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Flash Fiction and Revelation

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A life of integrity is the most fundamental source of personal worth.
-Stephen Covey

While sorting through old notes for a novel-in-progress, I encountered a tattered-edged piece of construction paper covered in hasty script, portions scribbled out or marked through. It is a writing warm-up assigned in a former writing group. I don’t recall the specific list of words or themes we were required to incorporate; however, given a few word and phrases that I would not normally use together i.e. unicorn and Don Corleone, I can guess.

We’d create eclectic lists of items, names, story elements, etc., and then we’d write furiously for, say, fifteen minutes. Our goal was to create a scene or a complete story within those limits.

I rarely met the goal, although tantalizing ideas might arise from the unexpected mix of elements.

The one written on construction paper is almost a complete flash fiction, and the ending line is an unconscious reflection of my own childhood (and grownup) feelings of being value-less and a failure.

Heartbreak.

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“Little Johnny!” Mrs. Callahan called from the apartment window and pointed toward the playground. “Yer kid’s stuck again!”

Johnny was no longer the neighborhood wimp, but he was still saddled with a nickname no self-respecting fortysomething would answer to, unless he was gangster for Don Corleone.

Sighing, he veered from the sidewalk and jogged toward the weathered playground equipment. The colors had faded on the plastic slides, and the paint was chipping off the swingsets.

“Lily!” he called. “Lily, it’s Daddy!”

A muffled sniffle betrayed his daughter’s hiding place. He crossed the spongy woodchips and rapped his knuckles gently against the plastic tunnel that linked two halves of the play fort.

“Go away!”

“Are you hurt?”

“I’ll get out by myself!”

Lily, unfortunate child, was as plump as he had been at her age. Why she insisted on playing in this tunnel, he did not know. It was as if she refused to acknowledge the impossible physics. Her girth would never sausage its way to the other side, but she seemed determined to make the tunnel conform to her dimensions.

His heart ached for her. If only her beloved fairy tales were true — “Oh, look! A unicorn has come to grant a wish to a pure-hearted little girl!” — except that his wish for her wouldn’t be the ability to traverse the tunnel but to see her own worth.

c. E. Easter

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Create Anyway

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Could you live your life in obscurity?

Could you — would you — still write, paint, draw, sing, act, dance, compose music, play music, take photos if no one ever knew your name? Never discovered your art?

What if you somehow lost the ability to write or play the music you hear in your head? The images you see? The stories you imagine?

What if you were crippled by arthritis, lost your sight, lost your hearing, lost control of part or all of your body, lost your vocal cords or damaged them just enough to still be able to talk but not to sing? What if you started to lose your mind, and you knew it?

Would you consider your efforts vain? If you lost the ability to create before what you had already created was discovered, would you consider your life wasted?

They’ve become almost cliche, as many times as they’ve been passed around the internet, but these words* written on the wall in  Mother Teresa‘s Calcutta orphanage still resonate with me:

People are often unreasonable, irrational, and self-centered.
Forgive them anyway.

If you are kind, people may accuse you of selfish, ulterior motives.
Be kind anyway.

If you are successful, you will win some unfaithful friends and some genuine enemies.
Succeed anyway.

If you are honest and sincere people may deceive you.
Be honest and sincere anyway.

What you spend years creating, others could destroy overnight.
Create anyway.

If you find serenity and happiness, some may be jealous.
Be happy anyway.

The good you do today, will often be forgotten.
Do good anyway.

Give the best you have, and it will never be enough.
Give your best anyway.

In the final analysis, it is between you and God.
It was never between you and them anyway.

I used to work at a nonprofit organization dedicated to serving the youth of the local community, and I posted those words often. Sometimes I’d catch kids looking up at the bulletin board or stopping outside my office window to read them. We didn’t discuss them much — kids will often absorb more via osmosis than they will by being lectured — but I referred to them on occasion when having to correct one of the members.

Had to remind myself, too, of the merit in pressing onward when life is bleak and there seems to be no reason to keep striving.

One of my early freelance newspaper articles involved an interview with a man suffering from MS, unable to physically write and barely able to shift himself from his bed to his chair, and yet he wrote stories by using a speech-recognition program on his computer.

A large writing group I once joined was led by a woman whose spinal and hip bones were deteriorating, and whose hands and wrists were arthritic, and yet she wrote in short sessions, refusing to give in to the inevitable.

A few years later, my critique buddy was a seventy-something alcoholic novelist whose anger and depression and regrets — the things he said he didn’t carry but which were evident in the stories he told — compelled him to write.

