Tag Archives: Writing

Interview with Romance Author Parris Afton Bonds on Dr. Paul’s Family Talk

Host Paul Reeves and Parris Afton Bonds, award-winning author of more than forty published novels, discuss the impact she has had on the romance genre. As one of three best-selling authors of romantic fiction, she is the co-founder of and first vice president of Romance Writers of America, as well as, co-founder of Southwest Writers Workshop.

The Parris Award was established in her name by the Southwest Writers Workshop to honor a published writer who has given outstandingly of time and talent to other writers.  Prestigious recipients of the Parris Award include Tony Hillerman and the Pulitzer nominee Norman Zollinger.

Click here to listen:

https://www.podomatic.com/podcasts/pwr/episodes/2018-01-16T04_01_23-08_00

Dr. Paul’s Family Talk airs live shows on Monday, Wednesday, and Friday at 11:00 am EST. (Repeated at 3:00 pm and 8:00 pm EST)

IMPACT RADIO USA provides the best in news, talk, sports, and music 24 hours a day, 52 weeks per year. Broadcasts are repeated along with past shows and features twenty-four hours a day.

http://www.impactradiousa.com/listen-live.html
(click on the LISTEN LIVE button)

OR

Head straight to the audio by going to the following:
http://streaming.radio.co/sb17f7f4fa/listen

If you are interested in arranging an interview on the “Dr. Paul’s Family Talk” show on IMPACT RADIO USA, please private message Deborah Ratliff on Facebook.

 

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Paul Reeves’s FB Page: https://www.facebook.com/paul.w.reeves.1

Parris Afton Bonds website: http://parrisaftonbonds.com

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The Perils of Passive Voice (The Self-Editing Guide Part 5)

“I think unsure writers also feel the passive voice somehow lends their work authority, perhaps even a quality of majesty. If you find instruction manuals and lawyers’ torts majestic, I guess it does.” —Stephen King’s On Writing

To Prologue or Not to Prologue

Stephen King states it perfectly. How many times have you, as a reader, felt intrigued by an instruction manual or legal document? Do you begin, with enthusiasm, the terms of service before selecting “I agree”? Or do you skim over them and only refer to the visuals when assembling the item? If you said yes to the latter, keep reading. If you said yes to the former, well, I’m not sure what to do with you. You probably have a bright future in the legal field, so there’s that. For all the normal people, however, in this article, I’ll be addressing the topic of passive voice and how to avoid it in your own writing.

With passive voice, something is being done to the subject. With active voice, the subject is doing something.

The dog was picked up by Timmy.

We’ll start with an example for those who are hearing about this for the first time. This sentence is a prime example of passive voice. Notice how timid and bland it reads. Let’s reword it.

Timmy picked up the dog.

This sentence is an example of active voice. It’s direct and confident. The writer sounds sure of himself and nothing is left unsaid.

In the first sentence, notice how you could write it as The dog was picked up. and leave off the last two words. With passive voice, the sentence will either end with by [noun] or it will make perfect sense to add that phrase to the end of it. So as you’re editing your manuscript, try adding by [whatever noun you choose] to the end of each sentence. If it makes sense, you’re using passive voice and need to reword it. Also, look for the word was when proofreading your manuscript. It’s another indicator that you’re using passive voice.

The lake was dried up by too much sun and lack of rain. —Passive

Too much sun and lack of rain dried up the lake. —Active

Starting to see a pattern here? Good. Again, was is present in the first sentence and it ends with by too much sun and lack of rain. The second sentence is simple and reads much more smoothly without those tell-tale signs.

Always choose active when you can. Readers want excitement and boldness from you, especially during an action scene. I can’t count how many times I have read or edited a novel where it felt more like things were happening in slow motion—like the bullets were literally flying at a snail’s pace—all because the author made this and a couple other mistakes (we’ll discuss those in another article). You want those action scenes to be a rush for your readers. You want those bullets to whizz by, and you want your main character to jump into action. Unless you’re actually going for the slow-motion effect you see in movies, you definitely don’t want your readers to visualize it that way. And even then, there are other techniques you should utilize to express to your audience the intensity of the situation. No one should be falling asleep while reading your novel. And if you stick to active voice, no one will.

There are other things I believe weaken your narrative and slow down the action, but I’ll get to them in future articles. And sure, there are times for passive voice—like when you don’t know who is doing something to the subject. You can’t necessarily name the person, place, or thing if you haven’t yet identified it. You’ll find this more often in mystery novels or a scene where the reader doesn’t yet have all the facts. As always, use your own judgment. Quoting one of my recently posted memes on writing: “The young man knows the rules, but the old man knows the exceptions.” —Oliver Wendell Holmes, Sr.


Jessica Victoria Fisette is the author of The Soul Reaper series, Fragments, and The Aldurian Chronicles. Her hobbies include discovering the benefits of natural medicine, wine tasting, and trying new recipes in the kitchen. She likes to unwind by typing out a scene or two in her latest obsession or indulging in a good book. Having been passionate about writing since she was a little girl, she is constantly coming up with new ideas for future stories and creating unique, strongwilled—albeit flawed—characters to overcome the difficult obstacles she places before them. Having spent all her life in rural Southeast Texas, she appreciates the tranquility of country living and hopes to implement such a love for nature into her beautiful, ever-so-curious little girl.

