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Note from Sooz: I am so delighted to share a guest post from author Grady Hendrix today. Personally, I am desperate to soak up any writing wisdom he might be so kind as to share.
Because guys, his new book Horrostör is incredible. Like, I got a copy of this in the mail, opened the package and snickered at the cover (and how the entire book is laid out like an Ikea catalog). Then I started reading…
…and two hours later, I finished the book. I COULDN’T PUT IT DOWN. It was laugh-out-loud funny and also thoroughly terrifying. Plus, there was incredible character development, a thoroughly twisty plot, and OH MY GOSH, what an ending!!
Since I’m sure y’all are dying to read this book too now (seriously: everyone should read it.), then make sure you fill out the Rafflecopter form below! We’re giving away 2 copies (hooray!).
Now, I’ll hand over the mic to Sir Grady, writer extraordinaire.
When I was in college, I lived near the Music Palace and that gave me the better education by far. A vast, rotting hulk of a movie palace it showed Hong Kong double features for $6 and, being broke, that was a deal I couldn’t resist. The Music Palace led to me co-founding the New York Asian Film Festival, it led to me moving to Hong Kong, my wife and I bonded over our shared love for Stephen Chow’s Love on Delivery and the hand amputations in Always Be the Winners, and it taught me how to write. Because everything I learned about writing, I learned at the Music Palace.
Everything I learned about language, I learned from subtitles.
“Say if you find him lousy!” Uncle Bill shouts. “Thanks for elephant, it’ll be worse if it’s dinosaur,” mutters Lam Ching-ying. “Are you an archeologist or a sucker!” a cop screams in frustration. Hong Kong movies have to be subtitled in English, but that doesn’t mean the subtitles have to make sense. Recruiting random strangers off the street, or sometimes just making a production assistant stay up late with an out-of-date Cantonese-to-English dictionary, Hong Kong subtitles emerge looking like William Burroughs cut-ups. And I love them. Every time they stretch, push, bend, or otherwise mutate the English language I feel like a door is opening inside my brain. At this point in my life I’ve watched thousands of Hong Kong movies, and not a day goes by when I don’t find subtitles popping into my head. Stuck on a packed elevator? “It’s getting crowdy,” I think. Cut off by an annoying driver? “Damn you, stink man, try my melon!” rolls off my tongue. As I learned from Hong Kong movies, it’s not the actual words that are important. It’s the feeling.
Everything I learned about character, I learned from John Woo.
You may think that John Woo is all about the gunfights, but his secret weapon is his mastery of crafting iconic characters. He doesn’t need plots, he just drops his characters into the ring and lets their conflicting motives drive the story. Whether it’s happy-go-lucky Mark (Chow Yun-fat) in A Better Tomorrow who finally gets sick of being treated like an errand boy and decides to demand respect, or Jeff (Chow Yun-fat, again) in The Killer who’s wracked with guilt over blinding a bystander in an assassination and tries to earn enough money to get her a cornea transplant, or Ben, Frank, and Paul, trapped in Vietnam, one of them wanting to rescue a woman, one of them wanting to steal a crate of gold, and one of them just wanting to go home. In Woo’s movies there are simply characters who want things, and what they want and how they get it drives the story into some of the most insane action sequences ever put onscreen. Because character is action. Quite literally.
Everything I learned about plot, I learned from Comrades, Almost a Love Story
Plot means you throw everything horrible you can think of at your characters and watch them squirm, and by the end they need to be in a different place than where they began. No movie is better at this than Peter Chan’s Comrades, Almost a Love Story. When the movie begins, Leon Lai is a Mainlander who comes to Hong Kong to make money. He falls for local girl, Maggie Cheung, and then…complications. Chan (and screenwriter Ivy Ho) throw every conceivable twist at their two romantic leads and by the time the movie’s over these two characters may seem to be right back where they began, but the viewer isn’t. You’ll find yourself crying buckets of tears not over the main characters but over the people they’ve hurt on their way to “happiness.” Comrades is a movie where every time you think you know the story, you suddenly realize that it’s about something else entirely. Like a great magician, the creators distract your attention over there, and then take you by surprise from over here.
Everything I learned about writing scenes, I learned from Peking Opera Blues
I firmly believe that Peking Opera Blues is the greatest motion picture ever made. Period. Full stop. Movies don’t get any better than Tsui Hark’s tale of three women trying to keep their heads above water during the early 20th century when China was torn into factions by greedy warlords. And one thing he does better than anyone else is stage big fat setpieces that keep going, and going, and going. Just when you think a scene has gone as far as it can, it goes even further. Writers often skip from scene to scene, but great directors know that if you’re going to go through the trouble of lighting a scene, dressing a set, and placing your camera, then you better wring every last ounce of drama out of it. And so, for Tsui, even a scene of a character waking up becomes a slapstick ballet as her father enters her bedroom and she has to keep him from detecting any of the four other people hidden on her bed, armed with nothing more than a blanket. Rather than starting a new scene every ten minutes, Tsui digs deep and plays every spin, variation, and complication on every scene that he can possibly find, turning each one into a setpiece that’s packed with emotional and dramatic information.
Everything I learned about writing women, I learned from The Heroic Trio.
Hollywood has two models for women: mothers and whores. Sometimes they dish up a motherly whore, or a whorish mother, but that’s just about the entire emotional spectrum. I was lucky enough to see TheHeroic Trio back in 1993 when it first came out, and in Johnnie To’s movie an evil undead Chinese eunuch from the past is living in an underground lair in a dystopian future, stealing babies to turn them into an army of feral monsters. Opposing him are Wonder Woman (Anita Mui), Thief Catcher (Maggie Cheung), and Invisible Girl (Michelle Yeoh). Wonder Woman is a devoted mother who doesn’t get to spend as much time as she wants with her family because she’s constantly saving the world from evil. Thief Catcher is only in it for the money, but she’ll ultimately do the right thing. And Invisible Girl starts out purely evil, but changes sides when Wonder Woman and Thief Catcher offer her what she’s been missing: friendship. I came out of that movie theater understanding that inside every woman is a Thief Catcher, an Invisible Girl, and a Wonder Woman. I do my best to write them that way.
Well, you have succeeded, my friend. I ADORED Amy in Horrorstör. Thank you so much for joining us, Grady! And for all you readers interested in absorbing more of his wisdom, he’ll be touring all week across the interwebs:
Grady Hendrix writes fiction, also called “lies,” and he writes non-fiction, which people sometimes mistakenly pay him for. There is a science fiction book called Occupy Space that he is the author of, and also a fantasy book called Satan Loves You which he wrote as well. Along with his BFF from high school, Katie Crouch, he is the co-author of the YA series, The Magnolia League. With Ryan Dunlavey he was co-authored the Li’l Classix series, which are cartoon degradations of classic literature, and with his wife, and Ryan, he wrote Dirt Candy: A Cookbook, the first graphic novel cookbook in America. His fiction has appeared in Strange Horizons, Pseudopod, and the anthology,The Mad Scientist’s Guide to World Domination.
He is very, very beautiful, but if you ever meet him, please do not let this make you uncomfortable. He does not judge.
My kung fu school now offically offers Brazilian Jiu-Jitsu. Today I spent my lunch hour doing BJJ with one guy who weighs 225 and has a green belt in judo and our sifu, who weighs less but knows more.
