storyfix.com: tips on writing

Have You Written Yourself Into a Corner?

Puzzles, Propositions, Pitches and Other Holiday Stuffing.

Forensics & Faith: Emotion Memory--

Forensics & Faith: Emotion Memory--Part 2

Forensics & Faith: Emotion Memory--Part 3

Rachelle Gardner's Blog

Rants and Ramblings

On Life as a Literary Agent


Foreshadowing vs. Telegraphing
Today I thought I'd talk about an aspect of novel-crafting that I don't see addressed very often, even though I deal with it all the time when editing novels. It's the technique of foreshadowing and its black-sheep cousin, telegraphing.

All About Backstory

by Rachelle Gardner, Literary Agent

Backstory usually refers to narrative that tells something about a character's past. It's given in an informational style without real-time action or dialogue. Notice I used the word "tells." This is a clue about why backstory in the start of your novel can be detrimental. Backstory doesn't show, it tells, thereby risking losing the reader's interest.

StoryFix Tips on writing:

Getting It Down on Paper: The Pantsers-Piano Analogy

Is There Seventh Core Competency?

Writer's Digest 10th Annual Short Short Story Writing Competition

Writer's Digest
Deadline: 12/1/2009
We're looking for fiction that's bold, brilliant...but brief.

Send us your best in 1,500 words or fewer. Enter the 10th Annual Short Short Story Competition for your chance to win BIG $$$$ - including the $3000 First Prize! Click here to enter or for additional information.

I’ve been on sabbatical

I’ve been on sabbatical for the last month and a half, not a vacation in the sense of the luxurious beaches filled with enjoyment, but computer-less and in pain. It’s a two part scenario, first off my BFF (for the puter has become the aged and demented best friend), and not having one and borrowing airtime from family and friends is like standing outside the bathroom door waiting your turn, while you do the pee dance hoping beyond hope they will soon finish so you can have your turn.

Finally, I’ve purchased a new(BFF) best friend (puter), and hopefully it will last as long as its counterpart. Also, in the month of May, I took a leave from Sweet Hearts of the Rodeo due to arthritis, a constant bud that will not leave your side, but I am managing to keep his burst of pickiness (which is sort of like a prickly pear cactus stingy and sticky) under control.

Getting back into what I love, writing, learning the craft of writing, and reading about the subject of writing, I came across several good articles on the topic, and want to share with you the links.

Alexandra Sokoloff’s Blog article Story Breakdown – THE MIST (Act One)

Here is a link to Stephen King’s website where you can review the synopsis for his novella “The Mist”.

She talks about foreshadowing, now in literary terms that means the reader is tipped off as to what comes later.

What Ms. Sokoloff does is breakdown the ingredients of masterful story telling in several sequences.

Another good article I came across today on Rachelle Gardner’s Blog Rants & Ramblings, where she talks about Query Letters in “A Funny Thing Happened...On the Way to my Query Box” a must read for those wanting to get published.

Ms. Gardner Monday June 15, 2009 post about the dreaded need for an author platform.
The Dreaded Author Platform

Last week at the Write-To-Publish conference, the one topic that kept coming up in conversations, panels, and workshops was AUTHOR PLATFORM. Yes, the hated p-word!

Another good article I came upon this fine Monday morning is by Michael Hyatt titled “The Sovereignty of Readers” you can read.

This is a quote that Michael Hyatt shared of P.J. O’Rourke’s

"Usually, writers will do anything to avoid writing. For instance, the previous sentence was written at one o'clock this afternnon. It is now a quarter to
four. I have spent the past two hours and forty-five minutes sorting my neckties by width, looking up the word /paisly/ in three dictionaries,attempting to find the town of that name on /The New York Times Atlas of the World/ map of Scotland,sorting my reference books by width, trying to get the bookcase to stop wobbling by stuffing a matchbook cover under its corner,dialing the telephone number on the matchbook cover to see if I should take computer courses at night, looking at the computer ads in the newspaper and deciding to buy a computer because writing seems to be so difficult on my old Remington, reading an interesting article on sorghum farming in Uruguay that was in the newspaper next to the computer ads, cutting that and other interesting articles out of the newspaper, sorting -- by width -- all the interesting articles I've cut out of newspapers recently, fastening them neatly together with paper clips and making a very attractive paper clip necklace and bracelet set, which I will present to my girlfriend as soon as she comes home from the three-hour low-impact aerobic workout that I made her go to so I could have some time alone to write."[P.J. O'Rourke]

Janet Reid’s Blog article on Ineffective tactics a must read.

from Janet Reid, Literary Agent by Janet Reid

Publishing houses that accept manuscripts directly from authors have guidelines for how to send work to them. You'll find those guidelines on their websites.

If you choose to submit to them, read the guidelines. Then follow them.
Don't call an editor to say you represent yourself.
Much like a lawyer who represents himself, you'll have a fool for a client.

You don't need tricks to get attention.
You need good writing.

And after good writing, you need to present clear and compelling evidence you are not a yahoo.

Happy Writing!

Margot Finke Interview

Update: Margot Finke PRESS RELEASE: Books from Guardian Angel Publishing now available ON your iPhone! Read about it here: Margot Finke's Blog

“We are excited with our newest venture,” said GAP President and Publisher Lynda Burch. “Licensing our picture books with iKids Play™ will allow for worldwide English distribution by Apple iTunes Applications of our books on the newest technology to hit the market.”

It is my pleasure to introduce Margot Finke, a wonderful author of children's books.

WIN a DOOR PRIZE: Every 10th person to comment or ask a question WINS a free link to Margot reading one of her books + the illustrations.