Via social media and e-zines, I have met several fellow writers suffering physical difficulties that not only impede their ability to interact in society, but also often obstruct their ability to write.

There was a long stretch of time when I, too, was barely able to function physically or mentally, and had to crawl back toward the light. At the moment, I’m in a greyness, a struggle with body and mind, that dims the light. And yet forward I must go.

Many creative folk I’ve known have been almost desperate to finish their work, “just in case”.  One writer also painted, and wanted to leave a legacy for her children and grandchildren. Another wanted to tell her mother’s story.  Another — one among myriad, I suspect — strove to fulfill a youthful dream set aside to raise a family and live her life.

Artist, singer, author, and speaker, Joni Eareckson Tada, is also quadriplegic, an inspiration and an encourager wherever she goes. The great composer Mozart died before he could finish Requiem, and Beethoven went deaf and became suicidal, thinking he no longer had a reason to exist — and yet he composed some of his most widely-recognized work after his hearing declined, including his Ninth Symphony and its famous “Ode to Joy” passage.

 

Keep going.

We cannot but create.

“We are all pencils in the hand of God.” -Mother Teresa

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* Click here and scroll to the end of the page to read The Paradoxical Commandments written by Dr. Kent M. Keith, upon which Mother Teresa’s version is based.

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Other Worlds: What One Reader Wants in Fantasy Novels

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NOTE: In the post below, dated originally in September 2015, a Penworthy member writers about what he/she looks for when reading a fantasy tale. Although this was written last year, it has languished in the “drafts” folder so long that we don’t recall which of us wrote it. 🙂 Therefore, Elizabeth has edited it lightly and added paragraphing, and we hope you enjoy what you read.

A group I’m in has issued a prompt for readers to tell what they’re looking for in fantasy stories. The following three criteria are the main ones by which I judge all the stories I read, regardless of genre. (Readers be advised, this is a long post.)

3) Setting: there are two aspects to this. I care about not only how the setting is built, but also how it feels.

The time and place — the universe, if you will — in which the story is set is not required to obey the real-world laws of science, but it must remain consistent with itself. The rules by which the universe operates must be clearly laid out and then obeyed. Rule-bending and seeming contradictions must be rationally explained.

The world as a place should also give me a feeling that it’s many times bigger than whatever portions we see in the story, just as the real world is so much bigger than the portion any one person can see, visit, or otherwise experience in a single journey or lifetime. Even if the story is set in a place that’s completely “unrealistic”, I want it to feel real enough that I could plan a vacation there (or a detailed escape plan, as the case may be).

2) Storytelling: However the story is told — first, third, or even second-person, past or present tense, fantasy or sci-fi or mystery or any other genre — it must flow smoothly. As with above, there are two sides to this aspect: the mechanical construction and the semi-nebulous “story-feel”.

In regard to mechanics, choppiness and unusual constructions only work if properly and consciously manipulated. Prose is as much an art as poetry, and should be crafted as carefully. Stories should be written in a way that strikes the ear pleasantly when spoken aloud, since a reader hears the story recited in his own voice even if he does not read it aloud. The sound and cadence of a story don’t spring to the forefront of my attention on a casual read-through, but after I’ve finished reading, when I’m trying to analyze why I like or dislike a story, the flow of the words and the flow of the action almost always factor in. The sound of the words affects the image that forms in my mind. The right sound, the right flow, the right imagery: these things can cause the words on the page to fade away, so that what I see is not the words on the page, but the story itself playing out like a movie in my mind.

Concerning feel, the main thing is balance. Action and calm, lightness and seriousness: these should be woven together smoothly and in proper proportion to the type of story. Characters the readers are supposed to take an interest in should all be given enough page time to properly develop, and should all have equal (but distinct) roles in and influences on the outcomes of events. However neatly-constructed the setting, and however beautiful the prose (and however engaging the characters, see Reason 1 below), a story will not be worth a re-read unless it’s actually a good story.

I have no problem with tropes such as the coming-of-age journey, the dashing knight rescuing the fair maiden, or the Chosen One versus the Evil King; however, I’m also drawn to fresh and unusual concepts. But whatever the basic idea, the story must be told in an interesting way. Every scene has to matter, and every situation should be approached in a creative fashion. Even when using tropes, originality is a must, and subverting the expected is especially desirable.

1) Soul: The most important point on my informal mental checklist, the thing that draws me in to a story and keeps me reading, is the people. I want to see characters to whom I can relate. This is one of the most-repeated pieces of writing advice, but that doesn’t make it any less true: Strong characters are the heart and soul of a good story. I can’t love a protagonist unless I can get inside his head, understand what he wants and why, and sympathize with his struggles. Likewise, the villains I love to hate are those whom I understand. Show me what drives a person, and I’ll care about what happens to him.

