You have just 4 DAYS left to enter the Goodreads Competiton.
Click here to enter.
Don't forget to click the facebook like box at the top of this page! Add a Comment
'Tis the season! The holidays are right around the corner and we can't wait for our first ever...
|Mr Beaver takes a walk!|
I don't have much time anymore for real art. I can't remember the last time I actually painted a picture that wasn't rushed or scribbled on by tiny hands. But this past weekend my little pirate and I got to make some beautiful pumpkins with our Merriweather and even though we had a few issues (they are both two), it was the most fun I have had in a while. We still have to finish her other two pumpkins (they are actually spaghetti squash that grew wild in Nana's backyard but we won't tell her that) and I found some grapevine this morning I twisted into the shape of a flower bloom while we were playing at the creek.
Disney announced this afternoon that Moana, their 56th animated feature, will be released into theaters in late-2016. The film will mark the CGI directing debut of Disney stalwarts Ron Clements and John Musker, who have helmed many of the studio’s beloved hand-drawn films of the last 30 years. “John and I have partnered on so many films—from The Little Mermaid to Aladdin to The Princess & the Frog,” said Clements. “Creating Moana is one of the great thrills of our career. It’s a big adventure set in this beautiful world of Oceania.” The studio offered the following film description on their Disney Insider blog: In the ancient South Pacific world of Oceania, Moana, a born navigator, sets sail in search of a fabled island. During her incredible journey, she teams up with her hero, the legendary demi-god Maui, to traverse the open ocean on an action-packed voyage, encountering enormous sea creatures, breathtaking underworlds and ancient folklore. “Moana is indomitable, passionate and a dreamer with a unique connection to the ocean itself,” Musker said. “She’s the kind of character we all root for, and we can’t wait to introduce her to audiences.”Add a Comment
The British Library is hosting a display focused on gothic storytelling called “Terror and Wonder: The Gothic Imagination.” It will run until January 20, 2015.
The United Kingdom’s “biggest ever Gothic exhibition” features 200 rare objects; some of these pieces shine the spotlight on works by writers Mary Shelley, Bram Stoker, and Clive Barker. Visitors will see ”posters, books, film and even a vampire-slaying kit.”
New Career Opportunities Daily: The best jobs in media.Add a Comment
If only a poetic form existed that could be both concise and free. Oh wait a second, there’s gogyohka!
Gogyohka was a form developed by Enta Kusakabe in Japan and translates literally to “five-line poem.” An off-shoot of the tanka form, the gogyohka has very simple rules: The poem is comprised of five lines with one phrase per line. That’s it.
Write a poem for a chance at $1,000!
Writer’s Digest is offering a contest strictly for poets with a top prize of $1,000, publication in Writer’s Digest magazine, and a copy of the 2015 Poet’s Market. There are cash prizes for Second ($250) and Third ($100) Prizes, as well as prizes for the Top 25 poems.
The deadline is October 31.
From the examples I’ve seen of the form, the definition of phrase is in the eye of the beholder. A compound or complex sentence is probably too long, but I’ve seen phrases as short as one word and others more than five words.
So it’s a little loose, which is kind of the theory behind gogyohka. It’s meant to be concise (five lines) but free (variable line length with each phrase). No special seasonal or cutting words. No subject matter constraints. Just five lines of poetic phrases.
from the willow
as the children run
from one door
to the next.
Robert Lee Brewer is Senior Content Editor of the Writer’s Digest Writing Community and author of the poetry collection, Solving the World’s Problems (Press 53).
He edits Poet’s Market, Writer’s Market, and Guide to Self-Publishing, in addition to writing a free weekly WritersMarket.com newsletter and poetry column for Writer’s Digest magazine.
He is building a haunted house in his two-car garage with the assistance of his little poets, who are also spooky little creatives when it comes to Halloween decorating.
Follow him on Twitter @robertleebrewer.
Speculative fiction contains writings of science fiction, fantasy and horror or, those stories the bend what is and ask readers to speculate about what could be. Editors Milton Davis and Balogun Ojetade have set aside October to celebrate works that transport us to new worlds; worlds of adventure; of terror; of war and wonder; of iron and steam and are authored by Black writers. If you’re unable to attend any of the events they’ve planned, do visit the blog page that announces the events so that you can build your background
knowledge in the history, seminal works and authors, both classic and contemporary.
