About:  Questions on Editing.

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I often see writers asking for an editor on social groups.

Frequently the post asks for ‘someone’ to ‘help edit’ or ‘look over’ their book. (Which is not a book at all just a manuscript and more often than not, only part of a first draft.)

Occasionally the person posting may ask for a ‘beta reader or editor’.

The common factor is, to the eyes of an experienced author or publisher, the people asking have no idea who they need, what skill set that person should have or, indeed, the actual reason they need ‘someone’ to ‘edit’ their work, which, in all honesty, will be a far cry from the thoughts they hold when they ask the question in the first instance.

This naivety is not wrong. We have all been novice writers.

However, my issue is twofold.

Firstly; whilst inexperience throws up challenges and situations one has not encountered previously, we live in an age of information, of high-speed access to seemingly limitless data.

It is simple to research almost any subject using the interweb.

Therefore, the questions posted should, at the very least, show some understanding, reflect some basic perception of the subject enquired.

My second issue is; those who openly show such naivety are susceptible to exploitation by those who prey on the gullible and there are many sharks swimming in the social media pond.

Too many times do I hear or read about a writer paying a large fee for very little, if any, return or results from the promises made by charlatans and thieves.

Too many times, do I see indie authors and newbie writers fall foul of ‘schemes’ run by the scammers who scoured the internet looking for those types of naïve questions.

Don’t get me wrong.

We all need help and to ask questions from time to time. But please, research first. Do some homework beforehand, so when you do ask, if you still need to ask, you can define your question to specifics.

This will not only deter many of those sharks looking for easy prey but will allow genuine respondents to answer your queries more accurately and with alacrity.

Nuff said.images 

Now, here are twelve, yes, twelve editorial roles.

Okay, I am being a little loose with the term ‘editorial roles‘, but I am doing so in response to the type of questions asked on social media, the ones which prompted me to write this article in the first instant.

The first two roles, possibly three, of the following are not, at least officially, considered ‘editors‘ in the true sense of the word.

The reason I have added them here is they do or at least can form critical roles in the process of readying a manuscript for publication.

 

The first is the oft-misunderstood role of the Beta Reader.

Beta readers are people you ask to read your work, often at a relatively early stage, to get their opinion.

Experienced authors will give each beta reader a certain task and will often create a questionnaire for them, ensuring the author gets the correct form of feedback they request.

Beta readers are initially chosen from the public, as volunteers. Often authors build up relationships and trust with several readers and ask them to review on a frequent basis.

However, there is a rather scary rise of the ‘professional’ beta reader. This is someone who will charge you to read your work on the premise of ‘experience’. It is doubtful they will hold any editorial, journalistic or academic qualifications.

This anomaly of the growth of the ‘professional beta reader’, is due to Amazon clamping down on ‘paid for/professional’ book reviews.

Those people have simply changed the way they operate, the outcome is as false and as fake as it ever was.

My advice; give them a wide berth. No, even wider than that… RUN in the opposite direction, fast!

 

The second is the frequently overlooked Critique Partner.

A critique partner tends to be a writer, or experienced author, who coaches another writer to help raise the quality of their work.

Not a true editor but will undoubtedly play a part in identifying editorial issues as the work progresses.

You only need a critique partner for guidance when developing a story for publication.

 

I find this a ‘dodgy term‘, Online Editor.

Basically, the term ‘online editor’ includes anyone you can find online to look over your content.

The people who call themselves online editors are most likely freelancers and their skill sets will vary enormously.

If you hire an online editor, it will be in your own interest, both financially as well as regarding peace of mind, to ensure they are well-versed in the type of editorial work you are employing them to undertake.

AND… I cannot say this clearly enough. Be certain they are qualified AND experienced to edit in the language you require. For instance; even a well sort American editor may not fare well with a British English work.

Some online editors are genuine professionals with qualifications and a good client list. Others may not know one end of a pencil from the other.

Okay, that is those three out of the way. Now the list of professional editorial roles.

A Commissioning Editor.

Sometimes referred to as an Acquisition Editor.

These people are the ones who look for books and/or articles for publication.

This is the person you address your enquiries to should you not use an agent or if you are a freelancer who wishes to pitch an idea.

Commissioning Editors are generally employed by organisations and companies and have little to do with the indie community.

 

The Developmental Editor. 

Developmental editors work with writers to get their manuscript ready for publication.

If you need guidance on moving your story forward, it is the developmental editors place to help. They will also aid you in producing a manuscript to a publisher’s house style or preference.

Some Developmental Editors are also professional ghostwriters.

 

Content Editors is the role most writers refer to when speaking of an ‘editor’.

Content Editors consider all the writing encompasses.

Regarding fiction, a Content Editor takes a full overview of the story. They will highlight inaccuracies and suggest changes to the plot, the characters, settings, locations and such.

