Tag Archives: writingworkshop

WU! on “Dr. Paul’s Family Talk” Podcast


If you missed Writers Unite! on “Dr. Paul’s Family Talk” on Friday here is the podcast of the segment. Join host Paul W. Reeves and WU! Admin Deborah Ratliff as they discuss the topic, “What We Read”.

What We Read!

If you would like to listen to “Dr. Paul” in its entirety (and it’s a lot of fun), you listen to this podcast of Friday’s show.

Dr. Paul’s Family Talk Friday October 4,2019

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WU! on “Dr. Paul’s Family Talk”

WU! On “Dr. Paul’s Family Talk” Podcast!

If you missed Writers Unite! on “Dr. Paul’s Family Talk” on Friday here is the podcast of the segment. Join host Paul W. Reeves and WU! Admin Deborah Ratliff as they discuss the topic, “Do Your Research”.

Do Your Research


If you would like to listen to the show in its entirety (and it’s a lot of fun), you listen to this podcast of Friday’s show.

Dr. Paul’s Family Talk Friday September 19,2019

Writers Unite! on “Dr. Paul’s Family Talk” Today!

Join host Paul W. Reeves and WU! Admin Deborah Ratliff as they discuss the writing process on “Dr. Paul’s Family Talk”. Today’s topic is “Always Be Professional.”

On Impact Radio USA Friday at 11:00 AM Eastern Time

Tune in to hear tips about how writers should conduct themselves in the public eye!

https://www.impactradiousa.com/ Click on Listen Now!

“Dr. Paul’s Family Talk” airs LIVE on Mondays, Wednesdays, and Fridays on Impact Radio USA at 11:00 am Eastern Time. A fun hour of news, sports, discussion, interviews, jokes, contests, and fantastic music!

Writers Unite! on “Dr. Paul’s Family Talk”: Why Do We Write?

Please enjoy the podcast of Writers Unite!‘s first segment on “Dr. Paul’s Family Talk” which aired Friday, August 16th. Host Paul W. Reeves and WU! Admin Deborah Ratliff discuss “Why Do We Write?”

http://bit.ly/2TUd4sf

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Writers Unite! has the pleasure of being featured every Friday on “Dr. Paul’s Family Talk” program on Impact Radio USA!

Host Paul W. Reeves, an educator, author, editor, musician, and composer, is familiar with all aspects of the writing process. He supports authors by providing them a platform to talk about themselves and their work to his large listening audience.

In a quest to bring the creative writing process to all, Paul has graciously asked Writers Unite! admin Deborah Ratliff to join him on Fridays to discuss the writing process.

Upcoming segments will address such topics as:

  • Being professional
  • Securing an agent or publisher
  • Independent publishing
  • Grammar
  • Writing that first novel
  • Marketing a book and an author
  • Business plan

We hope you will listen and that the information given will help you in your writing career or in taking that first step to writing a novel, short story, or a better letter to the editor.

The Writers Unite! segment airs on Fridays at 11:00 am EDT.

Go to: https://www.impactradiousa.com/ Click on Listen Now.

“Dr. Paul’s Family Talk” airs LIVE on Monday, Wednesday, and Friday at 11:00 am Eastern time.

Join Paul and his sidekick Arrogant Al for more than writing. There is news, sports, music, contests, and a lot of fun on each show!

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The podcasts of WU!‘s appearances on “Dr. Paul’s Family Talk” will be accessible for your convenience on a blog page entitled WU! On”Dr. Paul’s Family Talk”.

WU! Workshop: The Short Story

WU! Workshop: The Short Story

By D. A. Ratliff

“A short story must have a single mood and every sentence must build towards it.”  ― Edgar Allan Poe

The short story evolved in the 19th Century as a result of the changing population in America. British novelists published chapters of their novels in serial form in newspapers and then published the entire novel. American novelists began to circulate their novels as serials as well until the population began to migrate from city to city. Serializing a novel for a paper that changes readership often was ineffective. Publishers who needed story content for their newspapers commissioned shorter complete stories, and the short story was born.