Speculative fiction allows both readers and writings to explore issues such as race in ways other genres do not. At times, these writers create creatures and situations that go beyond race, as do other authors. However, the attraction to spec fic has more to do with the worlds created in the writing. One will read them because they read zombies, sci fi or high fantasy. Milton Davis speaks to this complicated issue.
Scowering my blog, I found a few titles you should consider picking up this month.
Promise of Shadows by Justine Ireland; Simon and Schuster, 2014
The Zero Degree Zombie Zone by Patrick Henry Bass and Jerry Craft; Scholastic, 2014
Love is the Drug by Alaya Dawn Johnson; Arthur A. Levine, 2014
Mesmerize by Artist Arthur; Kimani Tru, 2009
The Agency 3: Traitor in the Tunnel by Y. S. Lee; Candelwick, 2009
Charm and Strange by Stephanie Kuehn; St. Martin Press 11 2009
The Book of Wonders by Jasmine Richards; HarperCollins, 2012
Ninth Ward by Jewell Parker Rhodes; Little, Brown Books for Young Readers, 2010
Awake by Wendy McNair Raven; 2010
Shadow Walker by L A Banks; Sea Lion Books, 2010
47 by Walter Mosley; Little, Brown Books for Young Readers, 2006
Bayou by Jeremy Love; Zuda, 2009
Sweet Whisper Brother Rush by Virginia Hamilton; Philomel, 1982
Black Powder by Staton Rabin; Margaret McElderry Books, 2005
Ship of souls by Zetta Elliott; AmazonEncore, 28 Feb
Shieldwolf Dawning by Selena Nemorin; CreateSpace, 2014
Do yourself a real favor and visit Twinja Book Reviews. Guinevere and Libertad dedicate their blog to black speculative fiction and are a much better source on that than I am. And, check them out on Twitter, too! @Dos_Twinjas
This week in Vancouver, the Spark CG Society will hold its annual Spark Animation conference and festival with an impressive group of presenters including Glen Keane, Nora Twomey, Roger Allers, Robert Kondo, and Graham Annable.Add a Comment
The question I am most asked by parents is "What is the reading level of your books?"
I am currently teaching an adult class on writing for children. The first question I am usually asked by those students is "How do you write at an appropriate reading difficulty for an age group?"
Those questions are not as easy to answer as you might think.
Carmela's Friday post stated that in reaching "reluctant readers" a writer should simply write whatever they are passionate about and the readers will follow. I have most certainly found this to be true.
When I first began writing, "targeting" a group, or writing with a specific grade level vocabulary never crossed my mind. Thanks to years and years of working in children's library service, I have read thousands and thousands of children's books for all ages. When I write, my brain goes into "child mode." That's just the way I write, period. My normal style involves short sentences and short paragraphs using simple words.
I was not aware of my writing style, until my then elementary school-aged daughter introduced me to "Accelerated Reader." This was the program her school used for "pleasure" reading. (I am not sure how pleasurable it was since it was required.) Only books on the Accelerated Reader program were counted for the reading grade. Books had point values, based on complexity of language and interest level.
I was thrilled to learn that all my books were on the Accelerated Reader list, which increased the likelihood of their purchase by a school library. However, I was puzzled to learn that my middle grade books, Yankee Girl and Jimmy's Stars, were not being read by the fourth and fifth graders, my intended audience.
The mystery was solved when one of my daughter's friends told me how much she liked Jimmy's Stars "even though it doesn't have many points." A trip to the school library informed me that both of the books had a point value of 3. For comparison, anything written by J.K. Rowling had a point value of upwards of 7. That particular year, my daughter was supposed to read 7 points worth every six weeks. How could I compete with Harry Potter?
A little digging into the mysteries of Accelerated Reader yielded the information that while my middle grade books had a third grade reading level, their content was appropriate for upper fifth grade and sixth grade students. Considering that the subjects of those books were Civil Rights Era Mississippi and the ravages of World War II, I thought that was a fair evaluation.
Then parents began to ask me that troublesome reading level question. This was often prefaced with something like, "My daughter is in second grade but she reads on a fourth grade level. She should be able to read your books, right?"