You can follow her by clicking the links below. 


King, Stephen. On Writing: A Memoir of the Craft. NY: Simon and Schuster, 2000. pp. 122- 4.

Dr. Paul’s Family Talk: Guest Dr. Josh Duchan, author of “Billy Joel: America’s Piano Man”

Host Paul Reeves of Impact Radio USA’s Dr. Paul’s Family Talk program interviews author Josh Duchan about his newest book, Billy Joel: America’s Piano Man.

Click here to listen:  https://www.podomatic.com/podcasts/pwr/episodes/2017-06-19T13_52_33-07_00

Dr. Joshua S. Duchan, professor of Music at Wayne State University. Dr. Duchan’s newest book, Billy Joel: America’s Piano Man was released last week and it sold out on the first day! (NOTE: Check for hard copy availability. Kindle downloads are available now).

From the Rowman and Littlefield website:

“Despite his tremendous success, Billy Joel’s gifts as a composer and commentator on American life are long overdue for a thorough investigation. In Billy Joel: America’s Piano Man, music historian Joshua S. Duchan looks at the career and music of this remarkable singer-songwriter, exploring the unique ways Joel channels and transforms the cultural life of a changing America over four decades into bestselling song after song and album after album.

(https://rowman.com/Page/RowmanLittlefield)

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Live shows air Monday, Wednesday, and Friday at 11:00 a.m. EST  (Repeated at 3:00 p.m. and 8:00 p.m. EST)

IMPACT RADIO USA provides the best in news, talk, sports, and music 24 hours a day, 52 weeks per year.

Click here to listen 

http://www.impactradiousa.com/listen-live.html
(click on the LISTEN LIVE button)

OR

Head straight to the audio by going to the following:

http://streaming.radio.co/sb17f7f4fa/listen

 

If you are interested in arranging an interview on the “Dr. Paul’s Family Talk” show on IMPACT RADIO USA, please private message Deborah Ratliff on Facebook.

Happy New Year from Writers Unite!

A new year, a new start, always exciting!  All those New Year’s resolutions we make and sometimes keep!

If one of your resolutions was to begin to write or finish that short story or poem or novel, then join us at Writers Unite! on the web or on Facebook. Forty thousand plus members of Writers Unite! interact, discuss, mentor, and hone their writing skills on our Facebook site. We can help you keep at least one of your resolutions!

You can find us on WordPress at https://writersuniteweb.wordpress.com/ or on Facebook at https://www.facebook.com/groups/145324212487752/.

Follow us on Twitter: https://twitter.com/WriterUnite16  or Instagram: WritersUniteonInsta

We look forward to spending the next year writing with you!

 

 

 

 

 

 

 

Why You Should Edit As You Go (The Self-Editing Guide Part 3)

Ask the question in a writing group, and almost everyone will tell you not to worry about grammar or structure or even sentence flow as you write—to instead just get the story out on paper. After all, you can’t edit a blank page, but you can always go back and fix what you’ve written later. While that may be true to some extent—it is always better to have something to work with rather than stare at a blank page all day trying to figure out the best way to word that first sentence—that doesn’t mean all knowledge of grammar and the rules of the English language go out the window. In this article, I’ll be listing a few reasons why you SHOULD edit as you go, and why it’s what’s worked for me every time and has made the editing process much, much simpler.

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One of the most important reasons that editing as I go is not only helpful but necessary is the fact that it saves so much time in the long run. I always make it a point, each day I get out my WIP, to start by reading the previous scene. This helps put my mind back in the world of elementals and shadow-wielders, and it helps me keep things consistent from scene to scene. But it also helps me catch any mistakes I’d made the night before. With fresh eyes, I’m much more likely to look at it with condemnation—with an editor’s eye versus a writer’s. If I ignore these mistakes and just keep writing, telling myself I will catch them all next month when I go back for the editing phase, I may not catch the same mistakes I could catch today. And if I wait and edit it all at once, it’s going to take a lot longer and quite a few more rounds of editing before I stop finding errors every time I read through it.

Editing an entire manuscript is tedious and often-times intimidating when you’re a new writer. If the whole thing is littered with errors, the idea can bog you down and make you feel like your writing is worthless. There are so many great stories that never see the light of day, and one thing I am always hearing in various writing groups I’m a part of is that when new writers go back and read what they’ve written, they think it’s awful and want to scrap it and start over. The idea of editing all that—something they probably spent months writing—is too much for them. They don’t feel like it’s possible or worth the time to polish it into something they can be proud of. That’s why rereading and polishing short pieces as you go can ease your work-load tremendously and help reduce the chance of abandoning ship later.

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One thing I also often hear when people ask if they should bother themselves with editing as they go: “that’s what editors are for”. Imagine you hired a maid to clean your house top to bottom for a party you were throwing. She’s one of the best. She comes with glowing recommendations. Her prices are reasonable. But because you knew a maid would clean up after you, you left dishes all over the counters, you spilled cereal all over the floor, you let your kid destroy the living room, and you didn’t bother to clean any of it because you knew the maid was coming and she would handle it all. After all, she’s great at what she does—you’re paying her for that very job.

