Over the next couple of weeks I am going to be working very hard to finish up the Pages Section of Wyrdwend (found in the section right below the blog title and image) including the following pages:
Completed Projects Ongoing Projects Future Projects Pitches and Synopses for Agents and Publishers Links
I had meant to complete and list these pages long ago but have been so busy with my novels, my inventions, and my start ups that I had neglected to do so. But working in my spare time and on the weekends I intend to have all of these pages completed soon and up for display.
At that point anyone will be able to see the projects I have recently completed and which are ready for publication and/or investment/manufacturing/production, the projects I currently have ongoing, and the projects I intend to work in the future or near future. Though these pages will be subject to periodic change, of course, as I complete and fund projects, sell works, develop new works, etc.
Also there will be links to specific projects, other blogs, crowdfunding or investment information, and pitches, synopses, pitch decks, detailed project info, business and career links, and my other sites on the internet and world wide web.
Thank you for your patience and I’ll let you know when these pages are completed.
I feel as if part of my function in establishing and running this blog (Wyrdwend) is to gather, promote, and share the good work of others (literary, artistic, poetic, lyrical, musical, fictional, non-fictional, etc.) as well as to post and promote my own Writings and Work.
I do not see this as competition but mutual advancement.
These are things that I either like or love to do. I try to do many if not most of these things for at least a few minutes every week, depending upon my Work Schedule and other matters. Some I can only get around to about once a month or so. I like or love all of these things, some more than others, but I do not consider any of them contradictory to my Nature or Personality or in any way contradictory to each other. This is me as I am and in a nutshell:
Analyze and study Criminal cases and Terrorism (though I much prefer to prevent and thwart either if possible)
Attend and listen to a lecture
Clear and tend my land
Cruise the internet – see what I can find
Design and build things
Do something athletic (hit baseball, play ball, run, swim, etc.)
Do something for someone else – assistance, charity, etc.
Draw or sketch or map
Engage in science (study, conduct experiment, develop theorem, make observations, write papers)
Explore and if possible Vad, sneak around places
Geochache (though I don’t use GPS)
Get together/hang out with friends, drink ale, talk
Go see a movie (about once a month)
Have sex with my wife
Hike in the woods
If possible destroy or at least hamper or cripple evil
Invent and/or Innovate
Listen to a radio play (especially old ones)
Listen to music
Listen to my scanner or CB or HAM radio
Play and design games (board, chess, D&D, RPGs, etc.)
Play the piano or my harmonica
Play video games (although I only do this about once every three or four months)
Play with my dog Sam and my cats and explore with them
Play with my kids
Pray, meditate, etc.
Promote Right and Truth and the Good
Read a graphic novel
Read and Study the Bible (especially in Hebrew and Greek)
Read for pleasure (genre works and fiction)
Revolt against wrong and injustice
Shoot (my guns)
Sit naked under the stars (if not too hot or cold)
Star and moon watch with my telescope
Study a different/foreign language
Study and do research (on all kinds of things)
Sword and knife fight
Talk to God
Track and study animals
Visit an old church, historical building, site, monument
Visit a museum, see a play
Watch TV (though only on the weekends)
Write a book
Write a novel
Write a poem
Write a song
Write a story
My very first remembered dream, from when I was a young child was of a giant, bright-red, fire-breathing dragon raging from the sky down upon my grandfather’s house (my paternal father’s father) and burning and razing his house to the ground. At the time we lived underneath my grandfather’s house. I was very, very young at the time, barely past being a babe and probably still in diapers (though I was walking) and I do not at that time recall ever even having heard tale of a dragon. Yet I have recalled that dream for my entire life. The dragon both terrified me (at first) and infuriated me (after I saw what it had done). Though in the dream I was very young and had no way to combat it.
“FAIRY TALES, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.
“Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear.”
I had a weird and kinda sad dream right before waking this morning. In it I was attending a military event in which at the end a group of soldiers were singing as part of the event.
There were two guys standing on a platform above most of the others and these two guys were carrying the song. Suddenly the taller guy stepped down and a much shorter and far younger guy (Audie Murphy type guy but with jet back hair and dark eyes) started singing alone. His voice was, well, let me be honest, incredible. Far deeper than you would expect from such a little guy and clear and resonant and so loud he almost shook the building. It started softly but it became a truly rousing extremely powerful song.
But it was not just how he was singing, but what he sang. He was singing an “autobiographical song” about his short life (he was probably only in his early twenties but had seen a lot, and I mean alot) and the lyrics were astounding. Truly astounding. I have tried to remember them all morning (although I remember the music clearly as will compose it later today), to no avail except for a few snippets. If I could only recall them it would be the best song I’ve ever written.
As he sang by the way you could actually see the scenes he was describing hovering in the air about him. He had truly suffered a lot.
Two lines I do recall clearly, from the chorus, were: Sorrow and Shame, Sorrow and Pain.
I’m a relatively solitary writer but I do have a few people who are always in my corner ( ❤ ) and I was lucky enough to befriend a fellow writer on Twitter just when I was starting to think of taking this on. I tweeted in conversation to her about what, to me, was a crazy idea …
I’ve mentioned a few times now how I wrote the final 10,000 words-ish of my rough draft over the course of a weekend, something heretofore unheard of for me. I’m still a little disbelieving that it actually happened, but it did! I have the printed pages to prove it. As I’m getting back into editing them this week, I want to share with you how I managed to do this, in hopes it’ll help you bust through that unbelievably obnoxious end bit that seems to drag on forever and ever.
It’s time to get it done; let’s do it!
STEP ONE: DECLARE YOUR INTENTIONS
If you tend to keep your writing a relatively private affair, you can take this step by writing it down on a bright flashcard or piece of paper and sticking it up somewhere you’ll see it constantly: “This weekend, I’m going to write ‘X’ words” or “This weekend, I’m going to barrel through my list of remaining scenes.”
And so I did! I declared my intentions on Twitter and to my steadfast cheerleaders, and off I went. Well, almost …
STEP TWO: PROACTIVELY REMOVE OBSTACLES
It’s one thing to create make-work for yourself and do the dishes as a form of procrastination, but there’s something to be said, for me at least, in having things in a wee bit of order before you take on something as momentous as a 10K writing marathon. While I love a bit of cozy clutter, there is a tipping point, especially when I know I’m going to be mussing up my writing area anew with mugs of rooibos tea and peanut butter cup wrappers and empty plates. Before you settle in for the weekend, spend half an hour cleaning up around your workspace. For bonus points, run to the store and ensure you have supplies (tea bags are a big one for me).
Oh, and if your computer is as insistent and persnickety as mine is about doing updates and doing them NOW or I’ll slow your computer down to a turtle in a swamp race, do the updates before you start. The less reasons we have to lose momentum, the better.
STEP THREE: MAKE A LIST (OR TWO)
I work best with music piped in through my headphones. It doesn’t need to be instrumental or lyric-less, either, though I’m fond of trance, dubstep and chillstep for keeping myself revved up and typing. If you know it won’t hinder you, songs with the right lyrics can be key to knocking out those pages. Queue up whatever music inspires you and have it ready to go. Just make sure you don’t get caught spending three hours making a YouTube playlist, needing to get it just right.
The second list that made a tremendous difference for me was one I’d started a week before, of scenes that still needed to be written. Depending on how much of a planner you are, you may already have something like this, or maybe you’re just going to wing it. I find it helps to have at least a line or two written to summarize each of the scenes beforehand.
And the satisfaction you get from crossing the scenes off your list as you go? Priceless.
STEP FOUR: WORK IN SPURTS
Tempting as it may be to motor through without pause or sleep or stretch, this does not necessarily a successful writing weekend make. We need the occasional break to rest and refuel, to do Downward Facing Dog or the Cobra, to make a fresh pot of tea or look out the window. It feels scary to step away from it, I know, but it will feel a lot scarier to be going, going, going, GOING and then THUMP to a halt when you’re only halfway there. Finish your thought, carry through your spurt, then walk away for a few minutes, or at the very least get out of your chair and stretch a little. Your story isn’t going anywhere. In fact, it might even have a little treasure waiting for you upon your return, just waiting to be unwrapped. Why deny it the pleasure?
STEP FIVE: DON’T THINK TOO HARD
Probably the biggest anvil to fall on your head and derail your writing will be your own self-doubt: what if the ending sucks? What if the whole thing stinks? I don’t know what I’m doing! I’ll never finish this properly. I’m tired. I’m a crap writer. I don’t know why I ever thought I should write a book.
