Here’s a post about some of those mysterious tech skills that can confound non-tekkie verbal people like us writers. Check it out—whether you need to communicate with editors or with beta readers or if you just want to format your own book for Amazon or Smashwords. I can attest that you DO need Styles, and I’ve found GIMP, a free program recommended by this post, to work wonderfully as a graphics editor. You’ll need this information to format your hard-copy editions as well. Let me know what you think!
This post from Writer Unboxed plugs Donald Maass’s latest book, The Emotional Craft of Fiction: Writing the Story beneath the Surface. But: a) you may want to know about this book, and b) the included interview is worth reading in itself. I’ve been sharing with some of my Internet Writing Worship cronies some thoughts about that “story beneath the surface” that strokes in depths beyond simply solving a problem, depths that help us think about what the real problems are. This concept is similar to what M.Dellert calls the “plight,” the question behind the plot that the character and the reader must struggle to define together—and often cannot rationally answer. The plight, the story beneath surface, are the forces that shape our human understanding, not just our ability to string cause-and-effect together. It’s been a while since I bought a book on craft, but I just may buy this one. I thought you might like this news.
This is an older post from alfageeek, but like all his posts, it’s full of hands-on, practical advice that actually soothes some of my guilt over my abysmal marketing efforts. While you’re checking out his site, also check out his latest report on his experience with Bookbub ads.
In marketing to consumers, there is a well-established “buying cycle.” There are a lot of different variations on this but they generally go:
- Awareness (finding out your product exists)
- Research (figuring out whether they want it)
- Purchase (woo hoo!)
- Repurchase (they liked it and want another)
I mention this because the business of marketing a book is really no different from the business of marketing anything else to consumers. What I find interesting is that the people marketing books these days are mostly authors, and judging from their behavior, I think many of them are really confused about that whole cycle. So I’m writing this post to help explain it to them, with they hope that they stop throwing their money away solving problems they do not have.
Let’s skip awareness for a second, and dispense with the rest of the cycle.
If you write a great book and get a…
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Absolutely one of the best dicussions of story structure I’ve read. Resonates on so many levels for me! I just wrote to a writing group colleague that a story that’s working tells me what it’s about, and I think that sentiment jibes with this discussion. Let me know what you think!
“It is perfectly okay to write garbage—as long as you edit brilliantly.”
— C. J. Cherryh
The goal of the rewrite is simple, but not easy. You want your story to live. To accomplish this, it’s helpful to have a basic confidence in the arc of your heroine’s journey before getting more specific with character, dialogue, and the refinement of prose. You’re seeking to create a story that amuses and entertains, but also captures some complexity and truth about the human experience.
This is a daunting task because—be honest—there’s a bit of inflexibility in your relationship with your first draft. On the one hand, you fear that if it’s not told as precisely as you imagined it, it won’t work. On the other hand, it feels somewhat unsatisfying as written.
So the biggest challenge in the rewriting is being able to make a thousand little painful paper-cut changes while avoiding…
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Reading this piece from Nicholas C. Rossis, I couldn’t help giving a mental high-five. Starting sentences with gerunds (and various other odd bits of language) is absolutely okay! I would caution that starting sentences with -ing forms of verbs can all too easily lead to “dangling modifiers,” for example, “Reading this, it was a really good discussion of an issue we all face.” If you’re not sure why that sentence DOES contain a sentence-structure error, look up “dangling modifiers.” Returning, however, to the question of prescriptive versus descriptive language mavens, I ask only—well, mainly—that the parts of sentences hook up logically so that I can tell what modifies what and who’s doing what.
I have a feeling this is sliding into a rant. Check my series on “How Much Grammar Do You Need,” and here and here, for my largely descriptivist views.
When I published The Power of Six, my first collection of short stories, a reviewer said that the book had grammatical errors, albeit small ones. This shocked me, as the book had been professionally edited and proof-read. So, I reached out and asked her for an example. “You start a sentence with a gerund,” she said. “So?” I asked. “So, that’s wrong.”
I was baffled by this. Surely, that’s a matter of style, right?
This seemingly innocent question actually led me into a minefield. As The Economist points out, for half a century, language experts have fallen into two camps. Most lexicographers and academic linguists stand on one side, and traditionalist writers and editors on the other. The question that defines the to camps is deceivingly simple: should language experts describe the state of the language accurately? (Webster’s Third New International Dictionary, in 1961, shocked the world by including common…
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All you ever wanted to know about how to use Google resources! Thanks, Chris, for reblogging.
Have you used any of these? Which ones should we focus on?