But she’s human, and she has to adhere to the rules of time and the limitations of exhaustion just like everyone else. She spends all her time cleaning up the little messes that you left out of carelessness and never gets to the big stuff. She works overtime to get the job done as she had promised, but the day ends and the party starts. While it may be decent—she managed to clean up all the glaring distractions, put away all the toys, do the dishes, and wipe the counters—you hear some of the guests note that things could have been nicer. You hear them point out things she missed.

As an editor, I’ll be the first to tell you that while we love to catch errors and play a crucial part in making your story the best version of itself, we can’t work on the big problems you hired us for if we’re too busy editing all the little errors you knowingly left for us. Editors are often underpaid and we usually work overtime, going over your story again and again to catch everything we can and point out developmental issues, character inconsistencies, etc. But if you have a certain timeline you need the work delivered by, it will be difficult to catch everything if it’s a complete mess when we receive it.

This brings me to my next reason for editing as you go: protecting the integrity of the story. If you respect the story you’re writing, why let it start out as a sloppy mess and stay that way for most of its infancy? Don’t get overwhelmed with perfectionism, but definitely respect your story enough to fix the spelling error you caught as you skimmed over a passage. My main point is: don’t stop yourself from fixing something you see because others have convinced you that you’ll never get that rough draft written if you get distracted by all the errors. They’re right to an extent. Definitely don’t let the mistakes discourage you. Everyone makes them. Even editors need to edit over and over again, whether it’s their own project or someone else’s.

I just received feedback from an author of a novel I recently edited, and even though he was extremely impressed by how I edited and said I changed his opinion of editors forever, he still mentioned that they found errors I missed. His next statement was that you can never get something completely error-free. That reminded me of something else an old friend once said to me when I first told him I wanted to be a writer. He said, “Writing is never perfect.” It can’t be. No matter what you do, how you write it, there’s always a better way it could have been written. There’s always an error you missed or someone else who could have done it better. Writing is subjective. So always remember to do the best you can for your story and give it the quality it deserves, but don’t be afraid to make mistakes either. As with most things in life, a healthy balance is always the right answer.


Jessica Victoria Fisette is the author of The Soul Reaper series, Fragments, and The Aldurian Chronicles. Her hobbies include discovering the benefits of natural medicine, wine tasting, and trying new recipes in the kitchen. She likes to unwind by typing out a scene or two in her latest obsession or indulging in a good book. Having been passionate about writing since she was a little girl, she is constantly coming up with new ideas for future stories and creating unique, strongwilled—albeit flawed—characters to overcome the difficult obstacles she places before them. Having spent all her life in rural Southeast Texas, she appreciates the tranquility of country living and hopes to implement such a love for nature into her beautiful, ever-so-curious little girl.

You can follow her by clicking the links below. 

Facebook

Twitter

Website

Interested in checking out the novel mentioned in the article? Click the link below.

http://amzn.to/2EeEoJI

WRITING YOUR FIRST NOVEL PART Eight: Grammar

 

 “People who cannot distinguish between good and bad language, or who regard the distinction as unimportant, are unlikely to think carefully about anything else.” 


― B.R. Myers

 

When I was in elementary school, I cheated. I cheated when I was forced to participate in spelling bees. A pastime it seemed my teachers thought was the most fun a student could have. I didn’t. And no, I did not write words on my palms or sneak a peek at the teacher’s word list. I purposely misspelled words that I knew how to spell so I could stop playing.

Spelling was never fun. Science was fun. Spelling was tedious, science was exciting. The quicker we got through the English lesson, the quicker I could do a science experiment.

I managed to get by with my little scheme for a while but never try to outwit a teacher, it rarely works. She caught on, and I had to play without missing words she knew I could spell.

The truth is I did well in English and literature, but my focus was elsewhere, my loves in school were science and chorus. Consequently, my knowledge and skills in grammar arrived by rote, not by interest. I should have been wiser.

Grammar is the foundation of communication. Without proper grammar, our thoughts cannot be expressed except as incoherent ramblings or incorrect meaning. I learned the hard way that grammar mattered in all aspects of life.

As a college freshman majoring in a science discipline, I took my first exam in Microbiology 101, my major. I was certain I had done well, plus there were ten bonus points. When I arrived at the class lab the day following the test, the lab instructor informed me that my professor wanted to see me.

Entering Dr. Weaver’s cramped, dark office crowded with antique scientific equipment, I was petrified. Maybe I hadn’t done as well as I thought. He motioned for me to sit and then handed me my exam. I had gotten a score of 103. Relief washed over me, then concern. What had I gotten incorrect? I knew the material.

Dr. Weaver noticed my confusion and smiled, a rare thing for him to do. He told me that I had done very well, but he wanted to discuss what I had not done well. Spelling. He had circled a few scientific words but told me he did not count off for spelling those words during the first semester, everyone misspelled names of bacteria. I misspelled seven common words, and he took a point off for each one.

He explained that while I had an excellent grasp of the subject matter, I needed to understand that how I presented my thoughts would influence how people perceived my credibility. Words matter, and the grammar used to structure those words matter too.

