As Pat Holt said in his article on 10 Mistakes Writers Don't See, " Compound sentences, most modifying clauses and many phrases *require* commas."
Many writers omit commas simply because they don't know where to put them. I have always lived by one rule: If you don't know the rules you can't break them. And, if you don't know the rules about commas, it will become obvious very early in your manuscript. With all they have to read, your book will be consigned to the rejection pile of you don't know how to punctuate.
I am currently working with an author who absolutely does not know how to use commas. Because the publisher likes his story concept, I am working with him. But I dread every new draft. Even though I go through an correct the comma errors, he does not seem to have learned the lesson well. Even simple things, like nouns of address, need to be punctuated correctly:
Incorrect: "Hello Darling" he shouted above the music.
Correct: "Hello, Darling," he shouted above the music.
Such an error is an automatic flag to an editor that you have no idea what you are doing. She doesn't need to wast her valuable time on you.
Lots of writers think omitting commas gives their work a sense of urgency:
Incorrect: Fleeing the scene of the crime he stopped momentarily to catch is breath and hopefully decide on a course of action.
Correct: Fleeing the scene of the crime, he stopped momentarily to catch his breath and, hopefully, decide on a course of action.
What has happened in the first version is that the reader becomes bogged down in verbiage. Instead of conveying a sense of breathlesness by omitting the commas, the sentence becomes heavy and plods along.
Keep in mind, any time your reader has to stop, consider what you mean, and then plod on, you have lost your audience. The spell of the writing has stopped and the reader leaves the magic of your writing. Dare I even suggest your manuscript ends up in the rejection pile?
Entire books have been written about punctuation. Your high school English class should have taught it to you. There was a reason for all those boring grammar drills. If you don't know how to punctuate, use those commas, then learn. The Chicago Manual of Style is the standard in the writing world. All of "Chapter 6: Punctuation" is online for you to read and study.
Better, yet, buy a copy. It will be the best $35 you ever spend. What you don't know will be obvious.
Sunday, December 16, 2007
Wednesday, December 12, 2007
The benefits of Journaling
This week I ran across this article and thought it would be of benefit during the stress of the holidays. We can all use a little less stress right now.
The Multiplied Benefits of Journaling
Do you keep or have you kept a journal or diary? If so, you probably already know some of the benefits of journaling because you've experienced them. You know that your journal helps you make sense of the senseless side of your life. A journal can be an emotional lifesaver when you go through a hard time. But did you know that scientists believe journaling can even keep you physically healthy?This week I ran across this article and thought it would be of benefit during the stress of the holidays. We can all use a little less stress right now.
The Multiplied Benefits of Journaling
The release of pent-up emotions you pour into your journal every day actually helps reduce the symptoms of arthritis and asthma, and strengthens your immune system. This really makes sense if you consider that much illness is exacerbated by stress, and a journal is one of the best stress reducers out there.
Journaling gives you a record of your emotional growth like no other. While it can be useful at times to be able to look back and see just when your neighbor moved in or when you started suffering from headaches, the intangible changes in you can be even more fascinating to look back over.
When you take the time to face your feelings, you can make clearer, more well-informed choices. Take the time to list what you want and don't want in a career or a mate, and the choice will be easier to make when the time comes. Don't think that journaling is just about narrative prose, either. Lists, poems, jokes, things that strike you funny, and even sketches, all have a place in a journal.
A journal can help you work out problems in relationships. How? By constructively writing your feelings instead of tearing into that other person you can see the situation more clearly. You can see where perhaps you were somewhat in the wrong so that you can honestly offer an apology. You can also clarify just what the other person did that upset you. Sometimes in the heat of an argument, it is difficult to put your finger on the specific problem.
There is no better way to know your own values than writing honestly from the heart in your journal. It is really important that your journal is private and safe, that no one else will be seeing what you write. Get a locking diary if you have people around you who might pry. When you feel safe, you can honestly look at yourself and your feelings.
Journaling can be used in any way you need for your own particular situation. As stated above, if you are looking for a mate or trying to choose a career, you can record your honest feelings about those decisions in lists and free prose. If you wish to start a business of your own, a journal is a wonderful place to dream on paper. Don't worry if you look back over old writings and your ideas looked a little juvenile or unrealistic. The goal is growth, after all. You are simply growing.