So far, these have been my stages in doing BJJ:
I don’t know what this guy is doing and it might hurt. Better tap.
I know what this guy is doing and it hurts. Better tap.
I know what this guy is doing and I try to get away. But he just cinches in tighter. I tap.
I know what this guy is doing and I try to get away. But he gets me in a different position. I end up tapping.
I know what this guy is doing but I have a game of my own. I try something. He gets away. He tries something. I get away. But eventually I can't escape, and I tap.
Just like the above, only sometimes I get the other guy to tap!
As in kung fu, sometimes the best thing seems like the worst idea. Like getting closer to the guy holding the knife can be the best thing, or rolling toward the person who was just behind you choking you.
After class, Sifu asked me how many books I had written and how the process has changed over time. The answer was 17 published + 2 done but not yet published + 1 half-done + the 3 I wrote before I got published + the 3 I wrote after I got published but that never found a home.
That equals 26 books! Which explains why I can now write a book in a compressed timeline and without a super-clear idea of where it's going and still pull it off. So the more you write, the more you know about writing. And the more you grapple or do kung fu, the more you know about grappling or kung fu down in your marrow, deep down past thought. The more you trust the process.
Like in my current WIP, The Girl I Used to Be, I needed this character Jason to be a tweaked-out trucker. And I could write him tweaked out and paranoid or I could write him talking to his ex-wife about who might have killed their old friends years ago, but I couldn't write both parts of the chapter. They refused to go together, even though it said in my outline that that should happen. And I realized I had to listen to my characters. Like there was no way if Jason acted that crazy that Heather was going to give him the kids for the week, no matter what their custody agreement called for. Also, they wouldn't have discussed anything. They would have been at each other's throats. And once I trusted my gut and stopped thinking and stopped insisting the book had to follow my outline and just wrote, it worked itself out. Just like going into grappling and thinking I am going to do this one cool thing I want to do and missing plenty of opporutnities to other great things and never even doing your butterfuly choke.
Every day or at least every month, I'm getting to be better at kung fu/BJJ/writing. But I don't think I'll ever be this good:Add a Comment
Working on a book? If your ambitions run beyond merely getting your manuscript published to making it a best-seller, you’ll need to start planning before you’ve written your first word. And we’re not talking about planning out your plot. To climb onto the best-seller list you’ll need to be a one-stop shop of writer, marketer and promoter.
Keep in mind however, that what you’ll be selling is not your book, but yourself. It’s your success in getting people to follow you, rather than your title, that is the key to sales:
This may seem a bit counterintuitive, but aggressively pushing your current title in lieu of promoting your personal brand as an author — is an ill-conceived plan that can actually stunt book sales. Literary mega-stars like Stephen King and John Grisham have a built-in fan base that buys every book they release, almost automatically. And that, says [author Tim Grahl], should be the goal of every writer — particularly those who have aspirations to write in multiple genres or cover various topics.
The full version of this article is exclusively available to Mediabistro AvantGuild subscribers. If you’re not a member yet, register now for as little as $55 a year for access to hundreds of articles like this one, discounts on Mediabistro seminars and workshops, and all sorts of other bonuses.
Happy Monday! Monday Mishmash is a weekly meme dedicated to sharing what's on your mind. Feel free to grab the button and post your own Mishmash.
Here's what's on my mind today:
Murderer on the Loose The biggest thing on my mind is Eric Frein, a 31-year-old man who shot and killed a police officer in my area. He critically wounded another officer, and now, Frein is armed, dangerous, and hiding somewhere in the woods. I'm scared. I wish they'd catch him soon. It's frightening that Frein is evading 200 police officers searching for him. I don't feel safe in my own home.
Campus Crush is now FREE! To celebrate the releases of Into the Fire and Perfect For You, I've decided to make Campus Crush permanently free. You can get your free copy on Kindle or Nook.
Into the Fire and Perfect For You Reviews So far, I've been blown away by the reviews for both of these books. Seriously, some have made me cry because people are relating so much to my characters and the emotions in these books. I couldn't be a happier author right now.
#IntotheFireChallenge The Into the Fire Challenge is still going on. You have until October 10th to get your review of Into the Fire posted on Amazon and be entered for your chance to appear as a phoenix in the third book in the trilogy. You can also win signed copies of all three books in the series. Go enter now!
YA Scavenger Hunt I'm happy to announce I'll be participating in the fall YA Scavenger Hunt going on October 2-October 5. I'll be part of the Green Team with my Ashelyn Drake title Into the Fire. I'm so excited!
I've just finished reading a wonderful blog by Penny Dolan over on The History Girls, about a series of connections that lead her from a randomly-chosen book from her shelves, right through a whole string of 19th century names, fictional characters and relationships, all linked by a wooden-legged chap called W.E. Henley. Which made me think of Charlotte Bronte. Recently, she's been my W.E. Henley.
It started with a Facebook post - which sent me to the Harvard Library online site where they have been working on restoring the tiny books Charlotte and Branwell Bronte made when they were children - which led to my own History Girl post Tiny Bronte Books. (Please, if you go to have a look, scroll down to the bottom and watch the Brontesaurus video - you won't regret it.) I'm in the midst of editing an anthology of East Perthshire writers called Place Settings and was delighted to read in one of the entries the author's interest in the Brontes, and how "... every night, the sisters paraded round the table reading aloud from their day's writings." Then I got involved in a project run by 26, the writers' collective, in which writers were paired with design studios taking part in this year's London Design Show, and asked to write a response to one of their objects. I was given Dare Studio who were putting forward, among other lovely things, a new design - the Bronte Alcove.
The alcove is meant to be a private space within public places, blocking out the surrounding bustle and noise. Which made me think of bonnets. Which led me back to the internet, which led me, by way of images of hats, to the passage below, written by Elizabeth Gaskell on her visit to Charlotte at the parsonage:
I asked her whether she had ever taken opium, as the description given of its effects in Villette was so exactly like what I had experienced, - vivid and exaggerated presence of objects, of which the outlines were indistinct, or lost in golden mist, etc. She replied, that she had never, to her knowledge, taken a grain of it in any shape, but that she had followed the process she always adopted when she had to describe anything which had not fallen within her own experience; she had thought intently on it for many and many a night before falling to sleep, - wondering what it was like, or how it would be, - till at length, sometimes after the progress of her story had been arrested at this one point for weeks, she wakened up in the morning with all clear before her, as if she had in reality gone through the experience, and then could describe it, word for word, as it had happened. I cannot account for this psychologically; I only am sure that it was so, because she said it. Which led me to wonder ... my own practice has always been to try not to think about work when I'm courting sleep. And I have rarely, if ever walked round my table of an evening, reading aloud from my day's work. But have I been losing out here? Do you do as Charlotte did? I would be most interested to know.
Meantime, I wait for the next popping up of my very own W.E. Henley.
Good news: The end is nigh! Finally, finally my current WIP, The Abyssal Plain, is just a few pages away from being finished. It's a great feeling, tinged, I must add, with a little sadness. No more exciting adventures for my characters. No more characters! No more figuring out how to get them from A to B. And rather than designing their homes and wardrobes, it's time to move on to marketing. Ugh. Marketing has never been my favorite part of writing. Query letters, synopses, pitching--they've all been pretty scary to me. I know how small the window is for attracting the attention of an editor or agent, and I know how easily they can delete or ignore whatever they receive.