Let’s look at one of the classic examples of how grammar affects the meaning of sentences.

“Let’s eat grandpa” vs. “Let’s eat, grandpa.”

I doubt anyone doesn’t see the issues with the lack of a comma in the first sentence. The reasons for proper grammar are obvious.

 

General Reasons to Practice Good Grammar

In general, proper grammar is essential to communication, which, as stated earlier, is vital to all facets of life. The above example concerning grandpa shows how we emphasize ideas conveys meaning. For our thoughts to be understood, they must be conveyed with clarity and precision.

In business or social situations, first impressions are important. We are often warned ‘not to judge a book by its cover,’ an idiom that cautions us not to judge people by their appearance when first meeting them. First impressions no matter how hard we strive to be unbiased do matter. Whether the first time someone meets you is in person or via the written word, how you communicate with them is a sign of your intellect and education.

Proper communication also provides credibility, crucial as you build a career or a personal relationship.

 

Grammar for the Writer

Ask writers for their pet peeves about grammar and the list is endless. Confused words, dangling participles, incorrect verb tenses, their vs. they’re vs. there are among the errors cited. Yet, ask these same writers if grammar is important when writing and the results can be confusing. The answer is often no.

One of the components of writing is referred to as the writer’s voice. According to the website Pub(lishing) Crawl, “The writer’s voice is the individual writing style of an author, a combination of idiotypical usage of syntax, diction, punctuation, character development, dialogue, etc., within a given body of text (or across several works). Voice can be thought of in terms of the uniqueness of a vocal voice machine.”

This definition is why there are conflicts over how writers perceive grammar. We develop a unique manner of presenting our work. The voice we present to the world is ours and ours alone and at times, to impart our personalities we may break the rules. We may write a sentence of a single word or offer a fragment of a sentence for emphasis. Poetic license allows us to depart from convention.

A bit of liberty in writing complete sentences for emphasis is one thing, but we have discussed that grammar increases clarity of meaning and raises our credibility. These two concepts, one writing correctly and the other taking poetic license, seem diametrically opposed yet remain an issue of contention among writers.

My opinion is that dialogue can be written as people talk, in slang, in sentence fragments, keeping grammar deviations to a minimum. The narrative of a story, however, should follow proper grammar.

As important as these general reasons for using good grammar are there are specific reasons for writers to understand the value of communication.

  • The ‘experts’ who offer writing advice suggest that we write our first draft without concern about grammar or sentence structure. We should write to get the story out. Errors can be corrected on subsequent edits. I disagree. I think we should make a habit of using correct grammar from the beginning. The editing process is difficult enough without adding to issues that can be dealt with as you write.
  • You will be offering your manuscript for review by beta readers, editors, agents, and publishers. The novice writer with little experience needs to establish credibility. Sending a manuscript for evaluation with punctuation and spelling errors and poorly constructed sentences will not instill the confidence necessary to be taken seriously. That is not to say that any writer, regardless of experience, should submit a badly written manuscript at any time. They should not.
  • Many of us write simply for the pleasure of writing. The art of weaving words into a story brings a great deal of satisfaction. I suspect, however, that we also write for the pleasure of others. If we want our readers to become engrossed in our stories, root for our heroes, then give them a well-written book. If it isn’t well-written, it will be left unread.
  • The last reason to practice good grammar, respect for yourself. Writing a novel is not an easy task, but if you make an effort to create a well-written and well-crafted novel the results will be worth the time.

“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.” 

― Dorothy Parker

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Resources:

http://ask.dailygrammar.com/Why-is-grammar-important.html

www.publishingcrawl.com/2013/06/24/literary-voice-developing-it-and-defining-it/

https://www.goodreads.com/quotes/tag/grammar

 

To Prologue or not to Prologue (The Self-Editing Guide Part 2)

So here we are at the beginning of our story. Our fingers are on the keys, our pen is twirling in circles over the page (or our thumbs are alternating between various letters and the delete key on our touchscreen) as we try to figure out the best way to start. It only seems natural to start as close to the beginning as possible, right? We can spend the first few pages explaining the main character’s past and bringing our readers up to speed, and then we can see where that takes us. That would be the logical way to go, wouldn’t it? Well, unless your story is a high fantasy containing a completely new world that defies the laws of nature, a rich history that directly impacts the main story, or the main character has a past that cannot be easily explained, you’re probably better off going a different route.

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Prologues have a strong history of being the foundation for many successful and memorable works. Most of the classics contained a prologue, and to this day high fantasy novels usually require them to help the reader understand the new world they are venturing into. Sometimes, prologues are necessary and beneficial. Other times, not so much.

One question we should be asking ourselves is: As a reader, would we want to prep for a story before we were allowed to actually start it? Or would we rather dive right in and have things shown to us between the many adventures? As a confessed prologue-skipper of my youth, I would choose the latter. A story is meant to be engaging and fun, and you’re less likely to pull your readers in with a history lesson before they’ve had a chance to figure out what your novel is about. And if they’re reading the sample from Amazon, they’re unlikely to follow through with a purchase if they can’t grasp some basic understanding of the main plot.