All of the above is achieved only when an author gives his character a “soul”.  A character must be put together like a real person, with real needs and desires, and flaws that are believably balanced with his good traits. The best character development is accomplished when a person is revealed to the reader slowly: At first, we see just enough to make us interested in the person, but details and histories are revealed slowly, tentatively, much as a real person gradually opens up to a new friend.

When characters are realistic, I cannot help but care about their futures.

When I care, I want to know what happens in the whole story.

Then, even if I never read the book again, even if I forget the title and the author and the characters’ names, a good story will stick with me in the form of people — friends, of a sort — whom I remember for years after.

In summary, here’s a short version of my list, in order.
1) Characters matter the most.
2) Style matters a lot too.
3) World-building also matters.

On a side note, this is the first time I’ve ever put these ideas into words. Funny, how long it can take to put one’s thoughts into shareable form. 🙂

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Author v. Editor

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In response to a request for suggested topics to be included in a book, a conversation thread started in a group on Facebook as writers and editors weighed in with advice about the author/editor working relationship.

KB: “Patience, grasshopper!” Many writers I’ve worked with are first-time authors, and they’re unfamiliar with the process, the back-and-forth of revising, of how long that process can be and how many times a book may need to be proofed, edited for content, re-read from the beginning, etc. They don’t set the book aside for a time and gain a new perspective before working on it again. Rather, no matter my advice or encouragement to wait and do the hard work, they become frustrated and anxious, and often send off their book to publishers or they self-publish long before their work is ready.

EAP: When working with a publisher’s editor, first thing the author should determine (and this is mostly based on feeling) whether the editor/publisher is receptive to ANY form of author’s input and/or objections. If not — well, there’s only two choices for the author: withdraw you book (often not possible) or go with everything the editor wants. If the author feels strongly he/she will not be able to work with the editor, he/she can ask the publisher for book-contract cancellation…

If, however, you are assigned an editor who is ‘willing’ to discuss your (author’s) objections, then you need to choose – and choose wisely here I say – which things you’re going to quibble over… Pick your battles…Then make a case for why you want to keep what the editor wants you to change or delete. 

While most of the editors profess to be working from the Chicago Manual of Style nothing could be further from truth. I’ve yet to meet two editors who agree on placement of commas. So, whatever small punctuation changes the editor wants, go with it… After all is said and done, do the professional thing and thank the editor for all his/her hard work and then do some soul-searching. Do you want to remain with this publisher or find another one or go solo? It’s actually a good place to be.

KB: When I was an editor with a publisher, I was the tough guy who had to tell authors to make significant changes — not because I was trying to make over their work in my image, not because their work was terrible, but because they were writing historical fiction and therefore needed to be true to the eras. One concerned the settling of the American West, and was crammed full of cliched characters and events that were more Hollywood than history. The other book was set in Israel during the occupation by the Roman Empire, and the author tried to turn Herod into a more personable guy than he really was.

So good editors will tell their authors the hard truths, even if those authors cry to me on the phone and later complain to the publisher, as the above two authors did. The first author backed out of her contract, because — in her words — her book was perfect as it was. The second author was going through other stresses in her life that added to her resistance to change, and she cried often, but she eventually made the changes because (I hope) she saw that I had only her best in mind.

I wanted more from these authors than they were willing to give. That, I think, is often a source of contention. The author’s vision (what he thinks he’s written) can be radically different from what the editor actually sees on the page. Therefore, in the author’s mind, the editor is just obtuse and irrational, and in the editor’s mind, the author needs to knuckle down and get it right. Somewhere between them, they can hammer out a pretty darn good novel.

PEH: The manuscript is like the author’s child, and the editor is like a teacher. The same way a teacher improves upon a student by giving him or her knowledge is how an editor works with the manuscript. The teacher is just making that student better.

Questions, suggestions, advice? Continue the conversation in the comments below!

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Penworthy Press Presents: Dragon’s Rook by Keanan Brand

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The Penworthy Press collective—sounds like a cult, doesn’t it? But we’re just writers, honest!—announces the first book published under our logo:

Dragon’s Rook, book one of The Lost Sword duology by Keanan Brand.

This epic fantasy tells the story of two kingdoms at war. The kings are brothers-in-law—Morfran’s late wife was Damanthus’ sister—but the conflict has nothing to do with family and everything to do with the Territories, a long strip of forest and hills ruled by neither kingdom. The people there govern themselves, but have no standing army.