 

Copy Editor.

Copy editors, also known as Line Editors. Occasionally these are also Content Editors, look at everything from the factual content to the writer’s use of grammar and the formatting of the manuscript.

These editors can and often do, do it all.

Often whatever they find will go back to the Content or Developmental Editor who will make, or advise the writer, to make certain changes to the work.

 

The Proofreader.

While you can ask friends and fellow writers to read your work and pick up any errors, nothing beats a good, experienced and qualified proof-reader, not Spellchecker or even Grammarly, ProWritingAid, WhiteSmoke or GingerSoftware combined.

A Proofreader will look over your content, usually after it has gone through the other stages of editing. This means a Proofreader is the last type of editor in the chain of editing.

Major publishing houses contract proofreaders for a final perusal of a book just before it is due to go to press after it has been typeset and formatted. This is to pick up any glaring grammar and punctuation errors created during these processes and any that have been missed previously.

Generally, a proofreader will not give feedback on quality, content or development.

 

This is not one many indie authors will use. Associate Editor.

Associate editors mainly work for newspapers or magazines. This position is also called the ‘section editor.’

Associate Editor often has the same type of responsibilities as an Acquisition Editor in that they seek stories or content for publication, but it is more often limited to a set area, such a politics, celebrity or world events and so on.

 

Contributing Editor.

Contributing editors usually work with publishers of magazines and newspapers. An older term not used so much nowadays is that of Roving Editor or Editor at Large, both mean the same thing.

Some indie authors and writers may cross paths with a Contributing Editor should they write articles for publication in magazines or newspapers on or offline.

 

Chief Editor.

Also, Executive Editor. The person in overall in charge of articles, story and/or content. They are the ones responsible for the final product.

 

Editor-in-Chief.

The Editor-in-Chief oversees the editing department and manages the other editors.

They are responsible for maintaining the voice of the publisher’s imprint, upholding its philosophy and mission.

I hope this clarifies the editorial roles and where they apply to indie authors.


Paul White has produced two books especially to help writers and authors of all abilities to make the most of their resources.

Each of these books is crammed with facts and information which answer most of the questions posted to writers and author groups on social media. 

These books contain tips and links to many author resources. Download your copies of The Frugal Author and Lots of Author Stuff you Need to Know right here, right now.

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Where to Start?

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I shall start this post with a quote attributed to that most literary of bears, Winnie the Pooh.

“The beginning is a very good place to start.”

I cannot agree more.

BUT…

Knowing where the beginning is, is not always as clear cut as many may think.

You see, your story, any story, must start somewhere, but that start is often not at the beginning.

Take yourself. Take a tale you told about yourself the last day you did something… silly/forgetful/made a mistake… whatever it may be.

Now, consider how you began to tell your tale the first time you related it.

I bet it was not at the beginning, at least not the real, the true beginning of the string of events which led you to such an occurrence.

First, you would, by our very nature of communicating, have plugged it with a strong opening statement, or a soft lead-in, dependant on whom you were telling the tale, be it your Boss, you Mother, BFF or Lover.

You may have said something along the line of, “You know, Sally and I often go to the bar on Staithes Avenue? Well, we went this lunchtime and, you’ll never guess what happened….”

OR

“I’ve driven down that road for the over ten years and I have never before…”

MAYBE it was, “Oh, my goodness, you just have to listen to this…”

None of those are really the beginning of anything but are leads to an section which is part way through your story, one which, during its telling, you will flit back and forth in time, building your tale of joy or woe into as a believable an anecdote as you can manage/feel right in doing, according to the circumstance.

Therefore, the same story told in the office to your boss will differ slightly to the version you tell your colleagues, or your family in the comfort of your own home.

girls-talking-restaurant-windowIt will definitely not be as richly dressed as your recount of the occasion in the bar later that evening, or as detailed with the emotions you felt during its unfolding when you share it with your lover while lying in bed.

The same is true of our fictional novels and stories; because the way we perceive them as we write is only a version of the whole. What we feel today will alter by tomorrow. By the time we re-write ‘that’ section of the first chapter, our entire viewpoint has fluctuated.

Therefore, what we once perceived as the beginning was, in fact, only a starting point for us to begin writing. The true beginning has still to reveal itself to us.

The matter is, we should never believe our own opinion during one sitting, but allow ourselves the opportunity to alter and change the picture we carry within our mind. Each time we reconsider our work we must see it in differing light, simply because we are not writing to entertain ourselves, but others.Bloods-Veil-page-one.png

Consequently, by revisiting our works and by teaching ourselves not to become immovably fixated on any factor of it, such as the juncture where we originally started to tell our tale, we can then see our story from the viewpoint of others, those who will read our story.