Try, instead, to imagine a situation you would likely find your main character in and start the story there. This is much easier if you’ve already done your due diligence in developing your characters and plot. You should be able to imagine your character and how they would react in any given situation. It’s better if you jump right into the action. Begin as close as possible to the initial problem that sets everything in motion–you might even choose to start with that scene if it isn’t too confusing–and you will find your readers more likely to follow through with purchasing after reading the sample.

If this doesn’t come easy, if after trying and failing you still find your fingers only yearn to write that prologue, go ahead. Write it. Once you’re finished, you’ll likely have a much broader understanding of your plot, and a starting scene should flow freely from your fingertips (or thumbs).

Nothing in life is definite, and not every bit of advice applies to every situation, but if you can reel your readers in with action, you always should. Showing rather than telling pulls the reader into your world, and continuing to dish out in-depth, engaging scenes offers no chance (or desire) for escape, even long after your story has been told.


Jessica Victoria Fisette is the author of The Soul Reaper series, Fragments, and The Aldurian Chronicles. Her hobbies include discovering the benefits of natural medicine, wine tasting, and trying new recipes in the kitchen. She likes to unwind by typing out a scene or two in her latest obsession or indulging in a good book. Having been passionate about writing since she was a little girl, she is constantly coming up with new ideas for future stories and creating unique, strongwilled—albeit flawed—characters to overcome the difficult obstacles she places before them. Having spent all her life in rural Southeast Texas, she appreciates the tranquility of country living and hopes to implement such a love for nature into her beautiful, ever-so-curious little girl.

You can follow her by clicking the links below. 

Facebook

Twitter

Website

Joshua Mitchell-Taylor: Hiring an Illustrator

 

Our guest columnist today is children’s book illustrator and animator Joshua Mitchell-Taylor who is offering a guide for writers to understand the process of hiring an artist. His suggestions on what you need to know as a writer and how the creative process unfolds are invaluable for writers of any when searching for an illustrator.

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Hiring an Illustrator

By: Joshua Mitchell-Taylor

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(Illustration by Joshua Mitchell-Taylor)

I am a freelance children’s book illustrator and animator. During this past year collaborating with clients in various specialties of illustration, I have noticed that many potential clients struggle with finding the right illustrator for the job. Is it the amount of experience someone has, or their portfolio that speaks for them during the hiring process?

I have promoted my services as a children’s book illustrator for over a year now, and there are many questions that I receive from potential clients. Can you illustrate this style for me? How much do you charge for your services? Do you have a portfolio I can look at? How do I get in touch with you? Any illustrator would be able to answer all these questions. However, all these must be asked before a project can begin. That is where the negotiations take place and laying down the foundation to a successful working relationship.

The fields of specialty I can cover are character designs, graphics design, children’s picture books, comic books and many others.  Every project is unique in content and style. I remember my illustration tutor telling the class about developing your own style, and to an extent, I agree with this. What I also believe is that as an illustrator, you have to be ready to adapt to any style that comes to you. Allow an illustrator the chance to draw a character in the style you aim towards your project, as it will help you know if they are the right fit.

There can be arrangements made for how to tackle each task as the writer and illustrator. Communication is essential to any successful project. I talk with my clients via email about the projects we work on. Social media is another place that has grown more popular over the years to talk through, and I have recently discovered the potential of promoting my services there as well.

My recommendation to writers is thorough research into these aspects for your children’s books. Do you want an existing style of an artist that is already published? Do you prefer the artists’ personal style to tell your story? Is there a deadline needed for the book to be finished by the illustrator?  How is payment going to be sent to the various specialists to bring your book to life?  You won’t just have to think about hiring an illustrator, but also a publisher.

Once you have answered those questions, find out the process that the illustrator creates his/her work. Do they draw on paper and then use watercolours to give a more natural feel to the page? Is there a specific piece of software the illustrator works on? During my years studying Digital Animation with Illustration at Futureworks, Manchester, I began to piece together that the digital world was impacting more every day into the illustration and animation industries. Artists are exploring software such as Adobe Photoshop or Autodesk’s Maya for animation.

I utilise Adobe Photoshop to illustrate my ideas. However, before that I hand- draw my thoughts onto paper and scan the sketches in. It is very important to maintain regular communication between the illustrator/writer, during the developmental process. We collaborate and generate the best possible way to illustrate their idea, with a little constructive feedback. This will ensure achieving a successful outcome within the writer’s deadline.

There is something I read recently about the life of an artist “Who Pays Illustrators (And How Much), by Marianne Litman (25.10.2017)  It opened my eyes to what art should be valued at for producing children’s books. I understand that for a writer, the fees can get expensive. As an illustrator, calculating the man-hours for completing the client’s work, and settling on a final price, is done during the negotiations. The illustrator has to be able to change their prices but values their work to what they feel it is worth as well. On average I can achieve two pages of a children’s book, from sketch to digital, in one week.  The fees will also depend on the style the illustrator needs to work in. I can spend around 15 to 20 hours illustrating, sketching and any changes made on one page. Depending on the number of pages needed, it can take around 1 to 3 months per book to complete. It is always best to be realistic and work with the illustrator, in terms of the amount of work needed, to complete your project.