My first question was to ask Margot to tell us about herself, and when she started writing? Here is Margot's Bio.

Margot Finke is an Aussie who writes mid grade adventure fiction and rhyming picture books. For many years, she has lived in Oregon with her husband and family.


Gardening, travel, and reading fill in the cracks between her writing. Her husband is supportive, though not interested in children's books. Their three children are now grown and doing very well. 4 grandchildren are the delight of Margot's life.


Early on, several writers in an online group mentored her. Margot now like to return the favor by offering free writing advice and help on her Website, her Blog, and in her "Musings" column. Her Manuscript Critique Service specializes in personal guidance - a shrewd professional critique can help writers avoid the pitfalls that cause rejections. "I am always thrilled when a client of mine has one of their books accepted."


Margot didn't begin serious writing until the day their youngest left for college. This late start drives her writing, and pushes her to work at it every day. Margot said, "I really envy those who began young, and managed to slip into writing mode between kid fights, diaper changes, household disasters, and outside jobs. You are my Heroes!"

"Margot's latest rhyming book is "Rattlesnake Jam" - a fun frolic with Gran and Pa, plus Gran's determination to cook rattlesnake jam, instead of Pa's favorite, rattlesnake pie:
http://mysite.verizon.net/mfinke/Margot%27s%20Books.htm#other

"Coming soon - "Ruthie and the Hippo's Fat Behind" - Ruthie's parents move her far from the school and friends she knows. Ruthie doesn't understand why this happened, and becomes a horrible problem child. Then, something wonderful changes everything. Both Books: Autographed (paper) copies from my website, or Amazon, B&N, Borders, etc + Fictionwise for downloads.
http://mysite.verizon.net/mfinke/Margot%27s%20Books.htm#other

"7 Book Animal Series - Aussie and US : http://mysite.verizon.net/mfinke/Books.html#clues
(Autographed CDs my website - Downloads: Readers Eden and Fictionwise)

"Website - Writing Help, Manuscript Critiques etc: http://www.margotfinke.com

"Blog - Writing News, Trailers, Books: http://margotfinke.blogspot.com/

"Musings" column - Lots of writing tips and advice: http://www.underdown.org/finke.htm

2) Have you ever thought of writing anything else but children's books?



If I could live to be 150 years old, I would definitely write for other genres. As it is, time is against me. My late start at serious writing demands I spend my time in the children's field of writing. And with the variety of ages to write for, it is quite enough for this late-start-Lizzy to cope with. I know many do cross the genre lines successfully, often using a pen name to differentiate between their books for children and those for adults.

I listened to you read your book "Mama Grizzly Bear" - A rhyming tale: introducing kids to Mama and her cubs, and I loved it, it's an informative delightful tale.

Thank you. Mamma Grizzly is a favorite of mine. The whole series (7 books in all) is available on individual CDs, or as E-Book Downloads. I am very proud of the quality, layout, and illustrations in each of these books. Yet, the poor quality of some e-books still taints all of them. People forget that there are many paper book out there that would have been a lot better if the editor had blue penciled more paragraphs - famous names included!


Children today are computer savvy, and love reading fun and informational books on a screen. I find it is the adults who are reluctant to try this new and increasingly popular book medium. In time, Book Readers will drop down to a more reasonable price, and offer color viewing. Then
e-Books will really take off. There IS room for both paper and electronic books - a time and a place for both.


E-Books are environmentally GREEN, and in today's bad economy, far cheaper than buying hard cover books. "Buy Green e-Books and Save Trees!" is a great global warming slogan.

3) Your books are about animals, do you do a lot of research?



Yes, I did research the ones I was unfamiliar with. Each book in the series offers simple facts about a number of animals from the US and Australia. I devised the books as fun reads: a sneaky way for children to learn about wild and wonderful critters. Parents, teachers, and older readers, can go to my Books page and view illustrations and sample verses: http://mysite.verizon.net/mfinke/Books.html#clues -
Titles Are: Kangaroo Clues - *Don't Eat Platypus Stew - *Never Say Boo to a Frilly - Mama Grizzly Bear - Prairie Dog's Play Day - Humdinger Hummers -Squirrels Can't Help Being Nuts. NOTE: Titles with stars (*) have 3 shorter stories.


They can also hop over to the two pages listed below, for extra information about all these animals + links to sites that offer more in-depth details.

Wild US Critters: http://mysite.verizon.net/mfinke/US%20Critters.htm#US

Down-under Fun: http://mysite.verizon.net/mfinke/Down-Under.htm#you

4) Are children's books easier to market?

My marketing experience is with children's books, so I can only offer an opinion on promoting these. I suspect the same applies to any genre. Let me say first, that writing the darned thing is the easy part. Promoting your published book takes huge amounts time, effort, and planning. Unless you are Mick Jagger or Queen Elizabeth, the publisher leaves 97% of this in your nervous and unprepared hands. You have to learn how to write press releases and tee up newspaper and radio interviews for yourself. School visits, book signings and library visits, are a high priority. Designing business cards, postcards, bookmarks, and maybe even craft or writing projects for schools, all take chunks of your time. "Promote or Perish" is your daily mantra. Will you ever have time to write again? Some writers thrive in the hothouse scrimmages of book promotion. Others wilt, longing for the solitude of their computer, and a chance to follow the seductive scent of a new story idea. Bottom line - publishers want books that sell. So, if you want a happy publisher, who will accept your next masterpiece, PROMOTE and SELL!

5) Is it easier to find a find an agent or a publisher?
Aha. . . this is a classic catch 22 situation. Today, many publishers prefer writers who have an agent. Agents, on the other hand, like to represent writers who have already published a book. This often applies to the larger publishers and agencies. Luckily for writers, many editors who were downsized during past publishing house buy outs, have opened literary agencies of their own. They know the business, and they have excellent contacts. This is a good thing.

