir recounts incidents from their stay in India.

Note: Though it may help to understand the family background and motivation for moving round the world on various teaching engagements, it is not necessary to have read the previous books. Each stands upon its own merits and it does not spoil a readers enjoyment to read each in isolation.

A well written, engaging memoir that carries the reader into the events and sights without effort. They certainly feel as if they are there, in the story, with the author and her family experiencing the difficulties and joys alongside them. The mix of everyday life and holiday encounters also provides for realistic settings and participants and characters are well rounded conveying personalities and idiosyncrasies in a manner that helps the reader visualise them. Scenery, aromas, colours, etc. along with the background of social, religious, political and cultural observances and attitudes are also well presented making this a truly informative memoir. The synopsis suggests it could be used as part travelogue and, in measure, probably could be. Indeed the reader learns a lot about India and its varied peoples and nationalities.Indian

Thankfully, Jill and her husband are both blessed with a sense of humour which is just as well. Without it they may not have survived all the difficulties and unaccustomed attitudes encountered. Among the incidents rencountered with wit, in this third memoir, are: being overrun by ants; the author’s husband having to manoeuvre round monkeys blocking his running path; and trekking to purchase a Tibetan doll (having naively perhaps, thought the destination was just round the corner). Unfortunately, there are also the more horrendous observations of abuse and manipulation such as, parents intentionally maiming their children to get more from the begging they are forced to do.

It would spoil it for potential readers to say much more. Anyone who has the least interest in India or just in memoirs, is recommended to read this book.

Four Stars (4*).

The book is available in paperback and digital (e-book) format.

Amazon.com         Amazon.co.uk

Why Authors need to get their First Draft Finished

[image error]Whether experienced or not, all authors need a first draft. Why? What is its purpose? What is a first draft? Questions the following discussion is intended to address.

Until a first draft is finished, whether it be a book manuscript; magazine article; newspaper column; social media post; etc. the author or writer has nowhere real to go. Primary emphases and energy must therefore be on getting that first draft finished.

What is a First Draft?

‘Draft’ = A preliminary version of a piece of writing. (Oxford Dictionary)

Ideas for a story or any piece of writing, commence within the authors/writers imagination/mind. That is fine and good but until the first draft is written they really do not have anything to work on. Most people appreciate unless thoughts are extracted into a more physical form they tend to circulate in a never-ending cycle that rarely reaches a resolution. The first draft:

is where the author gets their ideas out of their head;
encapsulates the tale’s skeletal structure;
represents the story’s building blocks.

Until authors free their minds from these circulating considerations they are unlikely to be able to progress: the mind, no matter how high the IQ, has its limitations.

What is the purpose of a First Draft?

The first draft enables an author to:

Organise their thoughts.
Develop the story.
Get to know their characters.
Discover whether the plot works.
Identify plot/scenario errors.
Develop an appropriate POV (Point of View).
Identify where the story may be going off track.
Recognise if there are unnecessary sections (padding).
Find their unique voice (how text and story are presented).
Create a basis for proofreading and editing.

Almost by definition a first draft is messy, disorganised, rough. But that is its purpose. Until the author has something written they have nothing to work on. In addition, until they get the revolving thoughts out of their head there is rarely room for new ones to enter. Most will acknowledge, no matter how well they have planned their book, it is at this stage they are able to develop the story and identify problems with flow, plot, character, etc.

Writing a First Draft

The first draft is only for the author. (There is no intent for others to see it.) It is the start of the writing process. It is where the author tells themselves the story.

To write an effective first draft the author should:

Concentrate on getting the words out without concern for anything else.
Allow imagination to run wild.
Not worry about quality of writing.
Forget introduction; preface; synopsis; etc.
Disregard research requirements. (These may be listed for future action.)
Avoid temptation to edit or refine.

The first draft forms the basis for subsequent development, proofreading and editing.

Hinderances to completing First Drafts

Authors, and not just those new to the craft, frequently publish concerns and requests for help (in author groups and social media) with regard to the completion of their draft manuscripts. Why? What is it that concerns them? What is it that is holding them up?

So called rules?
So called ‘writer’s block’?
Drained inspiration?
Lack of ideas?
Life demands/priorities?
Word Count?
Tiredness?
Other story ideas?

These are just some ‘off the top of the head’ suggestions. Of course there are others, many unique to the individual. The list is simply designed to get reader’s thoughts going. It is not intended to enlarge upon these issues which are primarily self-explanatory.

Whatever their particular hangup, authors need to ignore and overcome such hinderances. Their aim must be to get that first draft done. Thereafter they have a unique tool for developing the manuscript into a valid, quality, acceptable book.

Conclusion

Without a first draft most authors will be stuck. Leaving thoughts and ideas to circulate indefinitely within their minds will result in a blockage and prevent them from being able to develop the story or idea. This applies to all books: fictional and non-fictional.

All concerns for quality, style, format, etc. should be put aside until the first draft has been completed. It is the first draft that will subsequently provide the basis for development and enhancement.

First drafts are valuable and should never be overlooked.

Writing Rules – Do Authors Have to Adhere to Them?

[image error]Reference to ‘Writing Rules’ regularly appears in author and writer related discussions, posts and articles. Nevertheless, the so called ‘rules’ are not usually listed, leaving readers with no option but to surmise what they are.