Right here, right now, make a commitment to yourself to just keep moving until you feel yourself fading. When you fade, take a break. Do something else. When you’re writing in spurts, you don’t give yourself time to think, and that’s crucial. What’s even more crucial is doing something energizing and awesome in those mini-breaks so you don’t have the chance to go all cerebral.
It’s a rough draft. It’s not going to be perfect, unless you’re one of those writers. (I jest, I’m sure they’re lovely souls!) You just have to keep moving, past your self-doubt, past your self-limitations, past every roadblock you’d fling in your way. This is where that list of scenes to write comes in handy, because you can just focus on the one you’re writing until it’s done, cross it off (yay! celebrate! briefly!), and move on to the next one, and the next. One scene, one paragraph, one sentence, one moment at a time. This is how we write. This is what it takes.
STEP SIX: CELEBRATE YOUR AWESOMENESS
When you’ve crossed off the last scene, written your 9,967th word, do yourself a favour: before you do anything else, drop down a few lines and write “THE END” in big, bold letters. Let it sink in. You made it!
Seriously, if there was ever a time to feel proud of yourself and celebrate how awesome you are, this is it. Don’t you dare downplay it. Taking a rough draft from start to finish on anything, let alone a book, let alone finishing in a weekend, is a remarkable feat. Gather your cheerleaders, bake cupcakes, do a little dance; whatever you want to do, do it! You deserve it.
BONUS MISSION: BE READY FOR THE AFTERMATH
I’m not going to lie: like anything that you pour your heart and soul into, especially in such a concentrated period of time, it’s going to leave you both euphoric and ragged. Once you’ve set your book (you wrote a BOOK) aside for a week or two to let it, and yourself, rest, you might feel a bit of a letdown, like you’re not sure what to do with yourself. Your everyday routine is waiting for you, and you’re reluctant to go back to the status quo.
Chores, work, kids, Life, that has to happen, and it’s going to happen. But there is joy in that, not to mention fodder for our writing, and we owe it to ourselves to embrace it. We can also, though, start a new story, or write a poem, or work on a scrapbook. Something creative to sink our teeth into while that book rests and waits for us to return.
In the meantime, have a bit of rest yourself. You’ve earned it!
(Psst! If you’re antsy to get writing but are still a little unsure about this 10,000 words in a weekend stuff, check out Rachel Aaron’s post on how she went fromwriting 2,000 to 10,000 words a day – your productivity will soar! Janna Kaixer also has a brilliant post on writing 10,000 words in a day, with some great tips about setting yourself up for success.)
Do you want to virtually ensure your chances of being able to power through your next writing session? Build a solid character foundation first with my free email course. It’s a fun, inspiring process, and the results will see you through oodles of writing blocks. Click here or the image below to find out more!
This is a little piece of flash fiction I wrote involving one of my detective characters, the chief one, Steinthal.
THE DETECTIVE STEINTHAL – COME THE HORIZON
“You know part of me really would like nothing better than to save everyone. But another part of me knows equally well that to habitually do so only makes people, especially some people, dependent, enslaved, useless, and weak.
It is entirely immoral and unacceptable to abandon the truly helpless and indigent. Yet it is also wholly wrong to save those who should be busy saving themselves.
So I won’t do either because both are evil and unwise. Even God understands that you cannot save those who refuse to change. That’s as true for individuals as it is for groups of men.
See, as much as I’d like to help you I’m just a detective, not a messiah. Therefore I can’t help your friend Sara. I can’t help anyone who won’t help themselves.
And all the evidence here points in just one direction. That boy doesn’t want help, he wants to be saved. From himself. There’s no real cure for that, and there never will be. I’ve got no trick to fix it. There is no such trick. Those are the actual facts I’m afraid, and I never argue with the actual facts. There’s just no future in it. For anyone.
If only he truly understood that. Or really cared. Because either one would probably do.
But he doesn’t and I can’t do those things for him. You know as well as I do he’d rather die before he tries either. I wish I could tell you different, my dear, but I’m far too used to the truth. It would just sound odd and unbelievable to the both of us. So I’m going to spare us both the pain and suffering of a futile effort.
He’s not here speaking to me because he doesn’t really give a damn. And you’re here speaking to me because you do.
As strange as that sounds let that be some consolation to you. Because the truth is he’s not worth you getting killed for, and there will be plenty of others to save. People who will let you help save them.
He’s not one of those people, and you shouldn’t be buried beside him because you’re too stubborn to admit that to yourself.
Live, my dear. That’s the very best help I can give to you. Because if you stay attached to him the way you are now, you won’t.”
I left it there because it was the truth and because it was as good a place as any to leave it.
She sat across from my desk staring at the floor for a long while. Then she raised her face to look at me and her eyes were watery and unfocused, as if she were looking through me and out at something on the horizon she didn’t expect to escape.
She stood up slowly, her breath uneven and shallow and short, like women breathe when they are both upset and resigned to their fate. Then she turned and walked for the door.
When she got to the door she turned the doorknob, pulled the door back slightly, paused, and wrestled with herself as to whether or not to look back at me.
Eventually, with a little shake of her head, she decided that she wouldn’t. Instead she opened the door just enough to slide out it and then pulled it quietly shut behind her.
1. Do you want to create an hyperlink in your post that references an older post? Rather than having to type out the URL or look for it in another window/window, use the search for other content arrow in the link box. Choose the link you’d like and click ADD LINK. There is no reason to check off the box “open in a new window” when you are referencing your own site. In fact, that can get super annoying for mobile readers. Only use that when you want to take someone to a webpage off of your site.
2. The screen options tab at the top right of the screen will give you more options on your post screen. Do you want to change the author or adjust the commenting ability? Enable all the options in the screen option tag. Then they will appear as options below your post to turn on/off or edit.
3. Your theme may support a format option on the right hand side. These options change the layout look of your post. The WordPress default themes use formats. Pick from the options to change the format of the page to match the type of media you want to display.
4. You can create “private” posts that are only available to a specified population of users. On WordPress.com, you can choose to make your entire blog private, but on self-hosted, the easiest way to hide content is to password protect it. In the publish box, click on visibility and change the setting. A box will pop up that allows you to write in a password. Click okay.
5. Pre schedule your posts if you think you will be away for a while. Just be sure your timestamp is accurate to the time zone you are in! To change the timezone, go to Settings > General.
6. Write an excerpt (activate it in the post screen option) to customize how your post appears around the web. If you are using an SEO plugin, it’s called the meta description. One difference between the two: The excerpt box will display if you have your blog posts set to an excerpt format, whereas the SEO meta description usually only shows up in Google search results or in places where you share the link (like on social). The excerpt will show up in RSS feeders (if your blog is set to only show excerpts).
7. Make sure only an excerpt of your post blasts out to email subscribers. If they are reading the whole post in the email, there’s no reason to click on the link and go to your blog. To change how your blog posts display, go to SETTINGS > READING and change the option to summary.
8. If you want to control how much of a post displays on the homepage, use a jump break. It’s also called a more tab and it cuts off the text and inserts a READ MORE link for people to click.
9. You can edit the permalink of the Post URL if you changed the title or want to rename it. Click edit next to the link that appears under the post title. There are several instances when you DO NOT want to do this – and that is:
When you’ve already published a post and shared it online
If you are on WP.com and think you may move to self-hosted. Why? Because when a blog imports and a redirect is done, custom permalinks can cause issues.
10. Download a WordPress app on your smart phone or tablet so you can blog and respond to readers on the go.
11. Use the little eraser button to undo pre-formatted text that looks wonky on the post screen. The eraser helps get rid of any extra formatting that may have happened if you wrote the post in a different application. You can also use the T on the clipboard button to paste text and remove extra spaces and tabs.
12. Use the quote button to accent certain parts of your text.
13. Change the name of your images to keyword friendly titles. That way ifpeople are searching in Google images, they are more likely to stumble upon your blog.
14. Use the toggle full screen mode if you are easily distracted when blogging. The fullscreen button is next to the jumpbreak.
15. Menus can be created using pages, categories, or external links. You can even use a combination of all three! When you first set up WordPress, it uses your pages as a default menu. For a full explanation of using categories on your menu bar, check out the post below.