Look for an agent who has just opened for business: they are hungry for clients, and therefore more likely to take a good look at your manuscript. With publishers, begin by researching the smaller houses. They are newer, less set in their ways, and more likely to give a newcomer a chance. For both publishers and agents, make sure they are legitimate, and looking for books that feel like yours. Their online Submission Guidelines are where you will find exactly what they want from you. Finding the right agent or publisher often boils down to good research.

Beware of Agent and Publishing Scams: Check this link, for advice on how to make sure the publisher or agent you choose is legitimate: http://mysite.verizon.net/mfinke/Beware.htm

6) Tell us about your blog and your website, do you think it is essential for the aspiring author to create a blog or website early in their writing career?


Once you have a signed contract for your book, you do need a Blog or a Website. I have both. Making the general public aware of you as a children's author, + the titles of your books, is called "Branding." Someone says Jo Rowlings, and we instantly think of Harry Potter.


My Blog is a kind of "Stop Press" way of putting out instant news about my books and the writing services I offer. It is also a way of posting opinions, book trailers and covers + the writing and book news I want to share - fast! My Website is where I keep a permanent display of my books, covers, and the details about other services I offer. Always link the two together.



If you set it up just right, your Blog news will be posted all over the web. Learn how to Ping after every new post, add the right widgets and links, and connect to Feedburner, etc. A Blog that is not hooked up simply sits there - dead news! I know, it does sound scary at first, but it really is quite simple. I use Blogspot.com. Research the Blog you choose, and start hooking it up to various Blog Readers. Take your time. As you learn more - do more!

7) Share any thoughts you may have on creative writing?


Writing for children is not something you can rattle off over a weekend, and expect to get published, ASAP. It is a craft that must be learned. The idea is to paint word pictures that stick in a child's head. A few evocative and fresh adjectives, mixed in with active and powerful verbs, works wonderfully. Focus on what is important to the plot, and prune back those long and waffling sentences. This advice applies to all ages of children's books, but especially so for picture books. Keep your writing as tight as your Granny's new girdle!

If it's been a long time since you sat in Ms Learnit's English class, take a writing lesson or two. These days, you can do this online, in your jammies, if you choose. Join a good online children's writing list, and make notes of all the great advice and information that flows there. Go to writing conferences. You can network there with other writers, pick their brains, and listen to guest editors and their words of writing wisdom. Write! Write! Write! Join a critique group for guidance, support, and helpful writing feedback.

Only those who refuse to quit will become published. So, don't allow rejection letters to stop you writing. Many of today's famous authors received loads of rejections before that first acceptance.


Perseverance is as important as talent and hard work. Keep researching those publishers and sending out your manuscripts.


Remember, mates, editors do NOT make house calls!

Thank you Joan, for asking me these gritty questions. Working with you has been a huge pleasure.

Margot Finke.


Thank you too, for taking the time to answer all the questions, and the wonderful advice you have shared.

The Short Story Arc—JB’s Quest

Now most of you know reading this blog that I am an aspiring author, the information I provide is my own interpretation of what I have learned in my creative journey in writing fiction. The information highway (the internet) is filled vastly with articles, books, blogs, webpages on the topic of writing. Clearly then, you understand what you read, is written from one like yourself, a student of the craft, and may not be totally factual or actual, but my own perception.

My journey is to understand the Story Arc, after searching the web I see it is basically used for television sitcoms, and games. The Story Arc, a Three-Act Structure, meaning in effect.

Act 1 # Inciting Incident
Act 2 # Crisis
Act 3 # Resolution

In any good story there has to be something that happens. (Conflict) The character has to be put into a situation, where a decision has to be made to change or not to change. After searching the web and reading a lot of material, I coming to the understanding that in literary short story the character does not necessarily have to change. And reflecting back on last weeks Sweet Hearts of the Rodeo reading “Awaiting Orders” by Tobias Wolff, clearly there was no change in Sergeant Morse.(That’s a BIGGEY, considering all books on the craft say there has to be a change—a resolution.)

Lecture by Stephen J. Cannell WHAT IS THE THREE ACT STRUCTURE?

Often, when I ask a writer this question I am told that it is a beginning, middle and an end. This is not the answer. A lunch line has a beginning, middle and an end. The Three-Act structure is critical to good dramatic writing, and each act has specific story moves. Every great movie, book or play that has stood the test of time has a solid Three-Act structure. (Elizabethan Dramas were five act plays, but still had a strictly prescribed structure.) The only place where this is not the case is in a one-act play, where "slice of life" writing is the rule.

From Wikipedia

Dramatic structure and purpose
The purpose of a story arc is to move a character or a situation from one state to another — in other words, to effect a change. When we look at to effect a change, it takes us to the Greek word Peripeteia. Peripeteia means a reversal of circumstances, or turning point.

Returning to Awaiting Orders:

So in essence, for Sergeant Morse, the resolution, the change came for him in the Greek word Peripeteia a reversal of circumstances. In the diner when, “Morse recognized two men from his company at a table across the room. He watched them until they glanced his way, then he nodded and they nodded back. Money in the bank—confirmed sighting of Sergeant Morse with woman and child. Family. He hated thinking so bitter and cheap a thought, and resented whatever led him to think it. Still, how else could they be seen, the three of them, in a pancake house at this hour? And it wasn’t just their resemblance to a family. No, there was the atmosphere of family here, in the very silence of the table: Julianne with her eyes closed, the boy working away on his picture, Morse himself looking on like any husband and father.” An instance cover, a shield, by their recognizing him as well, changing his circumstances of worrying about his homosexual tendencies being detected.

