Long Distance and Harsh Words

Hello, friends. This post is rather atypical of what I usually write about. But I thought it was very relevant in our associations with people on the Internet--particularly in a social setting.. In a roundabout way, this would apply to communicating with other writers, agents and publishers. I thought it was important because I see so much of it.

Drawing a comparison to penpals and dating sites: 

So you found somebody you like on the Internet. That other person likes you. You just started something wonderful that excites and fulfills you. You might even develop a symbiotic love for each other. A man might be searching for that electronic girl friend. You know, a cyber cutie--an email female--that pixel princess? A woman might be looking for that goofy Gmail guy, that Internet intellectual, that cuddly computer hunk.  

   

Why is it that we can say the meanest and most cruel things to each other in Internet emails? Words that sting, doubt, question, threaten, accuse, belittle--name your poison. It's because we think we can spout off and avoid any confrontation. We don’t need to own our words. We are detached. Even phone calls to potential mates can become heated and cause disagreements, ending in short or long-term rejection. The calamity can happen quickly, unexpectedly. It can happen as a result of a simple miscommunication. A few words interpreted the wrong way can start a firestorm of anger and hatred. You can commit a word-slip and hurt someone’s feelings without knowing it.

  

People always look for the best in others regardless of most circumstances. All human beings seek peace—they all want shelter, sustenance, good health and a loving family. These are universal expectations and truths that every human being on this planet strives for. We are all connected, like an umbilical cord that has not been severed. Like a mother and baby, we can feed off each other and attain the nourishment of life. The more we feed, the more we grow.

    

Here’s a surprise: people deal with each other exceptionally well face-to-face. They are too busy scoping out characteristics and admiring the presence of another, hopefully, attractive human being. They are polite and respectful, and desirous of learning and becoming close to the other person. They oft times want to share and travel. They are curious about the wonders of life’s nature and feel comforted when they search out the wonders together. BTW, nature is a prime magnet for discovery. Wonder and discovery brings people together in such an innocent vein. 

  

People don't do so good when they are physically detached from each other. There is a massive hole in the relationship. The love and respect core is missing.  

Contra wise, there is a certain thrill upon meeting your virtual friend. It is the last step in the process of coming together, and it is necessary. It is crucial. True, unconditional love cannot flourish unless two bodies meet and merge in a slow and mutual relationship. People can read magical compatibility in the eyes of another. The eyes never lie. Without meeting in the flesh, you are blind and unaware of spiritual truth. “What God has brought together, let no man separate.” That means a physical union, friends. And guess what? Two souls can merge into each other and plug up some very big holes.

     

My suggestion to all of you on the electronic air waves is to be kind, understanding and tolerant of your friend/friends, even though they might raise the bristles on the back of your neck. If things begin to break down because of suspicion and mistrust, stop right there and discuss the problem honestly and out in the open with gentle, soothing, kind words. Discussion is the triage for minor differences. Or would you prefer a major trauma when things have gotten too far out of hand? The choice is yours.

  

If you don't confront your differences in good spirits, you might lose the potential love or friend of your life. Try laughter and jokes to salve some of your disagreements. Humor takes the edge off and delivers some needed comedy relief...Or else? Or else you might end up needlessly heartbroken and alone. Learn to forgive and heal. Redemption is a precious commodity that everyone can afford. It costs nothing to put love first over mistrust and negativity. Remember the song: “Accentuate the positive, eliminate the negative”, theme from Blast to the Past.  Yeah, corny.

Live easy and love hard.

Chris, aka Triceratops @ AW

Take a Ride--Create a Book

A fantasy came out of nowhere and clobbered J.K. Rowling over the head--she'd found her destiny. She took a train ride to discover the idea of Harry Potter; a kid on his way to wizard school. I didn't realize how potent that ride was until I experienced one myself. Here's a short article on what happened to me on a long car ride. 

The Little SF Dystopian that Could and Came out of Nowhere

I'd been a slave to the keyboard and typing chair for six months, having not been out of the house. So I jumped at the chance when my niece, Jamie, ask me to come along for a ride. Driving down a back road with Jamie and her daughter, Fia, on a balmy summer day, we were discussing how low our gas was and if we could make to a town called Fort Payne. Fia was acting up in the back seat, broadcasting 180 decibels from the hole in her face. Jamie reared her head and said, "Shut the hell up, please. Or we'll pawn your azz for gas money at the next pullout, I swear!"

Fia tried, "But I was just--"

"Shaddap!"