Personal Note:

I love to illustrate and bring ideas to life. There is a feeling an artist gets when they see their work go from a simple idea on paper to the finished project. Teamwork is important, to make a successful story come to life. Without the writers, children’s books wouldn’t be possible, so the duties are equally as challenging as an illustrator.

Here are a few quick things to consider before you hire the illustrator:

Can they work with the style you want?

  • How long will it take to complete each page?
  • How can I reach you if I need to get in touch?
  • Have a price in mind for your project, but be ready to negotiate a price as well.
  • Let the illustrator know if they will be credited in your book.
  • After looking through their portfolio, give them a chance to illustrate something for you. The artist could adapt to your chosen style.
  • Do you charge per project, or per page?

Here are a few things the illustrator needs to know:

  • How many pages are needed?
  • What style do you want to have the book illustrated in?
  • Are there any deadlines?
  • Do you have any contact details to get in touch?
  • How will payment be sent to the illustrator?

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My contact details

Email: GigglemaniaStudios1@aol.co.uk

My portfolio: https://jmitchelltaylor.wixsite.com/mitchelltaylor

 

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WRITING YOUR FIRST NOVEL PART SEVEN: POINT OF VIEW

Understanding POV is essential, or ought to be.

Arthur Herzog

When we pick up a book to read, we expect to become lost in words, feel as if we are part of the unfolding events. How we participate in those events is up to the author and the point of view the author has chosen.

“It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.”

— Raymond Chandler, The Big Sleep

The opening paragraph of Raymond Chandler’s The Big Sleep is considered one of the consummate openings in literature. Immediately, you know a great deal about the main character. A private detective who is “neat, clean, shaved and sober, which indicates he is often not and that he is meeting a wealthy individual, likely a client. This paragraph also indicates that you are going to experience the story through his eyes.

Point of view is defined by “Literary Devices” as “the angle of considering things, which shows us the opinion, or feelings of the individuals involved in a situation. In literature, point of view is the mode of narration that an author employs to let the readers “hear” and “see” what takes place in a story, poem, essay, etc.”

Point of View Syles

First-person:

“First-person narrators is the way I know how to write a book with the greatest power and chance of artistic success.”

― Anne Rice

The paragraph from The Big Sleep is an example of writing in the first-person point of view. We are experiencing the events through the eyes of the main character or at times, a secondary character, who is also the narrator.

We see what the narrator sees, only witnessing the actions of others but never knowing the thoughts of other characters unless they choose to disclose their thoughts through dialogue.

There are advantages to using this form of view. For the reader, it allows an intimate feeling with the character, you see, sense, smell, taste, what the character does. As a writer, the connection is personal, the character becomes an extension of your own persona. You see the events through your own eyes, tell the story in your own words. There are fewer filters as there would be if the writer were observing another character as in Third-person POV. In first-person, the character can express the thoughts they are feeling directly to the reader and provide exposition directly though memories.

While there are advantages to first-person POV, there are also disadvantages. The reader can never be certain of the narrator’s motives. Is this character being truthful, is there bias in how they think, are they providing the entire story.  The “unreliable narrator’ could misdirect the reader from the truth. It is also difficult for the reader to learn about the narrator’s description, not always necessary to the story but there are components of a character’s description that could impact a story.

This POV also presents only one side of the story, preventing both the reader and writer from seeing a broader view of the story and what the other characters are thinking. To capture the essence of the character, the writer must take care and skill to present the voice of the character, their mannerisms and how they speak to convey their personality to the reader. Another interesting aspect is that the reader will assume the narrator will survive the story which reduces the suspense.

One other note about first-person POV is that this style lends itself well to short stories where the impact of a single point of view can be effective. However, it takes a skilled writer to create a character strong enough to carry the entire story.

Some examples of novels in first person POV, in addition to Chandler’s The Big Sleep are Ernest Hemingway’s The Sun also Rises, and Shakespeare’s “Hamlet.”

Second Person Point of View:

Rarely seen in fiction novels, second-person POV is prevalent in non-fiction writing, especially instructional or how-to manuals, and in advertising. In fiction, the narrator is telling the story to the reader as if the reader is the main character.

Ginny Wiehardt, in her article on website thebalance.com, describes second person as “from the point of view of a narrative onlooker who is writing about you, the reader: ‘You went to school that morning.’”

While it is true that the reader will feel as if they are the subject of the story as it is directed at them, creating a storyline and characters to maintain the focus of the narrator is extremely difficult.

An example of second person in fiction is found in Italo Calvino’s novel If on a Winter’s Night a Traveler. Also called metafiction, this type of writing breaks the so-called fourth wall of theater or film by allowing the reader to be aware they are reading fiction. The first paragraph from Calvino’s work:

“You are about to begin reading Italo Calvino’s new novel If on a winter’s night a traveler. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room. Tell the others right away, ‘No, I don’t want to watch TV!’ Raise your voice – they won’t hear you otherwise – ‘I’m reading! I don’t want to be disturbed!’ Maybe they haven’t heard you, with all that racket; speak louder, yell: ‘I’m beginning to read Italo Calvino’s new novel!’ Or if you prefer, don’t say anything; just hope they’ll leave you alone.”