When we look at the inciting incident is the situation the main character is in, in the beginning of the story. Some refer to this as the hook, an inciting incident doesn’t have to be huge, like a murder or a bank robbery, but it is the question that sets up the story, and creates an event that throws the characters everyday life out of balance and triggers them into taking action. In the beginning we also include exposition that provides the background information needed to properly understand the story, such as the protagonist, the antagonist, the basic conflict, and the setting.

When we talk of Crisis: this is the middle of the story, where the rising action and various obstacles that frustrate and complicate the protagonist reaching their goal.
Last but not least the resolution: the climax, the turning point, which marks the change good or bad for the protagonist.

Hopefully this will be of some benefit to those like me that are aspiring. Hopefully, others will add their thoughts on the subject, perhaps offering a clearer understanding than mine. Perhaps, maybe a lengthier discussion on the subject will arise.
Happy Writing!

Back Story

As an aspiring author, I would like to share with those of you studying the craft of writing thoughts and musing on the subject, hopefully the information I provide below will not confuse, but provide a little understanding of Back Story.

This past week in Sweet Heart of the Rodeo, the group studied the use of primary and secondary information.

Primary information advances the narrative, and secondary information provides context, metaphor, idea, etc. Source of the information came from: The Portable MFA in Creative Writing: The New York Writer's Workshop Fiction by Tim Tomlinson.

Essentially this is backstory, detailed information that provides the reader the past events in a characters life and understanding of why the inciting incident occurs and why it is important.

Tobias Wolff utilizes these two sources effectively in his story “Awaiting Orders.” Link New Yorker Published July 25, 2005

Janet Burroway says in her book, “Writing Fiction 5th Edition” page 182.

Flashback is effectively used in fiction to reveal at the right time. It does not so much take us from, as contribute to, the central action of the story, so as readers we suspend the forward motion of the narrative in our minds as our understanding of it deepens. David Madden, in A Primer of the Novel fro Readers and Writers, says that such shifts are most effective if the very fact of their occurrence contributes to the revelation of character and theme.

Creating character’s that are memorable, and providing the reader with the essential details of past events can give a clearer understanding, as to why the character act as they do in the present.

One might ask what the difference is. The terms are probably interchangeable; the only difference being is the way Tim Tomlinson points out in his book, how Tobias Wolff uses the effects in “Awaiting Orders.” Now, I don’t have permission to present his findings, so I’ll have to explain using my own words and thoughts, what he means, and using the story from the New Yorker.

Advancing the narrative: Causes something else to happen. The call awakens in Sergeant Morse facts about his life, his love affair before his tour to Iraq with a Cuban waiter, and with a Lieutenant after his tour when he returned home. Here Wolff transitions into backstory providing the reader information and facts about the Sergeant’s past. The theme of the story and what it is about.

In Wolff’s story when the sister calls and asks for her brother Billy Hart, and Morse tells her that he’s shipped out to Iraq. And she says, “Well. Sweet Jesus. That’s some news.” Then Morse says near the end the end of the conversation, “Feel free to call back. Maybe I can help.” It unsettled the Sergeant and he thinks back about Billy and his own life.

Secondary information doesn’t cause something else to happen, but it is essential to the motivation of the immediate character. In essence then the secondary information is about Billy Hart a minor character but relevant to the story. “Hart was from the mountains near Asheville and liked to play the hick for the cover it gave him. He was always running a hustle, Hart, engaged elsewhere when there was work to be done but on hand to fleece the new guys at poker or sell rides to town in his Mustang convertible. He was said to be dealing but hadn’t got caught at it. Thought everyone else was dumb—you could see him thinking it, that little smile. He would trip himself up someday, but he’d do fine for now. Plenty of easy pickings over there for the likes of Billy Hart.”

Details of your protagonist life is sometimes necessary in understanding what triggers the present situation, but how much needs to be provided to the reader is where aspiring authors goes wrong, and can trigger a rejection.

Sergeant Joe Friday created by Jack Webb greatest line in the television series was, “Just the facts ma’am.”

Providing only the details that give a clear understanding of why the character is in the situation they are in, is all that seems to be needed.

Here are a couple of good articles that explains Back Story and Flashbacks better that I can.

Nancy Kress-- 3 Tips for Writing Successful Flashbacks

Les Edgerton -- Opening Scenes An Overview

Happy Writing!

Interview with John Wayne Cargile

It’s my pleasure to interview fellow Alabamian John Wayne Cargile,as the featured website. John is promoting his new book.



“The Cry of the Cuckoos,” released today no less April 1, 2009, no it isn’t an April fools joke, seriously, you can read excerpt on his website The Cry of the Cuckoos an intriguing mystery novel of suspense and murder set in Midfield, Alabama.

John said, “I'm not waiting on my publisher to market and sell my book. I am hooking up with people like yourself, social networking, building a website and a book trailer, blogging; all things I thought were impossible.”

John has taken the bull by the horn,and built a website to help promote his book. His book will be online in a couple of days at Amazon.com, Barnes & Noble, Books A Million so keep checking with your online distributors, or pick it up locally.

So as a fellow Alabamian, I asked John some rather pointed questions. Read his response.

1)You’ve spent 40 years working for others, when did the idea for the book surface?

I have known since I was a university student that when I retired I would write novels. That has been my goal most of my life. I began as a journalist in the 60's and 70's, then opened a publishing company in the 1980's in Birmingham, Alabama. I was a printer for companies needing printing, but I also produced two slick magazines. I became a managing editor for a publishing company in Tuscaloosa, Alabama in the late 80's before creating my own company, Creative Services, in 1990. The company was designed for my work. I was publisher for a number of magazines, edited freelance work sent for publication, and sold advertising. I calculated my career in writing and publishing beginning in the 60's. The book, The Cry of the Cuckoos, surfaced only three years ago.