Perhaps you are in a phase of life in which you have health goals. Your journal can be your greatest asset! Keep track of healthy meals you enjoy, or of types of exercise you master. By recording your goals, you will know when you have met them and are ready to move on to new ones. Do remember to make your goals bite-sized and objective. For instance, say, "I will do my Pilates video three times a week for a month" instead of "I will exercise more this month." At the end of the month, if you have kept a written record, you will know if you did the Pilates according to your goal.
This article is just scratching the surface when it comes to the benefits of keeping a journal. For stress reduction, goal setting, and understanding yourself, there is nothing like regular journaling.
Copyright © Shery Ma Belle Arrieta-Russ
=> My resource box: <=
About Shery: Shery is the creator of WriteSparks!™- a software that generates over 10 *million* Story Sparkers for Writers. Download WriteSparks!™ Lite for free at http://writesparks.com
Powered by ScribeFire.
Sunday, October 14, 2007
Public Readings
So, now you have that book published. What are you going to do? Sit back and let it sell?
WRONG!
If you think your book is going to sell just because you got it published, you are in for a sad wakeup. You have to get out there and sell it yourself. I don't mean you have to go store to store to get booksellers to put it on their shelves, though that is not outside the realm of reality. You have to get out there and read to your audiences. It can be in a bookstore, a coffee shop, a library, a publication party put on by a friend. It doesn't matter where that reading takes place; it just has to happen.
Recently one of the lists I belong to had a rather lively discussion regarding publishers, what publishers expect of writers, and, horror, that a couple of the publishers included in their contract that the authors would go out and give public readings. One writer bemoaned the fact she had to give a reading and she got sick before every one she had to do. Unless you want to be F.A.D. (Famous After Death) like Emily Dickinson, get over it.
Last spring I attended a book reading for Water~Stone Review. A couple of the authors were there along with Patricia Francisco, one of the faculty editors of the annual magazine. After the formal reading, the writers and Francisco opened the floor to discussion. It was one of the liveliest readings I have ever attended and we got a look into how the writers actually went about crafting their works. I think there were more per capita sales from that reading than many of the others. So, in addition to being prepared to read from your manuscript, also prepare to have the audience ask you questions.
Tracey Henry's Suburban Diva: From the Real Side of the Picket Fence (I'm proud to be the editor) has been a consistent seller for Ephemera Bound Publishing for one simple reason: Henry has hustled the book. She has done readings, signings, and interviews. An article in The St. Petersburg Times, her hometown newspaper, was picked up by The Chicago Tribune. This is a very good example of how a feature article in a home newspaper can lead to further exposure. Andrea Dean Van Scoyoc, author of Michael and A Man Of Two Worlds, both science fiction,attended the FX convention last January and within four hours sold out of her entire stock of books.
What's my point in giving these examples? If you want your book to be read, get out there and do those readings. They can often be more effective than a lot of the publicity your publisher generates. Readers like to see their authors. Readers will often take a chance with a new author if they get to see them.
Do yourself a favor, READ!
WRONG!
If you think your book is going to sell just because you got it published, you are in for a sad wakeup. You have to get out there and sell it yourself. I don't mean you have to go store to store to get booksellers to put it on their shelves, though that is not outside the realm of reality. You have to get out there and read to your audiences. It can be in a bookstore, a coffee shop, a library, a publication party put on by a friend. It doesn't matter where that reading takes place; it just has to happen.
Recently one of the lists I belong to had a rather lively discussion regarding publishers, what publishers expect of writers, and, horror, that a couple of the publishers included in their contract that the authors would go out and give public readings. One writer bemoaned the fact she had to give a reading and she got sick before every one she had to do. Unless you want to be F.A.D. (Famous After Death) like Emily Dickinson, get over it.
Last spring I attended a book reading for Water~Stone Review. A couple of the authors were there along with Patricia Francisco, one of the faculty editors of the annual magazine. After the formal reading, the writers and Francisco opened the floor to discussion. It was one of the liveliest readings I have ever attended and we got a look into how the writers actually went about crafting their works. I think there were more per capita sales from that reading than many of the others. So, in addition to being prepared to read from your manuscript, also prepare to have the audience ask you questions.
Tracey Henry's Suburban Diva: From the Real Side of the Picket Fence (I'm proud to be the editor) has been a consistent seller for Ephemera Bound Publishing for one simple reason: Henry has hustled the book. She has done readings, signings, and interviews. An article in The St. Petersburg Times, her hometown newspaper, was picked up by The Chicago Tribune. This is a very good example of how a feature article in a home newspaper can lead to further exposure. Andrea Dean Van Scoyoc, author of Michael and A Man Of Two Worlds, both science fiction,attended the FX convention last January and within four hours sold out of her entire stock of books.
