Anyone else purposely slow down near the end of a really, really good book?
Also see my previous Keiko comics.Add a Comment
Anyone else purposely slow down near the end of a really, really good book?
Also see my previous Keiko comics.Add a Comment
For those of you who like to read your series in one big chunk, there’s now an omnibus ebook edition of the entire PARALLELOGRAM series–and it’s incredibly cheap for the moment. All four books for only $7.99! And more important, no waiting in between cliff hangers.
Enjoy!Add a Comment
Today, more than a million people in at least 80 countries around the world celebrate World Read Aloud Day. This annual event “calls global attention to the importance of reading aloud and sharing stories.” How will you take part?
As we wait for the snow to melt
Did you know you can get your ebooks signed and personalized? I didn’t until about an hour ago (thank you, BH!). There’s a service called Authorgraph that allows you to request and collect signatures and messages from your favorite authors.
I’m on there now if you’d like one from me. Here’s my page!Add a Comment
|A Piper-approved necklace and $10 Starbuck Card|
A Piper-approved bracelet
So here’s a question for you. How much leeway do you allow books, especially those from earlier times, when they are sexist, racist, classist, condescendingly colonial, etc? It’s been rattling around my brain a bit since I finished Foundation. Given Asimov wrote the stories in the 1940s, I can forgive him a little for his lack of inclusiveness when it comes to women. But only a little because part of me thinks he should have known better. And when I read H. Rider Haggard’s She, the whole thing was so absurd and the book so terrible on so many fronts that I could only laugh. But the misogyny and anti-immigrant sentiments in Dracula horrified me in a way that I could not find funny. I could laugh off Haggard, get away with being annoyed at Asimov, but Stoker made me angry. I could probably pinpoint why if I sat and thought about it for awhile but my brain is tired and doesn’t want to expend that much effort at the moment.
Instead, it just knows that there are some books I can forgive their moral transgressions and some I cannot. Do you find that to be the case too? And if so, do you know why you can forgive some but not others?
I’m not talking about the authors themselves. If I had to like the authors in order to enjoy the books then there would be a lot fewer books on my TBR pile. I try to keep an author’s personal leanings, whether they be grade-A jerk or heavenly angel, out of my opinions of their books. Of course if an author whose books I like turns out to be a really nice person that makes me happy, but it is not a requirement.
I like to think when it comes to books I can be generous and understanding, but truth be told, I sometimes can’t make the effort. I’d like to say there is a definite line and if the book crosses it then it’s all over between us. But it’s actually a line in the sand that keeps shifting. Where the line ends up depends on my mood, what kind of story it is (adventure, romance, mystery, drama), when it was written, whether the issues (sexism, racism, etc) appear to be deliberate or unconscious (don’t ask me how to tell, I don’t know, but I still make the judgment), how much a part of the story it is (a page, a scene, a chapter, the whole book), and probably a few other things that aren’t coming to me at the moment. It’s probably not entirely fair to change the standards all the time but I also don’t think it’s fair to have one blanket standard either. It’s case-by-case.
My brain is running out of gas so I will leave my thoughts there for now. I’d really love to hear your thoughts on the matter.
Behavioral specialist Sam Thomas Davies reads more than 42 books a year. His trick? He relies on “the 10% rule.”
That is, he recommends that you “commit to reading your new book in its entirety” by reading 10 percent every day, he explains in a piece published on HighExistence.com. It also helps to own a Kindle, he says, because you have access to so many books and it is easy to read books on the go.