2)How long did it take you to write the book?

I've had the book in my mind for a long time. My biological mother who lived in Texas was divorced from my father in 1946. She was forced to give up custody when I was 1 1/2. Before she died, we spent hours on Instant Messenger talking about her life and mine. I have over 200 pages of conversations between the two of us. I began writing the book in 2007, but it was an historical romance novel with the setting in Texas between a soldier and a female civilian who meet at a dance hall in west Texas. But, after my mother's death, everything changed. I decided I wanted to write something contemporary and upbeat. I didn't know at the beginning it would be a mystery novel. When I began the story it just unfolded like I didn't have control of it. I completed this version of the book within six months, but the foundation was laid long before. I talk about being in the zone below.

3)How many revisions did you go through? Are there any ideas you would like to share to those aspiring authors about the process of revision?

Revise, Revise. Revise. This is very important. I believe I cut out nearly 8,000 words before I felt the story had been told. A professional editor is essential, and I hired one to set me on the right tracks. She didn't have much to edit, but it gave me a sense of my unique voice in writing. I cannot tell you how long I spent reading and re-reading the story. In fact, now, I don't want to read it again, but I probably will. I am writing its sequel.

4) Share with others your thoughts on social networking, Twittering, Facebook, Blogging, building a website to promote your novel.

I didn't know much about using social networking until I got into the marketing stage of the book. Now I am all over the Internet. I've joined so many writer's groups, I forget sometimes what group is what. I'm on Facebook, MySpace, Twitter, and Gather.com. I was only last week named as an administrator at Red River Writers on Facebook. I built my own website, which is not eloquent, but it gets the job done. I created a book trailer, which I thought was impossible. It is adequate, but I didn't have to pay a professional to create it. I created a blog for the novel, and offered readers an opportunity to read the first chapter to get some reaction. I learned long ago as a journalist that if you don't capture your audience within the first three paragraphs, you most likely will lose them right there. They will put the book down. I received a great review before the book was published, and it is on one of the first pages after the dedication page, which was to my late mother and step-mother who actually raised me. Both of them are characters in the book, but with distorted and flawed characters that neither had.

5) Do you belong to a writers group? If not what are thoughts on belonging to a writers group?

Writer's groups are great, however, you take what advice they give you some times with a grain of salt. Everyone has a sense of how a book should read, and readers have odd tastes. I belonged to a critique group and became very frustrated. I learned from my publisher that you can have 10 editors sitting and reading your script and you will have 13 interpretations. It got to be too much, so I left the critique group.

6) Any general thoughts you have on the subject of writing?

There is writing, then there is writing. I've seen a lot of people blogging and to them that is writing. Journaling is writing. But not the type of writing a publisher is looking for. I could write a lot of deep, thought provoking pieces on the subject of metaphysics. Would it sell? Probably not. I decided to become a commercial writer. If it is worth writing, I wanted to make money for my efforts. One of the best books for commercial writers is "Techniques of the Selling Writer," by Dwight Swain, published by the University of Oklahoma Press. I hold a doctorate degree in metaphysics, and some of the thoughts and conversations in most of my writings deal with metaphysics in some facet.

7) What you would like to share about your novel, the process of writing?

Getting into the zone. People have heard that athletes get into the zone and are able to do things they didn't think was possible. I hardly ever get writer's block because I have trained my brain through the art of meditation to toss away things you don't need. You place them in the recycle bin. Use only what is necessary. My novel has been reviewed and the reviewer, I thought, said it best. He said my writing was crisp, direct and engaging. You won't find flowery words flowing constantly off the pages of my book, You'll find engaging conversation between characters. Actually, the dialogue between characters tell the story for you. You let your characters dictate what will happen next. You won't be far off if you let the characters take over your story.

As an Alabamian, and a southerner, I find our state has very few resources for the aspiring author; do you have any thoughts on the subject?

You mentioned the state of Alabama doesn't have resources for writers. I don't understand. We have the same resources as any writer on the globe. The South has produced some great writers, including Alabama. It doesn't matter where you live to become a writer. You can aspire to write, but a writer needs to write. He is an eccentric in most cases, and a loner. He wants his place on Earth to be marked when he passes on to the other side. Here stands old Joe, who was an author. God Bless His Soul. He has left someone, somewhere a legacy in his own words. He might not be famous or on the New York Times Bestseller list, but he had to write his stories. He didn't aspire to write. He had to write from a psychological and philosophical point of view. These type writers write from the soul.

I’d like to thank John for taking the time out of his busy writing schedule for this interview and to say too everyone out there reading this, go buy his book.

Happy Writing!

A New Word for the Aspiring Author!

Platform

What does the word mean to the aspiring author? It’s not about a raised surface, a stage, a stand, a podium, a pulpit or a balcony defined by the thesaurus. It’s about marketing and promoting, and it is crucial for the aspiring author to learn the techniques of today’s marketing trend.

How to learn about these tips and techniques, by reading what others in the know are saying, learn to blog, follow the articles they write on the subject.

Author Platform - The New Buzz Word by Author Jennifer Hudson Taylor

Need a platform? By Agent Terry Burns

Fiction Platform by Agent Rachelle Gardner


How Important is an Author's Platform by Michael Hyatt, editor of Thomas Nelson Publishers

Building A Platform by Agent Chip MacGregor (Click on Archive, Jan. 11, 2009)

Another good article I came upon via twitter.
From The Times
March 30, 2009
Authors fight free books site Scribd for ‘pirating’ their work
Bestselling novels are reproduced without publishers’ permission.