16. Do you want an author bio to show on every post? Edit the description in your profile and it will show up! Go to USERS > EDIT and adjust your description and add your various links.
17. WordPress.ORG users can create an archive index page followingthese instructions. This acts as an index for your entire site and is a nice auto-populated list of your posts, ordered by date. To check out my archive page, you can click here.
18. You can blacklist cyber bullies using email addresses listed in the discussion settings of WP. You can also filter out any comments that use trigger words you define.
19. Do you want to change how many posts show up on the main page? Go to settings and then click on READ. You can change it there. If you like infinite scrolling (which is when posts just keep loading and loading), you can install Jetpack and activate the infinite scrolling module. Of course, not all themes cooperate well with it, so that’s something note.
20. Change the media image sizes (so that thumbnail, small, medium, and large are set to parameters you generate). Go to settings and media.
21. Get a breadcrumbs plugin that allows users to easily find their way back to the homepage with a trail like this Home > About Me > Personals. Get the plugin here. Several themes like Genesis and Weaver will automatically include breadcrumbs in their structure.
22. Did you know that you can share powerpoint, word docs, and pdfs on your blog too? Just click the image button to see all the file types available. You can upload them through the media library just like a photo. When you want to include them in your post, they will be inserted as a link that opens up a new tab.
23. Do you struggle with getting your numbered lists to format correctly?Simply type out each item in your list and hit enter. Don’t try to use indented spaces or tabs or anything fancy. Just type, return, type, return. When your list is finished, highlight all of it, and click on the either the bulleted or numbered list button in the toolbar. It will automatically adjust the spacing, indentation, and add either a bullet or a number!
24. Do you struggle trying to get two images to display side by side? I have an entire post on how to deal with images and image galleries on WordPress. Of course, there are a million plugins you can use as well, but I prefer to teach with the basics first, because installing something that could weigh down your site.
25. Do you feel confused about the difference between a Page and a Post? A page is a static piece of content. It’s like a webpage. It isn’t dated, nor does it show up in any sort of RSS feed. Great uses for pages are your ABOUT page, RESOURCES page, CONTACT page. A post is a dated piece of content that gets pushed out to your RSS feed. It’ll show up in readers. It also is categorized and tagged in your database differently than a page. Think of a post like a daily newspaper article and a page as a brochure for your business or blog.
Many of these work for both WP.com and WP.org users, but any mention of customizable plugins is for WP.org users only. For WP.com users, the edit screen is now a new light blue color with a different interface. You’ll have to revert to the classic editor in order to make sense of these tips. The option to revert to the classic editor is on the bottom right of the edit screen.
The Light that made the formless dark
Did crown and shape the outer world
Yet within it forged the Inner Soul
That fashioned all that lives and breathes
The Light dispersed gave birth below, yet
Solid all and made of substance in itself
A Secret spawns, a kind of Cosmos bred
Of the very Blood that feeds the restless
Ever-turning, Eternal Mind of God…
On Sunday morning, as I sometimes like to say, “I awoke to a bright dawn, but the dark night had followed me…” or, variously, “I woke to the memory of black things.“
I once knew a man, dark as the winter
He went out all green, then grew up ‘mong sinners
A submarine self of dark troubled waters
He wondered, he wandered, but found not the matter
That murdered by day, by night only hidden
By graves buried wrong, all the secrets unbidden
Corpse of the night all twisted and tattered
An uncanny sight, the silence is shattered
Not by a sound for death is still cold
Kin (ken) to so many or so they all told
A heart is a heart if it beats not or still
A man’s inner sin only lives when it kills
For dead men will flower like weeds in the ground
When sprinkled by showers of blood still unfound (unbound)
So in such winters terrible deeds
Flourish like summers of infinite seeds, and
The man who made harvest as green as the grass
Came back with a crop just as black as the last
So he wanders, and wonders, and still to this day He searches inside him for someone to pay…
Had an interesting idea for a sci-fi story today about a lone operative who has some rather interesting partners. His gear.
The story is about a guy whose nickname and codename is Hun. He operates behind enemy lines in the future. In the future the military becomes ever more and more sophisticated to the point that one man is equivalent to a platoon of soldiers today, and soldiering is no longer soldiering as we think of it but, “problem reduction.” The military has mostly evolved into something almost entirely different in nature.
Hun’s weapon is a “soft weapon” (an idea I picked up from Larry Niven) and an Artificial Intelligence (which humans think they created, but did they?) with far more capabilities than merely weapon functions. His uniform was grown, partially from his own DNA, partially from animal DNA, and is partially nanotechnology derived from his weapon’s AI. It’s also a “soft uniform.” And he has been treated with microfilaments (to small to see) that grow and entwine all along the hairs of his head and body which allow him to use his hairs as both interfaces and a partially organic ubiquitous data and computing system.
Hun has a mascot and companion, which is composed of reshapeable nanotechnology which is also his multi-tool.
And lastly he carries within his body an “Injectable Code” which allows him to directly communicate with all of his gear and equipment via direct neural link (teleneuraltransmission, or TNT), although the code is partially organic and partially alien matter and will break down over time and be digested by the body making it eventually useless (he must be reinjected and the injection must be recalibrated from time to time).
The IC also allows him to do other things he could not ordinarily do, when it comes to information gathering and storage and manipulation.
Anyway, Hun really, really enjoys his work, but slowly over time he has noticed degradation in his natural physical and mental capabilities and suspects the Injectable Code, that it may be altering him genetically, and has also begun to notice that his gear acts weirdly, leading him to one of four conclusions; 1. the IC may also be degrading his gear as well as him, 2. his gear already knows about the IC and is working with it (and maybe his superiors) despite knowledge it may harm or kill him, 3. his gear suspects the IC and is trying to compensate or in some way counteract the effects of the IC, or 4. maybe something else and entirely different is really going on.
I got the idea while hiking through the woods with Sam, near the Dragon’s Den, and noticing blight on trees and the way their growth patterns were being twisted out of their natural shape, and the areas of softness and rot along the trunks and bark. So I thought to myself, what if people had this kind of blight, how would they get it and what would it do and how would you fight it?
I think this is going to be a very fun and interesting story to write. And I’ll add it (the idea, technology, etc.) into the general background of my science fiction Curae Universe.
Linn Ulmann spent her childhood trailing her famous parents as they traveled the world. As the daughter of director Ingmar Bergman and the actress Liv Ullmann, two legends of 20th-century cinema, her “home” shifted time and again. The one constant was a Swedish island, Fårö, where she returned each summer to visit her father.
Now, she’s fascinated by the way our surroundings shape us. In her interview for this series, the author of The Cold Song used a short story by Alice Munro to illustrate the way setting drives her writing, and how place and memory help dictate the stories we tell.
The Cold Song concerns a cast of characters affected by the disappearance of Milla, a 19-year-old au pair working in a coastal town south of Oslo. After two years, her body—and the grisly manner of its death—is uncovered by three boys searching for buried treasure. With this act of violence at its heart, the novel explores the unexpected ways a crime haunts people who knew the victim, inflaming their secret sources of guilt.
Linn Ullmann is the author of five previous novels, including Before You Sleep and A Blessed Child; her work has been translated into more than 30 languages. She spoke to me by phone from her home in Oslo.
Linn Ullmann: When my father died six years ago, and we were selling off his property on the island of Fårö where I grew up, I kept a diary in a big, black notebook. It was a strange thing: a book that mixed notes on practical arrangements with ideas for the new book I’d started writing then. (This book was a mix of the book I did eventually write—The Cold Song—and another book I didn’t write, about the death of a father.) The notebook was a reading diary, too. In between meetings about the funeral, and what to do with his things, and how we were going to bury him, I was reading Alice Munro.
I’ve read her in many stages of my life. I love the way her voice just sucks you in, the way her stories walk you as if to the unexpected edge of a cliff, towards moments that—in their violence or sense of life-changing possibility—are like sudden free fall. During that time of mourning, I’d written down this passage from her story “Face”:
Something had happened here. In your life there are a few places, or maybe only one place, where something has happened. And then there are the other places, which are just other places.
This quote—“Something had happened here”—resonated so much with me. I found it very moving because of where I was right then: starting a new book, having just lost my father, in the only place I had ever really called home. At the time, this was a very desolate island with a few sheep farmers living on it. Fårö was my home until I was three years old—and though I moved very, very many times, I returned every summer for the rest of my life, until my father died. These lines struck me on a profoundly personal level, and I had no choice but to write them down.