When Morfran’s soldiers invade, a young shepherd name Gaerbith journeys to the Dissonay capital and begs help of Damanthus to keep the Skardians at bay.

Disson engages Skarda in war, and pushes the invaders out of the Territories and back into the western Plains of Skarda, near the Highlands, a hallowed and feared place where the dead are said to dwell.

When Dragon’s Rook begins, the war is at an impasse. Both sides have lost heavily, and ground has been neither gained nor given in a long while. Gaerbith is now a seasoned soldier and captain of the Fourth Lachmil. His skill in battle has gained him a reputation as possessing magic, but anything special he attributes to the fact that his mother was a Keeper, one of a group of immortals charged with keeping the Great Archive, a storied trove of learning and art that many think is just a myth.

His mother, Uártha, entrusted him with a secret that can only be unlocked when he takes the oath of a Keeper: the hiding place of Azrin, the lost sword of Kel High King, who in ages past slew a Dragon and freed the people.

Yet, even if Gaerbith takes the oath and learns the secret, he can do nothing without Kel High King’s nearest descendant, the only one to whom the sword will answer.

Dragon’s Rook is the name of a cave in Kel Tor near the village of Shea, where a blacksmith lives. He possesses a dagger decorated with the same metal from which Azrin was forged, and he remembers nothing before the day the previous blacksmith found him as a child and took him in as an apprentice.

Kieran Smith and Captain Gaerbith set out on unexpected journeys—the blacksmith to learn who he really is, the soldier to do his duty to a king—and along the way they face great foes, make new allies, gain love or lose it, and must decide whether or not to do the most frightening thing of all: trust their lives to the leading of the Voice.

Dragon’s Rook is currently available as an e-book (visit Keanan’s website or his blog to select which version you prefer), and will be coming soon in paperback.

The cover art and design are by another member of the Penworthy Press collective: artist and writer, Suzan Troutt. She can be found at Gothic Tones blog, at her online jewelry shop, or at Jade’s Journal.

Advance readers have commented favorably on the cadence and detail of the writing, and on the characters, especially the female protagonists. Some readers have selected the story’s quieter moments—not the battles, not the wonders, but the human interactions—as some of their favorites.

Although there are fantasy tropes and archetypes in Dragon’s Rook, there are few mythical creatures—aside from Dragons, there are bloodthirsty giant crows called Nar’ath, invented for this story, but expect no dwarves, elves, ogres, trolls, and the like. The author freely admits to the classical influences of Tolkien, Lewis, folklore, mythology, and the Bible, and built the world of Disson and Skarda on a mix of American and European geography, but weaves a story all his own.

We at Penworthy Press are proud to present this novel to the world. May it and its successors bring joy to their readers for many years to come.
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Novel v. Sermon

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Last week, I posted this on Facebook:

If you’re a believer of XYZ faith, and you want to preach a sermon, find a pulpit and do so.

If you’re a writer of XYZ faith, tell a story.

Let your faith inform your story if you’d like, and let there be characters who practice that faith, but — please — don’t make folks of other beliefs into caricatures or idiots or villains simply because they believe differently.

And avoid proselytizing. Don’t lure readers with a promise of a good yarn, but then turn the tables on them and present a sermon instead.

They won’t praise you. They’ll distrust you.

There’s not much more to be said, I thought at the time, and that post sums up my thoughts.

Since then, however, this has been kicking around in the back of my mind, like a restless kid shuffling back and forth and playing kickball with rocks because his friends haven’t shown up yet on the playground.

I am a Christian. I am not ashamed of that, nor do I hide it.

Yet, due to other folks’ experience with people sporting the “Christian” label, I am sometimes hesitant to use the word:
1) Will they shut down and refuse to speak with me?
2) Will all their prejudices or poor encounters come rushing to the fore, creating a boundary that doesn’t need to exist?
3) Will they assume that anything and everything I write is a sermon? And do they expect me to start sermonizing right now?
4) What do they think a Christian is? An ignorant backwoods hick who believes in fairy tales? A self-righteous loudmouth? A corrupt individual who uses the gloss of religion to hide his misdeeds? A hypocrite? A prim prude who thinks she’s perfect?
5) Will everything I do or say be measured by their assumptions or misperceptions of what a Christian is, and therefore they will obstruct or impede my endeavors because they’re already predisposed to dislike or misjudge me?

But despite my hesitation — and all those questions zooming through my mind — I declared myself a Christian to a couple fellow writers who are of different mind, and their stories reflect those beliefs and questions, just as my stories reflect mine.