Taking the Plunge and Mystery out of Creative Writing.

I want to thank Raven, for joining me last week here at “A Writer’s Group Blog,” she did an excellent job sharing with us her insight thoughts on sensory memory. As an aspiring author, I know it took a lot out of her, so give her a big hand for taking the plunge into the cold dark water and coming up with such insightful comments.

I’m sure you are looking left and right wondering what kind mystery lies in creative writing, suggestive by the title of this article. Well, it is a mystery to this aspiring author that more wanna-be’s (aspiring authors) are not blogging, sharing blogs and social networking than there is, that’s where the mystery lies, not in the craft of fiction.

Where does the mystery lie!

Too me, there is real mystery that the aspiring won’t take the plunge to promote themselves by creating a blog, or a webpage, or joining Twitter or Facebook, diving headfirst into social networking to promote themselves. It’s no longer about sitting and waiting for the royalties or being famous novelist with editors and agents breaking down the door for you, it’s not something to take lightly, but something every writer, poet, artist of any caliber should be thinking about and doing. I’m not a social butterfly and find myself often quivering over the possibilities of the mistakes I make, which is often, both speaking and writing, usually what comes to mind, comes out of the mouth, either spoken or written. Those flub-dubs a scattered brain can formulate.

As you know, I’ve been following J.A. Konrath’s Blog Tour. Think of it, me doing an interview with a well-known published author—wow, I was shaking in my boots, scared all the way down to the knobby toes in my socks. Not only is J.A. Konrath a talented author, and a heck of a nice guy, humorous as well, it was a quite an experience and a treat for this aspiring author. I wouldn’t have had the chance, if I had not taken the plunge.

I follow a lot of blogs, especially those that discuss creative writing. Blog following is part of social networking. Day 28 of J.A. Konrath’s blog tour, he was interviewed by another well-known author, Alexandra Sokoloff here Jack Kilborn discusses the “Anatomy of a Horror Scene.” You can’t go wrong as you study the craft of fiction, by following such talented published writers and the tips and techniques they share.

Why not take the plunge?

What are the benefits of creating a blog, a webpage, joining a social network group? There are many and I’ll attempt to name a few.

On Twitter and Facebook, social networking sites you come in contact with agents, publishers, published authors and wanna-be’s like ourselves.

Blogs, ah the blog, many authors, agents and publishers are blogging, and giving advice to the aspiring, sharing their views on the subjects such as marketing, the craft of fiction.

Webpages: Authors construct their own webpages (or have a professional do the job) to feature their latest novels or to help sales increase on books all ready released. It is definitely a good self-promotional tool.

Read: Literary Agent Nathan Brandsford’s article “It's The End of Publishing As We Know It: Do You Feel Fine?

Read: Seth Godin’s Blog Advice for Authors

In today’s day and age, it is not just about writing the greatest novel ever told, it’s about self-promotion, and exposure, the internet is becoming one of the hottest marketing tools available.

Read: Ten Great Ways to Promote Your Book

Happy Writing!

Sensory Memory, by Raven

Raven a member of “Sweet Hearts of The Rodeo” and a friend has graciously given me an interview on the subject of Sensory Memory that we’ve been studying this last week from Robert Olen Butler’s book “From Where You Dream.” Raven’s blog can be found at: The Raven’s Eye This week, we will be doing the exercise from chapter 9 of his book.

I want to thank Raven for taking the time to do this interview; she is an excellent student of the craft of fiction and a wonderful writer. Read what Raven has to say as she answers the questions I posed, as she talks about a story she is in the mist of writing.

I've been asked by my Sweetheart's colleague, JB, about my view on Robert O. Butler's sensory memory. Recently, I posted my feature story on the Sweetheart's board over at the Writer's Village University. Within the story is a scene in which the main character comes across a dead foal. JB has asked me:

1)Did you draw back in your mind, as you experienced writing the scene visually?


I found that when approaching this scene, my inner eye focused on visual details more than anything else. Smell came into play, but only in a limited way. Most of what my character felt was suspended, in favor of the initial visual impact. In order to record the details, I found it necessary to draw back and view the scene as a camera. The position of the foal, the minute details became the focus of what I intended to be a snapshot of the foal. The moment of discovery, became an objective view in which my character, Evie, acted like a lens, not a filter. From that point, I unraveled the story, allowing Evie to slowly begin the process of filtering how she felt about the dead foal. The result feels intellectual, but the intent is emotional. The gradual unpeeling of Evie's feelings is low key, as opposed to dramatic. In this, I feel the process reflects a version of reality, though not the commonly depicted one. It is more common to see everything stuffed into one paragraph or to find metaphor and simile acting like the filter. Theses are adequate ways to filter scenes and reveal the yearning, but I feel as though these are also temptations that can lead to generalization and abstraction.

The scene, as I have written it, is supposed to rely on what comes shortly before and long after the moment, creating an overall feeling for Evie's situation. It remains to be seen whether it succeeds. The process demands many sessions in which the words, images and descriptions must be continuously stroked. The filter needs to be present in imagery in order to avoid stepping into the "she felt" or "she thought" mode.

Please understand that I am not dismissing the use of the pov filter nor am I saying it isn't a vital tool in writing, I am simply saying that the way in which we utilize the filter can vary according to the conditions created by the story. I think it is a good thing to experiment in order to learn the particulars of this technique.

With my story undergoing its third, serious revision, it remains to be seen whether this approach will satisfy the sensory specifications Mr. Butler calls for in his teachings.