I’ve just re-read the story now, and am again blown away by it. It’s impossible to retell a story by Alice Munro, because there are so many ins and outs and digressions, before everything comes together in this surprising, magical way—but this is a strange love story about a boy who has a wine-colored birthmark over half his face. As a child, he’s friends with a girl about his age. Twice, she tries to make her face look like his—once, using red paint, and again later in a more permanent, devastating way. She does this out of love, or a destructive thing that love can sometimes be: “I love you so much that I want to be you.”
There’s so much else in this story, which gives the whole broad arc of the narrator’s life. We learn about his relationship with his father (who, moments after his son is born, remarks, “what a chunk of chopped liver”). We learn about his career as a successful radio actor, before TV—an industry his birthmark bars him from—takes over broadcast drama. But what sticks, in the end, is the moment in the basement of the childhood home where the little girl splashes red paint on half her face and says, all hopeful, “Now do I look like you?”
At the time, this gesture deeply wounds the boy, and his family interprets it as an act of terrible, mocking cruelty. The two children are never allowed to see each other again. It’s only as an adult that he learns—the afternoon of his father’s funeral—that she later used a razor to cut his same mark on her face. This act—of fidelity? Of shame? Of atonement?—casts the moment in the basement in a totally different light. Perhaps she was a person who identified with him so completely, that she was willing to trade her unblemished face for his. The narrator begins to realize that exchange in the basement was a crucial moment of his life; even though he didn’t realize it at the time, it may have been the closest he ever came to having his marred face looked upon honestly but without reproach, with something like love.
There’s no big sign saying Here’s the turning point. There’s no Sliding Doors scene that tells you, “Here’s the big moment!” But by the end of the story, we sense that this is what matters most to this character, as he looks back. After the revelation at the funeral, he decides not to sell the house where he grew up, where the exchange in the basement happened, as he had planned. Instead, he lives inside it for the rest of his life.
In other words, he comes to see that the childhood house will always be his reference point, his stage of greatest significance. I think it is this way for many of us: There is maybe one place, when we look back, where something happened. Or only a few places. “And then there are all the other places,” Munro writes: important too, but not distinct, not above all else. Those precious few settings where something happened are where meaning resides—they contain the story, they are the story. Yes, I think that, to Alice Munro, story is place—the two are that deeply connected. You do not have a story of a life without an actual place. You can’t separate one from the other.
I think that’s why she’s intensely local in her fiction, like many other great writers (Faulkner, Joyce, and Proust come straight to mind). Munro’s stories unfold in remote places in Canada that I’ve never been to—but in these geographically small places, whole worlds play out. The best writers provide a sense of events unfolding in this specific place, a place that informs and feeds the characters and events. What comes first: the place or the story? The story or the place? With great fiction, it can be impossible to distinguish.
I’ve been a reader of authors who have a strong sense of place, because in my own life I’ve been somewhat placeless. I always traveled as a kid, and went to a new school every year. I lived in New York, I lived in Norway, I lived in Sweden—we travelled around, we moved, and I continued doing that into my adult life. I have been something of a placeless person—so I try to find that in literature, I guess. I seek out books and authors who are very place-specific. For me, in a way, the experience of sitting with a book is the closest thing I have to “home.”
And this reminds me of another Munro line, from her story “The Bear Came Over the Mountain”:
There are places that you long for that you might not ever see.
Some places you never actually experience yourself, but are always important in your life anyway, even if you never go. Places you learn about through literature and other people’s stories can take on intense personal significance, as Munro’s Canadian hamlets have for me. I have this second quote written with the lines from “Face” in that big, black notebook; I probably wrote them on the same day. Somehow, I feel like these two passages—because they are about place in literature, and where things happened, whether a physical place or interior place—are what Munro is all about.
In my own work—the way I actually write—place plays an essential role, too. A choreographer I whose work I love, Merce Cunningham, was once asked, “How do you start a dance?” He said, “Well, you have to begin by showing up.” I think that’s brilliant, and it goes for writing, too. You can have all these novels in your head, all these characters and ideas, but if you don’t actually show up to your writing day—the physical place where you get the work done— you have nothing.
The characters, too, need to “show up”—the story needs to happen somewhere. Again, Munro: “Something happened here.” That line could be the epigraph to everything I write. The “here” is every bit as important as the “something happened.” For me, the two cannot exist without each other; setting and character respond to and inform one another.
When I begin writing, I need to have a place. It can be a small: even a single room, though I like to be able to see the layout, the colors, the objects inside. I need to have that stage so that my characters have a place to move around. If I can develop that sense of place—and that other crucial quality, the narrative voice—then I feel sure I will find a story, even if it takes some time. If I don’t have the place, and I don’t have the voice, I’m writing without a motor. It all becomes just words. But once the voice comes, the “here” comes next, and then the “something happened”—what we call plot—follows from it.
In this way, writing becomes a listening experience—a way of being responsive to what you have written, and letting it guide you. Some writers say “the characters come to me,” or the “characters become alive to me at night.” Bullshit. I don’t believe that my characters are alive. But the process requires a form of artistic listening, of understanding the consequences of the decisions you’ve made. If you are lucky enough to find voice and place, there are real consequences to those choices. Together, they limit the possibilities of what can possibly come next—and they help point the way forward. Your role, then, is to not stick to your original idea—it is to be totally faithless to your idea. Instead, be faithful to voice and place as you discover them, and to the consequences of what they entail.
That’s why it’s often more fun fumbling around with notes and good ideas before the writing actually starts—it doesn’t require as much intensive listening. Most writers start out thinking “I’m going to write about such-and-such grand idea.” That’s fine when it’s all up in your head. But the minute you start putting words down, you begin to confine yourself to certain possibilities, and you must be prepared to abandon what you thought you were writing about before.
There is a Norwegian novelist who says “Writers must beware of their own good ideas.” You have this great idea, and then you start writing—and maybe something happens, and your voice starts taking you places. But if you start to think, I’m going away from my great idea, I have this wonderful idea! I need to get back to my idea—you stop following the consequences of the place and voice you’ve chosen. This is a mistake. You see a lot of decent books and plots that are fantastic—the writing might even be really good—but still somehow feel completely dead. I think that’s because there’s a great idea, a compelling premise, but a lack of honesty that can only come from listening closely to your writing. Those beautiful moments when you’ve just got to put the book away for a while because it’s so intense—we have a Norwegian word, smertepunkt, which literally means “point of pain”—can only come from this kind of honest listening. And Alice Munro is an absolute master of it. She dares to take the consequence of a voice, and a place, and follow them to where it takes her.
Place dictates who we are and how we see—this is true in life, as well as fiction. I see it in the way my father wrote about his first impressions of Fårö in his autobiography, Magic Lantern:
If one wished to be solemn, it could be said that I had found my landscape, my real home. If one wished to be funny, one could talk about love at first sight …. This is your landscape, Bergman. It corresponds to your innermost imaginings of forms, proportions, colours, horizons, sounds, silences, lights and reflections. Security is here. Don’t ask why. Explanations are clumsy rationalizations with hindsight. In, for instance, your profession, you look for simplification, proportion, exertion, relaxation, breathing. The Fårö landscape gives you a wealth of all that.
He decided because of the shape and the light and the proportions that this was where he was going to live and work. And that place is the central place in my life, too. I think probably reading these Alice Munro stories right after his death was why I copied over those quotes. They struck me—because he was dead, and also because I was mourning the fact that I was also losing my place. The island, the house on it, that’s all going to disappear now—and all the memories there, too. You cannot separate memory and place. There are certain places, if we go there, either in our writing or in reading or in life, that conjure up our deepest memories. And memories are all about who we are.
I always wondered if it really was my place. That became the big dilemma in the years after my father’s death: Was it my place, or was it his place? Places are always complicated in that way.
The island is not a place that says “Love me. Look how beautiful I am. You’ll be happy here.” It is not a place that tries to charm or seduce you. It’s beautiful in its starkness, in all its different rocky greys. There are old stone formations, called rauks, that are millions of years old. Red poppies grow in the summer. In the winter, there are countless shades of white. The surrounding sea, the Baltic Sea, is a broken sea: it’s losing oxygen, is filmed with algae on it, and very still. A dead ocean. It’s beautiful, but severe. The nature and the temperament of the whole, stark place—yes, you might fall in love with me, but I don’t know if I’m going to return your love ever. I know that I love the place, but I don’t know if the place loves me.