Unique to say the least and why second- person POV is used in instructional manuals and advertising where the writer wishes to have the reader be the focus. The phrase “You first measure two cups of flour,” or an advertising slogan such as Hallmark’s “When you care enough to send the very best” or Nike’s “Just do it,” are examples.

Third-Person Point of View:

By far the most popular point of view used by writers and the most familiar to readers is third-person. This point of view detaches the narration from the characters and readers and is the most objective of all the points of view. Characterized by third-person pronouns, he and she, or by use of the characters names, readers are on the sidelines and not participating in the story only watching the events unfold from several perspectives.

There are sub-groups within the third-person point of view, the omniscient and the omniscient limited.

Omniscient is the “all-knowing” narrator who is aware of the thoughts and feeling of all the character. This narrator is the most objective (first-person the least) POV and therefore, trustworthy.

Example of Omniscient POV: (From Literary Devices.com)

Little Women (By Louisa May Alcott)

“Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large eyes, plenty of soft brown hair, a sweet mouth, and white hands, of which she was rather vain. Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt … Elizabeth, or Beth, as everyone called her, was a rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a peaceful expression, which was seldom disturbed … “

“Alcott uses an omniscient narrator, as we hear a disembodied voice knowing everyone’s feelings and thoughts, exploring all characters from inside and out. Here, the narrator gives a description of the March sisters.”

Limited Omniscient is the third- person POV that can only share the thoughts and feeling of one character at a time.

Example of Omniscient POV: (From Literary Devices.com)

Harry Potter and the Chamber of Secrets (By J.K. Rowling)

Harry had taken up his place at wizard school, where he and his scar were famous … but now the school year was over, and he was back with the Dursleys for the summer, back to being treated like a dog that had rolled in something smelly … The Dursleys hadn’t even remembered that today happened to be Harry’s twelfth birthday. Of course, his hopes hadn’t been high?”

“Rowling employs omniscient limited narrator voice, in which readers see what Harry observes, and know what he feels and thinks. They are, however, unable to follow what the Dursleys feel or think about Harry.”

Third-person omniscient is a powerful tool for an author and provides the richest experience for the reader. Knowing all of the information available allows the reader to connect with the characters interaction and become more involved in the story’s plot.

This POV does have one drawback, it does not provide the intimacy between the character and the reader that first-person POV does. It falls on the writer to create that relationship.

Deep Point of View

There is a relatively new (if you consider twenty years new) point of view being used increasingly in the self-publishing world.

Deep POV is third-person limited but takes the reader even deeper into the head of the character. It is designed for the reader to feel and see the story directly through the eyes of the character. This POV grew out of the show vs. tell movement where showing what is happening to the character is emphasized rather than simply telling the reader what is happening.

Dialogue tags and phrases like he thought or felt or saw are eliminated from this point of view which increases the intimacy with the reader.

Examples:

Third-person –

“Melissa reluctantly stuck her hand into the pouch. She thought that there was no way she could back gracefully out of the dare. She wiggled her fingers around. She felt slime ooze between them.”

Deep POV –

“Melissa reluctantly stuck her hand into the pouch. There was no way she could back gracefully out of the dare. She wiggled her fingers around, wincing when slime oozed between them.”

There is some debate regarding the use of deep POV and changing POV’s within the same scene. I know of an author who can accomplish that skill masterfully and doesn’t appear to be head-hopping. However, most experts recommend not to change POV in the same scene.

One of the best testimonials about deep POV I have read is from romance writer Michele Sayre:

“For me, Deep POV removes any sense of someone standing around telling the readers what’s going on. Instead, the reader is seeing what’s happening in the scene along with their thoughts and feelings.

I use Deep POV, which is third-person because I like the freedom to switch POV in a scene if I feel the need to. In first-person, I would have to have a scene break to switch POV, and that would throw off the pace of a scene for me. Also, since Deep POV is a limited POV (in that the reader only knows what the character knows in that particular scene), it can prevent info-dumping like you might see in an omniscient-type POV. So for me, third-person limited Deep POV keeps the pace up, info-dumping out of the way, and completely brings the reader into the POV character without any authorial input.”

Regardless of the point of view, you choose to write in, there is one very important consideration. Maintain the point of view that you choose throughout the entire piece. The greatest loss of credibility for a writer is to confuse the reader is to switch points of view within a story. Consistency is the key to a clear point of view and a satisfied reader.

 

“Consider the difference between the first and third person in poetry […] It’s like the difference between looking at a person and looking through their eyes.” 
― Diana Abu-JaberCrescent

 

Resources:

http://josephbentz.com/blog/publishing/creating-a-perfect-opening-for-a-novel-raymond-chandlers-the-big-sleep/

https://literarydevices.net/point-of-view/

https://connectusfund.org/11-advantages-and-disadvantages-of-first-person-narration

https://www.thebalance.com/the-second-person-point-of-view-in-fiction-writing-1277131

http://study.com/academy/lesson/second-person-point-of-view-definition-examples-quiz.html

http://examples.yourdictionary.com/examples-of-writing-in-second-person.html

https://www.thebalance.com/third-person-point-of-view-1277092

 

Deborah Ratliff: The Art and Craft of Writing

While reading a book review by Parul Sehgal on the book Draft # 4, On the Process of Writing by John McPhee in the New York Times, I came across a line that gave me pause.