2)What details do you think you could have added that would increase the reader's mind visually to what Grace saw and felt as she viewed the remains?

Visually, I think I've offered enough support. My concern is whether I ought to allow Evie's filter in. I'm reluctant to do so because, after several experiments in which I allowed her to speculate, or "translate" the scene, I felt the intensity of the scene was diluted by what essentially felt like an invasion of Evie's psyche. I believe this may be where the students in chapter eight foundered and lost direction. Sometimes, using the pov filter invites speculation; speculation opens the door to generalization and abstraction. Used carelessly, the filter can be detrimental to a work. On the other hand, I think mastering the combination of the filter and lens is something worth pursuing, so I am returning, yet again, to the scene of the crime to study it and hopefully come up with a combination that meets Mr. Butler's standard.

3) Butler says in Chapter 9 of "From Where You Dream" that sometimes the narrative voice is allowed abstraction and generalization. What do you think that means?

I think this refers to filtering in the reflective sense. To thoroughly know the character, is to understand her/his concept of any word. Characterization takes some of the weight of this form of abstraction/generalization as can dialogue and inner monologue. The words "it hurts." Can be abstract, until the reader knows the main character is sitting under a tree, thinking about her dead father. Then what is general has become specific, though it is voiced as a nonspecific concept. So, then, if proper placement or setting is provided, in addition to good characterization (which would include dialogue, description, etc and character action (which I define as the actual things said and done in the story) I think abstraction and generalization work well enough. I am willing to investigate this further. It is my goal to "soften" Evie in the story. I'm not satisfied that I've accomplished this at this point in the revision.

Metaphors, Similes, and Sensory details

Being pure southern, as well as debouching metaphorically the English language with such similes as Query Shark’s Blog defines in Janet Reid’s #106 article blogged Friday March 20, 2009.

As aspiring authors, we need to pay close attention to the rules of colorful writing that will stop an agent or editor in their tracks, too formulate a rejection. She says frankly that metaphors should illuminate and not confuse the reader.

So understanding figurative language and its use is the wanna-be’s aspiration.

A metaphor is a comparison of two things that does not use "like" or "as." Where as a simile is a comparison of two things using "like" or "as."

Figurative language is a word or phrase that departs from everyday literal language for the sake of comparison, emphasis, clarity, or freshness.

At About.com Ginny Wiehardt discusses metaphors, similes, and conveying emotion without lapsing into sentimentality. She gives examples of Raymond Chandler’s use of similes and metaphors, how it often supported larger themes in his book The Long Goodbye, as in:

"And his eyes were like holes poked in a snowbank."
"His hair was as smooth as a bird's breast."

“WHISTLE BRITCHES is a southern term of endearment for boys with more energy than sense and who talk to hear their heads rattle.”

What struck Ms. Reid was the last part of the sentence structure (Is "talk to hear their heads rattle" another southern turn of phrase? It jars me (Ms. Reid says) because heads don't rattle.) —who talk to hear their heads rattle. As a southerner, the expression I’d always heard was—to hear their heads roar. Meaning metaphorically they would rather hear the sound of their own voice than to listen to the common sense of reasoning and logic. I’ve commented and asked on Ms. Reid’s article, if she thought roar would be a better word choice, metaphorically. I will post her response in the comment section of this article. (My quest as an aspiring author is to learn from those that have the knowledge as much as I can, and one mistake I make frequently is not reading aloud what I have written. And having rephrased the question and posted the meaning a second time on the blog, I’m reluctant to post it a third time, fearing utter embarrassment. I do think and feel that I have the meaning expressed better in the above highlighted in blue.)

I’m way behind in my groups discussion “Sweet Hearts of the Rodeo” this week and I’m thankful there is no writing exercise. Anecdote Exercise this week’s topic, from Robert Olen Butler’s book “From Where You Dream” chapter 8. Chapter 8 deals with the descriptive details of the sensory memory as the anecdote is put into words. Robert Olen Butler asks the students to volunteer to tell an anecdote orally. After the students that volunteered have told their tale, they stand to repeat the story they have conveyed, and he draws their attention to the abstraction, generalization of their opening. He attempts to draw from each student precise sensory details through sight, sound, touch-- the elements of the senses that bring the reader into the story visually.

One student began an opening sentence with “There are men sitting”; Butler immediately says to her, “you’re generalizing.” What he is saying is that she’s not focusing on specifics.

When you take a panoramic view of the room, as you walk in utilizing the senses, you might see, “A man sitting in the corner, waiting his turn with the barber, as he listens vicariously to the music drone from the radio, thumping his fingers against armrest of the chair in tune.” We’re painters Robert Olen Butler says, detailing through descriptive details, what is before us, to the reader in moment- to -moment sensory impressions.
Don’t draw back from the emotional aspect, as you write the character’s viewpoint of a scene, what they might view (through the senses of smell, hear, see, touch, taste) in the opening paragraph of your story.

These are my thoughts as I learn through reading, and taking into account others interpretation of the craft of writing. I do hope you share your thoughts, view, and interpretation.
Happy Writing!

The Smoking Book

Visit The Smoking Book Blog, they are asking for Poetry (any form or style)for an anthology on SMOKE.

Author of Afraid - J.A.Konrath shares his view on writing.

It is my pleasure and delight to introduce guest blogger J.A. Konrath to The Writer's Group. You can find Joe's blog at, A Newbie's Guide to Publishing there is a wealth of information for the wanna-be author. Currently Joe is appearing on different blogs to promote his book,"Afraid" and sharing with the group his thoughts on belonging to a writer's group, and what he did prior to being a published author.