Once again, Winnie the Pooh says it well, “When you are a Bear of Very Little brain, and you Think Things, you find sometimes that a Thing which seemed very Thingish inside you is quite different when it gets out into the open and has other people looking at it.”

We want other people looking at our work, it is, after all, the whole point of writing; yet we want them to understand, to feel and to ‘live’ our story, empathise with our characters and lose themselves from the real world into our fantastical fictional world, we want and need them to believe.

To do so, we must see our books through their eyes, not our own. If that means starting the story from another place, be it a location, another moment in time, a different character’s perspective, then we must change the start of our story to this new beginning.

It may still not be the real beginning, you may alter it again before publication, write a prologue, an introduction, a prequel, or another book which leads on, even in an abstract fashion, to this one.

The point is, there is no true ‘right’ place to start your story, even the true beginning of your own life was far, far before any human existed, so where would you begin to start that story?

Now, while I much admire the genius of Winnie the Pooh and agree, “the beginning is a very good place to start,” I often wonder where the start actually is.


Looking for more literary insights, articles and short stories? Then look no further. The Electric Press magazine is available to read right HERE, for free.

Electric PressMay2019pub (2019_01_08 20_58_35 UTC)

Seeing beyond…

 

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You will know, or most of you will know, I am an author.

It is not a secret.

What many of you may not know is how I get the ideas, not only for storylines but situations, characters, actions, sub-plots and such.

The answer is the stimulus comes from the everyday.

There is no magic.

A short while ago I posted a heartfelt outpouring written by someone going through a low patch in their life. You can read it here.

That post, or rather the content, the spirit in which the content was written will, no doubt, lend itself to a character, or reveal the personality of a character going through a situation, in one of my stories.

Along with the above I often hear or read a certain line which is so special it deserves, nay, demands to be included verbatim. Referring to the same post, one such line is…

“My worth was stolen by minuscule measures, so slender the slices, I failed to feel the knife…”

Okay, it may not be the most beautiful line ever written, but pretty is not what good writing is all about. What it is about is touching another’s mind, sharing feelings, understanding and stimulating thought, which these words do perfectly.

It is the normal, the every-day, the simple events, basic routines, the regular, the nondescript which gives rise to great storytelling. (Not the artificial sensationalism favoured by the modern media).

Yet, it is only those with certain minds, with a sight which sees far more than what is visible, who understand the depths of these moments. Often these are people like me, writers, authors, artists, creatives, but sometimes they are greater minds, scientists, engineers, inventors and geniuses.

Yesterday, I read of such a man, a chap called Abraham Wald. (No, I had not heard of him either.)

Abraham was a person who had the type of mind I refer to.

Allow me to elucidate…

During WWII, the Navy looked at where they needed to armour their aircraft to ensure more returned home.

The Naval intelligence collected data and ran analysis of where their planes sustained the most damage.

The resultant conclusion was the planes needed to be armoured on the wingtips, the central body, and the elevators flaps because this was where they were being hit by enemy fire.

See diagram 1.

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Diagram 1

However, the chap I mentioned earlier, Abraham Wald, (Who, by the way, was a statistician), disagreed with the top brass.

Abraham Wald suggested the planes would be better with armoured noses, engines and mid-body sections.

Wald was called crazy by those undertaking and running the study because, as they told Wald, those areas were not where the planes were getting shot.

Which brings me back to the point I made above, about it taking a special mind to see beyond that which is right in front of you.

What Abraham realised, which the others did not, was the aircraft were getting shot in the locations he suggested to armour.

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Abraham Wald

But those planes were not making it home.

Without realising it, the Navy had analysed where the aircraft could be hit the most without the planes suffering catastrophic failure.

The planes the Navy studied had not been hit in the areas which caused their loss, the ones which had been hit where Wald highlighted were the ones which had crashed and burned.

Therefore, Wald saw the Navy was not looking at the whole sample, but only those planes which survived battle.

Now, I don’t claim to be an Abraham Wald or that any of my insights may change the world or save countless lives, but I do claim to see deeper into the simple things than many.

However, I would like to share some of my insights into life with you. On that basis, may I suggest reading ‘Within the Invisible Pentacle’, it’s a good place to begin. You can find it on Amazon UK here or on Amazon anywhere else in the world here

 

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Before I finish I would like to give you the ‘Heads-up’ about a new literary magazine due out this May, called the Electric Press – literary insights. Click on this link and head over to the Electric Press website for more information. It will be well worth your while.

Thanks for reading Ramblings from a Writers Mind.

Until next time, Keep Happy, Paul.

Inspiration does not have to be Pretty.

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A good writer has no need to look for inspiration and ideas, they will come flooding unto them.