The conversation came about because one writer said she was considering modeling a shady and powerful organization after Christianity and/or the Catholic Church (I forget which precisely — the conversation occurred a few weeks ago). I asked her why, but she really wasn’t sure yet on some of her world-building. Knowing she is an atheist who has had poor experience with some bewilderingly clueless Christians, I cautioned her against turning a religion into a villain simply to jab at its adherents. After all, it’s not original, and it makes her story snarky, ugly-minded, and not the interesting, darkly funny, unusual urban fantasy that we’ve been reading in our writers meetings.

But, let’s be honest, we Christians do ourselves no favors when we puff ourselves up and expect everyone else to operate according to our (flawed) parameters. We do not reflect well on Christ when we flaunt our Bibles but misbehave in public. Or when we writers try to hook readers with the promise of an international spy thriller but we pull the ol’ switcheroo, story suddenly becomes sermon, and everyone is “saved” by the end of the book. Or when only the Christian characters are wise and good and noble. Or when the Christian characters can do no wrong and always make the right decisions.

Wow, are Christian characters often the least interesting ones. And, wow, are the other characters often cut-out caricatures — insulting, shallow versions of reality so we can play the puppet-master and make everything come out just the way we’d like it.

Oh, and God thinks like we do.

It’s the same thing that nonbelieving writers sometimes do: Make God in their own image — or their version of what they think He’s like — and then turn believers into bigoted, wishy-washy, whiny, or arrogant cartoons. *

Such storytelling serves no one but the readers who already agree with XYZ stance. If those readers are your intended audience, then your field is narrow, because it excludes the broader audience of eclectic readers who are willing to entertain good writing and excellent storytelling from various points of view.

I am such a one, and have read books written from worldviews far different from my own, simply because they were well-written stories that spoke to humanity and opened the door to perspectives I had not yet considered.

And yet, to be perfectly frank, I’m not interested in reading books that denigrate rather than entertain. Show people of faith in an honest, compassionate way, and even if they’re the bad guys or just average, flawed human beings, I’ll stick around. Show them as cartoons, as buffoons or criminals simply because of that faith and not because they made bad choices or need help or have other issues,  then I’ll bail. I don’t need to feed my mind and spirit on someone else’s bad attitude, ugly-minded agenda, or personal vendetta. **

Whether we realize it or admit it, whether we are theists or atheists, we write what we know — and what we believe. 

As a fellow writer and reader, I just ask that we consider how we present other points of view, and let’s not rely on just our experiences or our own agendas, but look past them to look through other eyes.

Research, ask questions, conduct interviews, ask why.

Listen. Contemplate.

And then, when we sit down to write, be honest, be compassionate, be real.

We just might find our own perspective has changed.

 

*  Sermons and agendas do not belong only to Christians or people of other faiths. There are political and religious themes in television shows, movies, and novels. For a specific example, I could link to various news stories and blog posts about James Cameron’s film, Avatar, which he admitted is propaganda. However, a Wikipedia article, Themes in Avatar, is a good one-stop source.

** Wesboro Baptist Church, Al Qaeda, ISIS, and others of their ilk use their religious beliefs as a cover, as an excuse to misbehave. That’s a conversation for another time.

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Granny, What Big Teeth You Have

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Below is a piece of flash fiction written during tonight’s writers meeting. What a blast!

Each person contributed a portion of the premise: An eccentric millionaire lives in the basement of an apartment building, makes duct tape wallets for a hobby, always wears sunglasses (even indoors and at night), looks like an old grandmother, and makes rock-hard cookies.

We had about twenty minutes or so to create our masterpieces. The resulting stories were all over the place, from outright comedies to dark histories.

Mine falls more toward the comedic side. I forgot the duct tape wallets, but included an homage to Tim Hawkins. Enjoy!

What Big Teeth You Have

Damn kids.

I settle the sunglasses on my face and shuffle up the basement steps, rock music growing louder as I near the door leading to the lobby. In my pockets are the cookies I made earlier–hard enough to break a tooth. Or a young punk’s skull.

I unlatch the door and step into the hallway, the muted lights still blinding even through the dark lenses, and I blink, orienting myself. Music–if it can be called that–booms along the corridor and echoes in the lobby.

This is a nice place. Grandaddy built it as a luxury hotel, Uncle turned it into penthouses, and I inherited it after a family– Well, let’s just call it a domestic dispute.

Or a blood feud, if the absolute truth must be told.