Considering the group "Sweet Hearts of the Rodeo"is at point of revising their novels, and Joe being a published author, and having been down this road, I want to share an interview link he did with The Leaf Blower on the subject of Rejection.

As an aspiring author of the macabre, I ventured over to Joe’s website featuring his novel “Afraid” and read an excerpt of his book to be released on March 31. The cover of the book asks you, Are you Afraid of the Dark? Then clearly says, “You Will Be.”

Any writer/wanna-be that studies the craft of fiction, knows the beginning paragraph of a story that first sentence is what draws the reader in, and I must say J.A. Konrath fulfills that promise. Sitting alone with Sal Morton in his boat, beneath a hunter's moon, a chill begins to creep over my skin and the hair on the back of my neck prickles-an innocent fishing trip-no, there is so much more that waits this protagonist--read the excerpt and you will see what I mean.

Afraid excerpt

Joe responds with his thoughts on belonging to A Writer's Group.

Have you ever belonged to a writer's group?

No. And I should have. Maybe I wouldn't have racked up 500 rejections before my first sale if I had a group of writers telling me what I was going wrong.

That said, I do sort of belong to a writer's group now. I'm friends with many published authors, some of them bestsellers, and we trade manuscripts for critique before our agents get them. It's invaluable.

Do you advise a beginning writer to join a writers group?

Yes. You learn two ways--from other people's critiques, and by critiquing other people. It also forces you to write, so every meeting you have more pages to pass out.

What revision method did you use in revising your novel, "Afraid?"

After the first draft, I do what I call "pruning." That's trimming the unnecessary stuff, and adding to the aesthetics and overall impact of the story.


Then it's a question of responding to editorial comments, and rewriting where necessary.

What tips would you give a beginning novelist to take on revising their novel?

Get feedback. Put it away for a while and read it with fresh eyes. And take off your writing hat---you need your editing hat for revision, and the person who wears that hat is critical, not creative.

Getting down to a personal side, I asked Joe, what he did prior to being a published author, and what he is working on next.

What did you do before you became a writer, is that still your current profession?

I'm now a fulltime writer.


Prior to that, I was a male stripper, an international spy, a world class chef, and a big fat liar.

Tell to me about your current book?

AFRAID is a horror novel, written under my pen name, Jack Kilborn. It's scary. In fact, it's so scary, that I don't recommend anyone reading it.

When did you begin writing it?

I began a few years ago, in between writing my Jack Daniels books. From first word to finished manuscript took maybe three years.

Are you in the stage of writing another novel?

I'm working on the rewrites to TRAPPED, another horror novel that is too scary to be read by anyone.

What short stories have you written?

I've published over sixty. There's a semi-complete list on Wikipedia. J.A. Konrath

What else would you like share?

I'd like to share this beer, but it's gone already. There's nothing sadder than an empty beer.


Wait! I found another one! But that's my last one, and I couldn't possibly share that.


Especially now that it's gone, too.


But I can share my books. There are a bunch of free ebooks and stories on my website, www.jakonrath.com. There is also a scary excerpt from AFRAID that you probably shouldn't read.

I'm delighted that Joe granted me this interview, and I do hope he will come back soon. Thank You Joe, we are looking forward to your next novel Trapped, and I'm certain it will be as intense and frightening as Afraid.

Happy Writing!

The Inciting Incident- -Hooking the Reader in the Beginning.

What is an inciting incident, you might ask? It’s what grabs the reader and keeps them turning the page, asking what’s next.

An inciting incident is the first occurrence in the beginning of a short story, novel, novella that a character faces, it is the action part, it can be a crisis, a desire, or a yearning, an opposition that must be resolved through change, by the ending.

Some refer to this as the hook, an inciting incident doesn’t have to be huge, like a murder or a bank robbery, but it is the question that sets up the story, and creates an event that throws the characters everyday life out of balance and triggers them into taking action.

The character does not always have to be willing, either, there can be internal conflict in the main characters head or external between one character or another or some outside force that creates conflict, for your main character.
Campbell calls it a hero’s journey.

In his book “The Hero with a Thousand Faces” he summarized the monomyth:

“A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[1]

In laying out the monomyth, Campbell describes a number of stages or steps along this journey.

The hero starts in the ordinary world, and receives a call to enter an unusual world of strange powers and events (a call to adventure). If the hero accepts the call to enter this strange world, the hero must face tasks and trials (a road of trials), and may have to face these trials alone, or may have assistance. At its most intense, the hero must survive a severe challenge, often with help earned along the journey. If the hero survives, the hero may achieve a great gift (the goal or "boon"), which often results in important self-knowledge. The hero must then decide whether to return with this boon (the return to the ordinary world), often facing challenges on the return journey. If the hero is successful in returning, the boon or gift may be used to improve the world (the application of the boon).

Wikipedia article link: The Hero with a Thousand Faces

Joseph Campbell describes the inciting incident the best here this part of the article:
The Hero with a Thousand Faces

1. The Call to Adventure
The adventure begins with the hero receiving a call to action, such as a threat to the peace of the community, or the hero simply falls into or blunders into it. The call is often announced to the hero by another character who acts as a "herald". The herald, often represented as dark or terrifying and judged evil by the world, may call the character to adventure simply by the crisis of his appearance.

It’s what upsets the balance of your protagonist life or the forces of your story. The opening of a story has to have a compelling reason for the reader to care.
Happy Writing!

A Truly Good Quote

William Faulkner



'The secret of popular writing is never to put more on a given page than the common reader can lap off it with no strain whatsoever on his habitually slack attention.'

Writing Contest Link

A link to Funds for Writers and Contest.
http://www.fundsforwriters.com/contests.htm