It is in fact not easy to find such a list, however, a search of the internet, and through multiple websites and blogs, has enabled the following summary to be put together. Of course there may be other ‘rules’ readers of this article may consider merit inclusion but for the purpose of this discussion the following provide an effective basis. The so called rules (10), together with some brief observations:

Rule 1: Write what known

Naturally, the ethos behind this makes sense however, it can be limiting. Everyone starts life with a primarily blank canvas. Of course, there will be some character and personality traits but overall all subsequent knowledge is gained through example, education, training and research. There is therefore no reason an author cannot research a subject they previously had no knowledge of.

Rule 2: Hook readers on page one

Again, this is understandable. However, a few observes have noted, some author enthusiasm for this precept has lead to confusing, muddled, unclear opening chapters. Going strait into action without some degree of background may bewilder the reader or present them with distracting questions. Of course, there are occasions when this is not the case. Where it is appropriate to include some background description the author needs to ensure it is not too wordy though, at the same time, they should make certain there is sufficient for the reader to make sense of the action.

Rule 3: Show, don’t tell

This particular ‘rule’ is consistently quoted as a must. Everyone understands the principle is, without question, a good premise nonetheless, not everything can be seen, felt, smelled, tasted, etc. To try and ‘show’ such things would simply end with confusing and undoubtedly longwinded explanations that detract from, rather than enhance, the reader experience.

Rule 4: Write ‘xxxxxx’ (poor quality) first drafts

Why? Inevitably first drafts will, at least in most cases, be rough, scrambled, and messy. But that is the nature of them. And, yes, the tale, plot, presentation (form and insertion point) will evolve, but it would be wrong for the author to aim for a ‘xxxxxx’ first draft. It may end up being such but in the end it is of little consequence. The first draft is there to help the author collate their ideas and to form a basis for editing.

Rule 5: Write everyday

Many support this practice as a way of keeping the flow going and to prevent, or overcome when it occurs, so called writer’s block. It is a useful practice authors are recommended to aim for. However, priorities must come into play here. Life with all its elements of family, employment and other responsibilities has to be taken into account. Sometimes it is not possible to find writing time within each and every day. This is okay. There is no need to feel guilty, provided these are not being used as an excuse (as opposed to a valid reason) for not writing each day. There are also those authors who, suffering lack of inspiration in a particular day, find forcing themselves to write is counterproductive though for most doing exactly that is what is needed.

Rule 6: Kill the darlings

No, not the characters, though may be suitable in some circumstances. ‘Darlings’ refers to those sections the author has worked hard over and consequently ‘loves’ but which do not appear to add to, or progress, the story. Many authors acknowledge how difficult this can be. Of course, it may not always be necessary to remove these sections, if, by enhancing or changing words or phrases, they can be made to support the tale. This requires self-discipline; it is only natural to want to retain those elements into which sweat, tears and hard work have been invested. However, overall and throughout, the author should be keeping the reader in mind.

Rule 7: Develop a thick skin

Everyone is unique and different with consequent varied likes and dislikes. It is never possible to please all of the people all of the time. Criticism, of one kind or another, is therefore inevitable. Some chose to develop a ‘thick skin’ as a means of protecting themselves against such criticism. However, this is a mistake. Naturally, no one likes to hear or see their ‘baby’ damned but they miss out if they do not listen to what is being said: this is simply another avenue of learning. If several readers are saying the same thing then it is probably a true reflection. The author should take note and re-exam the text. Of course, where the criticism is malicious the author has every right to ignore it.

Rule 8: Silence inner critic

Anyone who seeks to produce anything worthwhile posses a self-critical element. In addition, every writer has a built-in editor. Without it they would not have the ability to chose relative word or phrase alternatives. Beside anything else, most will acknowledge it is hard, and probably not entirely possible, to subdue their ‘inner critic’ and may well not wish to. If it can be done then there is no argument, it helps, especially in the initial stages.

Rule 9: Read in same genre as write

Without question, authors should be reading books in the same genre as their own but not to also read in others deprives them of a learning opportunity. As unique individuals, each author has their own style and presentation method and genres tend to have their own format from which others may learn. From reading these authors may find new insight into how to present their own tales. There is also the benefit of resting their own minds and of general relaxation while enjoying entertaining tales. Everyone needs a break from the everyday now and then.

Rule 10: If want to get rich, do something else

Admittedly, in the modern independent (indie) author publishing industry statistics support the implication. However, there is no reason, with a willingness to learn and work hard, for an indie author not to find success. A handful have found international fame with some of their books also being made into blockbuster films. Yes, it is true most will not meet with great success but then it is assumed they are writing because it is in them to do so. They should not deprive society by giving up.

Roundup

Grammar rules have not been forgotten but as this is intended to only be a basic, simplistic look at the subject of ‘writing rules’ they have no place here.

Appreciated the observations and explanations included under each rule above are minimal though it is hoped they help readers comprehend the nature of each rule and whether they really have to be adhered to.

An important point to note: trying to always follow other people’s advice may sometimes lead to a confusing, muddled manuscript that readers will find difficult and may well cause them to cease reading. Not something an author wishes for. Advice should be considered and if it is a good fit adopted but not slavishly.

Perceived and frequently referred to ‘rules’ should always be considered however, in the end it is for the author to determine what is best for their book and reader (not their pride).