What's my point in giving these examples? If you want your book to be read, get out there and do those readings. They can often be more effective than a lot of the publicity your publisher generates. Readers like to see their authors. Readers will often take a chance with a new author if they get to see them.
Do yourself a favor, READ!
Powered by ScribeFire.
Tuesday, October 9, 2007
Getting That Book to Market
Let's face one fact: publishing is a business. You are a writer. You want to become a published author. Unfortunately, very few writers have even a basic knowledge of the publishing industry. If you want to become that published author, you have to make yourself familiar with the ins and outs of the publishing industry.
There are a few facts of life that we, as writers, have to understand. Publishing is an industry, and as such the "bottom line" is a driving force. And sales drive that bottom line. The major book publishers are located in New York City, though only one of the major six publishers is an American-owned company. Once this fact is grasped by the budding writer, the rest of the publishing process can be understood. If you expect the major book publisher to take over and treat you like a celebrity just because you have signed a contract with them, you will be sadly disappointed. This happens only with multi-million authors like Scott Turow, James Patterson, and John Grisham (I guess you just found out my favorite recreational reading). Unless you are an author or their stature, you are not going to have much contact with anyone other than the editor assigned to your book.
From the time you get an agent through the entire process of publishing your book, no matter the size of the publishing company, you have to be knowledgeable about the industry. You have communicate to the agent, editor and publisher you are willing to do everything you can do to help the book become a success. This will signal to all involved that you comprehend what is involved, that you wish have decision-making input, and you are willing to help sell books. You simply cannot turn over your manuscript and expect it to be released in a couple of weeks.
Know from the start that two years is not an unreasonable time line from the time you sign that contract to the time the book sees publication. I have just finished working with two authors at the opposite ends of the spectrum. One author is demanding, expecting the publisher to do everything. This author did not really want an editor, in the true sense of the word. This author wanted a copy editor. The structure of the book was perfect according to the author and the author refused to make any major changes that would help book sales (readability). This author expects the publisher to do everything and have the book on shelves in an incredibly short time. This author weekly contacts the publisher with demands on publication, sales promotion, type setting, etc. There is no indication the author is willing to help, only demand.The second author has indicated willingness to accept criticism, work with the editor and we expect this author to assist in sales promotion and have input as to potential markets. Can you guess which one I will want to work with in the future and which one I will avoid?
No, publishers don't want someone who is totally cowed by the publishing industry. They want someone who knows what happens to their book once that contract is signed and what it takes to successfully bring that book to the proper markets. If you have no knowledge of this process, I would suggest you get a copy of Jerry Simmons What Writers Need to Know About Publishing. It is available through his website at WritersReaders.com Even if you don't purchase the book, the website will give you a great resource as to what is expected from a budding author (published writer).
There are a few facts of life that we, as writers, have to understand. Publishing is an industry, and as such the "bottom line" is a driving force. And sales drive that bottom line. The major book publishers are located in New York City, though only one of the major six publishers is an American-owned company. Once this fact is grasped by the budding writer, the rest of the publishing process can be understood. If you expect the major book publisher to take over and treat you like a celebrity just because you have signed a contract with them, you will be sadly disappointed. This happens only with multi-million authors like Scott Turow, James Patterson, and John Grisham (I guess you just found out my favorite recreational reading). Unless you are an author or their stature, you are not going to have much contact with anyone other than the editor assigned to your book.
From the time you get an agent through the entire process of publishing your book, no matter the size of the publishing company, you have to be knowledgeable about the industry. You have communicate to the agent, editor and publisher you are willing to do everything you can do to help the book become a success. This will signal to all involved that you comprehend what is involved, that you wish have decision-making input, and you are willing to help sell books. You simply cannot turn over your manuscript and expect it to be released in a couple of weeks.
Know from the start that two years is not an unreasonable time line from the time you sign that contract to the time the book sees publication. I have just finished working with two authors at the opposite ends of the spectrum. One author is demanding, expecting the publisher to do everything. This author did not really want an editor, in the true sense of the word. This author wanted a copy editor. The structure of the book was perfect according to the author and the author refused to make any major changes that would help book sales (readability). This author expects the publisher to do everything and have the book on shelves in an incredibly short time. This author weekly contacts the publisher with demands on publication, sales promotion, type setting, etc. There is no indication the author is willing to help, only demand.The second author has indicated willingness to accept criticism, work with the editor and we expect this author to assist in sales promotion and have input as to potential markets. Can you guess which one I will want to work with in the future and which one I will avoid?