So that's why I want to turn everything upside down. I want to enjoy marketing, and I want to create marketing materials that will be read. My two main goals are:
That I feel relaxed about writing my query and synopses (in all their wonderful forms, e.g., 1-page, 2-page, 3-page--you know how it goes), and,
That whatever I write be easy to read. After all, who has the time to pore over pages and pages of convoluted story telling when all anyone wants to know is: what is the story about?
To that end I've come up with a new approach: Before I write a single letter or outline, I'm going to brainstorm three types of 12-point lists:
An ABOUT MY STORY list. This list will include whatever is relevant to sales, e.g., genre, word count, why I wrote the story, who are my potential readers.
A 12-point EVENTS THAT HAPPEN IN THE STORY list, in other words, the top 12 plot points and why they matter.
A 12-point CHARACTER ATTRIBUTE LIST for each of my major players.
Once I have my lists completed, I can then decide what is truly important in each, and what I can put into a single document to be edited and narrowed down even further until I hit pay dirt. I’ve always liked listing things in groups of twelve, (something I wrote about in my Take Twelve blog post) finding it a good way to focus and brainstorm at the same time. Aiming for twelve points on any subject seems to help me go beyond the obvious without going overboard and including too much information. My hope is that using the technique for my marketing will turn what has previously been a dreaded task into a good experience I'll look forward to. Wish me luck!
Tip of the Day: What are the top 12 things you can say about your current WIP? Listing the most important points could be a great way to not only sell your book, but to get it organized before you write it, too!
This week, we continue to add to our collection of rhetorical devices.
Parallelismuses balance and three beats following a sentence or clause with a phrase that starts with a similar kind of word (adjective, adverb or noun).
The book was damaged1, damaged beyond all hope of repair2. (balance)
Jane loved him more for it1, more than she loved her books2, more than she loved herself3. (3 beats)
Personification attributes an animal or inanimate object with human characteristics.
The bookhid its secrets from her.
Phatics are used to begin or interrupt the flow of a sentence without adding meaning to it and act as speed bumps. They are used to strengthen the connection to the reader and can impart a confidential tone. It can raise or lower the dramatic potential of a clause, it can emphasize an important claim, certify content, or negate content. Be sure they are not used to preface an information dump. They include, but are not limited to:
after a fashion
after all is said and done
and I agree that it is
as a matter of fact
as everybody knows
as I believe is the case
as is widely known
as it happens
as it turns out
as I’ve pointed out
as unlikely as it may seem
as we can see
as you can see
at any rate
believe it or not
for God’s sake
for some reason
for that matter
how are you
I am reminded
I can’t help but wonder
I might add
if conditions are favorable
if I may call it that
if time permits
if truth be known
if you get right down to it
if you know what I mean
if you must know
in a way
in a sense
in my mind
in point of fact
in spite of everything
in the final analysis
it goes without saying
it is important to note
it is important to remember
it occurs to me
it seems to me
it turns out
just between us
just between you and me
let’s face it
let me tell you
make no mistake
not to mention
one might ask
or as unlikely as it may seem
shall we say
to a certain extent
to be honest
to my dismay
to everyone’s surprise
to no one’s surprise
to my relief
to my way of thinking
to some extent
we should remember
when all is said and done
you know what
Next week, we will contine to stock your prose shelf.
For the complete list of spices and other revision layers, pick up a copy of:
For the last 29 years, I have worked in the word business. I've been a staff editor at a diabetes center, a proofreader at a direct mail company, and I have done freelance work in every conceivable genre--magazines, newsletters, business communications, non-profit press releases, creative writing, poetry, web content, sports books, and more. Sometimes my work involves being mostly a writing coach, a cheerleader. Sometimes I have to tap into my inner mystic. Other times, it involves being a very nit-picky critic. Copyediting falls into the latter category. This is no time to be nice, just precise and thorough.
My current client is a copyediting project. And I thought I'd share with you some reasons we even care about seemingly stupid stuff like punctuation.
Let's look at exclamation points for now. Why do copyeditors always want to suck the life out of our writing by deleting exclamation points? Well, dear writer, because they are lazy writing and they make the reader feel like they're getting a sales pitch. How so? Time for an example. This one is a made-up piece of non-fiction:
In the 1950s, many women were frustrated by being expected to return to their more traditional roles as housewives, after having spent the war years immersed in the world of working to support our troops in the war effort! Some felt resentment and oppression! However, some were glad for the new, more technological home, complete with machines that washed dishes for them, vacuums that rid the home of nasty dirt in such a sanitary way, and machines that made light work of the stacks of laundry!
(None of this is factually true to my knowledge. I did no research. Let's just pretend I did, though, and look only at the paragraph for the purposes of examining punctuation.)
There are merely three exclamation points in this piece. Which in my opinion is three too many. But let's look at how they create lazy writing. The author is expecting the reader to look at the exclamation point and bring a level of emotion to the writing that isn't present in the words. That's lazy writing, when you expect the reader to fill in emotion or something else that you, the author, are too lazy to put into words.
In addition, exclamation points are all the same, but the emotion or feeling the reader is expected to bring to each sentence is not. What does the exclamation point at the end of the first sentence want us to infer? Perhaps that women found working during the war exciting. Or perhaps that women were mad about this freedom to earn money of their own being taken away. Those are very different expressions, and the writer should use words to convey exactly what he/she means to say, not leave it up to the reader to figure it out. What about the sentence after that--is the reader supposed to feel horrified that women felt oppressed? Or excited? Or perhaps the author wants the reader to really feel the oppression along with the women in the piece. Who knows? The reader certainly doesn't. This is lazy writing, expecting the punctuation to do something it cannot do.
Now, I realize I might be preaching to the choir, but this is why copyeditors pay such close attention to these seemingly little things.
There's another component that is a little harder to nail down, and that is a reader feels manipulated by so many exclamation points. Especially in fiction, you as the author want to make the reader work for it a little bit. We want to throw in clues that help the reader anticipate where we're going with a thread. We want to let the reader ponder what a character will do to get herself out of this seemingly impossible situation. But we don't want to manipulate the reader--at least I don't like being manipulated as a reader. When I see an exclamation point, it feels to me like I'm reading a sales letter. Maybe that's from my days in direct marketing in which every other sentence has an exclamation point. And it's used on purpose to manipulate the reader in buying whatever you're selling.
Let's look at an example in fiction:
"That's great!" exclaimed Peter. A short example, but it shows everything I need it to demonstrate. This is lazy writing in so many ways. First, it's pretty redundant to have an exclamation point and the word "exclaimed." Even more than that, it doesn't give the reader any satisfaction, any sensory experience to connect to, any way to relate to the character. How would this particular character express his emotions with his body? Maybe jump into the air and do a flip. Maybe pump his fist. Maybe it would be more subtle, like get teary eyed. Or maybe he is being saracastic, and he lets out a raspberry.