I thought about that outburst for a minute. My ears were still ringing. Then it hit me... What if, I mused, that in a distressed (dystopian) society, heads of households were allowed to pawn dependents to a company called Family Trade & Loan for huge cash advances? And what if that dependent was a teenage girl who ended up with a six-month sentence at the Tranquility Harbor Moon base on Luna, assigned to a rough and tumble mining company filled with slobaholic miners?

Wait. What about a Burlesque  in Space? 'Cause maybe she's forced to work as an exotic dancer and given an "Attractapeal" rating for her physical attributes. Oh, gawd, yea. And let's give her a tin number tag and a jumpsuit that identifies her as a Sunshine Class (12 to 18 year-olds) ward.

All this brainstorming materialized in about 20 minutes and all I could hear was white noise in my head--I'd tuned everything else out.

Phuck...

I couldn't get home fast enough to start pounding plastic and scribbling notes. I'd heard plenty about the sex slave market but this would be a sanitized, legal work program sanctioned by the government. What kind of abuses could such a powerful entity inflict upon its slave labor wards? Unlimited, I decided. Because most of the cash advances levied out were screened to force the payment of huge delinquent back-tax settlements.

Out of sight, out of mind, wards wouldn't stand a chance in hell. Let the personal rights and freedoms be damned and trampled.

And that's how it all began for The Girl They Sold to Moon, a young adult dystopian thriller.  The cover art is stunning, filled with glitter and soft hues. It has large font for easy reading.

I think the lesson here is that lightning can strike at the most uneventful and unexpected times. Rides, walks, runs and vacations--they're all ripe for the muse to appear and start the creative dance. Get out and change your scenery. It's good for what ails you if you're blocked. It sure busted me out of a creative freeze.

Cheers,

Chris

Romance Blunders

I've been tucked away in the writing cave for the last 79 days, and it was a straight push to the end on a romance novel. Sorry for the long absence. Once you're determined and focused on a new story, you know what happens. Yeah?

A big call out to my super friends and AW, wishing you the best, always. I received great responses when I went into the AW romance forum with my tail between my legs.

I can't give anyone a complete rundown on how to write a romance, whether it's contemporary or genre based. But here's some blunders I hit along the way with my first attempt at this type of book.

Read the romance category or genre--at least a dozen books or more to get a feel for what's been done and what's being written now. It will give you an idea of how to write a character-driven story, rather than a plot-driven book, if you haven't gone the character route. There is a world of difference, except in sub-genres where the plot might be more crucial to drive the story along. It's all about the people, first and foremost folks.

Intimacy is important, including dialogue and inner monologue. This is a love story between any individual types. Let the romance flow, make it touching, meaningful and intense. The characters must be attracted to each, more so as the story unfolds, but not necessarily in the beginning. Inner thoughts and emotional feelings are very important.

Sex scenes, or passionate love-making scenes are not a laundry list of sexual gymnastics: stroking, sucking, fondling, blowing, sticking, juicing, whacking, plunging, licking all those naughty terms, unless you need those graphic examples for a certain emphasis. Use some metaphor to describe emotions and physical contact unless you are seeking a certain heat level where it can demand more explicit descriptions, including erotica. Is it a love tunnel, pussy or vagina? Make up your mind and try and stay within such body part names and tags.

The pace is a little bit more leisurely in a romance, not quite the SF shoot 'em up and let off mass explosions that kill dozens of people, unless there is a very strong sub-genre holding the story up. Some epic (saga) and historical romances might explore the backdrop of a major war or conflict. So that can be perfectly acceptable.

Read the Publisher guidelines. What is the editor and reader fan base looking for? Do you need the female MC at center stage with a full POV? Does the male or other other lover need a POV or not? Are male-centric romance stories okay without a female POV, or should there be a balance of some type? Typical Alpha male or not? Is "nerd" romance acceptible with this publisher? 

These examples were my major stumbling blocks. There are more for sure. Read up on formulaic or category romances and see what the differences are. For instance, the publisher might want an emphasis on men or women in uniform, country folks, military, doctors, cops, cowboys/girls and other specific types.

Are you writing Christian romance which has sweet and behind-the-door sex? Don't send erotica to a publisher who doesn't go for it. 

Happily ever after, unresolved or tragic endings also have a determining factor when selecting a publisher.

Harlequin (a category romance type) has very precise wants and needs, and you must follow those guidelines to break into any of their romance genres or other imprints. 

Live easy, love hard.

Chris 

With the assistance and help of Christine Lavish



  

Publishers in Trouble?