I found myself in the strange position of talking down my own books. While the child in question would be able to read and recognize the words I had written, would they be able to understand the events in the book? It had never occurred to me that a seven-year-old might read those books. Tough things happen in them: racial prejudice, death, violence. Although I didn't "target" my writing, I didn't think anyone under ten would be reading them. I started hedging my answers by telling parents they could buy the book but perhaps they should put it away until their child was older. Sometimes it worked, sometimes it didn't. No matter what I said, some parents completely missed the fact that some "low reading level" material might contain concepts too mature or sophisticated for a first grader who was "a really good reader."
What did I learn from this experience? Did this cause me to become a cautious, self-censoring writer? Do I now write in a more complex style?
I write what I am passionate about. I write for my inner eleven-year-old. It's the best that I can do. It's all any of us can do.
Don't forget to enter our latest book giveaway for a chance to win a copy of the 2015 Children's Writer's and Illustrator's Market. See Carmela's post for details.
The giveaway ends Oct 31.
Best of luck, Mary Ann
Batman’s famous sidekick, Robin, may be played by a female in Batman v Superman: Dawn of Justice.
Rumors have been swirling in Hollywood that Catching Fire actress Jena Malone will be taking on that role. According to Variety, the movie studio has not confirmed this to be true. The theatrical release date has been scheduled for March 25, 2016.
Here’s more from Time: “Making Robin a woman, though, isn’t all that drastic. Zack Snyder’s Batman v. Superman movie is reportedly based largely on Frank Miller’s comic The Dark Knight Returns, in which Batman’s sidekick is a woman named Carrie Kelley. In the comics, a raven-haired Kelley—obsessed with the Dark Knight—saves him from some bad guys in order to win his trust and become the new Robin.”
New Career Opportunities Daily: The best jobs in media.Add a Comment
Thinking about getting a tablet or pressure sensitive monitor like Cintiq? I go over my thoughts on what worked for me and what didn't and what I'm using now...
After being recommended by a friend, I discovered the beautiful work by Emily Templeman of ‘Templeman Art’. Her main themes are based around nature and animals, often using watercolours to capture the beauty of what she sees.
I contacted the artist asking about her main inspirations, background and where she sees her work heading in the future. I was very pleased to receive such a detailed response, giving me great insight to her thoughts and inspirations:
‘Basically, my decision to start pursuing art as a career stemmed from A level art class. Part of the course was to try and get in contact with a local artist and create work inspired by theirs; similar medium, or style, or subject choice. I contacted Mary Ann Rogers and we got talking a lot; she was very helpful and encouraging and was the first person to look at my work and say ‘that would sell’.
I ended up doing a year of Computer Games Art in university but that didn’t stick and I ended up completing only the first year before deciding to leave. It was then that I chose to try and chance my luck at setting up as a self employed artist. Now my style has changed greatly; if you compare the images in the Animal Watercolour and Tribal galleries to the 2014 gallery, but it’s still very much animal focussed, with my attentions now on capturing the flow, movement and colour rather than a realistic.
I’ve also been inspired by the designs and styles you see in art nouveau pieces. Particularly, I use the vines, leaves and flower motifs in my paintings. The Showa Koi, for example, has leaves that make up the black markings and a flower design for the red crown. As for the future, I think just with more practice and experience, I hope to carve out a niche in the art world where my work is recognisable as mine. With my early pieces, I did get a few comments along the lines of ‘That looks like Mary Ann Rogers’ stuff!’, which while a huge compliment, also means I wasn’t really creating anything unique to me. Ultimately, I’d love, love, love to have my own studio and gallery. I don’t expect to become hugely famous or rich, but if I could make enough to earn a decent living, it would be an absolute dream come true.’
Thanks for reading,Add a Comment
There are many kinds of habitats, and each supports certain animal populations. Animals Everywhere! is an illustrated guide which provides some interesting information about them.
Habitats such as the rain forest, mountains, desert, and ocean are each presented in a two-page spread. In these pages, various animals that live in the habitat are illustrated in cartoon style, along with fun facts about them.
Kids will be fascinated to learn about the goliath bird-eating spider, which is as big as a pizza, or the male narwhal, which is also called the “unicorn of the sea” because it has a long, spiral tusk. These and other fascinating creatures fill the pages of this fun and colorful book.