The fact is, each moment of every day we are surrounded by a million and one stimuli which only need us to recognise their being. We must feel, hear, sense what is around us, what is happening in front of our eyes.

We must allow our perception to absorb, to let our mind create fiction and fantasy from implied interpretation. We must permit our creative seed to run wild.

nathanblog4-700x375I have written on this subject before, albeit from another perspective, in a post called The Curse of the Muse

 

This post is a little different.

A short while ago, possibly a good few months past, I read a post on a social media site from one of my connections. I think ‘friends’ is the general term used.

I was touched by the raw honesty of the post; so much I saved their words so I might use them as a basis for my own writing, either in situation or character creation.

I feel a little guilty for ‘stealing’ these heartfelt outpourings, yet, I am acceptive to the reasoning of creativity and the understanding of where, how and by what means we writers find our inspiration.

You see, most of my works, regardless of genre or setting, focus on our humanity, on social and personal interactions and on life itself.

The following is an edited version of the social media post mentioned. I am sure you will understand the reason it resounded with me, especially if you are a reader of my books and other works.

***

This is it… 

“This isn’t poetry.

It’s not placed on a pretty post.

There are no pictures to pull you in.

This is just me needing to vent and I suppose those who want to know will read it through; there are a few thousand of you, maybe more and I’m just this sickly, tiny, thing who is easy to overlook.

My life isn’t an open a book, but should the play ever be released it will read like a tragedy of comedic design, one that tears the heart and rips the mind.

Irony, you’ll find, is the underlying theme.

I was everything I was told I would be; yet with time viewed through a rear-view mirror, I am nothing which holds value beyond the front door and those therein are on their way out.

I’d leave too, but domestic skills, they don’t count and writing words has yet to pay the bills; besides, without a degree to back up the lines, there are those who say I’ve spent the last three years wasting my time.

It’s pride, I know, but I’m pushing four decades old and I’m not sure I’m equipped to go back to the shit I did before I became a mom and wife.

I mean no offence, but I’m better than a burger to flip, or the next bag of groceries to sack, my mind knows too much to do that any longer.

I could go back to school, try and educate, but what do I do with the stack of debt that’s all late?

I have no resume. That’s the cost, the loss, of being nothing more than a stay at home mom.

What now?

Who am I without the domestic, the wife, the parental role to play, day to day?

So much needs to change and I’m scared to death I’ve waited too late.

Surely this cannot be my fate?

Even this, the sound of my self-pity makes me sick; but this decline of mine, it didn’t happen overnight.

It wasn’t quick.

My worth was stolen by minuscule measures, so slender the slices, I failed to feel the knife and yet looking at my life there’s nothing left but a bloodied mess.

I should find my way out of this.

I’m not as weak as I seem, but at this moment, I am on my knees.

This is not who I am, but damn, I don’t know what I’m supposed to be.

I’m a little lost and there’s no one looking for me.”

***

I titled this blog post, ‘Inspiration does not have to be Pretty’.

It does not.

Neither do the resultant writings. But I genuinely believe our words should be honest, open and emotional. After all, these are the driving factors of life, our lives. It is what we all have in common, it is what we all respond to… even in fictional stories.

Thank you for reading another of my Ramblings.


Please subscribe/follow this blog if you have not already done so. The button is on the top right of this page. I appreciate your support, Thank You.

Visit my website (HERE) to see my books, works in progress and other projects currently underway.

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Selfie!

Stewart who?

A short while ago I wrote a post as a guest blogger for Noreen Lace on her ‘writing 365’ blog.

The post is about the love one must have for writing to succeed as an author.

These are some of the words I posted on Noreen’s blog.

But it’s just a dream, I guess.

I write to leave a trace of my being, however faint that may be.

I hope, or dream, at some point in the future, someone somewhere will dust off the cover of one of my books and open it. Turning the yellowing, fragile pages for the first time in a millennium.

As they read my words, they shall hear my voice echo through the centuries, be touched by my narrative. I wish them to become one with my story, lost in the world of fantasy and fiction which inhabited my mind generations before… Then, I would not have lived for nothing.

But it’s is just a dream, I guess.

What brought this to mind, was reading one the newsletters I subscribe too, one I often use as a ‘go to’ area for inspiration.

Now, obituary’s may not be everyone’s first choice or idea of inspirational reading material but believe me, there are many strange and unknown quantities revealed in an in-depth obituary, which is why I subscribe to the ‘Notable Obituary Newsletter’as I do with a blog called ‘Defrosting Cold Cases’.

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Yes, I do write crime and murder and psychological drama, not exclusively, but they have become a major part of my overall works, so there is no need to call the police… just yet.

As usual, I digress from the main thread of this post.

Taking my statement above, call it a legacy statement, I connected the thoughts I carried when I wrote it, to one of the obituary notices in today’s, (Feb-4th), newsletter.