Davies points out that the longer the book, obviously the more pages you’ll have to read. Still he’s got a work around. Check it out:
If 10% is a lot because of the size of the book, split it in half and read 5% in the morning and 5% in the evening. This is easy if you commute to work via public transport. You’ll learn a lot of Kindle books aren’t even 100% long. Once you’ve excluded the acknowledgements, appendix, prefaces, recommendations and sources – in other words, the parts that aren’t as interesting – a book only ends up being between 70-80% in length.Add a Comment
Recently I was feeling like my credentials as a reader of science fiction weren’t up to snuff. There are certain books and authors that are classics in the genre that I haven’t read and sometimes, especially being a female who likes to read a genre that has been dominated by males for a very long time, I feel like I’m not quite legit. My latest feelings of insecurity did not come from anywhere specific, they just sort of bubbled up from who knows where. But I think they are feelings we can all relate to as readers because no matter what we read there are always going to be books we have not read, big gaping holes even, that will leave us insecure about whether or not we can consider ourselves well read. It’s like saying you love Victorian literature but you’ve never read Wilkie Collins, that sort of thing.
From insecurity and curiosity, I decided it was about time I read Isaac Asimov’s first Foundation book. I’ve read one Asimov book before, Fantastic Voyage, and quite liked it. So with Foundation I was expecting something adventure-y. I was also expecting a novel. The book is neither. It is a collection of short stories. Okay, I can adjust to that. But instead of adventure we get politics and the collapse of an empire and lifting up of science into a religion.
The political maneuverings are really the only thing keeping me going. The book was published in 1951 and the stories had appeared in a magazine at various times before making it into a book. The science is amusingly dated. Psychology has been elevated to the heights of being able to predict the future. Nuclear power is considered clean energy. And this group of scientists have been tasked with writing an encyclopedia and a good deal of their research is done using microfiche which is supposed to be the gold standard for reading and research technology. And back in the day it was. But this book takes place so far into the future that humans have spread out to the farthest reaches of the galaxy and Earth either no longer exists or is uninhabitable and has become a mythical place lost in time and history.
All that is just fine and kind of amusing. What is not amusing is that there are no women in the book. All the scientists are men, all the politicians are men, every single character is a man. Women aren’t mentioned as wives or mothers to sons or even buxom love interests. It’s like they don’t exist. As I am reading along and trying to not grind my teeth I am suddenly reminded, oh yeah, this is why I haven’t read a lot of the “classic” SF books! And this is why women have felt left out of the genre for so long.
I’m about halfway through the book and I can tell you right now that I won’t be reading the rest of the books in the series. I’m not going to let myself feel insecure about that either. Because really, it doesn’t matter whether I have read them or not. What matters is that I enjoy the books I read and not worry about what others might think.
The New Yorker online has an interesting article on How Children Learn to Read. The information in it comes from a study cognitive neuroscientist Fumiko Hoeft published last fall. In 2008-2009 she recruited a group of five and six-year-old children from a variety of backgrounds, ran a bunch of tests and then had them all back three years later and ran more tests. Her goal was to study the neuroscience of reading development and she discovered some interesting things. For one, over-all intelligence and IQ did not matter when it came to learning to read. Instead, it has everything to do with a specific organizational pattern in your brain:
When Hoeft took into account all of the explanatory factors that had been linked to reading difficulty in the past—genetic risk, environmental factors, pre-literate language ability, and over-all cognitive capacity—she found that only one thing consistently predicted how well a child would learn to read. That was the growth of white matter in one specific area of the brain, the left temporoparietal region. The amount of white matter that a child arrived with in kindergarten didn’t make a difference. But the change in volume between kindergarten and third grade did.
White matter is like a series of roads that that allow communication between various parts of the brain. The more roads you develop, the better the communication, the better your reading ability. White matter apparently has a particular window for development, and if it doesn’t happen, or it happens incompletely, children will have a hard time turning letters into words that mean something.
Of course there are all kinds of things that can go wrong but Hoeft also discovered some fascinating things the brain can do to compensate. Development of the white matter is a combination of genetics and environment which is a help to fretful parents who might worry they have failed their child in some way.
Read the article for all the details. It isn’t super long. One thing I am disappointed she didn’t talk about is early readers. If the white matter develops between ages 5 to 9 and this is what spurs reading development, what about those of us who could read before the age of five? Are we freakish outliers? Or is there something else going on, and if so, what? I know studies like these are expensive so of course you are going to study the group that is the most typical age for reading development, but gosh darn it, I want to know about what my brain was up to when I was four. What was going on that allowed me to read early instead of beginning the process in kindergarten with my peers?