Another thing exclamation points can affect in a piece of writing is the tone and voice. Do you want your narrator to sound like a salesperson? (Or like a football highlights sportscast or a car commercial.) That's the effect of exclamation points. Of course, at times, maybe you do want a narrator or a character to come across this way, and that might be an appropriate time to use this particular punctuation. But use it purposefully for effect, not lazily because you aren't willing to work at your craft. If your exclamation point usage is aimed toward making the tone light and friendly, then look for ways to do that with your words rather than your punctuation. Use conversational language and structure. Don't use jargon and highly specialized vocabulary. Don't use formal punctuation like semi-colons and colons. Maybe use second person. These tactics will make your writing lighter without being lazy.
Copyeditors are not here to make your life miserable. We are here to make your writing precise and to help you do what you are attempting to do in the most effective way possible.
Today I conducted a simple writing workshop at Fairway Park in Miramar, FL. This was my fifth visit to the park’s after care program as a teaching artist. With the first group of 30 kids, ages 5-8, the children wrote 1-3 sentence stories entitled, “My Best Day Ever” and drew pictures to go along with their stories. Then they read them out loud to their peers. There were lots of spelling questions, and one impressive six-year-old boy seemed to know how to spell just about every word. Stories included themes about Disney trips, Christmas day presents, birthdays, family outings and getting good grades at school.
Kindergarten through second graders
This adorable five-year-old’s handwriting was perfect, as was his grammar and spelling for his birthday party Best Day Ever story.
Sharing his artwork of a bus with superpowers with the group
Time to show off their hard work!
With the older group of 35 children, ages 9-13, the assignment was to write a letter to someone they know who has had a positive influence on them. First I read to the group a personal letter of thanks I wrote to my late grandfather as an example and so they were not the only ones pouring their hearts out.
I am happy to report that overwhelmingly the children wrote thank you letters to their parents and a few to teachers,- a few with impressive detail. Some were so incredibly thoughtful, I’m sure it will bring tears to the recipients’ eyes. It takes courage to stand up and read a personal letter to a large group of peers – especially at this age – and I’m proud of all who did!
Some lucky people will be receiving this kind, thoughtful letters!
A letter from a nine-year-old boy to his dad
What I learned today is that children want to be good writers. Some decided not to read their work out loud, and some others wanted me to read for them. All the children listened to the stories being read by their peers with respect. What surprised me most is that the children were excited to write by hand, although all printed and none used cursive.
The message I left with the children is, “Reading is the number one factor in determining your financial success in the future. The only way to become a good writer is to read a lot and practice writing a lot. Any worthwhile writing requires numerous revisions. No matter what career you choose down the road you’ll be a lot more successful if you are a good writer. Read what others have written and decide what you like – or don’t like – about it Then get inspired to write something amazing yourself.”
What a rewarding and fun day we all had. A big thank to Site Supervisor Randy Kaiser for inviting me back to visit today and to the dedicated teachers there who keep the children focused and learning. I look forward to another visit with Fairway kids!
Query letters are supposed to be catchy, succinct, and intriguing. They’re also a pain in the ass to write. As I prepare to sell my manuscript, Bite Somebody, I must first prepare a dreaded query letter. That’s where you come in.
Kindly read the following query letter and tell me if it a) makes you wanna read my book and b) flows and/or makes sense. If all goes well, maybe I’ll mention you in the Acknowledgments.
Bite Somebody Query Letter: First Draft
All Celia wanted was her first bite and a cute boyfriend.
She expected her life to change when she became a vampire, but she’s the same chubby, awkward Pretty Woman-loving girl she’s always been. Abandoned by her maker, the opportunity for change arrives in the form of Ian, her new neighbor at Florida’s Sleeping Gull Apartments.
Ian is a goofy ex-surfer who likes Jeopardy and, to her surprise, Celia. Despite the nagging of Imogene, her only vampire friend, Celia can’t get her fangs to go “boing” at the right time, and her first bite seems less and less attainable.
When Ian makes his romantic move, Danny, Celia’s jerk of a creator, returns for a favor. He wants to harvest Ian’s human blood, because Ian’s blood smells like Christmas wrapped in bacon and they could make a fortune. But the last thing Celia wants is her cute boyfriend dead.
Bite Somebody: A Bloodsucker’s Diary is a 75,000 word YA paranormal romance parody set at the beach, and nothing and nobody are what they seem.
My name is Sara Dobie Bauer. I’m a vampire enthusiast and fan of Christopher Moore and Gregory Maguire. I earned my creative writing degree from Ohio University and am the official book nerd at SheKnows.com. My short fiction has appeared in The Molotov Cocktail, Stoneslide Corrective, and Solarcide.
A full synopsis and manuscript are available upon request. Intelligent vampire fans who don’t take themselves at all seriously thank you.
I got exciting news this week! Scholastic has bought a bunch of copies of The Body in the Woods, the first in my new series. Girl, Stolen and The Girl Who Was Supposed to Die have been Scholastic bestsellers, so I'm hoping this book meets the same fate.
I got the idea in April 2012 when a friend told us her teen was a volunteer with Multnomah County Sheriff's Office Search and Rescue. Our local SAR does what all SARSs do—find people lost in the wilderness—but ours is unique in two respects. First, it is an all teen-led organization. Adults can volunteer, but they can't be elected to leadership positions. Second, about 30% of what these teens do is search for evidence at crime scenes. Evidence they have found has been credited with helping solve dozens of murders. The more I learned, the more I was sure I had found what I had long sought: a realistic hook for a teen mystery series.
The teen volunteers receive about 300 hours of training. They meet every Wednesday evening as well as go on weekend outings once a month. I have gone to trainings with them, most recently a unit on "man tracking," which is what they call it when you follow someone's tracks. It's a real art, and the only clue that someone might have been there can be as small as a broken twig or a few grains of sand on top of a leaf. (I told folks at my kung fu school that I was learning to man track and another lady said, "Oh, don't worry, honey, I can set you up with somebody!")
How to write about something you
don't know much about I stared first where I always start: at the library. I checked out books about Search and Rescue. I even bought a few manuals (which were expensive, even if they weren't that much bigger than a book. I don't understand why textbooks and such always priced so much higher.)
I interviewed the girl who was a volunteer, and she showed me all the things you have to carry in your pack and on your person when you are called out for SAR. After signing a criminal background check, I started going to meetings, including an orientation meeting, where I took notes and talked to people. But the best thing I did was to make the acquintance of Jake K., a guy in his early 20s who had volunteered for SAR since he was a teen. Like many SAR volunteers, SAR is Jake's passion. But he's also willing to answer a million questions by email.
And slowly I found my way to a story. Actually I found my way to ideas for about a dozen stories, but i picked one and worked on that.
First up: the Body in the Woods
Alexis, Nick, and Ruby have very different backgrounds: Alexis has spent her life covering for her mom’s mental illness, Nick’s bravado hides his fear of not being good enough, and Ruby just wants to pursue her eccentric interests in a world that doesn’t understand her. When the three teens join Portland County Sheriff’s Search and Rescue, they are teamed up to search for a autistic man lost in the woods. What they find instead is a dead body. In a friendship that will be forged in danger, fear, and courage, the three team up to find the girl’s killer—before he can strike one of their own.
Next in the series: Blood Will Tell
This last weekend, I turned in the final draft of the next book in the series. The working title was Blood Will Tell. The amazing thing is I think the publisher kept it. I think the last time that happened was 10 years ago.