Commercialized at first, interest in these stories diminished with the advent of the motion picture. Short stories as we know them today are more literary and not as widely read. Fewer outlets for publishing exist, but the last few years have seen an increased interest in the format. Writing groups are publishing anthologies, and literary and national magazines offer short stories.

“A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don’t run out of energy (or in the case of the novelist — ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short, intense affair, whereas writing a novel is like a long rich marriage.”  ― Jonathan Carroll

The question often asked is, how does a short story differ from a novel?

The clever answer is that they are shorter, albeit a somewhat obvious answer. Writer’s Digest, a well-known magazine and online writing site, defines a short story as ranging from 1,500 to 30,000 words. However, there is a considerable discrepancy regarding short-story word count between ‘experts.’ If submitting to a publication or contest, always check the stated guidelines.

Length, however, is not the only variance. A short story is structured differently. To create an effective short story, you need to simplify and amplify.

Let’s look at the components of a short story.

The Character

Yes, the character. While you will have secondary characters in your story, the conflict, the goal, the action, and focus should be on one character. Keep all other characters to their specific roles to move the story along. Not to say that you cannot develop those secondary characters but do so only in the context of the plot.

You need to develop your main character quickly. It is imperative to establish a connection between your reader and character from the beginning as you would in a novel. Being as concise as possible, give as many traits, positive and negative, physical or personality, as needed to paint a believable image in the minds of your readers. You can still complete a story arc but with fewer steps.

The Opening

The goal of any writer is to gain the attention of your reader from the first word. That is not always an attainable goal but at least have their attention in the first paragraph or two. In a short story, the quicker you get to the action, the better. Open with movement, a vivid scene that puts your reader into the story immediately or something compelling about your main character.

The Plot

A short story should have one plot defined and focused on your main character. There is no room for sub-plots to be incorporated into a short story. You need to keep the conflict, action, and goal faced by your character at the center of attention.

The Theme

While you may have several themes that you wish to convey in a novel, love, friendship, pessimism, hopelessness or hope, or justice, among others, only include one theme in a short story. As with your characters, keep the structure simple and amplify your words. 

The Constraints and Pluses in Short Stories

  • The obvious constraint in a short story is the number of words available to tell your tale. There is little room for backstory or details that you have some leeway to include in a novel. This leads to a plus in that you are forced to be cognizant of finding the precise words to use, such as strong action verbs and the fewest number of words to convey a thought, giving you experience in word selection and editing.
  • Telling a story is not as effective as showing the action, and short stories provide an excellent experience for you to master the art of showing what is happening. Replacing dialog tags with action beats will save extraneous words and help create the show that you need.
  • Learning to craft a short story will help with structuring stronger chapters in a longer work.

Whether you are intending on publishing your short stories independently, in an anthology, through a publication, in a contest, or for your enjoyment, by following these tips, you will create a well-crafted story.

Resources

http://bookcritics.org/blog/archive/a-brief-history-of-the-short-story-in-america

https://www.goodreads.com/quotes/tag/short-storiesWU! Workshop:

 

Caroline Giammanco: Book Signing Basics

Caroline Giammanco at a recent Barnes and Noble book signing. Photo courtesy of the author.

Book Signing Basics

By Caroline Giammanco

We spend months or years struggling to complete our manuscripts, and the thrill of signing a publishing contract blinds us to the cold truth: our work isn’t over. Four years ago I hadn’t realized how difficult it would be to market and promote my first book. Few publishers, even large ones, promote authors, so we writers have to do what it takes to be successful. Book signings are a critical part of landing your book in the hands of readers. 

Not everyone is a born salesperson. I know I wasn’t, but I’ve picked up some strategies along the way that have helped me transition from determined writer to successful salesperson. Arranging an event and making it a success may seem difficult and overwhelming. Now that I’m on tour with my third book, with over forty Barnes and Noble signings under my belt, I’m offering tips to make your book signing a win for you, the store, and the readers.

First, let’s start at the beginning.