Teenagers, the spoiled progeny of wealthy parents, pass around bottles of brandy and single-malt, drape themselves over furniture created by Fifth Avenue clothing designers, or dance to the jungle beats reverberating from the sound system stacked discreetly behind a potted acacia tree in one corner.

I put a hand into the pocket of my housedress and pull out a handful of cookies. “Pardon me,” but my voice is drowned by a howling note that pierces my skull even as it calls to my ancient blood. My ears twitch under the white hair holding them close to my head, and a bristle of hair stands upright along my spine.

Now, now, you mustn’t hurt them, but the cookies are already airborne, hitting their marks with greater accuracy than one might expect from a shaky little old woman like me.

The kids flinch and curse and look around. Blood trickles down one pup’s head, filling the air with its sharp metallic tang.

I grin, showing all my teeth.

Snack time.

c2014, EE
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Feedback: More Than Static

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Below is a re-blog of a post over on Adventures in Fiction, a blog by Keanan Brand. He discusses feedback he recently received for a story in progress, and decides what he wants more: applause or participation?

Kishi kaisei.
Wake from death and return to life.

Tade kuu mushi mo sukizuki.
There are even bugs who eat knotweed.
(To each his own.)

I’ve been developing a short fantasy set in Japan, in an era and a culture about which I know little. That means delving into reading about all manner of topics: honorifics, architecture, food, names, proverbs. I’m tempted to fill the story with Japanese terminology, but I don’t know what’s true to the period and what’s modern. And tossing in every word I learn would overwhelm the plot, and distract or annoy the reader, so I’m backing off, using the literary equivalent of a pinch of salt. A taste, not a stomachful.

An interesting dish — but who wants to eat it?

As with everything I write, I wonder, “Who’d want to read this? Am I writing only for myself? Am I okay with that?”

My reading at the most recent writers meeting was an attempt to answer those questions. I brought my first two thousand words of the Japanese fantasy and invited the other members to tear into it. The story needs to be solid, because it will be competing against other and far better writers, and I want to do my best so there are no regrets if I lose. No excuses.

The group followed along as I read but made few notes on their copies of the pages, which was unexpected. My own copy was littered with notes before the meeting ended. The responses were favorable, the speculations thick and fast, the suggestions and critiques constructive.

It was the most — what’s the word? — refreshing critique session since, well, never.

In a prior group, my speculative stories were met with negativity, so I stopped sharing, stopped asking for feedback. The writer went into hibernation, and only the editor showed up for meetings.

At first, I believed the bad press: “Your stories are too difficult to understand” or “You’re not connecting with your audience.” While that may have been partly true, I came to realize that the audience — certain members of it — were never going to connect. Their understanding of and approach to reading left little room for deviations from their personal expectations: A story must look like this and not that.

With realization came renewed confidence. Nah, the audience didn’t change, but it stopped mattering. I could predict which of my stories they’d like — the more conventional ones — and which would make their eyes glaze and their mouths purse.

A new state and two writers groups later, I’ve landed with a mixed flock of hatchlings, most still in the nest, some just now recognizing their wings, some learning to fly. They’re fearless, though, sharing their earnest romances and troubled life stories, their awkward urban fantasies and sophisticated twisted fairy tales. They tell each other what they like and what they don’t understand, what’s not working and what piques their imagination.

The group works. I can’t explain it, but it works.

Maybe because the nasty black-hat villain Ego hasn’t arrived.

So I shared. They responded. It was good.

People have read my stories in publications, but it doesn’t necessarily occur to readers to contact authors and tell how the story affected them, how it stayed in their minds for days or roamed their dreams at night. How it made them cry, scream, laugh, think.

The response from my fellow writers the other night was like applause at a live play, accompanied by an honest but non-mean-spirited review.

I don’t need flattery or compliments or pats on the head.

As nice as it is, I don’t need applause.

What I crave? Capturing readers’ imaginations to such a degree that they fill in the details I didn’t describe. They journey alongside the characters, and talk to them, emote with them, live through them. The story matters so much to the readers they lose sleep to finish it. They argue with friends over why a character did this or said that. They can’t wait for the next story.

My cousin's son, hamming for the camera, always ready for the laughs and the applause! (c2013, KB)
My cousin’s son, hamming for the camera, always ready for the laughs and the applause! (c2013, KB)

Participation. That’s what I want.

Better than applause any day.

Creativity, Editing, Fiction, Honesty, Independent Publishing, Inspiration, Journeys, Life, Photography, Rejection, Stories, Uncategorized, Writers Groups, Writing, Writing Advice

This Book, Right Now

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It’s an epic, never-ending battle between mind and emotions: Who cares? Who’s gonna read this? Is it a story worth telling? Well, dagnabbit, I’m a wordsmith; of course it’s good! No, no, it’s utter garbage.