Isn’t neuroscience interesting, especially when applied to one of our favorite subjects? That our brains are so much alike yet at the same time so different is fascinating. At least I think so!
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Centireading. Have you heard of it? Me neither but it’s officially a thing now because it’s on the internet. A gent in the UK named Stephen Marche invented the word and you can read all about it at the Guardian (via).
What is centireading you ask? Why reading a book one hundred times of course. Since my response was why on earth would anyone want to read a book 100 times, I am not a good candidate for centireading. Marche says that it
belongs to the extreme of reader experience, the ultramarathon of the bookish, but it’s not that uncommon. To a certain type of reader, exposure at the right moment to Anne of Green Gables or Pride and Prejudice or Sherlock Holmes or Dune can almost guarantee centireading.
Extreme sports I can understand, but extreme reading? Nope (unless it involves reading in strange, possibly dangerous, places then extreme reading makes sense to me). I’m not much of a rereader to begin with. I only ever reread one to three books a year and sometimes none. The most I have ever read a book is six times. The honor belongs to Pride and Prejudice. I can imagine reading it again one day, but I would be surprised if, at the end of my life, the total times I’d read it reached ten. Still, I suppose one never really knows. Perhaps one day I will be snowed in somewhere for days and have only one book to read and one thing will lead to another and before I know it I’ve read it 99 times and once you get that far you have to read it one more time just so you can say you read it 100 times.
Marche has only read two books 100 times, Hamlet and The Inimitable Jeeves by P.G. Wodehouse. Yes, after reading a book so many time you are on the verge of having it memorized. And yes,
By the time you read something more than a hundred times, you’ve passed well beyond “knowing how it turns out”. The next sentence is known before the sentence you’re reading is finished. […] Centireading reveals a pleasure peculiar to text lurking underneath story and language and even understanding. Part of the attraction of centireading is that it provides the physical activity of reading without the mental acuity usually required.
So it seems eventually after a certain point, even Hamlet becomes a sort of comfort read. Still, you’d have to really like a book a lot to read it that many times. And what about all those other books you don’t read because your are reading that book again?
A faint tang of guilt can sometimes follow a bout of centireading. Life is brief and there is so much to read. But I cannot imagine that I will find another book to read a hundred times in my life. You can be acquaintances with many books, and friends with a few, but family with only one or two.
What is the most times you have ever read a book? How likely is it you will ever be a member of the centireading club?
You know how I’ve been writing contemporary all these years?
I’ve secretly always been a medieval warrior girl in my heart.
Time to see what that’s all about.
One rash act: and young Bradamante unlocks a future where she’s destined to become a warrior.
With the help of a mystical teacher, Bradamante and her brother Rinaldo learn the skills they’ll need to survive in a brutal kingdom. They’ll also learn that destiny can demand giving up the one that you love.
Loyalty and betrayal, danger and triumph, the magic of mystics—
The Bradamante saga begins.
BOOK OF EARTH, coming February 14, 2015. It’s my Valentine’s Day present to you.
Want to know more? Read the opening chapters here.Add a Comment
I have always loved reading books aloud. When I was a teen I spent an awful lot of time on the phone. Actually talking . . . it was a landline phone. And it was in my room. With unlimited local calling for $17 a month. I held down a few babysitting jobs so I could afford that phone and one of the magical things I did on it was read books, aloud, to my friends.
I know right? I have great friends. They would humor me as I did different voices for all the characters. I remember reading Stephen King’s Night Shift to one friend in particular, story by creepy story, until one night my friend casually asked, “How about you read something that won’t prevent me from sleeping after we hang up?”