The notice is about the death of a man called Stewart Adams.

His name probably means very little, if anything, to you; yet this man has affected many people’s lives, possibly… make that probably, most humans on earth, and yet as I have said, most of us have not heard of him before now.

If I said Stewart Adams was a British chemist, would that help?

No? I thought not.

However, if I ask you, asked anybody, what ibuprofen is, I am sure you could tell me it is an anti-inflammatory pain killer.

In fact, it is one of the most commonly used drugs of its kind and Stewart Adams was the British chemist who led the team that developed ibuprofen.

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Stewart insisted he was his own guinea pig, he always tried out the drugs he developed on himself.

“I always felt it was important to take the first dose before asking others to do so,” he said in a 2012 interview with Trends in Pharmacological Sciences.

His creation of ibuprofen came about during a search for a better drug to treat rheumatoid arthritis.

Possibly one of Stewarts most notable quotes is from ‘The Telegraph’ newspaper interview with him in 2007.

“It’s funny now, but over the years so many people have told me that ibuprofen really works for them and did I know it was so good for hangovers? Of course, I had to admit I did.”

So, we have here the legacy of an intelligent man, a man well respected in both his professional and social communities and a man whose legacy most of us have ingested and benefited from at some point in our life.

Yet, very few of us have ever heard his name mentioned. In that respect, he is almost as unknown as say, you or me.

Which, in my regular rambling way and via my twisted neural pathways, leads me to say this;

No matter how many or how few books you write, how many or how few you sell, by publishing just one, one small short story, you are leaving your own legacy, a mark of your being here, here in this world.

Do not have concerns about becoming famous or well-known. Do not try and chase false celebrity, for no matter what you do, how you affect others’ lives few if any, will recall your name.

Be happy with what is and what you write. If you are honest and true to yourself, your soul will live on forever in your words.

My own words, those written above, then become as much yours as they are mine.

I’ll repeat them again, leaving out the ‘just a dream’ part.

I write to leave a trace of my being, however faint that may be.

I hope, or dream, at some point in the future, someone somewhere will dust off the cover of one of my books and open it. Turning the yellowing, fragile pages for the first time in a millennium.

As they read my words, they shall hear my voice echo through the centuries, be touched by my narrative. I wish them to become one with my story, lost in the world of fantasy and fiction which inhabited my mind generations before… Then, I would not have lived for nothing.

Write on 😊

Paul


P.S. take a look at my Crime & Violence collection, three books of short stories I know you will love.

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Kindle

Volume 1             mybook.to/CandVKindleV1 

Volume 2             mybook.to/CandVPaperV2

Volume 3             mybook.to/CandVKindleV3

Paperback

Volume 1             mybook.to/CandVPaperV1

Volume 2             mybook.to/CandVKindleV2

Volume 3             mybook.to/CandVPaperV3


 

Moment of the Muse

How often do you struggle for something to ‘write about’? or face the so-called writer’s block because you cannot find a topic for your next piece?

I know many writers frequently struggle with finding subject matter. It is something I hear often via author groups and writing associations.

I am a prolific writer, yet have never suffered from either of the above.

Most often, I can be found tapping away on my keyboard as I continue my ‘works in progress’.

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I usually have a few of these on the go at once; non-fiction, a novel, some short stories, a compilation, it is pretty much par for the course.

I have files called ‘stuff & stories to read’; ‘story Ideas & notes’; ‘more writing notes’; ‘other stuff’, and so forth. Each file has sub-files, documents, snipped pages, images, sticky notes and a plethora of summaries, transcripts, annotations, memoranda, footnotes and odd bits I am unsure what to call.

The overriding connection is, they are all my Aide-mémoires to moments.

Some of these notes were transferred from my notebooks. I tend to carry at least one notebook with me at any time, generally, a small flip-type book. If I am leaving the house for any length of time. On long journeys and holidays, I take several, so I always have one to hand.

The jottings in these books can be about a place, a view, something said to me, part of an overheard conversation, or an observation. I even have notes about signposts I find amusing or incoherent.

Other items have been stored from browsing the net, finding ‘stuff’ while researching something entirely different. Some are from messages, spam, sales emails and so forth.

Occasionally reading another’s story sets my mind racing along parallel paths, so I need to scribble down my thoughts of the moment. The result of the stories which develop from these are a far cry to the original stimulus, but sometimes one needs the initial jolt to send the imaginings down a certain pathway. image_block_full_iStock_68956147_XLARGE

These files also include part stories of various lengths. They are from a single sentence or paragraph through to several thousands of words… unfinished works if you wish.

Some are my deletions and edits of other work. The bits I cut out. The parts which did not make the final manuscript or published book. Waste not, want not. They can all be used again in one form or another.