Doesn’t matter how many books you’ve written — none or dozens.

Doesn’t matter how many reviews you’ve gained — none or hundreds.

Doesn’t matter how many books you’ve sold — none or millions.

It’s all about the book in front of you.

What I’m about to write may seem to contradict what I wrote in Mentors v. Gatekeepers, which is about finding mentors to teach us, and breaking free of the gatekeepers who might try to keep our stories from reaching the world.

However, as much as I am a dreamer, I’m also a realist. No writer is perfect. We all need an objective eye. That perspective can come from a critique partner, a writers group, an agent, an editor. We need that honest person who’ll say, “I understand you’re trying to make us feel the wind, but this sentence crashes to ground.”

We might, on occasion, pen a short story or a poem that needs minimal revising, or none. Sometimes we’ll write a scene or a chapter that is barely edited, if it’s edited at all, because it’s good from the beginning. However, those rare glimpses of perfection should not be mistaken for signs that we have nothing more to learn.

Sure, you might win contests, awards, accolades, admiration, celebrity, financial success.

Sure, you might publish a string of bestsellers.

Sure, you could kick back and rest on the smug knowledge that you have written, and written well.

But all that falls away in the presence of the book you’re writing now.

This book, right now.

Will you dash it off, not spending the same time and care as you might have done when you were green and uncertain? When you were hungry?

Or will you be even more precise with your choices, your efforts, knowing that you owe your readers your best, although readers owe you nothing?

Until recently, I edited manuscripts for a publisher. It was challenging and educational, and far less glamorous and lucrative than some might expect. Many manuscripts should never have been given contracts, because either the stories or the writing weren’t ready for publication, and read more like works in progress rather than final drafts. But there were many that only needed a scene rewrite here or there, dialogue revisions, minor proofing, or expanded endings.*

The point is this: every manuscript needed an editor.
bookstore entrance (c2011, KB)
bookstore entrance
(c2011, KB)

However, one major reason I am no longer working for the publisher is the notion that some writers are perfect, their work approaching the sanctity of Holy Writ. I was given the resumes and bios of certain writers, not merely to inform me of their background, but to tell me — without the actual words being said — Here There Be Untouchables. I was expected to do my job so lightly that egos were stroked without being ruffled.

Anyone who knows me also knows I am not an ego-stroker. I give praise and encouragement, but I will not flatter. Flattery stresses me. Flattery makes my insides curl up like frightened potato bugs.

So does letting a problem fester and lie there without being addressed. I hate confrontation, but dealing with a problem is necessary. It’s like feng shui for the soul.

After the latest round of flatter-don’t-edit, I turned in my resignation. (Read more about it here: “When It’s Time To Go“.)

Just as writers aren’t perfect, neither are editors. I’ve made my share of mistakes. I’ve been the pompous youngster who thought he knew far more than he actually did. Memories of past stupidities still make me shudder.

And I’m a writer, too, so there are even more past mistakes to make me want to hide under a blanket until everyone forgets I’m an idiot.

Pride and insecurity are two fires that fuel writerly angst and sensitivity. Pride stings when someone pokes, stabs, or slaps it. Pride doesn’t like it when someone says, “That scene doesn’t work” or “This chapter is boring.” Pride wants to cross its arms and ignore the negative feedback, or even to draw a verbal sword and attack the critic.

I know. I battled stung pride a couple days ago, wanting to stab back at a reader whose own arrogance overshadowed his advice.

But I’ve been here before. I’ve learned to sift through the feedback, take what I need, discard the rest.

I can’t pull out my past awards, my references, all the contest certificates or publishing credits. They’re nice on a resume, but they don’t have any bearing on the book in front of me.

Like every other writer, all I can do is my best on this book, right now.

 

* One disservice, I believe, television and movies have done to modern fiction is the rush to an ending. Back when The Lord of the Rings film trilogy was finally complete, and The Return of the King came to theatres, some viewers complained about the long ending. Those viewers had likely never read the book, in which essential story continued past the main battle. The conflict wasn’t over, and there was still an enemy or two to deal with. But that’s like real life, eh? There’s always something.

 

Book Reviews, Creativity, Editing, Fiction, Honesty, Inspiration, Life, Memoir, Recommended Reading, Stories, True Stories, Uncategorized, Writers Groups, Writing, Writing Advice

For Independent (Self-Published) Authors

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A fellow writer and blogger, Sandy Appleyard, asked this on LinkedIn, regarding independent (self-published) authors: “Has the bar been lowered?”