With some of the greatest loves you have, that’s the dilemma you have to live with.
Well Marx he went to market
With theories great and grand
He sold them to the ignorant
In every foreign land,
At discount did they prosper
To fools they multiplied
In Truth they found no purchase
Yet with mobs they did abide,
Revolutions soon arose
With fires burning bright, and
Still the theories sold by Marx
Could not a dime incite,
Still what is that to theorists
Or professors in the clouds?
They packaged for their profit
Though no profit was allowed,
Well Marx he went to market
Just to find his market share, and
So he did ‘mong idiots
No Intelligensia to spare,
They took his empty theories
To spin out governments, and
That is what they’ve truly done
With dark and dim intent,
They convinced the public masses
They convinced the public schools
They tamed the dupes and gullible
Conscripted all the fools, yes
They sold Marx in their markets
In place of goods instead
Now markets teem with people
But no one has their bread…
The Wound that heals to help secure
Our Lives Eternal to endure
Was writ in Blood and sweat and toil
Then buried in the fruitful soil
That God had plowed in hearts of men
The day he died to live again
His Tomb a Rock, a mountain-top
A different world from which to spot
A brilliant Kingdom, richly cast
Full of souls and fit to last
Beyond the dark of night and death
Into the morn of what is blest
About the God who would be Man, and
Men made new by God’s Great Plan
To heal them true and make them fast
With his own Wounds, so deep, so vast;
A nail, a scourge, a crown of thorns
A cross, a spear, and sin engorged
Upon the Wound that heals us all
Upon the Man who stands and calls
To us upon this Easter Morn,
“Come my Friends, and Be Reborn!
For my Wounds were made for Thee I give them all, I give them free And if you’ll touch them to your Heart Then you and God shall n’er depart –
For the constant Blood my Wounds ensue Shall Live in God, and God in you…”
I had been thinking lately about the Myth of the Wound that can only be healed by the Weapon that made the wound. These thoughts made me realize, just a few days ago, that Jesus had rewritten that Myth, that the Wounds of Christ, the wounds Christs suffered via the acts of men are the only ones that can truly heal man of what most wounds him.
In other words the Wounds of Christ inflicted by man are the very Wounds that Heal man, and remake him into the Kind of Man he was always meant to truly be.
I guess that had lain on me for the past few days for this morning I woke with this poem running through my head. So I sketched it out on the notepad beside my bed and then came downstairs and wrote it out in full on my office computer and now I post it here.
So this is my poem for this Easter and in Honor of the Wound that Heals.
As part of my reading today I came across this passage in a work of ER Eddison:
“My pleasure is my power to please my mistress:
My power is my pleasure in that power.”
Which, compared to the surrounding work, struck me as dull and listless and uninspired. I didn’t like it and thought it could have been much better, comparatively speaking. (If it is indeed a quote cited from another work I have not as yet found the original source.)
So I decided to rework the couplet (and thereafter expand it) to see if I could render a better and more apt and more fit version (given the surrounding context). As an experiment, such as the kind of experiments I did on rewriting verse as a young kid.
This is what I developed:
“My pleasure is my power to please my mistress:
Her power in that pleasure is to my pleasing
Such powers, pleasing to us both
Yield pleasures sweet and e’er unending
In memory and reminiscence all alike To the very powers of those pleasing acts.”
A Little Murder Story – I was working on this in my mind on my way home from town one night about 11:30 or so. It has some rough language in it, and if that offends you then skip it. (I’m not a big fan of rough language myself just to have rough language, unless it is a matter of realism, then it doesn’t bother me at all.) I couldn’t write it in the car and didn’t have my tape recorder, so I had to reconstruct it from memory. Might not be exactly what I saw in my head, but it’s pretty close.
A Murder Story is as close as a title as I’ve got, but I kinda like that, so I might just stick with it.
It isn’t the full story, as I plan to publish it. But this is my Tale for Tuesday’s Tale.
“Man, you say that shit to me again and I’ll kill your punk ass.”
I sighed. Deeply even.
“Sure kid, I have a bad case of the ‘you scared me already.’ How bout we just go back on point now?”
“I told you, I ain’t got shit to say to you.”
I pivoted. More outta habit than necessity.
“Alright then, let’s try this. I’m gonna wave my left hand in the air and you’re gonna try and track it with both eyes at once. If you can do that it’ll prove to us both that you’re smart enough to do that.”
It took him a second, but I waited through it.
“Mutha-“ he stepped towards me with his chest bowed out, hands by his side, so I raised my left hand and when he looked I hit him in the mouth with my right. He rocked back for a second, kinda stunned. So as he was still figuring the right I elbowed him across the nose with my left arm. He sat down on his knees looking up, his mouth open.
To keep it moving at a brisk pace I caught him by the shoulders, bent him back double, and slammed his head back into the chewed up pavement. Hard enough his skull bounced. Then just to be sure I grabbed him by the sides of the head and did it again.
While he flirted with a concussion I rolled him over onto his stomach and cuffed his left wrist (I had been watching him, he was definitely a southpaw) to his right ankle. He was kinda fat and big boned so it was a bit of a stretch for us both, but I had come prepared for all contingencies. Sure, they always looked funny that way but then again it usually did wonders for cooperation. This guy looked like he’d at least try and dance under duress, once he was moving again, but ya just never knew. Nine outta ten times this setup did the trick.
After that I rolled him onto his side and watched for signs of life. Sure enough he began to display a few. So I pulled out my knife to firm it up a little.
“Okey-dokey, here we go city bang-bang. Now you do believe in blood at first sight? Right? Cause I think this is the part where you tell me all about how you’re gonna saw my head off with my own knife, rape my mother, eat my dog, and commit all of the other higher level functions you’re so expert at. Boo-yah and brimstones! Or, on second thought, we can just skip that part, if it’s all the same to you, and you can go ahead and tell me who murdered the girl. I mean I’m sure you’re frightful and all but that’s my real interest. And I’m salaried, so sooner is better.”
“Man I din’t kill no little girl.” His lip was already swelling and the blood around his nose was already blackening. That would be useful in a minute or two.
I started to step over him and when I did he tried to use his right hand to catch my leg. So I stomped on his hand. Hard. He groaned, I smiled.
“I thought we had a working negotiation. But I guess we’re still gonna hav’ta work out a few mutual misunderstandings. I’ll go first if you don’t mind.”
I kicked him in the solar plexus and all his breath ran out in a huff. I think he also started to cry a little. Sometimes I had that effect on certain people.
“Isn’t this exciting? Now first of all, I said murder, not kill. And secondly I said girl, not little girl. So clearly we’re still having definitional difficulties. But we can work that out. Let’s start over, for old times’ sake.”
I bent down and took my knife and cut his cheap windbreaker off him. Then as he caught his breath I cut his sweatshirt off too.
“Wooo-weeee. That really looks cold. Old Man Winter sure does bite iffin you give him a reason, don’t he? But that’s okay, I just had coffee and a hot Danish. I’m good for an hour or two.”
He spat and cursed some. Wiggled on the icy ground. I waited politely for him to finish.
“Boy, that was an illuminating display. Thanks for that. I’m gonna write that down for later, but for now you just try and track with me for a moment, won’t ya? See, you seem to be under two unfortunate misimpressions about our situation here.
First, I don’t have a murder warrant out on me, nor have I ever done time for a previous murder conviction. Bet you’re wondering if it’s because I’ve never killed a man, or if, unlike you, I’m just good enough to have never gotten caught. Well, we’ll get around to that part later this evening, during the entertainment interlude.
And I guess the second problem is, although I’d think it might be kinda obvious by now, even to you, that I’m not exactly what you’d call a real cop. Maybe I’ve never been a real cop. If we have time tonight we might get around to that part too. Just for giggles.”
“Man, I’m telling ya I ain’t KILLED NO GIRL!” He practically roared the last part and for the first time in our whole brief relationship he said it sincerely enough that I knew he really wanted me to believe him.
“Isn’t that sweet? We’ve finally reached the stage where you care what I think. Or think I care what you say. See, we can make progress. All we gotta do is really work at it awhile. Eventually we’re even gonna get at the truth.