 This has been a very cruel Summer for all writers, and even agents. There has never been so many non-responses, nudges and slow contacts ever. I have talked with and written about this with dozens of other writers. In addition and in a general sense, it seems book sales have plummeted straight across the board. Of course, that depends on a lot of factors. It seems like some of the best brand name independent and medium sized publishers have changed policy, hit a wall or have gone under.

I'm going to welcome your thoughts on this this matter, rather than go off on a tangent and explain what I think is happening.

Give me your thoughts,

Chris

Ellora’s Cave (Dissolving--CEO backlash and mismanagement, fairly recent)

Samhein (Went bankrupt--awaiting buyout news, but it’s not happening yet, recent)

Sourcebooks (From un-agent to agent, recent)
Liquid Silver (Spiraled into buyout, neglected royalties--terrible sales from about 2013 on)
Kensington (Cut YA line, but no news on Lyrical doing the same)
Soho (No longer takes un-agented subs)
Spencer Hill (Dead--complaints about no royalty payments, recent)
Arctic Wolf (Dead--my very first indication that something was wrong with the big indies--late 2013. One of my first brand-name favorites)
Avalon (A Super-publisher. Some time ago but this hit me hard--absorbed by Amazon)
Helm Publishing, including Barkley ( Very recent self-destruct)
Juno Books (Dead—huge romance publisher--two years ago, imprint of Pocket Books—additional complaints about editorial staff—I won’t mention names)
Musa (Dead--negative publicity—producing too many books at once—fairly recent). 
Totally Entwined (Finch YA line has been cut, recent).                                                  

Entranced (Sponsored novel contest with decent cash prizes—blew up right afterward)    

Month9 Books (Tanking or tanked, royalty non-payment, staff-bullying)

Vinspire Press (No longer taking un-agented subs, recent)                                                                    
 Booktrop (Dead--very sudden collapse, recent)                                                                                                 

Celebrity Blurbs

You're not going to like what I have to say. It's not my job to make you like me (although I wouldn't mind that). It's my job to warn you. That's the whole idea of Guerilla Warfare For Writers. You know the title and what it means. I've been an admirer and student of the gutsy Harlan Ellison since the Ice Age. Face to face, he is/was a slight man, but a vicious attack dog if you tried to play around with his copyright or short-change him. I too fight back and raise hell for the benefit of writers.

Celebrity blurbs can be a real minefield for the new-up-and-coming author who is about to release his/her prized tome. Even some great mid-listers can get caught up in this hunt for star approval. BTW, soliciting for a blurb should take place about three months before release. There are many Big 5 houses that start a marketing campaign six months in advance! Catalogs and free e-copies start raining down on the reading public, with the purpose to entice, tease, dare and suck anyone into anticipating the new wunder child's masterpiece. These promos can also be galleys or ARC copies of the book. Just make sure you leave enough time to get the blurb on the cover or in the front matter before it hits retail. The earlier the better, because this little admiration/vindication blip can be used to boost pre-order sales. Otherwise, if it's post-release time and you haven't done anything, it could cost you or you publisher a small fortune to send out trade or hardback copies in order to catch up. This has happened to me.

So who should be solicited for a gold star blurb? Unless you know them, don't even bother with the current heavy hitters--Charlaine Harris, Stephanie Meyer, Veronica Roth, Susanne Collins--and stay away from King, Rice and Rowling. You aren't spit underneath their shoes (in a figurative sense--no one hates you). But...they don't know you; they haven't got time for you and you're a bother in the middle of their busy lives. Please don't send them copies out cold. You can ask first if you are intent on it. That's the reality of it. While we're at it, you might pass on the self-published heavy weight stars because they are also in demand and loaded down with time constraints. Believe me, I went that route and I knew a few of them personally. At this very minute they might be using my book pages to clean up pet spills.

The self-published crowd definitely has to do the soliciting themselves. They might even be better at it than any trade-published author! In fact, I think they get real good at it and have more success in their contacts within their own ranks. the indie community is huge and tight-knit.

Now who should send out copies for blurbs? Aside from some exceptions, NOT YOU (indies excluded). Successful mid-list and recent breakout novelists just might give you the time. If you personally know a fairly successful author, give it a shot. I can speak from experience and tell you that I've lost a half dozen hardback books that cost $30.00 apiece, countless trade paperbacks and a truckload of ARCs. I knew these high-profile authors from some venue or another. They knew me. I think I've had about 35 non-responders (fairly recently) on two books. Not one single blurb was offered in a span of four years for other books.

My friend, HH, of the W.o.o.L series asked me for a trade paperback copy and promised a blurb. He never got back to me. He just got more famous and more famous. Hardly his fault for the media attention. When that happens, an A-lister just doesn't have the time to squeeze a favor in for that hopeful author.