“…perhaps writers wax about craft because it’s the easiest part of writing to talk about. It’s much harder to account for the flashes of inspiration, the slant of seeing, the appetite for the world — to know it down to its core…”

As a member of an admin team for one of the largest writing groups on Facebook, we strive to provide our nearly forty-thousand members with pertinent information on the writing process. We conduct workshops on genre, grammar, character development, point of view, and other skills with the intent of offering our members a foundation to build their stories upon.

There are a plethora of workshops, seminars, web pages, articles, and books dedicated to the craft of writing all designed to make us better writers. These are all mechanical tools. We worry about whether the verb tense agrees, have we used certain words too often, did we slip into the wrong point of view? Necessary concerns for the process of writing for we must know how to construct a novel.

Yet, the technical aspects are not enough. There is one very important component to writing, and without it, the words are meaningless. I was in a writing group once with a woman who fancied herself quite the writer. Reading her work, it was flawless, the perfect sentence structure, not a comma out of place, the proper rise and fall of action, the perfectly written novel. Only one problem, it was emotionless. Flawless technically but emotionally void. It lacked passion and passion comes from inspiration. Inspiration is the art of writing.

Merriam-Webster defines inspiration as “a: divine influence or action on a person believed to qualify him or her to receive and communicate sacred revelation, b: the action or power of moving the intellect or emotions; c: the act of influencing or suggesting opinions.”

Often inspiration manifests itself in the word muse. In ancient Greece, the nine Muses were the providers of inspiration for creativity among artists and philosophers of the times. Over the centuries, the word muse has become a symbol of inspiration.

The muse of today can take many forms. Surveying a group of writers from all levels of ability uncovered a variety of sources the writers turned to for ideas. Many writers spoke of music, an image, a broken toy, a wooden box having inspired them. One describes the sights, sounds and smells from a brightly lit carnival framed against a dark sky, all sparking a thought leading to a story idea. A teacher stated that introducing his students to the literary masters inspired him to write.

Inspiration is a process of immersing yourself in your surroundings and opening your mind to new ideas. Simple enough it would appear, yet there are hundreds of tips on how to increase creativity available on the Internet. Everything we can touch, smell, or see can be the inspiration needed to spur our writing.

The fact is these are only stimuli to prompt an idea. I believe there is a deeper concept at work when discussing creativity in writing.

If we return to the quote that inspired this article. Sehgal’s book review of McPhee’s Draft # 4 mentioned the the flashes of inspiration, the slant of seeing, the appetite for the world.”  It is the world we paint with words, the impact that we leave with our readers, in addition to the inspiration we gather along the way.

Edgar Allen Poe wrote an essay in 1850 called, The Philosophy of Composition, in which he discusses how good writers write well. He writes,

“There is a radical error, I think, in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial comment, whatever crevices of fact, or action, may, from page to page, render themselves apparent.”

Poe is making the same argument that Elif Batuman made in “The Possessed,” her study of Russian literature regarding the notion that writers focus more on the craft than the art of writing.

“All it had were its negative dictates: ‘Show, don’t tell’; ‘Murder your darlings’; ‘Omit needless words.’ As if writing were a matter of overcoming bad habits — of omitting needless words.”

Poe argues that to be great, literary works should be short in length (thus his penchant for poetry and short story). The writing must be well-crafted as there is no argument that the craft of writing must be precise and correct. However, his third element, a “Unity of effect,” represents the creative spirit of the work and comes before all other components.

In his essay, Poe states an author must know the ending of the story and the emotional impact he or she wishes to convey before beginning to write. Only then can the writer properly decide the “tone, theme, setting, characters, conflict, and plot.” It is this effect that impacts the reader and allows them to feel the emotion the author intended. It is the power of the words to convey a broader meaning.

Writing is more complicated than it initially appears to not only readers but those who choose to write. As Poe stated, most authors would “positively shudder at letting the public take a peep behind the scenes… at the fully matured fancies discarded in despair… at the cautious selections and rejections.”

To write, we must be open to the inspiration around us, take our cues from whatever source available. We must also know the craft, the show vs. tell, the proper grammar, the art of foreshadowing, all the mechanical parts that create a story.

However, Poe’s “Unity of effect” provides the most valuable component. It is the ability to create a mood, to make a reader laugh, or cry, or flinch in terror. It is the ability to paint the image in a reader’s mind with words as if painting on canvas for the eye to see. It is the lingering thoughts, joys, doubts left when someone reads the last sentence. It is the intangible quality of the author’s intentions and how each reader perceives intent that divides a forgettable story from an unforgettable one.

When you begin the process of writing, and your muse has spoken, and a story idea is swirling in your head, do not forget to consider first what you want your reader to take away from your writing. It will make your story greater.

 

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Resources:

https://www.nytimes.com/2017/09/13/books/review-draft-no-4-john-mcphee.html?rref=collection%2Ftimestopic%2FWriting%20and%20Writers&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=9&pgtype=collection&_r=0

https://www.merriam-webster.com/dictionary/inspiration

https://www.eapoe.org/works/essays/philcmpb.htm

https://en.wikipedia.org/wiki/The_Philosophy_of_Composition