In Blood Will Tell, Nick, Alexis and Ruby are well on their way to being full-fledged members of Portland’s Search and Rescue—and to being friends. When a woman is found stabbed to death, their team is called out to search for evidence. Suspicion begins to fall on a guy who lives nearbyr, an awkward kid who collects knives, loves first-person shooter video games, and doodles violent scenes in his school notebooks: Nick Walker. As the evidence against their friend mounts, Alexis and Ruby must decide where their loyalties lie—even if it puts them in danger.
Awards and honors
A Junior Library Guild selection.
Kirkus: "A fast-moving and well-constructed mystery... A quick, thrilling read that doesn’t skimp on characterization."
Publishers Weekly: "The author’s expertise at plotting a murder mystery and knowledge of police procedure are evident."
School Library Journal: "A pervading sense of threat and danger."
VOYA: "Henry has created not only a gripping mystery, but rich and detailed characters as well."
Click here to read the first chapter
For Alexis Frost, Nick Walker, and Ruby McClure, it all started with a phone call and two texts. It ended with fear and courage, love and loathing, screaming and blood. Lots of blood.
* * *
When the classroom phone rang in American history, Alexis Frost straightened up and blinked, trying to will herself awake as the teacher answered it. She managed to yawn without opening her mouth, the cords stretching tight in her neck. Last night had been another hard one.
“Alexis?” Mrs. Fairchild turned toward her.
“Yes?” Her heart sped up. What was it this time? The possibilities were endless. None of them good.
“Could you come up here, please?”
Mrs. Fairchild was looking at Alexis as if she was seeing her in a new light. Had it finally happened, then, the thing she both feared and longed for? Had something happened to her mother?
* * *
Nick Walker’s thumbs were poised over the virtual keyboard of the phone he held on his lap. He was pretending to listen to Mr. Dill, his English teacher, while he was really texting Sasha Madigan, trying this angle and that to persuade her to study with him tonight. Which he hoped would mean lots of copying (on his part) and lots of kissing (on both their parts).
The phone vibrated in his hand. Mr. Dill was busy writing on the board, so Nick lifted it a little closer to his face. It wasn’t a reply from Sasha but a message from his Portland Search and Rescue team leader.
Search in Forest Park. Missing man. Meet time 1500.
His first SAR call-out! He jumped to his feet.
“Nick?” Mr. Dill turned and looked at him over the top of his glasses. “What is it?” Mr. Dill had a lot of rules. He had already complained about Nick’s habit of drawing—only Mr. Dill called it doodling—in class.
Nick held up his phone while pointing at it with his other hand as if he had been hired to demonstrate it. “I’m with Portland Search and Rescue, and we’ve been mobilized to find a man missing in Forest Park. I have to leave now.”
“Um, okay,” Mr. Dill said uncertainly. Someone in Wilson High’s administration had had to sign off on Nick being allowed to join searches during the school day, but maybe the information hadn’t filtered down to his teachers.
No matter. Nick was already out the door.
He just hoped someone from class would tell Sasha. A text wouldn’t do it justice.
Nick Walker, called out on a lifesaving mission.
* * *
Ruby McClure felt her phone buzz in her jeans pocket. She waited until the end of chemistry to check it.
Fifteen hundred made so much more sense than three P.M. Ruby preferred military time. No questions about whether “nine” meant morning or night. No having to rely on context. No one getting hung up on whether 1200 had an A.M. or a P.M. after it, which was a ridiculous idea because A.M. meant “ante meridiem” and P.M. meant “post meridiem” and meridiem was Latin for “midday,” and twelve noon was midday itself.
It was 1357 now. Which meant she had an hour to get home, change into hiking clothes, pick up her SAR backpack, and meet the rest of the team at the Portland sheriff’s office.
Piece of cake.
Ruby pulled out the keys to her car as she walked to the office to sign herself out. On the way, her phone buzzed again. It was Nick, asking for a ride.
Today, the 18th of September 2014, is the day Scotland goes to the polls to decide whether to become and independent country or to stay within the United Kingdom and much of the world is looking on.
Living and working in Scotland it would be difficult to ignore what is going on all around me and it is too important. But this is not a blog about the Referendum, because votes are being cast as you read this, the decision is already being made and the outcome will be something we will all have to live, with whatever our own thoughts are. Decisions are sometimes easy and at other times much more difficult so I wanted to look at the decisions we make as we write.
As I have said before, I am not a planner, so when I am starting to write a new book an idea pops into my head and I start to write about it, often with no idea what the story is or where it is going. I need to try it out, run with it and see where it takes me. It is a very exciting stage.
When I started writing Dead Boy Talking I was on a train coming back from visiting a school and with a notebook open in front of me I was thinking about what my next YA novel would be.
The title DEAD BOY TALKING was the first thing I wrote down, followed by the first line...
'In 25 minutes I will be dead.'
I had a picture in my head of a boy sitting on a pavement bleeding from a knife wound and it was cold, but most of all he was alone. I was wondering how desperate that would be, how scared I would be if it was me. I started to write but it was his voice I could hear.
The first page of the book hardly changed from the words I scribbled in my notebook that day...
'The knife slipped into my body a bright, sharp edge of death, a thief. It sliced easily through leather, skin and flesh. Hot, red blood coating it's blade, warming the icy metal with a precious searing heat.... '
I was imagining how it might feel to be stabbed, scared and all alone. But then I started wondering if the reader would be thinking that this was another book where the main character is dead before it starts. Almost without making a conscious decision, the boy's voice intruded on my thoughts again. I feel it is instinctive at this stage and I try not to over-think it.
'No, this is not some dead person talking from the grave. It's just me, Josh, You know me. I'm not scared. I'm not! Who am I kidding? It can't really be happening to me, can it?' There - I knew his name now! But I still knew very little about Josh or why he was in that situation and what had happened to him that led to this. Also one of the crucial things I didn't know was whether his statement about having 25 minutes to live was right or not. Would I have him alive or dead at the end of the book?
Many of the decisions are made as the story progresses and I get to know the characters better. If I know them well enough I know how they would act in any situation and as long as I am true to their character the reader will find it credible. But sometimes the decision is about whether the character will do something completely at odds with their normal behaviour. That is a decision that often shows how multifaceted the character is. We are all complex human beings so if I decide he has to act contrary to his nature there has to be a strong driving force that leads him to do that, otherwise it will not be believable.
How often have you seen someone act in a way that surprises you? It just shows that we can never fully know another person but if they do act out of character there will be a reason behind it.
The decision about whether he would survive or not was a difficult one, it could go either way. Much the same as in ordinary life, we cannot know if someone will survive a knife wound. In the end I went with my gut feeling about what was right for the story but somewhere in the back of my mind is always the reader, so whatever the outcome there has to be, in my opinion, a sense of hope. They need to know that whatever happens, life will go on.
There were also other things to find out about Josh. What was his family like, who are his friends, what was the pivotal thing in his life that changed everything. In this case it was his older brother running away from home, and never coming back. Josh's life changed that day because everyone around him was focussed on his brother, and he felt lost and betrayed but there was nothing he could do about any of it.
A writer has to make many decisions as a story progresses but perhaps the most important are how it begins and how it ends. If the beginning does not draw the reader in they might not bother reading on. I always feel that when you get to the end of a book you should feel satisfied, like having had a good meal, not too much or too little but a sense that you have come to the end of a journey.