Reading aloud continued through my adult years except my new captive audience was my kids. From Sandra Boynton to EB White, I was the one who had a hard time stopping so the kids could finally go to bed. My oldest, bless his heart, let me read the entire Harry Potter series to him, even though the last book was published the year he turned eleven and he was fully capable of reading it on his own. BTW, I do a horrifying Voldemort and a kick-butt Hermione.
Now I have a new reason for reading aloud beyond the entertainment factor: EDITING my own WRITING. There is nothing so powerful as stumbling over your own words to make you realize more polishing is required. Reading aloud forces my mind to slow down and see each and every word. When I read silently, I miss typos, grammar errors, and missing words becuase my mind will fill in the gaps– it just hums along without recognizing I just had my protagonist pee around the corner instead of peek around the corner.
Even better, is listening to someone else read your words to you. My very first novel, the one that garnered me two offers of representation and an agent, was read to me by my son. He would stop and tell me when he didn’t understand something so I could put it into simpler language. I would stop him when I heard a sentence fail and fix it before he went on. It was a great partnership, but alas, he is eighteen now and has a life.
However, I have discovered how to let my computer read my words to me. Granted, my lovely Macbook can’t put the emotional nuance into the words that a human being can, but hearing someone else’s voice (Okay, someTHING else’s voice) read my work back to me continues to be eye opening. And I have become very fond of “ALEX”, especially when he reads one notch above Normal speed.
This is how you do it on a Mac:
Now when you have your book open in Word or Scrivener or whatever program you use, you’ll need to highlight the text to be read (click your mouse button at the top of the passage, hold the mouse button down, drag through the selection, release the mouse button) and then press Command + H.
Oh, make sure your speaker is turned on too!
What are the directions for doing this on a Windows-based computer? Why would you want to write a novel on anything but a Mac?
Photograph © Ruslana StovnerAdd a Comment
I read this after listening the fabulous Bookrageous Podcast which read and discussed the book for their book club and then interviewed the author. It is a fascinating look at what is happening inside our minds when we read. The author, Peter Mendelsund, is a book designer for Knopf in the US but also has […]Add a Comment
This week we have an exciting one-a-year event for the younger set! Bookworm Festival!
January 31, Saturday, 9:30-12:00
Spring Oaks Middle School, 2150 Shadowdale
Bookworm Festival is a celebration of reading and a chance for primary grade children to meet several authors who create books for them. Dan Santat, illustrator of countless books including his newest, A CRANKENSTEIN VALENTINE, will give the keynote speech. He will be joined by nationally known authors and illustrators of picture books and early chapter books including Tad Hills, Deborah Freedman, Jennifer Hamburg and Dan Hanna.
Librarians and language arts teachers from across Houston comprise the steering committee for the Bookworm Festival. Their goal is to connect emerging readers with authors to foster the joy of reading.
Enjoy the trailer for CRANKENSTEIN VALENTINE!Add a Comment
Back in the distant past, about two or three months ago, someone commented on a book review about not reading books on certain topics and perhaps that might be something I could write about sometime. This being in the murky past, I have no recollection of who made the comment nor on what book review post it was made. I thought it was a great idea at the time but had so many other fascinating things to write about I never got around to it and soon forgot about it. Until this morning when I was dredging my brain for something to post about besides links to interesting articles. So tonight’s the night! Avoiding books because of subject matter.
I’m not talking about book genres here so there’s no, “I never read romance novels” or some kind of blanket thing like that. It’s more like, “I can’t read books with child murders in them.” There’s a difference, yes? My first thoughts were that there is absolutely nothing I wouldn’t read about. But of course, that’s not true. Nonetheless, I had a hard time with it because it is such an automatic response I am not even aware of it most of the time. And sometimes I might make exceptions for one reason or another.
This list then, I’m not sure how accurate it is. I might have left something off. But I can say that this is a list of topics/plots/things I tend avoid when reading:
There you have it, the books I will pass by if they are any of these things. I think I got them all but as soon as I push the “publish” button I will probably remember one I forgot. Or Bookman will read this and say, “and what about …?” That’s what updates and comments are for, right?