But, the point of this post, each and every one of the notes in those files have come from a ‘moment’, a single moment I have experienced during my life.

After all, life is simply a matter of moments, one after another, after another, like the single frames of a cinematic film they whirr past us in a seemingly continues unbroken stream.

I believe great writing is having the ability to capture any one, or more, of those given moments and revealing its secrets, sharing them with all who will read your words.

Even the longest of novels is created by producing a string of ‘scenes’. Each scene depicting a moment.

Personally, I have a fondness for creating shorter stories, anywhere from about 250 words to, say, twenty or thirty thousand. My favourite though is around 2,500 to 6,000.

This proposes the challenge of making a captivating tale, one with a ‘proper’ beginning, middle and end, with so few words.

I feel the main test of writing such a short story is to examine the writer’s skill, in not only having a complete story but one which burns its presence, its being, into the mind of those reading it. A great story should ask questions, probe the beliefs, principles and convictions of the reader.

Which leads me back to the start of this post where I asked,

“How often do you struggle for something to ‘write about’? or face the so-called writer’s block because you cannot settle on a topic for your next story?”

My belief is you may be overthinking the issue.

Do not try and think of an entire story, of a whole scenario, before you put pen to paper. Just take one moment, one seemingly insignificant moment of your life and write about that.

Think about today. What has happened to you, with you, so far today?

It does not have to be anything exciting.

Not all stories need to have a romantic outcome or bloodshed, murder and mayhem splattered across their pages. The characters do not have to be heroes or superhuman, to have suffered or survived.

Ordinary people, people like you and I have stories to tell too. Try telling one or two of those. Stories and tales regular, normal people can relate to and understand.Article_wakeup_tired

What did you think of the moment you awoke today… write about that?

Expand on that.

Why were you thinking it, what does it relate to, who was involved, what will be the outcome, can you change it? Do you want to change it? Can you stop it changing? and so forth.

Become your character. Believe you are they. Wholly, totally convince your muse you are.

Open your heart, let your soul pour forth. Be honest with yourself. Don’t force it.

Your story will come and it just may be the best thing you have ever written.

Grab the moment, grab the moment of the muse.

 

I’ll leave you with an instant.

A while ago, I read a social status in which a young lady was distressed regarding her writing.

It seems her family, particularly her father, not taking her wish to write seriously, held little interest in what she was writing about, suggesting it would be better if she wrote about him.

Of course, this is not what this young lady wanted to write about. She did not want to write about her father. She wanted to write about something she knew, something she understood.

But everything she had written so far was slighted by her own father. Not very supportive, encouraging or helpful.

This made it extremely problematic for her to choose a topic or subject which would not amplify the situation further.

I shall not repeat the derogatory remarks made or the well-meaning, but pathetic and ultimately unhelpful, words of comfort offered on social. But all the responses took this young ladies post on its surface merits.

The deeper conflict was her relationship with her family, particularly her father and the anxiety it created within her.

This stress was heightened by her desire to write something meaningful while not adding to the household turmoil. Yes, she could have written in secret, but it was obvious she wanted, even desperately needed the encouragement and backing of her family.

All this young girl was looking for was some reassurance. She needed positive reinforcement from her family.

I suggested she write exactly what she posted about. The conflict with her father, why she wished to write and why she wanted to write the things she did. How hurtful her fathers’ remarks were and how the lack of support was so dispiriting.

I proposed she then gave her family the manuscript to read and await a response.

She now has a new laptop her father bought for her writing and a small desk in the corner of the room where she can work uninterrupted.

This is a true story.

As I said above, my advice is;

Open your heart, let your soul pour forth. Be honest with yourself. Don’t force it.

Your story will come and it just may be the best thing you have ever written.

Grab the moment, grab the moment of the muse.


If you want to see my books, find out what I am working on or contact me, then visit my website, HERE

 

 

 

 

 

 

Associating the Oblique and Ambiguous.

 

Firstly, a note:jot_a_note

It is a while since I have written a post focusing on the process of creative writing.

The reason being, I have said much about other ‘stuff’ associated with authoring and publishing. Stuff I felt important enough to warrant writing about.

However, doing so led me away from the core value of this blog, which is to give, in my usual rambling and rather haphazard way, tips, advice and suggestions on improving one’s writing skills and understanding of authorship.

Those of you who follow me will know I do not write in a scholarly constructive fashion, because I do not consider myself a teacher or an authority of literary genius.

I prefer to allow indefinite abstract descriptions to suggest and evoke one’s own perceptions and introspection to convey the messages in each of these Ramblings.

In my heart of hearts, I believe the soul of the writer, the artist that lays within, is the greatest asset of all. No one can learn to write unwillingly; the writer must have love and passion above teaching and education.