In 1990, Ralph Nader agreed to do the foreword in my auto repair book. My editor told me the great news. I was delighted with the prospect. Little did I know that my publisher paid $4,000 for a page of comments and then they took that amount out of my royalties. DO NOT PAY-FOR-PLAY BLURBS. Ever. That goes for pre-order reviews, too. Read your publisher's contract and make sure they don't have the right to pull royalties or advance money from you for a celebrity endorsement, or any promotion or marketing efforts.

Why shouldn't you hunt down blurbs? What can go wrong? Those star authors don't have the time to read your book--they're way too busy. Your solicitation could be construed as a sign of desperation.They might think your publisher is beneath them, or that your publisher trademark is really a disguised self-published label. They read it and hated it (very unlikely that they read it). You're a bothersome intrusion into their privacy, even if you're a fan. They can get free copies this way without payment or risk. It happens. You've nudged them too often and pissed them off.

Your publisher should solicit blurbs. Seen from the eyes of the celebrity author (or whoever), it is more respectful. The publisher is not as obviously biased or as desperate as an inquiring author. There is more weight behind a publisher request--more status--more importance and dignity. You might get the email or home address of the author wrong. The publisher marketing team, not you, should know who to send copies or books to in advance. This is their job--they've done it before. If they are worth a grain of salt, they will have a marketing and sales department, and a publicity manager loaded for bear and ready to get you a shot at the lime light.

If you are determined to be proactive, go ahead. If you have landed numerous celebrity blurbs by your own hand without your publisher's assistance, you need to tell the writing world how you did it. If you have a repeat celebrity author giving you grand endorsements, then you are locked in. I doff my worn fedora to you. Never mind if you've bought a truckload of books and tossed them every which way in sundry. There's no reason to go into dept before your book is published? Sure, send some signed paperbacks out, but purchase single copies and not cases of your book.

Red-shifting out of here. Happy blurb trails.

Trouble in Diversity Land?

I’m sorry about trying my hand at diversity in one case, but I was warned off writing about skin-walkers in Native American Indian lore and legend. I had a main skin-walker antagonist in my novel, The Shimmering Eye. I mentioned two warring tribes and the state setting, circa 1850 or so, and it got me into nothing but trouble with my critique group. These two tribes were the Ute’s and the Navaho. I'd written a fair amount on the subject, but something told me to go to the writer-help trenches and ask for some advice. It was there that I got warned for daring to portray any cultural lore, legends, historical facts or speculations about the subject from which I was not part of or affiliated with. I was told that I would/could cause an uproar among the tribal nations. Scared that I was on dangerous ground, I canned all of it that dealt with Indian history. I just didn’t want anyone to question me so sternly about this subject matter. It wasn't worth it. I didn’t know it was such a touchy subject and I found this out after some research.

I did keep my female MC, who is a half-blood Chippewa, and turned my interest and efforts into incorporating the Dream Catcher story and legend into the book, and two more books after that. I won't be bullied on this one. I’m pretty damn sure I got it right. I wanted some diversity in this series, and I saw nothing wrong with using a (half-blood) Native American female MC It worked out pretty well. I also used an African American in the story-line, but I received little or no condemnation on that.

I suppose it all boils down to the controversy of any such religious, color or ethnic group, where some are more sensitive than others. Maybe there could even be problems with portrayals of the Amish or Mormon community. And you never know who is sue-happy in this world. Direct threats might come from the Hell’s Angels, the KKK, even the American Rifle Association. It all depends doesn’t it? 

Take a little time out for research when you’re about to tackle a specific group, religion, organization—you know, all the race, creed and color denominations. If fact, go right to the reps and headquarters of those peoples and places and ask away. You want to, need to avoid being offensive or degrading them in any light. 

But I will never forget the insinuations I got from that critique group. They tried to be nice about it but the message was, to the effect "stop right there. You run the risk of causing a viral backlash and having the collective Native American Nations after your ass." Get one thing wrong and you’re toast.

Someone else who is delving into the subject of Indian lore and cultural history? Let me tell you something; I hope to God Jo Rowling does write about this subject like she intends to and gets it right. She is really made of stern stuff, in a very honest and dignified way--no guff. I think she can take on anything--her research skills are beyond measure. She also has the resourcefulness and expertise of qualified fact-checkers and editors behind her. Let them help her make the correct decisions and get through this boggy swamp with all the support she needs. Otherwise, she’ll just pull her lawyers out like a pistol and start shooting. God bless her heart.