What decisions are you most aware of when you start writing?
------------------------------------------------------------------------------ Linda Strachan is the author of over 60 books for all ages from picture books to teenage novels and the writing handbook Writing For Children
She has written 10 Hamish McHaggis books illustrated by Sally J. Collins who also illustrated Linda's retelling of Greyfriars Bobby
Linda's latest YA novel is Don't Judge Me Linda isPatron of Reading to Liberton High School, Edinburgh
Say you’re a new freelance writer. (Sound familiar?) You ask someone with more experience whether you should start a blog to help attract clients and let you use blog posts as clips.
Chances are, the other writer will tell you it’s absolutely, totally imperative that you have a blog. I even heard one freelance writer tell a poor newbie, “You only have a website? But that’s so STATIC!”
I’m here to tell you that if you’re asking whether you should start a blog, the answer is No.
And if you’re wondering what topic to start you blog on, the answer is that you shouldn’t.
If you start a blog, it need to be because you already have something you really, really want to say. Something you’re so passionate about that you can’t hold it back. Something that you can envision yourself writing about regularly for the indefinite future.
For example, Diana and I have written over 1,000 posts since 2006! That’s the kind of commitment you need. If you don’t feel inclined to write 1,000 posts on a particular topic, a blog may not be right for you.
Blogs are not an easy clip. If you start a blog, you will need to keep it updated, because nothing looks sadder to prospective clients than a blog that hasn’t been updated in six months.
Also, you’ll need to promote your blog if you want to get comments — so you don’t feel like you’re just writing to yourself all the time. Blogs are meant to be read.
And…what happens when you start getting some real published clips and no longer need the blog? Will you just let it die? Will all that work be for nothing?
It’s way easier to just start pitching clients based on your experience — for example, if you have a foodservice background you would pitch businesses in that industry — or to do a free assignment or two just to get the samples.
And don’t forget that your (static!) website works as a clip. If you have some kick-ass copy on there, prospects will be able to see you can write.
There is the issue that fresh content will push your website up in the search engine results, and blogs are of course perfect for that. But you can get a similar effect by updating your portfolio as you garner new clips.
If you have plans to monetize your blog and a topic you’re passionate about, go for it. And if you want to offer blogging as one of your services, you’ll want to show prospects that you can do that. But if you feel you need to blog just for the clip — there are better, easier ways to do that. Ways that won’t have you on the hook for the rest of your working career.
How about you: Have you wrestled with whether to start a blog? How did it end up? Or did you start a blog for the clips and later felt burdened with it? Let us know in the Comments below!
I've been tagged by Vicki Leigh in the Meet My Character Blog Hop. Thanks, Vicki! So, today I'll be talking about the MC in Into the Fire. Well, one of them anyway. It's dual POV. Here we go!
1. What is the name of your character? Is he/she fictional or a historic person?
Cara Tillman is 100% fictional, though she feels completely real in my mind.
2. When and where is the story set?
The story is set in present day in a fictional town called Ashlan Falls.
3. What should we know about him/her?
Cara is a descendent of the mythical phoenix bird, and her first rebirth is only one month away.
4. What is the main conflict? What messes up his/her life?
Cara knows that when she's reborn, she's going to forget everyone from her first life. So when she imprints on the new guy in town, Logan, this spells disaster. It also makes her more of a target for Hunters, people who kill Phoenixes and steal their essence so they can live longer.
5. What is the personal goal of the character?
Cara is dying to find a way to hold on to her memories and Logan through her rebirth.
6. Is there a working title for this novel, and can we read more about it?
Into the Fire is a YA romantic fantasy. Here's the blurb:
In one month, seventeen-year-old Cara Tillman will die. But until then, she plans to enjoy every look, touch and kiss with her boyfriend Logan, the new boy in Ashlan Falls. Cara is a descendant of the mythical Phoenix bird, and her rebirth is nearing. But first, she must die and forget all that she knew before, including Logan's face, his laugh, and the way he says her name. With precious little time left for the two of them, Cara does all she can to savor every moment, unwittingly drawing a Phoenix hunter to her doorstep with every move.
7. When can we expect the book to be published?
Into the Fire was published on September 9th! You can grab your copy today on Amazon or B&N, and take the #IntotheFireChallenge for a chance to become a phoenix in the final book of the series.
One of the most thought-provoking plays I've seen this year was Your Mother's Copy of the Kama Sutra, at Playwrights Horizons, by the playwright Kirk Lynn. The theatre distributed a printed Q&A with Mr. Lynn after the show, and I've kept it for several months because there's a lot in the following that really resonates with me about art and life:
Q: You recently started running the UT Austin Playwriting and Directing program. What’s your pedagogy? What’s required reading in your playwriting courses? A: ... The most controversial thing about me as a teacher, which surprises me, is that I—trained by my wife, who’s a poet—have really come to believe in a catholic taste: you should like everything; you should read everything. And this ties back to the no-experts thing. If you see something and think it’s totally full of shit, then you probably haven’t studied it enough. And you should spend time in its presence. I say this sentence, which I borrow from this classical music scholar Charles Rosen, who’s now dead. He said, “Admirers are never wrong.” For example, I find Shaw to be really stuffy. But people who authentically like Shaw aren’t lying. They’re not idiots. They’re not wrong. And if I place myself in their proximity, I can learn to appreciate—you can learn to appreciate any kind of art. I say this to my students and, more than any other crazy shit I say, that’s the one where people just get outraged. They think the avant-garde is full of shit, or they think the Well-Made-Play is full of shit. They don’t want to task themselves with the possibility that they’re full of shit and they can learn something from all of these. When I was first dating my wife, I would wake up and she’d be sitting up in a chair, with a little light on, reading poetry constantly, every morning. I would always ask her, “What are you reading?” She would tell me, and I’d be like, “Do you like it? Is it good?” And she’d be like, “No.” And, just, the discipline of reading everything in the world because you’re an artist, and to be in conversation with it, seemed so radical to me. It has since become a practice of mine, to try and place myself—as much as I want to be in the company of plays that speak to me about my life—to put myself in the company of Shaw because I do not understand what he’s doing or why, and I need to stretch those muscles. If nothing else, it’s just a more interesting world to live in. I believe in this Wittgensteinian philosophy that words don’t correspond to meaning. There’s not a thing called “love” that actually corresponds to the word, there’s a kind of cloud of understanding that is different for each of us. So if I say I love you, you understand it as you understand love, but you don’t understand it as I understand it, and there’s a Venn diagram of how we sort of overlap in understanding. And if every word works like that, then making meaning together as humans is very complicated and we have to agree that there’s some leeway, that there’s not a right understanding of those things. That there’s not a right way to live, even. So you got a text from your wife last night after the preview, about how your daughter Olive has a crush— —I don’t know if we should say his name! It’s Daniel. We’ll just call him “D---.” And you were so excited about it. Can you talk about why? Yeah, this’ll probably make me cry more than anything else. Some of it’s just longing, because I miss my daughter and it’s fun to know about her life. It’s also such a great mystery. It’s interesting to have kids and realize that I’m not the central character in Olive’s life; Olive is the central character in her life. And [my son] Judah is the central character in his life. …I think there’s a little bit of fear in me that it will turn out that something like Christianity’s true, and I’ll become a crazy person who, like, wanders up and down the highway with a cross on my shoulder, shouting like, “Pleeeease repent.” Because if any of that is true, if what Christians believe is true, then everything you do is all wrong. There’s no sense in doing any of this. Making plays, being married. There’s just heaven and hell, and everyone’s fucking up really bad. I’m fucking up really bad. I don’t believe that’s true, thank goodness, but I do think placing yourself in service to people, there is a kind of— You sort of make up for your narcissism by loving people. Does that make any sense? So knowing that my daughter is having this life, outside me, where she has her own friends at school, and she won’t tell me about any of them, and she has a crush at age three and a half, it just seems like a miracle. It seems like magic. And my job is to serve Olive so that she can have better and better crushes with crazier and crazier three-year-olds, and then four-year-olds, and then five-year-olds. That seems to me to be in the presence of the great mystery. It is insane that there’s a living being that I’m responsible for in some sense, and then that living being will jump ship and go off into the world and have the same experiences, both terribly traumatic and hard. And just the crushing sorrow and depression and, god forbid, addiction, anxiety, abuse, all those things. But then she’ll also have the experiences of friendship, and love—it’s insane. It’s a terrible system that we’re involved with! It seems poorly structured. My daughter’s life is this great thing that’s gonna unfold before me, and I get to watch it, and even participate a little bit. By recommending Daniel over, say, Ethan.