Reviewer: Alice Berger
Not long ago, I wrote this:
"After I posted my blueberry photo, I realized how crazy and selfish it is to post a photo of an especially large blueberry when there is so much horrific violence going on around the world. And close to home, learning of the tragic death of a woman who babysat for us when we were kids. I am thinking about all the people who are touched by grief every day. Every day there are horrors and tragedies. And every day there are things like the wonder of a blueberry you picked from a bush you've been nurturing for ten and a half years. And every day there are cats doing cute things. And baby photos posted by a proud new grandparent. Every day there is sadness. And every day there is joy. And every day there is love. And who gets what every day seems to be a cruel crapshoot. And I don't know what to do about that except try to remember it. And try to be more kind. So I am sorry about the blueberry. But I am also grateful for it. Maybe more so because it grows despite the sorrow."
Early Saturday morning, my cousin Josh went missing, and soon later, his body was found in the woods near his home. He took his own life after years of battling depression.
Growing up, my sister and I babysat for him and his two little brothers. We spent vacations together in Maine every summer. We spent Christmas and Thanksgiving and Easter together. But when he got older, his family moved away and we didn't see them for a long time. Long enough that we weren't close the way we used to be. In fact, we really didn't know each other at all.
Not long ago, he moved back to New England and I saw him last Christmas at my parents' house. He was quiet and reserved. I knew he'd had a hard life in our years apart. We didn't talk much. We were strangers linked by childhood memories. And I sensed he felt as uncomfortable and shy as I did, having let so many years go by without being in touch.
One day, not too long ago, he messaged me on Facebook and said he'd like to call and talk to me about writing a book. I put off replying because I felt like I didn't really know him, or what to say, and imagined how awkward it would be to talk to him over the phone. I told myself I would send an e-mail first, with tips to get him started, and then, if he had questions, we could talk. A few weeks later, I left him a note, "I owe you an e-mail and promise to be in touch soon!" Or some such. I was on deadline for school packets and told myself I didn't have time. And then I did have time but sort of forgot until I'd see him update his page with an inspirational quote, I would get mad at myself for not writing that e-mail yet. Just last week, I thought of some books I would recommend he read. Some good memoirs. Mentally, I made a list. And then I started to think of tips I could give him to help him get started. But I still didn't manage to write that e-mail.
And now he's gone.
For the rest of my life, I will always feel this aching regret that I didn't take the twenty minutes of effort that e-mail required to reach out. I will regret that I didn't try to get to know my cousin again. That I didn't know he was hurting. That I didn't do a single blessed thing.
Suicide isn't anyone's fault. I know that. But how we care about people and treat each other and reach out to each other is. And I'm ashamed.
On Saturday morning, I was sitting at a table with dear friends in Maine. We were about to start a weekend writing retreat. We were drinking coffee and laughing. And then my phone buzzed. "Call home immediately."
The ground shifted underneath me when my husband told me Josh had died.
A veil of grief and sadness and guilt and regret slid between me and the rest of the world. Nothing had changed on your side, but on my side, nothing will ever be the same. It's like looking at the world through some sort of gauze, as if I'm not a part of it anymore. On the other side, life goes on as usual, on mine, I can't seem to move.
My sister drove to Maine to come get me and bring me to her house so we could be with my parents, aunt and uncle. On the drive home, memories of losing my brother, wounds I thought healed, slowly reopened and all that pain wrapped around my heart. So much guilt. So many regrets. Why didn't I do this? Why didn't I say that? Why why why? Why. Why did he have to die?
Life isn't fair. This was the year to see the beauty in the world and I have seen a lot. But I have also seen misery. I have seen it and felt it deep in my bones. I feel it right now.
Every day, there are people who die and people who are born and people who love and people who hurt. And every day, we need to remember this.
Every day, we need to be more kind.
We need to reply to the e-mail we've been avoiding. To answer the phone. To make the coffee date with the needy friend. To walk the dog. To pat the cats. To make the bed. To breathe the air. To shower. To love. To live. Every. Day. But on days like this it is so, so hard.
But I know. For those of us living behind the veil of grief, we need to remember that it's OK to slide it to the side again and walk back through. That eventually, we will have to. Eventually, we must.
It's OK to enjoy a blueberry. It's OK to keep living our lives and seeing beauty, even in the depths of despair.
It's more than OK.
So I'm going to force myself out of this room and go walk my dog now. I'm going to honor Josh's memory by seeing the beauty in every step. I'm going to breathe in the peace around us, and try to be grateful that that's what Josh finally has now.