But before that I’m gonna take my knife and cut off your pants. And just before you’re shivering so hard you go numb all over I’m gonna cut your balls off. You’d be surprised at the amount of truth that causes to spill out of a man. So hold on tight now, we might hav’ta go around the block a couple of times before you finally figure out where we’re headed. But I promise ya, it’ll be well worth the effort when we finally get there. And if at any time you wanna take a shortcut then just let me know. Like I said, I’m salaried. So the quicker we get at the truth, the better for everybody. Especially you.”
Written by Jim Beviglia March 9th, 2015 at 8:40 am
It’s been beguiling audiences for a half-millennium or so, perhaps longer than that. It’s been covered by artists ranging from the sublime (Bob Dylan, Joan Baez, The Everly Brothers) to the slightly ridiculous (John Travolta and, in the 1951 Warner Brothers short “Robin Hood Daffy”, Porky Pig.) So what is it about “Barbara Allen” that makes it so enduring and affecting?
The first known reference to this mysteriously captivating folk ballad dates back to 1666, in an entry by the famed English diarist Samuel Pepys. Pepys called it a “Scotch song”, and it flourished throughout the United Kingdom in that era until it was brought to the U.S. by immigrants. As the population of the America slowly spread westward, the song went with it, as noted by famed musicologist Alan Lomax in his book The Folk Songs Of North America. “This ballad, if no other, travelled west with every wagon,” Lomax wrote. “As someone remarked, they sang ‘Barbara Allen’ in Texas ‘before the pale faces were thick enough to make the Indians consider a massacre worthwhile.”
What transpires in “Barbara Allen” is simple enough on the surface. Yet since the lyrics provide little exposition or back story, the reasons for the behavior of the main participants are enigmatic. The song tells the story of young William who, as he lies on his deathbed, calls out for Barbara. She takes her time getting to his side, only to treat him coldly due to a social foul he committed against her at a tavern. On her journey home, she hears the “death bell knellin” and, knowing it tolls for William’s death, suddenly regrets her hardness and knows she will soon die of grief for him.
Harsh stuff, right? Maybe too harsh, even for audiences who were used to Shakespeare’s plays and their numerous deaths. As such, a variant on the song quickly arose that included a leavening epilogue whereby the lovers are buried side-by-side. From William’s grave grows a rose, from Barbara’s a briar, and the two flowers eventually intertwine, providing the deceased pair eternal unison.
It’s whats left out of the song that keeps us coming back for answers. If all William did was drink a toast to the wrong ladies, surely he didn’t deserve treatment so nasty from a girl he truly loved. Or was this single incident indicative of his wayward behavior as a whole? And what changed in Barbara’s mind and heart from the time she left him to when she heard that bell? In that short journey, she transformed from hard-hearted to sympathetic without any middle ground spent in consideration of all that had transpired.
This sort of unexplainable behavior from characters was also emblematic of Shakespeare (think King Lear or Hamlet), so maybe the original writer had that kind of strangeness in mind. It makes the song more psychologically realistic, since we all tend to do things when guided by passion or spite that defy logic and reason.
The murkiness of the motives and the beauty of the melody is an irresistible combination. As such, many legendary contemporary artists have found the song irresistible. Dylan, for one, not only covered “Barbara Allen” at various times in his career, but he also used Barbara’s home base of “Scarlet Town” as a jumping-off point for an equally mysterious song on 2012’s Tempest.
While there have been many powerful and moving renditions of “Barbara Allen”, Art Garfunkel may have given the definitive modern reading on his 1973 solo album Angel Clare. Whatever lesson you take from the song, whether it’s that even a moment of taking the one you love for granted can come back to haunt you, or that life is too short for petty grievances, you’ll likely be mesmerized by the mercy Garfunkel’s ethereal vocal grants these two lovers. It’s just too bad they didn’t show each other that same kind of mercy until it was far too late.
Recently I have been involved in a number of different projects that have left me little time for blogging. I have been writing the lyrics for my second album, Locus Eater, I have been writing and plotting my novel The Basilegate, I have been putting together a crowdfunding project for one of my inventions and one of my games, I have been helping with and compiling material for my wife’s new career as a public speaker, and helping my oldest daughter prepare to enter college. In addition I have been speaking with and seeking a new agent. I have even been preparing a new paper on some of the work of Archimedes and what I have gleaned from it. Finally I have been preparing my Spring Offensive, which is now completed.
All of which have kept me extremely busy.
However I have not been entirely ignoring my blogging either. In background I have been preparing a much improved Publication Schedule for all five of my blogs, my business blog Launch Port, my design and gaming blog Tome and Tomb, my personal blog The Missal, my amalgamated blog Omneus, and this blog, Wyrdwend.
Now that most of these other pressing matters are well underway and on an even keel this allows me more time to return to blogging.
So below you will find my new Publication Schedule which I’ll also keep posted as one of the header pages on my blogs.
So, starting on Monday, March the 15th, 2015, and unless something unforeseen interferes this will be the Publication Schedule for this blog every week, including the Topic Titles and the general list of Subject Matters for that given day. That way my readers can know what to expect of any given day and what I intend to publish for that day. I will also occasionally make off-topic post as interesting material presents itself.
Wyrdwend – 11:00 – 12:00 AM
Monday: First Verse – Poem, Song, Music Tuesday: Tuesday’s Tale – Short Story, Children’s Story, etc. Wednesday: Highmoot – Reader Discussions and Commenting, Reblogs Thursday: Hammer, Tongs, and Tools – Tools, Linked In, Essay, Non-Fiction, etc. Friday: Bookends – Serialized Novel, Graphic Novel, Script Saturday: The Rewrite – Reblog best Personal Posts, Review Sunday – Sabbath
“Herbert created what was, in 1965, the most complex backdrop of politics, economics, religion, science, philosophy, and culture to inform an [science fiction] novel to date,” wrote Tomas M. Wagner for SFReviews.net.
“Suarez’s riveting debut would be a perfect gift for a favorite computer geek or anyone who appreciates thrills, chills and cyber suspense… A final twist that runs counter to expectations will leave readers anxiously awaiting the promised sequel,” writes Publisher’s Weekly.
“Avogardo Corp: The Singularity Is Closer Than It Appears” by William Hertling
“An alarming and jaw-dropping tale about how something as innocuous as email can subvert an entire organization. I found myself reading with a sense of awe, and read it way too late into the night,” writes author Gene Kim.
“Who could be better qualified than the author of the highly successful Cosmos to turn the possibility of extraterrestrial intelligence, and humankind’s first contact with it, into imaginative reality?” according to Publisher’s Weekly.
“Intense is the word for Ender’s Game. Aliens have attacked Earth twice and almost destroyed the human species. To make sure humans win the next encounter, the world government has taken to breeding military geniuses — and then training them in the arts of war,” according to the Amazon.com review.
“The Hitchhiker’s Guide to the Galaxy” by Douglas Adam
“You’ll never read funnier science fiction; Adams is a master of intelligent satire, barbed wit, and comedic dialogue. The Hitchhiker’s Guide is rich in comedic detail and thought-provoking situations and stands up to multiple reads,” according to the Amazon.com review.
“…the novel is not much interested in character and plot. Instead it is dedicated to creating the feeling of a transformed reality, where a new vocabulary is required to describe how perception itself has been changed by computers,” writes John Mullan in The Guardian.
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Until recently, creating ebook versions of children’s picture books was something publishers reserved for their best-selling authors and illustrators. If you wanted to self-publish a picture ebook, you either needed to be a whiz at writing code, or you paid an ebook creation service to do it for you. (That said, it was possible to find a few services targeted toward publishing books for kids on Apple devices, such as Book Creator.)
Last September, Amazon released KDP Kids’ Book Creator, which allows the average Joe to create illustrated children’s books for the Kindle and upload them directly to Amazon. These books can be designed in the landscape format (to mimic the layout of print picture books) and can include text pop-ups that enlarge the text with a tap or a click, making it easier to read.
Side note: Using the KDP Kids’ Book Creator means you’re publishing through Amazon’s Kindle Direct Publishing program. You can choose from several royalty structures within that program, and also choose whether or not to be included in KDP Select, which gives Amazon exclusive distribution of your ebook for a certain time period in exchange for marketing perks.
While the KDP Kids’ Book Creator still has a few rough spots (which Amazon is presumably ironing out in response to user feedback), it’s a good start. Those of us who have worked in children’s publishing for years recognized this move for what it was: a game changer.
Just how much has Amazon’s new free software changed the game?