I think what I really appreciate and admire in this are Mr. Lynn's ideas that there is something to be learned from everything, even the things that don't resonate with you at all, about how art is made or how lives are lived. And how he decenters himself repeatedly, first from a universal absoluteness of meaning in language (meaning that all meanings would be dictated by him), and then from his daughter's life -- recognizing that she's her own person, doing her own thing, at age three, and finding that beautiful and sacred. To read the entire Q&A, click here.
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Danielle Hark founded Broken Light Collective, a community for photographers coping with mental health issues, more than two years ago. We’ve been following that project for a while (and mentioned it in a mental health-focused roundup earlier this year), so it was nice to see Danielle, and Broken Light Collective as a whole, receive the attention they deserve in a New York Times profile. It was published to coincide with the Collective‘s first group gallery show, which closed in New York in August.
Ana Sofía Peláez‘s site has showcased the colorful, mouthwatering delights of Caribbean cuisine for more than five years, mixing in great storytelling with beautiful food photography. Next month, Ana Sofía will see her book, The Cuban Table: A Celebration of Food, Flavors, and History (St. Martin’s Press), hit bookstores (and kitchens) everywhere. A labor of love on which she collaborated with photographer Ellen Silverman, the book chronicles Cuban food cultures from Havana to Miami to New York.
Earlier this week, Notches editor Julia Laite, a lecturer at the University of London, wrote a thought-provoking article in The Guardian on another fascinating topic: our decades-long obsession with Jack the Ripper.
Justine Brooks Froelker, the blogger behind Ever Upward, has been chronicling her journey through infertility, loss, and acceptance in posts that are at once unflinching and moving. Now, Justine is preparing for the release of her book, also named Ever Upward, in early October (it’ll also be available on Amazon starting February). You can get a taste of Justine’s writing in this excerpt from the book’s opening chapter.
Are you publishing a book soon? Has your blog made the news? Leave us a comment — we’d love to know.
Crafting the Kidlit Novel - Four Week Online Class
starts October 6, 2014
One Bite at a Time: How Writing a Novel is Like Eating a T-Rex and Other Things That Bite Back
With Children’s Authors
Kami Kinard and Rebecca Petruck
The idea of writing an entire novel can be intimidating, but it doesn’t have to be when you learn how to move in stages. Children’s authors Kami Kinard and Rebecca Petruck break down the elements of solid novel writing, beginning with the hook and on through pitch, character development, plot structure, and practical tools for writing through to the end. Though the focus will be on middle grade and young adult writing, the tools are useful for anyone who wants to complete a publishable work.
NaNoWriMos!This class will organize your approach so you launch into November with a plan that will result in a novel-like construction and not simply 50,000 words.
Bonus Critique: Register before September 20, 2014 and receive a free five-page critique and 20-minute Skype session with Kami Kinard, redeemable within six months of the course’s completion.
In addition, you will be entered to receive a free written critique of the first chapter of your novel (up to 5 pages) from Agent Rachael Orr of Prospect Agency.
You have the option of registering for the four-week class for $250 or the class PLUS a 25 page critique with a 60 minute telephone or Skype conversation for $350.
Looking for a writing group in or around Houston? I don’t recall what made me start looking for these groups, but once I got started, I was amazed at how many organized writing groups there are in and around Houston. The groups listed here range from large organizations like SCBWI and The Writers’ Guild to small critique groups, and most of them have writers of various genres. Many are open to new members, so if you see one in your area that looks like it might be a good fit for you, give them a holler.
Don’t quite fit with any of these groups? Grab a few friends and make your own! Name yourselves and get a blog. If you know of others (that have an internet presence) in or near Houston, let me know. I’ll revisit this page from time to time with updates.
I’ve been writing about making money as a freelancer for well over a decade now. I have written five books, dozens of articles and hundreds of blog posts about the subject. I get many questions, and lately many of those have been about the field of ghostwriting. What is ghostwriting? How lucrative is it? How do I get started?
The fact is that any competent writer can ghostwrite as well—as long as you understand the additional responsibilities that come with ghosting. There’s a growing market for talented ghostwriters, so I encourage freelancers to consider whether their personality, background and experience make you a good fit for the field.
Your clients’ needs may vary, but I believe that successful ghostwriters must have the following attributes:
Confidence. Confidence is a key to ghostwriting success for several reasons. First, a confident ghost is more likely to get clients—when they trust in your abilities, they’re willing to hire you to write their book or blog post. Second, your confidence in yourself will make your job easier when it comes to creating a piece of writing that sprang not from your own ideas and brain, but from your client’s. Finally, you have to have enough confidence to recognize that you can write without a byline—and that any praise your piece, whether an article or book, receives will be directed to and accepted by your client—not you. If that idea makes you uncomfortable or resentful, ghosting isn’t for you.
Creativity. It’s a rare client who simply wants to dictate his thoughts and have me write them up for him. (And that’s not really ghostwriting, but transcribing.) A ghost does much more than that—she may be called on to conceptualize, organize, research, edit and rewrite. As a freelancer, you’ve no doubt come up with story ideas, organized articles or book chapters and come up with new approaches to subjects you’ve written about that before. You’ll use those same skills when you ghostwrite.
Flexibility. When you write your own piece, you do the research and writing. When you ghostwrite for a client, though, you may need information—whether written or in the form of phone, email, or in-person interviews—directly from that person. If he’s not available when you need him, you may have to push back a deadline or move forward on another part of the project that doesn’t require his immediate input. If you’re working per your client’s deadlines (and not, say, for a traditional publisher), then he may not feel the pressure to complete the project—which means you fall behind (and don’t get paid for your work). Understanding that when you ghost, you may at the whim of your client is key to ghosting.