Peace to you now, Josh. Rest in peace.
Nobel Prize-winning economist Paul Krugman has written a New York Times op-ed criticizing Amazon. For book selling, he goes so far as to say that it has a “robber-baron-type market power.”
In his piece, Krugman (pictured, via) compares Amazon with Standard Oil and talks about the consequences that may ensue should the online retail giant continue its current standard of operations. He feels that Amazon has abused its powers to retaliate against Hachette throughout the dispute between the two companies. Here’s an excerpt from the article:
“So far Amazon has not tried to exploit consumers. In fact, it has systematically kept prices low, to reinforce its dominance. What it has done, instead, is use its market power to put a squeeze on publishers, in effect driving down the prices it pays for books — hence the fight with Hachette. In economics jargon, Amazon is not, at least so far, acting like a monopolist, a dominant seller with the power to raise prices. Instead, it is acting as a monopsonist, a dominant buyer with the power to push prices down.”
New Career Opportunities Daily: The best jobs in media.Add a Comment
I was glad to spot Oliver and the Seawigs on this year's Carnegie Medal nomination list, but something made me do a double-take on the way it was written:
Now, I feel uncomfortable writing about awards. Partly because they're someone else's business; other people can give awards to anyone they like. Partly because I don't spend a lot of time researching the exact particulars of each award because I'm too busy trying to make good books, and good books that earn enough money to let me keep doing this job. So I'm no expert on the Carnegie and Greenaway medals. But these awards are set forward as the most important of the book prizes and picked up the most by the media, so when I spot something that seems amiss, I feel I need to ask questions, even if they don't directly benefit my own prospects.
Question: Why would the Carnegie list a highly illustrated book with just the writer's name and not the illustrator's name?
Answer (Answered by awards judge @mattlibrarian): Because of the eligibility criteria, the book must be written by a single author:
So books with two writers are out. And books with a writer and an illustrator are eligible, but only if the illustrator remains uncredited.
My publisher and agent didn't know about this nomination listing in advance, and it's causing all sorts of stir. They're asking, should we insist that I'm a a co-author and pull our book out of the running? (I blogged about this co-author business very recently!) Or should we leave it there on the list and pretend I'm not a co-author, like many other illustrators have had to pretend in the past? The book isn't a whole book without the pictures; they're integral to the story.
I'm fine with Oliver and the Seawigs not being nominated for the Greenaway Award, that's the personal taste of the judges, and whether they thought it met the criteria. I wouldn't expect Seawigs to win against full-illustrated picture books; there are too many words in the book to give space for lavish pictures. Compare this page of Oliver and the Seawigs...
... to a wordless page in There's a Shark in the Bath:
Or a page in Jim Field's There's a Lion in my Cornflakes:
Both of the picture books have SO much more room to show off blazing technical skill and overwhelm the reader with pure imagery that makes more visceral impact than the text. (And the Greenaway medal is supposed to be a pure illustration award.) Oliver and the Seawigs doesn't work exactly like that; it's more of an equal partner to a longer text. Occasionally it has moments when the imagery speaks more loudly than the text:
But we also have page with no pictures at all. Compare this to Philip's Carnegie-winning novel, Here Lies Arthur, which is pure text. Philip's a wizard at creating mental word pictures, and he has plenty of room for long descriptive passages:
Or his famous opening lines to Mortal Engines:
Philip CAN write in a way that needs no pictures. But he chose not to write that way for Oliver and the Seawigs because we were trying to do something very different. 'They had met on the top of Mount Everest' is short and says very little; that's a job for the picture to do.
So the Carnegie judging process could go two ways:
1. Oliver and the Seawigs and other highly illustrated chapter books could be read for words alone. 'They met on the top of Mount Everest' with no picture is not going to knock off anyone's socks or be humourous in any way. The 'meh' of the mountain goat doesn't even make sense by itself.
2. The judges take the illustrations into account when they judge the quality of the story, but any award given would be to Philip alone, listed that way in the press release. It would be up to Philip to give me credit, and the prize money situation would be awkward.
Do you think either of these options seem ideal? I'm not just asking for our books, but for other writers and illustrators, too.
Why does it even matter?