What about you? Are there topics or plots or other things you will not read?
I am ever so excited to hand the reins over to the fabulous Martina Boone, author of Compulsion, book 1 in the Heirs of Watson Island trilogy. There’s a few reasons for this. First, if you don’t know Martina, well, she’s brilliant. Not only is she an uber talented author with a head full of writerly advice which she dispenses at her blog, she is also a very compassionate and supportive friend who is always thinking about how to help other succeed. I love that.
Second, having her here gives me a chance to gush about her YA debut, Compulsion. You might remember how Becca recently blogged about her favorite reads of 2014. Well, GUESS what book tops my own 2014 list? You bet your bananas it’s Martina’s Compulsion. There is SO MUCH I want to say about this book, but I really should zip it for now so Martina can give us a rare window into what happens between signing with an agent and holding the beloved book in your hands.
Like most writers, I’ve dreamed of “being a writer” most of my life, but it wasn’t until 2010 that I decided to throw everything I had at learning to write and getting an agent and getting published. At that point, I read all the books and blog posts that might help me get “there,” and I found so much material that a friend and I started AdventuresInYAPublishing.com to collate all that information and share it with other writers.
Once I signed with an agent, though, I felt like I’d suddenly plunged into an information void. Even with COMPULSION out in the world and PERSUASION well on its way, I still constantly feel like an idiot pestering busy people with questions, or keeping the questions to myself because I’m too embarrassed to ask them.
When we’re starting out as writers, we rarely look beyond the process of getting an agent. That hurdle on its own seems so huge, but truly, it’s just the beginning of the editorial journey our books will take. No, wait. Don’t groan. That’s a GOOD thing, because once your book is out in the world, readers and reviewers are going to pick apart every choice you made. They’ll love them or they’ll hate them, but in your mind, you’ll need to be able to defend those choices knowing exactly why you made them.
After the agent call, here are ten more editorial steps your book will take:
Revising with Your Agent: Even after you’ve polished your manuscript enough to snag an agent, that agent will probably do a round or two of revision with you before sending your book out to editors on submission.
On Sub: While you’re revising, your agent is making lists of editors and putting together a submission packet that will contain the pitch as well as any supporting information that will help “sell” your book to an editor and acquisition panel. The pitch has its genesis in your query letter, and you may find that big chunks of your query eventually end up on your book jacket. You and your agent will probably work on the pitch together before submitting to the editors most likely to love your book.
The Offer: Before you get an offer, your editor may speak to you and share any editorial vision he or she has for your book or query you about follow-on ideas. Both the dollar amount and the supporting information the editor provides will tell you whether they see the book as a mid-list or lead title and how important it will be for their “list.”
The Editorial Letter: Usually even before your agent and the publisher’s legal department have finalized the contract and the check for the first third of your advance is in the mail, your editor is busy reading your book and preparing the overview what’s needed to bring it to full potential. An editorial letter can range from a couple pages to many pages addressing the manuscript’s strengths and areas for improvement. You may go through one or several rounds of developmental edits.
The Line Edit: Once the structure is in place, your editor will go through the manuscript line by line, looking for ways to strengthen the writing, clarify meaning, make images more specific, eliminate cliches and writing ticks, eliminate wordiness, etc.
The Pass for Press: Your editor will review the line edits once you turn them in and she or he will “accept” the manuscript. That’s the trigger for releasing the second third of your advance payment. At this stage, if not before, the book goes to the production department, which schedules out the production process. The book designer starts developing how the interior pages will look, and the cover designer has probably already been working on the exterior jacket in the meantime.
The Copy Edit: The managing editor will turn the book over to a copyeditor. This may be someone in house, or an outside freelancer. It may occur in track changes in Word, or as physical marks on paper. The copyeditor will correct any grammar issues, check for continuity, clarity, and consistency, and pose any queries on facts, timeline, etc. for you in the margins. When you get the Copy Edited Manuscript (CEM) back to review, it’s usually due to your editor very quickly. As I’ve learned the hard way, you need to make sure that this isn’t the first time you see your manuscript printed out on paper, because it will read very differently than it does on your computer screen. CEMs are not the place to make a ton of changes, but they’re a better place to make changes than any point further in the process.