When you contact a bookstore, whether by phone, in person, or by email, have a game plan.  At Barnes and Noble stores, ask to speak to the CRM (Community Relations Manager). If contacting an independent store, ask to speak to the owner. Once you are connected to the right person, have confidence. Pitch your book and who you are. Be enthusiastic. Explain what your book is about, why it appeals to readers, and what you will do to promote an event. Include press releases, the use of social media, and any print or radio and tv interviews you may do around the time of the event.

Be persistent. Not every store will immediately agree to a book signing. Don’t take that as a definite no. Follow up on the conversation. Send an email including your book trailer, photos of you and your book cover, and a blurb about your book. If you have high ratings on Amazon, let them know. Your job is to convince the management it won’t be a wasted effort to have you in their store. While most bookstores are supportive of authors, sales are their bottom line. Let them know you will be able to bring buyers into their store. 

Be seen as good for business for that bookstore, and be proactive once an event is scheduled. Advertise and discuss the signing on social media. Facebook events are a great way to target people in the area. Use the resources you have available. If you can afford a Facebook or print ad, place one. Ask the local newspaper if they’d write an article. Ask radio stations about interviews they may be willing to have with you. Use Twitter and any other networking sites you belong to in order to spread the word. Word of mouth works.

Even with a full-fledged effort to get your friends and relatives into the store on the day of the signing, the truth is that most of the readers you encounter will be general foot traffic—people who just happened to come to the store on that day. In truth, you don’t want your target customers to be your friends and family. The only way you will be successful is to have complete strangers buy your book. We all hope our circle of friends and family will support us, but that will never get us to the bestseller category. It won’t even produce lukewarm royalties. You have to be willing to expand your comfort zone and reach out to total strangers for sales.

Many writers enjoy being introverts. There’s comfort found in being alone with our laptop and the stack of research we’ve compiled, but once a book signing is at hand, it’s time to come out of your shell. Be prepared to engage customers as soon as they walk near your table. There’s no need to be the heavy-handed used car salesman, but you must initiate the conversation.

At my first Barnes and Noble signing, I had an epiphany. I realized after the first hour that when I smiled and said hello most customers assumed I was a store employee. Yes, I had a big sign sitting next to me announcing my appearance as an author, but few paid attention to it. I adjusted and overcame. I adopted an approach that has worked well for me in stores across the country. As people enter my area I cheerfully say, “Hi, I’m having a book signing today. If you have a moment, I’d love to talk with you about my book.” Bingo! Now I have their attention and they are aware that I am an author with a book they may be interested in. Book sales only happen if readers are attracted to your product. It is your job to get their attention.

I’ve had multiple sold-out signings, and I’ve also seen authors who are doing all the wrong things. They placidly sit at their tables waiting for customers to come to them. Others only schedule an hour or two at a signing. Don’t do that! Devote time to meet as many readers as possible. If the store has been kind enough to give you space in their business, don’t make their efforts to order books, develop signs, etc. be wasted by a half-hearted effort on your part.

Be passionate about your book. If it was important enough to write, it should be important enough for you to promote. This is difficult for introverts. You must put on your performance mask, however, and engage, engage, engage! Keep in mind that many readers are also introverts and may not feel comfortable walking up to you unless you make yourself a welcoming presence. A book signing is no time to be shy. Also, don’t be discouraged. Not everyone you talk to will buy your book. That’s okay. 

Remember to have fun! Book signings aren’t an obligation or work. You are getting to talk about something you love. What better topic do you have to talk about than the book you created and are incredibly proud of? 

Marketing and personal appearances are important. Your fan base grows when you put yourself out into the public. Personal encounters with readers fuel sales and are a rewarding part of an otherwise private journey as a writer. Now get going!