With the release of the Kid’s Book Creator, as well as the Kindle Fire HD Kids Edition tablet, Amazon is investing in illustrated ebooks. And they need content.
So now comes the big question. Are you ready to ride this wave?
Not every self-published picture ebook will make it. Many will slip into oblivion as soon as they’re released.
Does Your Book Have a Fighting Chance?
Here are some positive signs.
You have a book that appeals to a niche market. Often publishers reject a manuscript simply because there isn’t a big enough audience to justify their expense to bring it to fruition. But that doesn’t necessarily mean the book shouldn’t exist. You’ll just have to make an effort to directly reach the consumers searching for the specific topic in your book.
If your story features a child with certain food allergies and how he must navigate snack time in preschool, you can write guest posts for parenting blogs that focus on these issues, or even blogs about nutrition and cooking. Many mommy bloggers welcome guest posts about all aspects of child care, and you can mention your book in your bio.
You already have a good online following. Jessica Shyba’s popular blog Momma’s Gone City, featuring photographs of her toddler and puppy at naptime, prompted publisher Jean Feiwel to offer her a two-book deal. Naptime with Theo & Beau was published by Feiwel and Friends in February, with a huge social media campaign using the hashtag #theoandbeau.
Could Shyba have chosen to self-publish the book and do the same thing? Sure. These days, authors and illustrators reach readers directly via their blogs, Twitter feeds and YouTube channels. Even if your blog is attracting the kind of people who would buy your picture book, you still have a potential customer base.
You want to begin establishing yourself as a professional author or illustrator. Waiting for an agent or editor to say yes can take months or years of submissions. Getting two or three picture ebooks out now means you’re working on creating a name for yourself and building a platform. If you do these books well, and market them smartly, you can build a reputation that can lead to more opportunities and possibly traditional book deals.
You have taken the time to study your craft. The quality of your work will be compared to those authors and illustrators who appear on the bestseller lists, so it must stand up to the scrutiny. Take classes in picture book writing and design, attend workshops, join a critique group, hire a professional editor. You want, and need, for your book to garner five-star reviews on Amazon, and not just from your mother.
Why Your Book Might Not Make It
Your book has been rejected 25 times and you’re tired of submitting. Self-publishing won’t fix the flaws in a manuscript that had received nothing but form rejections from editors. Nor will it camouflage an ill-conceived story or writing that doesn’t appeal to the intended audience. You first need to figure out why the manuscript was rejected, and fix the problem.
You don’t have a solid marketing strategy. Complain all you want, but there is no way around it—if you want to sell books, you’ve got to market. And this goes for authors who are traditionally published as well. Don’t expect to post a link to your book on all your friends’ Facebook pages and call it a day.
You lack quality illustrations. This is crucial if you want your picture ebook to attract an audience. Remember that your first sales tool is your cover, and your second sales tool will be the first two pages of your book if you have Amazon’s Look Inside feature. If your illustrations look amateurish, the overall impression you’re giving potential customers is that this is not a professional product.
If you decide to design your own illustrations, it’s wise to take a graphic design class so you learn the basics of font choices, image placement, and how things fit together best on a small screen. And speaking of the smaller screen, remember that the images should be clear and without too many tiny details so they can be easily viewed on a Kindle or iPad.
At the very least, the biggest hurdle toward successfully self-publishing picture ebooks doesn’t need to be the technology. Trust me, the KDP Kids’ Book Creator software is easy to use. Hundreds of authors and illustrators have already taken advantage of this opportunity, and are selling their books on Amazon—and they’re not all young upstarts who could use an app before they were potty trained!
For 25 years, Laura Backes has published Children’s Book Insider, The Children’s Writing Monthly. She is the co-creator of Picture eBook Mastery, an online course on how to use the KDP Kids’ Book Creator software to produce, upload and market picture ebooks on Amazon. To get her free, four-part mini video course, “Yes, You Can Publish a Kindle Picture eBook!” go to www.pictureebookmastery.com/yesyoucan. Laura can be reached through writeforkids.org.
We’re total suckers for self improvement: The self-help industry brings in billions of dollars each year from countless books. All that encouraging advice can feel empowering and commonsensical, offering a simple path to a better life.
But there’s a problem with this approach. “Reading a self-help book is like buying a lottery ticket,” writes social psychologist Timothy Wilson in his newest book Redirect. “For a small investment, we get hope in return; the dream that all our problems will soon be solved without any real expectation that they will be.”
While the power of positive thinking—the seeming bread and butter of self-help as we know it—is a nice thought, according to Wilson, there’s no evidence that simply thinking positively actually works. We can’t just will ourselves to be happier a-la The Secret. “Our minds aren’t that stupid,” says Wilson. “It’s not like you can just tell you mind, ‘Think positively.’ You’ve got to nudge it a little more along.”
In Redirect, Wilson offers an alternative he calls “story editing,” based on the research of social scientists over the years. This approach operates off the premise that we each have a core narrative or story that we tell ourselves about who we are and what the world around us is like. It’s a story that influences our choices and way of experiencing the world. But it’s also one we play a major role in shaping for ourselves.
Using specific writing exercises, according to Wilson, we can begin to shift that story and redirect our way of thinking. “Writing is an act of creation. You are creating as you go,” he says. “That’s what can make this personally so helpful.”
Write through a challenging problem
We can never simply write painful or difficult events out of our lives, but we can make them far more graspable and change our relationship to them, according to research by psychologist James Pennebaker. Over the years, Pennebaker has developed an approach he calls “Writing To Heal,” that uses writing exercises as a way to help people deal with difficult events their lives.
To try the Pennebaker writing exercise, think of an event or worry that’s been most on your mind recently. Set aside 15 to 20 minutes at the end of the day to write about that specific problem. Do this for four days in a row, setting aside at least 15 minutes at the end of each day to record your thoughts. As you write, don’t pause or second-guess yourself—just write without stopping.
Through his research over the years, Pennebaker found that this simple four-day exercise helped improve people’s health, and well-being in various studies. “It’s how we deal with setbacks that’s so important,” says Wilson, who has worked with Pennebaker over the years. While the writing exercise can be difficult at first, people tend to gain clarity as they continue doing it. “Often what they first write is jumbled and unorganized,” says Wilson. But eventually “they view what happened to them in a way that makes more sense.”
Distance yourself from negative experiences
Research has also shown that having some distance from a difficult event allows us to step back and better understand it. There’s a writing exercise Wilson calls the “step-back-and-ask-why” approach that allows us to create this distance and understanding in order to reframe negative events.
To do this exercise, close your eyes and bring yourself back to a specific moment or event that was upsetting to you. Then, in your mind, try to take a few steps back from yourself in the moment so that you can see the story unfolding as if it was happening to a distant version of yourself. Write about what that distant version of yourself is thinking and feeling. One way to do this effectively, suggests Wilson, is to write in the third person, rather than the first person, which automatically builds some seperation between you and the moment you’re writing about.
Don’t simply rehash a play-by-play of what happened; instead, try to explain why it happened. “Don’t recount the event,” Wilson writes. “Take a step back and reconstrue and explain it.”
Determine what your best possible self looks like
There’s a reason Saturday Night Live‘s “Daily Affirmations With Stuart Smalley” was such a hit in the ’90s. That focus on self-affirming mantras is practically begging to be made fun of, yet even today, you’ll find that same advice given in total earnest.
But as Wilson points out in his book, rather than telling yourself you’re doing the best you can and are the best you can be—a pretty text-book self-help mantra—try actually imagining what the best version of yourself might look like in the future and what you need to do to achieve those goals.
He calls this writing prompt the “Best Possible Selves Exercise.” Like the Pennebaker prompt, take 15 to 20 minutes a night for four nights in a row to do this exercise. Imagine your life in the future as if you’ve achieved all your life goals. Write not just what those life goals are, but also how you will be able to achieve them. “Focus on the process of achieving an outcome rather than the outcome itself,” says Wilson.
Imagine all the things that could have gone wrong
Gratitude journals are another self-help go-to, but research has shown they can actually have the reverse effect of making you feel less happy. There’s a pleasure to uncertainty—not being able to pin down the specific details of an event were was pleasing.
While reducing our uncertainty about negative events can help us bounce back from them more quickly, reducing uncertainty about positive events can take some of the pleasure out of them. Wilson calls this a pleasure paradox: “People want to understand the good things in life so that they can experience them again, but by doing so they reduce the pleasure they get from those events,” he writes.