Ability to organize. If you’re working on a short project, this is less important. But consider, for example, ghosting a book. That requires that you organize the information you receive from your client, research you perform on your own, different drafts of chapter, and other relevant information. I like to use manila folders for book projects, and set up a folder in Word to hold all of the various research and chapters; your methods may vary but the key is to manage information, drafts, and emails in a way that works for you.
Publishing knowledge. If you’re ghostwriting shorter pieces like articles and blog posts, this is not a great concern. However, if you’re going to ghostwrite books for clients, you should have some books under your belt already. If you have published your own books with traditional publishers, you have an understanding of the industry that will benefit your clients. And if you’ve self-published with a print-on-demand, or POD, company, that knowledge will help clients who choose the same option. Ghosts who have done both—traditionally published and self-published (whether in print, or with e-books, or both)—have a huge advantage over ghosts who are great writers but know little about publishing today. In my opinion, the more experience you have with books, the more valuable you are to a client, and the more potential you have as a ghostwriter.
Ask yourself honestly whether you have these five essential attributes. If the answer is yes, then consider adding ghosting to your freelance repertoire.
Here are more delicious rhetorical devices to add to your prose spice shelf.
Epizeuxis repeats a word in a sentence or clause for emphasis.
It was a long, long night for them both.
Hyperbole uses deliberate exaggeration. It can be funny or sarcastic. Use it sparingly.
Jane was so tired she could have slept for a year, maybe four.
Hypophora is similar to a rhetorical question, only the question is answered. Often the base clause or sentence poses the question and the modifying phrases answer it. In dialogue, it can be provocative if the character asks the question then answers it for the other person.
Jane turned to Dick. "So you want to slay the ghost, by yourself? No, no, I get it. You're strong; I'm weak. You're fast; I'm slow. I'd just get in your way. Fine, see if I care."
Isocolon stresses corresponding words, phrases, or clauses of equal length and similar structure.
Never had Dick promised so much, to appease so many, to benefit so few.
Litotes is an understatement that denies the opposite of the word the reader expects. It can use no or not. It creates confusion.
Jane was not a little angry with Dick for leaving her.
Metaphors can add richness and texture if used wisely. Metaphors compare two different things without using like or as in sentences and paragraphs. Not every simile is a metaphor, but every metaphor implies a simile. Dead metaphors and similes are often cliché, so it's important to cut them or change them up when possible. The biggest offender is the mixed metaphor in which the second proposition is inconsistent with the first.
Dick was able to shed some light on the text. (light = understanding)
Jane stared through the window at the black velvet sky. (sky = black velvet)
Oxymorons connect contradictory terms. You can find extensive lists on the internet. If you look for them, kill them whenever possible. They are hard to spot because they are so frequently used. Most readers won't recognize them as such.
A few examples include:
Next week, we will contine adding spices to your prose shelf.
For the complete list of spices and other revision layers, pick up a copy of:
Many years ago I attended a writing conference and one of the authors recommended writing your entire story, then throwing it away and writing it again. The rationale was that writing the first time was to help you get to know the characters. Writing the second time was to finesse it and tease out your […]
In my career, I’ve worked a lot with rhyming picture book texts. Not on my agenting list, unfortunately, since the market for rhyming picture books was (and remains) tough. Of my dozen or so picture book author clients, most were author-illustrators who could bring a unique art voice and sense of balance between text and image, the rest were prose picture book writers, and only one worked exclusively in rhyme. Tough odds. The rhyming one did get a book deal during our work together (the absolutely charming GOODNIGHT, ARK by Laura Sassi, illustrated by Jane Chapman), but I heard over and over again from editors that rhyming was tough.
Well, let’s leave rhyming out of it and talk about rhyming’s black sheep sister for a minute: rhythm. If you want to write rhyming picture books, I would actually argue that rhythm, not rhyme, is king of the genre. Most people get so caught up in finding the right rhyme that their rhythm is all over the place and completely sinks the manuscript, almost before it gets started. Are you writing in rhyme and failing to count your syllables? Disaster lies in that direction.
The biggest mistake people writing rhyming PBs make is letting rhyme dictate story. Why does the dog have fleas? Because it has to eat cheese in order for the rhyme to work? Wrong. You’ve written yourself into a prison and you’re going to keep sacrificing the integrity of the story just to hit your rhymes. That’s not great.
The second biggest mistake, as you might be able to guess, is not paying attention to rhythm. If you aren’t yet familiar with syllable counts, iambs, trochees, and all the other trappings of verse, it may be worth your while to get a high school or college poetry textbook. That’s right. A textbook. Because there is stuff to learn about rhythm that was so intricate that you quicky repressed it in the 9th grade. People have been hammering away at poetry for centuries and centuries. Give their hard work at least a cursory nod and study the poetic form before you throw your hat in the ring.
You could have the most beautiful rhyme in the world but if the read-aloud factor isn’t there, and it’s pitted like a road after winter, with starts and stops, your rhyming picture book will go flat. And if you aren’t reading your work aloud as you compose or edit, especially for rhyming picture books, what, exactly, are you doing?! That is absolutely essential, because how it sounds in your head probably isn’t how it sounds out in the air.
Ideally you compose for content (story) and cadence (rhythm). Those two come first and foremost. Only when you master rhythm can you even think about incorporating rhyme.
“My name is Sally.” Remember that famous first line? No?
“My name is Ishmael.” How about that one? Even if you’ve never read Moby Dick, you probably are familiar with that first sentence.
Over the next two months, a class of teens will have my full attention as we indulge in the delicacies of creative writing. Today, the teens discussed the importance of grabbing readers’ attention in the first line or shortly thereafter.
I read the first lines from several books to them. First, they told me the book they thought the line came from and second, they told me if it intrigued them enough to keep reading.
See if you recognize what books hold these first lines:
1.“There is no lake at Camp Green Lake.”
2.“When I was in elementary school, I packed my suitcase and told my mother I was going to run away from home.”
3.“The sun did not shine. It was too wet to play. So we sat in the house. All that cold, cold wet day.”
4.“Grandchildren, you asked me about this medal of mine. There is much to be said about it.”
5.“That Sam-I-am! That Sam-I-am! I do not like that Sam-I-am!
Did you guess correctly? 1. Holes 2. My Side of the Mountain3. The Cat in the Hat 4. Code Talker 5. Green Eggs and Ham
Words quote by twowritingteachers
This is a fun activity to do with children of any age. Just choose books of which they are familiar. I guarantee most teens will fondly remember those Dr. Seuss books even if it has been ten years since they last heard them read aloud.
My son recently got into watching trivia game shows. He’s nine and almost all of the questions are out of his realm of comprehension. However, he loves the challenge aspect. Noticing this I now have greater results when I quiz him on school subjects if I do two things. I use my best game show announcer voice and use the words “challenge,” “advance to the next level,” and “you won!” If I cut out pictures of cars, dishwashers, and luggage to present as “prizes,” I wonder will he find that fun or cornball. It’s a fine line, you know.
The first lines of a book can have a lasting impression. So too, adults have the potential to influence a young life, just by what they say to them:
first thing in the morning,
first thing after school,
first thing after not being successful.
Make your first lines positive and they’ll definitely have a lasting effect.
Photo by JanusCastrane
(*And by the way, when I was a child, one of my favorite books is Try Again, Sally. I wonder why.)