No, publishers don't want someone who is totally cowed by the publishing industry. They want someone who knows what happens to their book once that contract is signed and what it takes to successfully bring that book to the proper markets. If you have no knowledge of this process, I would suggest you get a copy of Jerry Simmons What Writers Need to Know About Publishing. It is available through his website at WritersReaders.com Even if you don't purchase the book, the website will give you a great resource as to what is expected from a budding author (published writer).
Powered by ScribeFire.
Saturday, September 29, 2007
The Critique of the Editor
I have learned one thing in my writing life: don't ask for criticism unless you are willing to get it. The second caveat is "don't ask for criticism from close friends or family."
Well, you could find a professional "Book Doctor." But for me, it is not an option at this point in development. Once I'm to the point when I am ready to start shopping my book or story around to publishers, I might consider this option. So, what am I looking for in someone I trust with my manuscript to look at with a critical eye?
First of all, I am looking for someone who realizes this is my manuscript, not his/hers. I am looking for someone who will look at my story or poem and make "suggestions." I look for criticism that couches the critique in terms like, "what would happen if..." or "I am not sure what you are trying to say here." The critic is, first of all, owning his/her criticism. S/he is not telling me what I should do. S/he is looking at the entire poem or manuscript with an eye for clarity. After all, I am trying to communicate with my reader and want to know if that communication is successful.
The next thing I am looking for is someone who recognizes both my strengths and weaknesses. I learn not only from what needs to be improved but also from what I do well. By couching criticism in these terms, the critic lets me know what is working and how I can use this success in other places. Besides, all negative comments tends to shut me down. No, I don't want all pats on the head. That is as bad as all negative. I learn nothing from this, either.
I also want someone who is capable of commenting on my craft...how I handle character, place, setting, structure, etc.
My next problem is where to find such a critic. For those of us in larger communities we can generally find a writer's group. But what if you are in the middle of Alaska or on top of a mountain in Colorado? Well, if you are reading this online, you have a computer connection. Use that computer. There are all kinds of groups all over the Internet. Go ahead and subscribe to a few. Watch the critiques that appear in the posts. If that is the kind of criticism you are looking for, post something you would like to have looked at critically. Give it more than one or two tries. Keep in mind, if you don't get the kind of feedback from one group, you can find a hundred others. Ask others where they have found good critics for their works. Don't give up.
Finally, when you have your manuscript to the point you are ready to start shopping it around, now it is time to hire a good editor. This can save you months of time and disappointment. I can guarantee that editors will automatically toss out that manuscript that is poorly written and presented. Yes, spelling and grammar do count. If I have to spend hours as an editor making high school type corrections to a manuscript, I am very unlikely to spend the time needed to do that. If the story has more holes than swiss cheese, I will reject it out of hand. This is what the final edits by either a Book Doctor and/or editor are for. Get that manuscript in pristine condition to impress the editor, who will then impress the publisher, who will then sign a contract (hopefully) with you.
Well, you could find a professional "Book Doctor." But for me, it is not an option at this point in development. Once I'm to the point when I am ready to start shopping my book or story around to publishers, I might consider this option. So, what am I looking for in someone I trust with my manuscript to look at with a critical eye?
First of all, I am looking for someone who realizes this is my manuscript, not his/hers. I am looking for someone who will look at my story or poem and make "suggestions." I look for criticism that couches the critique in terms like, "what would happen if..." or "I am not sure what you are trying to say here." The critic is, first of all, owning his/her criticism. S/he is not telling me what I should do. S/he is looking at the entire poem or manuscript with an eye for clarity. After all, I am trying to communicate with my reader and want to know if that communication is successful.
The next thing I am looking for is someone who recognizes both my strengths and weaknesses. I learn not only from what needs to be improved but also from what I do well. By couching criticism in these terms, the critic lets me know what is working and how I can use this success in other places. Besides, all negative comments tends to shut me down. No, I don't want all pats on the head. That is as bad as all negative. I learn nothing from this, either.
I also want someone who is capable of commenting on my craft...how I handle character, place, setting, structure, etc.