We don't really have a word for these kinds of books, but in the USA, they call them 'Middle Grade' books, to distinguish from 'Young Adult'. Philip and I think these books are absolutely vital to keeping kids reading; we're losing a lot of readers between picture books and books with no pictures at all. We watched Philip's son start reading Oliver and the Seawigs and he kept going until he got to the first page without a picture, and that's when he put it down. A page with no pictures at all can be completely daunting to a non-bookworm. This is a feeling a lot of book lovers can't even imagine, and it's book lovers who judge these sorts of prizes.
Two things I wish would happen:
1. The Carnegie would be opened to more than one author, to co-authors. That would allow proper recognition for illustrators as co-authors, as well as close writing partnerships. (Why should authors have to be solitary for a book to be good?)
2. There would be a third prize created for these 'Middle Grade' books. There would be allowances made for stories that might appeal to younger readers, and for illustrations to play a major part in the storytelling process. A lot of kids who can read a bit more text than they find in picture books aren't quite ready for the very grown-up themes of recent Carnegie winners. You don't go straight from reading This is Not My Hat to The Bunker Diaries. Prize money would be spread equally between the awards, to show these books are all important.
Why would people nominate a book they didn't think stood a chance of winning? If Seawigs is judged by words alone, it won't win. If it's judged as a whole, it will be a blow to the whole illustrator-as-co-author argument.
I did get a tweet from the organisers, CILIP, on the subject:
And Philip's made his stance clear enough. (Can I say how much I love working with my co-author?)
So what should we DO? Pull out of the award? Stay in? I know it's only the long list, not the short list, and I'm tempted to stay in, for Philip's sake, and because I want to give the awards process a chance. I think the inclusion of the book allows us to talk more about these issues. But what do you think? Do you think this issue needs addressing? You can tweet to CILIP at @CILIPCKG and/or use the hash tag #CKG15 and I know they'll welcome the discussion.
Just in time for autumn and Halloween, Penguin is back. This time Penguin is off on an adventure to find out what fall is like. Unfortunately, her little brother, Pumpkin, is too small to make the journey. But Penguin doesn’t forget about him and brings him back a little bit of fall.
Not only is this a story about the season but of sibling relationships as well. The cute illustrations share some of the joys of autumn. While Penguin and Pinecone is still my favorite in this series, I love the ending image of snowing leaves in this title.
Posted by: Liz
I found this little sketch while cleaning out my studio. I nearly forgot about it. Hope to come back to it in paint some day.
My original book, Flogging the Quill, Crafting a Novel that Sells, is now out of print. I’ve gone through it to polish the content, reorganized it completely, and added new content and examples. It still feels good to me, and it seems I’m in good company: a couple of quotes from Amazon reviewers on the original about what's in my book(s):
“This is one of the outstanding 'how-to' books about writing. I keep it right beside two other favorites, Self-Editing for Fiction Writers by Dave King and Renni Browne and On Writing by Stephen King.”
“Ray’s . . . advice on experiential description is on par with Donald Maass's 'micro tension' advice—critical to delivering top-shelf writing.”
Why a new version with a new title and new cover?
By going from 8.5” by 11” to a 5.5” by 8.5” trade paperback, the new size lowers the price—$16.99 versus $21.95—and may make it more convenient for writers to have in their bookshelves. At 320 pages, it should look something like the 3D image at the bottom of this post.
The change in print format also enabled conversion to ebooks, too, so there will be a Kindle edition published at the same time. Maybe an epub too, but I’m focused on Kindle for now.
By the way, did you know that you can get a free Kindle reader for a PC or a Mac that enables you to read a Kindle book on your computer? Same goes for epub (Nook) ebooks, too, with Adobe Digital Editions.
New title? I’m hoping that a more benefit-oriented title will attract more readers.
New cover? I felt the original wasn’t all that good and needed refreshing.
And I’m hoping the new ebook formats will also reach more readers.
Want to receive a free Kindle ebook in return for a review?
On Amazon, the new version won’t be able to bring to its pages all the amazingly positive reviews of the original. While it can point to the old FtQ page, it would be good to have fresh reviews—if, of course, they’re positive. But that’s the chance all authors take.
If you want a free beta Kindle version to read for review purposes, please email me. I’ll let you know when the book is officially published and has a page on Amazon and Barnes & Noble.
Pass this on?
Thanks for your time and consideration,
RayAdd a Comment