For example, research has shown that asking people in a relationship to tell the story of how they met their partner doesn’t make them particularly happier. But ask those same people to write about the many ways in which they might not have met their partner or their relationship might not have worked out and they get much more pleasure out of the exercise. “People don’t like to do that, but when they do, it makes the relationship look special again, at least for a little while,” he says.
This translates well into a writing exercise Wilson calls the “George Bailey Technique” named after the protagonist in It’s A Wonderful Life. For this exercise, think of one of the most important or special events, relationships or accomplishments in your life. Then imagine all the ways in which it might not have happened. Doing this can introduce mystery and excitement back into the experience again.
Maintain a sense of purpose
These last two exercises aren’t so much writing prompts, as they are calls to action. In their studies of what make people feel happiest and most fulfilled, social scientists have found that having a clear sense of purpose is critical. This means reminding yourself of what your most important goals in life are and finding ways to move forward on those goals, says Wilson.
He identifies three ingredients to well-being: hope, meaning, and purpose. Writing exercises that help reframe the way you feel about negative events in the past can help create a sense of hope and meaning, but it’s also important to maintain goals that provide a sense of purpose in your life. “We all have some choice over what we want to pursue and those of us who are really lucky can get paid to do it, but plenty of people find other ways,” says Wilson.
Do some good in the world
Research has shown that it’s not simply having a sense of purpose that contributes to our well-being, but that those who help others are actually happier than those who don’t. These people have a greater likelihood of forming bonds with others and having a positive image of themselves.
“If you want to have a positive outlook and feel like a good person, go out and be a good person,” says Wilson. “The mind is a very good observer of ourselves.”
I’ve been working today on the “Four Types of Work“, loosely based in basic design on CS Lewis’ The Four Loves.
Already have basic definitions formulated and the main chapters arranged and outlined. Unlike Lewis’ book though it will be based far less on thought experiments and spiritual and theological intellectualizations than on pragmatic application.
Last week I had intended to reconstruct all of my blogs. To finally finish them and put them into the final format and technical shape I had originally intended for them.
Unfortunately every single day something came up to consume most of my days (my cat was attacked by another animal – probably a coyote – and had to be taken to the vet, my central air unit failed and required repairs, other people asked me to do things for them, etc, etc.) and so I never really got to my blogs. By the weekend I was pretty much exhausted and didn’t lift a finger.
So, that being the case I’ve decided to reconstruct one blog per week in February and spend the whole week on that blog. And I’m going back in the meanwhile to posting other content as well.
It’ll be a slower process but probably a more thorough one as well. And in this way I might even learn a few things I wouldn’t have last week.
I just hope and pray all of this crazy crap and distractions are finally over.
For the rest of this week I will not be posting any original content to this blog or any of my blogs. Recently, due to my work schedule and other obligations, I have had very little time to work on the overall construction and the technical aspects of my blog(s). I had planned to complete those aspects of my blogs long ago but other things kept interfering.
So this week I have decided to spend the entire week finishing my originally planned construction-plans of my blogs to make it easier for agents, editors, publishers, and other songwriters and writers to find me and to communicate and work with me.
To that end I will spend the rest of the week finishing my original plans and retooling this site.
As I said, as it stands now I plan to add no more original content this week so as to finally finish my original designs without interruption or any more delays.
However you can still find a great deal of useful content in the various Categories already present on this blog, and on the Categories of all of my other blogs. Just pick the categories that interest you and browse at will. Uncategorized will allow you to find everything.
I will also be sharing useful articles, content, and posts I find on other sites as I run across them and time allows. But most of my time this week will be spent on blog development.
Thank you for being a Reader and Follower of my blogs, I appreciate your patronage and hope you find my blogs enjoyable, entertaining, and most especially, useful.
Yesterday I spent most of the day writing client reports, preparing presentation materials for a speech, creating new documents for my Business, doing research and so forth.
Whereas I often greatly enjoy my business there are also times I grow tired of it and so today, after lunch, I will spend the rest of the day plotting out the last two novels in my fantasy/Myth series The Other World, drawing maps, and creating materials for by books.
I look forward to this with a great deal of enjoyment.
In our latest Firsts in Fiction program, Aaron Gansky and I chat about how writers can set goals for the new year and how goals for writers differ from goals of others.
Firsts in Fiction is a weekly netcast designed to help new novelists and other writers of fiction get a proper start. It’s also a fun place to hangout. It is broadcast live at 6:30 pm Pacific each Wednesday on Google Hang Outs. The show is posted later on YouTube, http://www.aarongansky.com, and here at http://www.altongansky.com. The audio version can also be heard on iTunes or Stitcher. Click on the Firsts in Fiction tab above for more.
I’ve been really excited lately at the work I’ve been doing on my novels and their plot-lines. I mean, actually very excited to be writing my fiction and plotting and replotting my books.
I’ve had a wealth of great ideas in the past few weeks. Some difficulty, of course, as to how to best arrange all of these great ideas into the body of my novels, for some of these ideas complicate (and enrich) the plot considerably, and I’m not sure I can use all of the ideas I have – I may have to reserve some of these ideas for other books.
But still, overall, I’d much rather have these ideas and not be able to use them right now, than not have these ideas at all and so never use them because I lacked them.
In the past couple of days I’ve had two excellent ideas for science fiction stories/possible novels/novel technology components.
1. Last night, while soaking in a hot bath, I had a great idea for a science fiction story involving a planetary kinetic kill weapon employed by an alien species. I haven’t worked out all of the details yet but the weapon is so effective because it is first projected at the planetary (or planetoid or moon, etc.) target as a near massless object at near light speeds and only within reaching a certain distance from its target does it decelerate rapidly regaining its original mass.
At this “transformational point,” or “weaponizing kenesis point” (kenesis being a term incorporating both kinetic energy and genesis or transformation point) the near massless projection becomes massive again (reabsorbing its original mass which it had been projecting ahead of itself as a gravitational anomaly) and it slows by conversion to about half its original speed, but because it transforms near the target and is still traveling at such tremendous velocity (which increases as it moves into the gravitational field of the target) it is almost impossible to defend against.
The only way to detect it is in energy form as a near massless projection and as a gravitational anomaly traveling in a tightly constricted area immediately preceding the projection. But neither of those would be able to be detected by the target until the projection reconverts to a massive state near/at the target site.
To detect it you would have to both understand what you are perceiving and it would have to pass through or by an early detection system, such as a DEW Line. In effect it would be a secret or stealthy planet killer and kinetic kill weapon which could be projected from almost any direction/angle against a target and unless detected by a pre-existed warming system it would literally impact against a target before the target was even aware of its’ presence.
Needless to say this weapon would be terrifying to anyone against whom it is employed and extremely difficult to successfully defend against.
I have a couple of ideas about how others might defend against such an attack but I’m only just now sketching them out.
I also have an idea of how the weapon itself might work, but that is all entirely theoretical of course.
2. This afternoon, while walking through our woods with my children and my dog Sam I had another idea for a piece of very advanced technology. What the device would do is disrupt the gravitational field around smaller volume massive objects, like White Dwarf stars, Pulsars, Neutron Stars, etc. causing the gravitational fields they produce to rapidly oscillate and fluctuate.
The point of such a device is to create fluctuations so intense that many of the higher level energies (x-rays, microwaves, etc.) and exotic particles being produced or ejected or radiated or compressed by the lower order observational event horizons in and around such objects can be freed for practical use. The same or a secondary device is then used to harvest, contain, and utilize these gathered energies, including the associated gravitational waves produced by the initial fluctuations.
At this point I’m calling this device the Inversis. Or that is what humans will call it. It is basically a very advanced exotic energy and particle harvester that operates by creating intense gravitational fluctuations in massive stellar bodies.
Theoretically the same device could be used to create temporary fluctuations in the outer gravitational field (near the outer edge of the event horizon) of a black hole as well.
In real life such a device would require so much energy to operate, even when concentrated upon a relatively small area of the overall target that I cannot in all reality say that it would actually produce and harvest more energy than it consumed.
But at this point it is only a sci-fi story idea anyway. So I don’t have to worry about real energy costs or anything like that right now.
At this point I plan to incorporate both of these ideas as working models for technologies to be included in my Curae series of science fiction novels.
In any case it has been a nice weekend for good ideas.
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