Galleys/ARCs: Once your manuscript is copyedited, it will be changed from an electronic Word file into a typeset file within the publisher’s design program, where it is printed out into page proofs for further editorial scrutiny and distribution to reviewers, booksellers, and power readers—people who can help spread the word about and build excitement for your book. Depending on the publisher and the timeline, you may get to review the proofs before Advance Reader Copies (ARCs) are printed and bound, or you may see the ARCs first and get a few copies for yourself at the same time that they are prepared to go out for review. Don’t fret either way, ARCs are expected to contain errors.
1st Pass Pages: When you get the proofs of the typeset pages, it’s your first chance to see what your book will really look like, how the fonts look, how the paragraphs flow on the page, and how the pages and chapters lay out. You’ll also review for remaining typos and any inadvertent errors introduced when the file and edits were keyed in. Making changes at this stage is expensive, especially if they change pagination. If you make too many changes, your publisher could charge you for the expense, so you’re looking only for things that *must* be changed or corrected.
2nd Pass Pages: Whatever changes were made in the first pass will be reflected in the second pass, but your publisher may not send 2nd PPs to you. At this stage, your job on the manuscript is essentially done, and it’s a surreal feeling to know that there’s nothing more that you can do.
At this point, all of you—your agent, editor, production team, art department, marketing, sales, and publicity team, everyone at your publisher—have done their best, and it’s time to to turn the book over to your readers.
Getting a book to print is truly a gargantuan effort, and it’s a leap of faith and love on everyone’s part. The process is not for the faint-hearted, and there are times when I wanted to crawl in a hole and weep with the pressure and the stress and the sense that I couldn’t possibly make the book good enough. The first letter I received from a reader reminded me of why we do this though—because it was a letter very much like one I would have liked to have written to my favorite author about a beloved book. And hearing that my characters, world, and words have meant that much to someone is an amazing and energizing feeling.
(We often think that hardest part is writing the book, but this post shows how much more still needs to be done after the yes. And then there’s marketing, promoting…as Martina says, not for the faint-hearted. But the product of ALL that hard work? Right here. Trust me, you NEED this book! ~ A)
All her life, Barrie Watson has been a virtual prisoner in the house where she lives with her shut-in mother. When her mother dies, Barrie promises to put some mileage on her stiletto heels. But she finds a new kind of prison at her aunt’s South Carolina plantation instead–a prison guarded by an ancient spirit who long ago cursed one of the three founding families of Watson Island and gave the others magical gifts that became compulsions.
Stuck with the ghosts of a generations-old feud and hunted by forces she cannot see, Barrie must find a way to break free of the family legacy. With the help of sun-kissed Eight Beaufort, who somehow seems to know what Barrie wants before she knows herself, the last Watson heir starts to unravel her family’s twisted secrets. What she finds is dangerous: a love she never expected, a river that turns to fire at midnight, a gorgeous cousin who isn’t what she seems, and very real enemies who want both Eight and Barrie dead.
The truth? I devoured this book. You ever wish a fictional world was a real place, and its characters living, breathing people that you could sit with and talk to? That’s the effect this book had on me. I loved Barrie and Eight, the push and pull of their personalities, and most of all, the love and loyalty they have for family. Watson Island felt as real and authentic to me as my own backyard. Reading this book was an experience in the truest sense. I loved discovering how magic compulsions, curses and feuds played out between the three families, and the secrets and danger that ties them all together.
Questions about the Publishing Journey? Fan of Compulsion like me? Tell us all about it in the comments!
The post 10 Editorial Steps From the Agent “Call” to Published Book appeared first on WRITERS HELPING WRITERS™.Add a Comment