One person commented that the bar is easy “to reach if you’re the one holding it.” Indeed.

Appleyard expanded further on her blog:

This past summer, however, I started reviewing strictly indie authors, simply to help them out and to gain more perspective in the indie world.  In a nutshell, as an indie author myself, I have found book reviewing to be a very positive experience, and it has helped my writing career a lot.

What’s disappointing is the amount of less-than-great independently published books that I’ve stumbled upon recently.

Here is a short list of the issues I’ve seen:

-Grammatical/spelling

-lack dialogue

-too much back story

-not enough action

-un-relatable characters and/or story line

When I read these less-than-great stories, I feel like rather than reviewing them, I need to provide a beta read and an edit.  Are indie authors neglecting to take these vital steps?

Susan McBeth, founder of Adventures By The Book, responded with a concern about professionalism:

As an author events coordinator, I am frequently asked to host events for authors with self-published books. I am amazed when I read the books, how poorly edited many of them are (strictly speaking from the ones I’ve reviewed, not to judge all). I recently read a book that I would have considered for an event because the writing was very good, and the story was compelling an innovative, but I just couldn’t get past the fact that it didn’t appear to have been edited, and as a professional who prides my business with quality events, I want to ensure the product I am featuring is professional.

She’s right to be concerned. Not only is the author’s reputation at stake, but so is hers.

By the way, for writers living in or near Southern California, McBeth has begun The Author Academy, workshops to train authors in marketing. (I live a few states away. sigh)

My two cents’ worth:

I’m a freelance editor as well as an associate editor for a publisher, but I was a freelancer first, and have always set a high bar for my clients. Whether or not they choose to rise to meet it is entirely their choice. I do my best for them, and then they submit their work wherever they will.

As an editor for a publisher, though, the circumstances are different: A contract has been signed, and now I must help the author polish his work for public display. Still, I encounter authors who don’t seem to realize that, yes, there’s still work to be done. A contract doesn’t mean a pat on the head, all is well, the work is perfect, and all the editor has to do is fix a few commas and grammatical errors. No, there are often major story overhauls and dialogue fixes, et cetera.

Even then, authors dig in their heels, revert corrected sentences to their original incorrect state (dangling/misplaced modifiers are a huge problem), refuse to insert a necessary scene or do the proper research into an industry about which they know nothing, and so on. It can be right warlike, trying to edit the book of an entrenched, recalcitrant author who deems his work perfect and my work meddling.

On the other hand, there is real joy in editing a writer who has already done much of the work, and submits a manuscript with clean copy, good story pacing and flow, dialogue that contributes to the story rather than stagnates on the page, and has considered every word’s right to be there. That means the author is a self-editor, and knows how to be strict with his work, and is therefore able to take the advice of another editor.

And, yes, I’ve encountered many self-published books similar in state to the ones described in your blog, Sandy. I wish authors could take a few steps back, release their “babies” into someone else’s arms, and open their minds to honest feedback — before publication. Perhaps they don’t realize that those nagging misspellings or a saggy middle or the anti-climatic climax really are big problems. Readers won’t just overlook them, nor will they be likely to forget. The next time they encounter a book by an author who disappointed them, they’ll pass.

Independent authors, don’t be afraid of feedback. Welcome it.

Honest critiques by beta readers are worth more than money, and you don’t have to pay for them. Beta readers have an objective point of view that you, as the author, do not. They’ll help you find plot holes, flat dialogue, forgotten plot threads, weak scenes, and much more. Not only will they find problems, they’ll provide solutions.

Hire a freelance (independent) editor. Seriously. Save up the money, no matter how long it takes, and hire an editor skilled in editing your type of book (novel, memoir, reference, et cetera). Ask for references or editing samples, establish a good rapport, and let the editor have at your manuscript. Nothing beats a well-edited novel.

If one or more of your beta readers is also skilled at grammar, spelling, punctuation, and such, they’ll likely find and point out many nitpicky errors as they read. This is helpful, especially if it’ll be a while before you can afford to hire that editor.

Writing can be a lonely business. If you have no close support system — a writers group, for instance — several can be found online via an Internet search. I belong to a couple, but don’t use them as much as I thought I might. Actually, I’m on the hunt for a group in my town or in a nearby community, and have considered posting signs, seeing if any hidden writers will join me in starting a new group. Just as honest beta readers are priceless, so is a solid group of writers who can critique and encourage one another toward excellence.

Questions or comments? I’m happy to help where I may.