All images are from free use sites unless otherwise noted.
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Caroline Giammanco’s latest book, Inside the Death Fences: Memoirs of a Whistleblower can be found here: https://www.amazon.com/Caroline-Giammanco/e/B017KQZRU4/ref=dp_byline_cont_ebooks_1

Facebook page: https://www.facebook.com/profile.php?id=100009880805237

Website: http://www.booniehatbandit.com

Inside the Death Fences: Memoir of a Whistleblower by [Giammanco, Caroline]


The Genre of Science Fiction: The Beginning

The Beginnings of Science Fiction

Merriam-Webster defines the genre of science fiction as fiction dealing principally with the impact of actual or imagined science on society or individuals or having a scientific factor as an essential orienting component.

This is a prime example of a technically correct definition but does not represent the scope and excitement of the science fiction genre. There is so much more to this fantastic genre, and the many directions science fiction stories can take.

The term is relatively modern. An article by H. Bruce Franklin on the Rutgers University website states that the word scientist was not used until 1840, and the term science fiction first appeared in 1841 in “A Little Earnest Book upon a Great Old Subject” written by William Wilson. Wilson writes: “Science-Fiction, in which the revealed truths of Science may be given interwoven with a pleasing story which may itself be poetical and true.”  A more lyrical definition of science fiction.

Often intertwined with the fantasy which is often called impossible, science fiction falls into the possible or probable realm. Although a modern genre, travel to far-off worlds (granted far off in the Mediterranean) was depicted in Greek writings, but it was not until Mary Shelly’s “Frankenstein” that science fiction began to emerge. As the dime novels of the late nineteenth and early twentieth century became popular, the genre became hugely popular and the genre took on a less-than-desirable label as “vulgar and puerile.” 

Fortunately, as we know, the science fiction genre has evolved into a respected and popular genre. In coming articles, we will look at other aspects of the genre from world building to character development.

Attached is a list of the numerous sub-genres of science fiction. As science-fiction writing grew in popularity, authors began to incorporate other genres into the realm of science fiction. The advent of self-publishing added additional opportunities to break out of the traditional publishing guidelines for the genre and create unique works.

The Sub-genres of Science Fiction

The world of science fiction is literally epic and incredibly complex. The genre can be divided into dozens of subgenres, each with their own unique themes and attributes. Any one science fiction story can cross the boundaries of several of these subgenres, or even break off into its own cult category. Charting the entire universe of sci-fi subgenres would therefore be impossible, but here are some of its most heavily populated worlds.

HARD SCIENCE FICTION

Science fiction in which science and technology take center stage, or in which scientific concepts are explained in detail. hard SF is typically concept heavy, and attempts to provide scientific realism, often at the expense of character development and plot.

SOFT SCIENCE FICTION

Science fiction in which science and technology take a back seat to character-driven plots. In soft SF, the how is much less important than the why.

MILITARY SCIENCE FICTION

Science fiction with a distinctly military theme. Characters are usually members of a military organization, and the plot will generally revolve around a war and/or military conflict. Duty, honor, heroism and other military clichés are par for the course.

ROBOT FICTION

Fiction in which the science of robotics is a central theme, typically relating to work of Isaac Asimov and the ideas advanced in his Robot series.

SOCIAL SCIENCE FICTION

Fiction in which future societies are extrapolated, explained and often criticized, usually for the purpose of social satire. The social sciences are the over-riding theme in this type of fiction; however, science and technology will usually play a central role in the structure of the extrapolated society.

Some writers of social science fiction choose to label their work as ‘speculative fiction’, perhaps to avoid the stigma attached to science fiction, and especially when science and technology are not central to the plot (see ‘Speculative Fiction’).

SPACE OPERA

Space opera is one of the more confusing and ill-defined terms that the genre has to offer. It typically refers to long-running science fiction series with continuing story arcs. These are usually set in space (or involve travel between two or more planets), have a large number of recurring characters and focus on large-scale (or “epic”) fictional events, such as galactic wars.

Recurring themes in space opera include politics, imperialism, colonialism, war, space exploration, heroism and rebellion.

STEAMPUNK

Steampunk merges the science fiction genre with alternate history and the design aesthetic of the 19th and early 20th Centuries. It is a literary genre, a style of dress and an artistic movement all rolled into one.