A writer must want to write, above all else.

So, with those matters cleared away, I guess it is time to reveal what this article is about.


‘Association’

As a mass noun, the definition of this word, according to the Oxford English dictionary is, ‘The action of making a mental connection’.

Regarding fiction writing, I would take this two steps further and say it is, ‘The action of making a mental, sensory and emotional connection within one’s imagination’.

However, to create such a powerful, multi-sensory consanguinity within a reader’s mind, requires the writer’s understanding and needs them to be adept at wordsmithing.

To me, the word ‘wordsmith’ is a wondrous, self-describing noun.

Imagine standing before a blazing forge, gauntlet covered hands, leather apron, large metal tongs holding a glowing red-hot bar of iron. The other hand wielding a heavy hammer.

Smell the fire, the heat, hearing the Smithy as he pounds the almost molten metal into the shape of his choosing. Not an easy task, one which takes many re-heatings and coolings of the metal. One which takes countless strikes with the hammer against the solid block of the anvil before anything recognisable is formed from the raw metal.download

This is what I envisage when thinking of the word ‘wordsmith’.

My ‘association’ is with the hours of sweat and toil it takes to form a loose jumble of letters and scattered words into a coherent and meaningful sentence. To mould and form each word so it fits seamlessly with the next, so they all flow in a smooth, well-paced fashion to complete the paragraph.

The result of a Blacksmiths work is more than just flattened and twisted metal, it is a product purposely shaped into a functional object, decorated to enhance its appearance, creating an article of both beauty and reason.

Such should be our undertaking as writers. Our words should not only serve the functionality of revelation but create a pathway of beauty and intrigue for our readers to follow. Our tales should hold within their very form the pure essence of captivation, of fantastical fiction.

To do this we must weave that very essence, the distillate tincture of association within our words.

“That’s fine for you to say,” I hear you mutter.“But how do we do that?”

My answer is to consider the word this post is about, consider ‘association’. The association of words.

Now, many of you will be thinking ‘thesaurus’ because that is what a thesaurus is all about, isn’t it?

Well, yes and no.

You see, when I talk of word association I am not merely speaking of functional words you may find within dictionaries and thesaurus. Neither am I considering which words may be grammatically correct. I am talking about creativity, of creative writing. Of breaking the rules when it lends to better or even great storytelling.

Those among you who write poetry may, or at least should, have a greater understanding of the flexibility of words, how they can be moulded to convey more than their basic meanings. Particularly when two or more are used in conjunction, oblique, ambiguous or both.

Wordsmithing in fiction writing utilises what is learnt through the poetic principle, includes and encompasses it within the whole wordsmithing process.

As a way of explanation, I’ll take an excerpt from one of my short stories, ‘The Bridge‘, taken from volume three of my short stories collection, ‘Tales of Crime & Violence’

Out of context, I think this is a rather unremarkable excerpt. Even so, once studied while holding the concept of association in mind, its secrets are revealed.

The Humber Bridge is monumental. It is suspended by a mass of giant pythons, twisted metal cables one hundred feet above the sludge brown of the river. From tower to tower it is one mile and the road continues to reach out from there, grabbing the riverbanks with blackened tarmac and concrete fingers.

Yet, for all the earth destroying steel and concrete construction, the bridge has an illusion of beauty that is enhanced by nature itself. Somehow the two blend, even complement each other, an amalgamation of converse contraries.

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The Humber Bridge

Firstly, the suggested size of the bridge is stated, in an emotional way, by using the word monumental.

It is then revealed to the reader this is a suspension bridge.

Using the term ‘mass of giant pythons’ is suggestive of and leads into the next sentence ‘twisted metal cables…’

Here are the first wordsmithing associations.

Most people know what a suspension bridge looks like. The story could be told by simply stating this bridge is a vast suspension bridge.

The following words about metal cables could have been just that ‘metal cables’. But the addition of ‘twisted’ is used specifically because of its association with the commonly held image of snakes.

We have now created an image in the reader’s mind of ‘giant twisted pythons holding up a bridge’. Which is a far better read than say, “a large bridge held up by steel suspension cables”.

To continue, the height of the roadway on the bridge is given, one hundred feet, so is the fact the bridge is above a river.

So, once more, the story could read “… a large bridge held up by steel suspension cables one hundred feet above a river…’ Which factually would be correct, although it does not make a very captivating or entertaining read.

Moving on, the incorporation of the words ‘sludge brown’ is purposeful. Not only to transfer the perceived visual perception of a dark river but to almost subliminally link back to the snake imagery by suggesting colour association while taking into consideration most people visualise a river as ‘winding’ or ‘twisting’. Another correlation.