Editing: What's Your Bag?

Once again, another topic arose at AW which I thought might be an interesting foray. The answers to proper editing technique is diverse—everyone has their own way—a technique that works best for them. There are two basic approaches and either one is fitting. There is no wrong or right way. There is a third, more complicated way that we can touch on. 

EDIT AS YOU GO

I really feel the fun and excitement in writing a first draft novel. I get totally zoned out and focus on my world. I demand to be left alone for three months when this happens. I don't outline--my next scene/scenes are popping in my head as I write the current one. The book leads me where it wants to flow. The characters make me take dictation--it seems they want to run the show and do what they want. I don't let my characters run rampant, but install little checks and balances for them. The plot wants to go where the conflict is heaviest. For my pace, I can't have any lengthily dinner scenes, shopping, walks in the park, with meaningless character dialogue--I'm very guilty of this in the past and it kills my pace. So once I'm in my new world, I'm trapped there until I find my way out. That means THE END.
 
First editing draft: I've taken Anne Rice's advice and adopted her writing ritual. I'll write in a fever then back up about four or five pages and edit the hell out of it. That means as much structural and copy-editing (and other areas) as I can stand. Structural problems mean I've made a big goof somewhere, but I'll still go to the source and try and fix it as best I can. Then I forge on and repeat. I'm simply accelerating and then hitting reverse. That way, the first editing draft doesn't fill me dread and I can still move along fairly fast. For me, storytelling is fun--editing is blistering work. I want the easiest transition I can get between the two. I've heard lots of people say that they edit while they write--I think it's the same thing.

There are some who might take this approach and go back to edit a chapter, or maybe two or three and then pick up again. That means a break in the writing and a chance that you could lose the momentum and thread. But it also means there will be less “work” in the following editing drafts. So you can relax a little more and not fret over the “monster that is to come.” Caveat: I’m still going to make several editing passes, but I’m knocking out as much as the hard stuff as possible in the backward pass.

   

BLAST THROUGH

That’s exactly what it sounds like—writing through the first draft as quickly as possible, staying filled with that white-hot fit of inspiration—blasting through. Some writers have to do this or else they’ll fall off their pace and let the story go static for even a short amount of time. They haven’t got the time or impetus to worry about editing at this stage. These people are sometimes loath to stop, believing that the first novel draft presents the most difficulty. It’s a great strategy, and I’m sure we’ve all heard the comment from the pros and instructors: “you have permission to write shit. It’ll be cleaned up in the editing process.” This is a very popular style, if not the most popular one. 

There’s no doubt that getting that first written novel draft completed deserves a medal valor, and it really does. These writers actually like/love the first (and subsequent) editing drafts because it gives them a great feeling of accomplishment in fashioning a diamond out of a lump of coal. This is also the time for them to cut or add words, chapters, characters, and scenes as they see fit or if it’s needed (structural). Writing the book is the difficult part for them. That’s where most of the doubts, foul-ups and blocks are experienced. Even if they’ve outlined, they view that first novel draft as a daunting task, wondering if they will ever finish it. If they decide to pull out and trunk the project after they’ve hit the end, hey! There was no harm done and certainly less work invested.

MULTIPLE STAGE EDITING

There has to be something said about concentrated editing in different areas and making those first, second, third, fourth and fifth editing passes, suffering through individual stages. Actually, “suffering” is kind of a strong word. I think we all make multiple editing passes. There are only a select few professionals who can edit as they go and come out with a shiny manuscript that is near perfect. Anne Rice is one of them. We’re not Anne.

What stages are important? Well, what’s important to you? Where are your weak spots? This can include passive/active, continuity, copy-editing, proofing, structural editing, pace and so on. I’ll make about three editing passes, taking up two of these areas in one pass. Or I’ll go right on down the line and hit all six each for six edits. But they will be very light and fast because I’ve already been there. You can really specialize and concentrate on one, and only one area from the very beginning, and I’ve done this before to really focus on special problems. I call it target editing. I have a problem with passive and active, so that one is a slow, precise go for me. Continuity is another.

With a large book, multiple stage editing can take a VERY long time. If you don’t mind the process, chances are your final copy is really going to shine with a high gloss finish. There are some writers who love this type of editing and they don’t mind the time invested.

Yeah, I hate to admit it but writing is rewriting. It’s my necessary evil and I hate it.

  

Whatever you decide, keep a positive attitude. Try not to listen to those little Debbie Downer muses that hang around and tell you that your story is nothing but a crock and you’re wasting your time. Always remember that another pair of eyes will see something totally different in what you’ve scribbled.