The basic idea behind steampunk is the introduction of modern (or futuristic) concepts and technologies into an earlier setting, or vice versa. It focuses largely on ‘the age of steam’ and the perceived inventiveness of industrial engineers. In a steampunk timeline, for example, computers may have been invented several centuries earlier and used alongside, or even powered by, steam engines.

Since the 1980s steampunk has grown beyond a simple literary genre and expanded into a large-scale artistic and cultural movement. Central to this movement is the belief that 19th Century literature (the works of Jules Verne and H.G. Wells in particular), technology and fashion was more aesthetically appealing, and ultimately more durable than those produced by today’s ‘throw-away’ culture.

CYBERPUNK

Fiction relating to the science of cybernetics, which views nature as a series of interconnecting mechanical systems. Specifically, cyberpunk deals with the link between biology and computer technology and explores humanity’s changing relationship with computer systems. Virtual reality, prosthetics, cyborgs, and internet fraud are all part of the cyberpunk niche, and usually go hand-in-hand with social decline.

BIOPUNK

Biopunk is similar to cyberpunk, except that it focuses on the use of bio-technology and genetic engineering rather than computer technology. Genetic manipulation, body modification and eugenics are all common themes in biopunk literature, as are social decline and political repression.

NANOPUNK

Nanopunk is closely related to cyberpunk and biopunk but focuses mainly on the use of microscopic machinery (or nanotechnology).

SUPERHERO FICTION

Opinion varies on whether or not stories about superheroes belong to the science fiction or fantasy genres. Personally, I’ve always felt that this type of literature (and media) belongs in a genre of its own, having its own set of rules, themes and characteristics. The level of scientific realism employed by such a work can affect the degree to which it is ‘accepted’ into the genre. Generally speaking, however, superhero fiction is thought to be a sci-fi subgenre, whether we like it or not.

VOYAGES EXTRAORDINAIRES

Jules Verne used this term to categorize his works, long before the term ‘science fiction’ was coined. It means “extraordinary voyages” and says as much about the exploratory format of his stories as it does about the fantastical ideas they contained. Today, the term may be attached to works that are directly inspired by Verne, or which follow the same format and imbue the same spirit of adventure.

SCIENTIFIC ROMANCE

This label was widely used before the term ‘science fiction’ was coined. It generally refers to the works of early British sci-fi writers, such as H.G. Wells.

GOTHIC SCIENCE FICTION

A blurring of the line between science fiction and gothic fiction. Gothic science fiction often takes conventional gothic concepts (mythology, magic, monsters, etc.) and attempts to explain them scientifically. A good example of this would be vampirism explained as a rare blood disease.

MUNDANE SCIENCE FICTION

Science fiction using only currently available or ‘achievable’ technology. This usually discounts faster-than-light travel. The aim is to create realism and explore science fiction ideas that are a little closer to home, such as the colonization of worlds in our own solar system.

Mundane science fiction is as much a movement as it is a genre and recognizes the huge impact that science fiction has on our society. It aims to promote a more realistic view of our universe to avoid future disillusionment. It is hoped that this will lead to a greater appreciation of the natural wonders and abundant resources that exist on our own world, and those close by.

SCI-FI/HORROR

Works that bridge the boundaries of both the science fiction and horror genres.

SCI-FI/COMEDY

Science fiction that is humorous in nature.

SCI-FI/FANTASY (OR ‘SCIENCE FANTASY’)

Works that bridge the boundaries of both the science fiction and fantasy genres. Concepts traditionally belonging to science fiction (space travel, robots, etc.) appear alongside those usually associated with fantasy (magic, mythology, etc.)

APOCALYPTIC SCIENCE FICTION

Fiction concerning a cataclysmic event, typically ending in the decline of the human race, human extinction, societal upheaval, or the total destruction of the Earth itself.

POST-APOCALYPTIC FICTION

Fiction set in the aftermath of a cataclysmic event, in which the world, and human civilization, has been radically altered. Post-apocalyptic landscapes are typically grim, with survivors facing multiple dangers, such as violence, starvation, radiation, extreme weather, and even mutants.