My next problem is where to find such a critic. For those of us in larger communities we can generally find a writer's group. But what if you are in the middle of Alaska or on top of a mountain in Colorado? Well, if you are reading this online, you have a computer connection. Use that computer. There are all kinds of groups all over the Internet. Go ahead and subscribe to a few. Watch the critiques that appear in the posts. If that is the kind of criticism you are looking for, post something you would like to have looked at critically. Give it more than one or two tries. Keep in mind, if you don't get the kind of feedback from one group, you can find a hundred others. Ask others where they have found good critics for their works. Don't give up.
Finally, when you have your manuscript to the point you are ready to start shopping it around, now it is time to hire a good editor. This can save you months of time and disappointment. I can guarantee that editors will automatically toss out that manuscript that is poorly written and presented. Yes, spelling and grammar do count. If I have to spend hours as an editor making high school type corrections to a manuscript, I am very unlikely to spend the time needed to do that. If the story has more holes than swiss cheese, I will reject it out of hand. This is what the final edits by either a Book Doctor and/or editor are for. Get that manuscript in pristine condition to impress the editor, who will then impress the publisher, who will then sign a contract (hopefully) with you.
Powered by ScribeFire.
Monday, September 17, 2007
Point of View
Whether you are writing fiction, non-fiction, or poetry, sometimes finding the right point of view is hard. If you find yourself in this situation, try telling the story from different POV. Not only can you change people, you can change age. If you are telling your own story and are having trouble getting it out, tell the story from the child or whatever age you were at the time.
I was having trouble getting a handle on my grandmother. She was there, she was supportive. But as an adult I just cannot write about her without cliche. As a child I can write about her with the sincerity only a child can have. Also, when I change that story from past tense to present tense it takes on a whole new vitality. Now, as an 8 year old child I can tell the story I remember of grandma.
I was having trouble getting a handle on my grandmother. She was there, she was supportive. But as an adult I just cannot write about her without cliche. As a child I can write about her with the sincerity only a child can have. Also, when I change that story from past tense to present tense it takes on a whole new vitality. Now, as an 8 year old child I can tell the story I remember of grandma.
Powered by ScribeFire.
Friday, September 14, 2007
Truth or Fiction?
The official census tells me that Great-Aunt Minnie was born in Canada. Family history and legend tell me she was born in Minnesota. Family stories also tell me the family traveled back and forth in cattle cars because the fares were too high in passenger cars. It was a common practice at the turn of the last century. So, can I imagine?
The family is headed back from visiting relatives in Michigan. Great-Grandma Elizabeth is about to give birth in 1906 to Minnie. They are traveling back to Canada and her time comes. Is Minnie born in the cattle car? Do they stop along the tracks to allow Elizabeth to give birth?
Can I use the same imagination to develop a story about Grandpa Will? I found him in the 1891 census in England living with his uncle. Why was this one child living with an uncle rather than the rest of the family? He was 8 years old. What had happened that this one child was separated from the rest of the family? Then I find him again in Canada in 1906. He tells the census takers he immigrated in 1892. He was at most 10 years old! What happened to make him, all alone, immigrate to Canada? How did he get along on his own? What makes the story more intriguing is by 1906 he was a preacher. How did he come to this path? He never told. In fact, we know precious little about how he made his way to America.
If I use these facts as starting points, does it become fiction or creative non-fiction? Just how much do I have to create. How much can be based on general history of the time? How much can be representational? These are questions I will have to answer...or not, as the case may be.
The family is headed back from visiting relatives in Michigan. Great-Grandma Elizabeth is about to give birth in 1906 to Minnie. They are traveling back to Canada and her time comes. Is Minnie born in the cattle car? Do they stop along the tracks to allow Elizabeth to give birth?
Can I use the same imagination to develop a story about Grandpa Will? I found him in the 1891 census in England living with his uncle. Why was this one child living with an uncle rather than the rest of the family? He was 8 years old. What had happened that this one child was separated from the rest of the family? Then I find him again in Canada in 1906. He tells the census takers he immigrated in 1892. He was at most 10 years old! What happened to make him, all alone, immigrate to Canada? How did he get along on his own? What makes the story more intriguing is by 1906 he was a preacher. How did he come to this path? He never told. In fact, we know precious little about how he made his way to America.
If I use these facts as starting points, does it become fiction or creative non-fiction? Just how much do I have to create. How much can be based on general history of the time? How much can be representational? These are questions I will have to answer...or not, as the case may be.
Powered by ScribeFire.
Subscribe to:
Posts (Atom)