ZOMBIE FICTION

While zombie fiction is also claimed by the horror and fantasy genres, it is sometimes considered to be science fiction at its core. An individual zombie story may fall into any one or more of these categories, depending on its content and theme. However, most zombie fiction falls under the ‘post-apocalyptic’ heading (taking place during or after a ‘zombie apocalypse’) and can therefore be categorized as sci-fi (if not sci-fi-horror).

ALIEN INVASION

Fiction in which aliens attempt to invade the Earth, either through military conquest, political subversion, or a campaign of mass extermination.

ALIEN CONSPIRACY

Fiction in which the existence of alien life, or a government’s interaction with alien intelligences, has been hidden from public knowledge.

TIME TRAVEL

Science fiction in which the character/characters travel into the past or future. This often merges with the ‘alternate history’ and ‘parallel worlds’ subgenres.

ALTERNATE HISTORY

Although not strictly sci-fi, this is a branch of the speculative fiction tree that frequently converges with the ‘social science fiction’, ‘time travel’ and ‘parallel worlds’ subgenres of science fiction. Alternate history stories are set in a world in which history has taken a different course. Often, a single event is identified as the beginning of this change; the assassination of Hitler, for example.

PARALLEL WORLDS

Fiction concerning travel to parallel universes, in which the world is slightly different from our own. The theory of parallel universes states that there are an infinite number of these alternate worlds. The traditional way to visit them is via a wormhole (or ‘Einstein-Rosen bridge’).

LOST WORLDS

Essentially a continuation of Jules Verne’s ‘voyage extraordinaires’, this is more a story-telling format than it is a genre. It concerns voyages to forgotten lands (islands, lost continents, isolated jungles, etc.) and the discovery therein of scientific wonders (living dinosaurs, ancient technology, the secret of Atlantis, etc.).

DYSTOPIAN FICTION

Dystopian fiction deals with political repression and police states. A dystopian society is one in which freedoms are limited and conventional morality has been in some way perverted. This is the opposite of a utopian society. The flagship work in this subgenre is undoubtedly George Orwell’s 1984.

SPACE WESTERN

Science fiction in which a future space-borne society portrayed as being like that of the American West. The comparison may be literal, with astronauts wearing cowboy hats and sporting Colt revolvers; or figurative, depicting a lawless society of traders and pioneers.

RETRO FUTURISM

Retro futurism does for 1950s American pulp science fiction what Steampunk does for the works of Verne and Wells. It is an attempt to recapture the spirit of (or parody) ‘the golden age of science fiction.’

RECURSIVE SCIENCE FICTION

In the words of author Mike Resnick, this is “science fiction about science fiction.” More precisely, it is science fiction in which there are multiple references to other sci-fi works, or which attempts to examine, parody, or pay homage to existing science fiction works (or the genre itself).

SPECULATIVE FICTION

Speculative fiction is an umbrella term, encompassing the larger genres of science fiction, fantasy, supernatural fiction, apocalyptic and post-apocalyptic fiction, alternate history, and horror. Writers of social science fiction often refer to their work as speculative fiction, perhaps to avoid the stigma attached to science fiction.

SLIPSTREAM

A post-modern crossover, where elements of science fiction, speculative fiction and/or fantasy merge with contemporary and mainstream literature. This is a highly dubious genre, which may or may not fall under the greater science fiction umbrella. Sometimes defined as the indefinable it may or may not exist, according to some critics, who see it as a kind of homeless shelter for those works that cannot be easily classified. Slipstream’s tendency toward the absurd is sometimes seen to be at odds with mainstream science fiction.

Please note, this list of science fiction subgenres are from a blog called Sci-fi Ideas. It is the most contemporary list that I could find, but remember genres are mergeable, but to classify as science fiction, keep sci-fi to the forefront.

Resources

https://www.merriam-webster.com/dictionary/science%20fiction

http://andromeda.rutgers.edu/~hbf/sfhist.html

http://www.scifiideas.com/writing-2/writing-advice/a-guide-to-science-fiction-subgenres/

Please note: the images used are free-use images and do not require attribution.)