While this imagery of bridges and pythons is building in the forefront of the reader’s comprehension, there is also the fact the author is creating an atmosphere of dark foreboding; or at least the idea of something ominous germinating.

Sludge brown, twisting, python, mass, all have links with the nefarious.

The next ‘s sentences structure reinforces this unease.

The factual description of the bridge is given, but this is enhanced by a form of predicate which strengthens the sinister. “… the road continues to reach out from there, grabbing the riverbanks with blackened tarmac and concrete fingers.”

Reaching out, grabbing, blackened, fingers; all strong adjectives which focus on creating a sensory awareness of the underlying drama.

While a person may not be fully aware why, or what effect these words are having as they read, you can bet your bottom dollar their subconscious will. Personal and social belief, acquired by myth, legend and the silver screens of Hollywood has conditioned us to be susceptible to even the slightest of suggestive input.

It is also a long-proven fact when one reads, they absorb far more, far quicker than by any other method of communication.

The above example is a rather direct and implicit one. But there are stronger yet more oblique instances.

Like these, from my poem ‘Doorway’

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This side or that.

In or out.

With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.

Life or death.

Simple. A wooden frame. Harsh nails, forged from iron, blood and sweat in the furnace of forgotten hopes. Spikes driven deep, driven through, splintering the flesh of being, binding into cold stone of indifference. Hanging forever, bearing the pain for an eternity.

But not so simple. A sign, a warning, a barrier. Invisible in its presence of possibilities lost, scorned, unfound, unbelieved. Open but empty, a nothingness that stops you dead in your tracks.

Division.

This side or that.

In or out.

With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.

Life or death.

Lost or gained or never had. Can you lose what was not? Can dreams die or do they fade away; decompose as out our living bodies rot with age upon our bones.

What is there, beyond the gaping opening of the way?

Future, or past repeated. Mirrored fears steeped in time, awaiting our return from where we have never been. A destination desired by myth, by greed of those who will not step this way, cowering in the shadows of mediocrity, of sallow existence, of being too far from any door to be truly known, except by repeated words, all meanings lost in the whisper of time, misinterpretations and vague comprehension.

What ifs lay as a carpet of likelihoods, a vastness of possibilities, probabilities, stretching away to the rims of risk and horizons of chance; choices to be made, taken, grasped or passed up.

Prospects scorned or lies waiting to trip the unwary traveller, to crush your skull, your hopes, your faiths until they crumble into a dust of inferiority until your knees bleed on the cold stone floor of humbleness and subservience.

Know your place.

With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck. Fertilised or barren.

Life or death.

How long the openness. How soon the slam of too late shall shut out the light from the other side, of this side or that, or the other, and so vice-versa. Versa-vice.

Sounds vanished, diminished. New hope runs down our legs, incontinent imaginings puddling beneath our feet, wasted.

There is no return. Time flows by, constant. There is only now, just then, what was. Already you are too late, it has gone. Stealing away those possibility’s which once were yours and now belong to another. Maybe not yet born. A foetus of stardust, a twinkle of forlorn wishes.

Maybe they will be the ones who shall hesitate at the gates of option and chance. Maybe they will settle for comfort and the familiar and choose not to stumble blindly into the realm of the unknown?

Or maybe they shall pass this way, step through the door and into the future of destiny without looking backwards?

This side or that.

In or out.

With, without or within. Feast on the cornucopia of having or scrabble naked in the dry dust of want. Birthright or luck? Fertilised or barren.

Life or death.

You choose.

..

Without getting too bogged down in technicalities, (not my thing), I will just highlight a few instances from the above, and then leave you to read and re-read the above poem and find the associated words which link together to create the stories own vibrancy.

First, ‘cowering in the shadows of mediocrity’.

One may expect to read ‘Cowering in the shadows,’ I am far from the first to write those words in that order. But then consider the use of ‘mediocrity’, it is not generally expected in this framework.

What are the shadows in your story associated with? Think of an indirect but implicit word and use that or another to suggest the ‘feeling’ you wish to create. Pair words which are oblique or ambiguous to create new meaning, to create the atmosphere you intend.

Forget about those ‘rules’. Ignore the grammar check in word or Grammarly or whatever. There is no substitution for the mind.

Secondly, take ‘your knees bleed on the cold stone floor of humbleness and subservience’.

This conveys a strong message from the initial simplicity of what may be expected until the string ‘humbleness and subservience’ appear in conjunction with the rest of the sentence. Those reading are expecting something far simpler, say ‘the castle, or maybe ‘the house’. But inserting ‘humbleness and subservience’, leads the mind to immediately think of servants kneeling on the cold stone floor.

Linked with the previous segment of the paragraph that mentions prospect, lies and faith the ambiguity is one of suggested religion and loss of belief or at least a trial of personal conviction.

Often when using oblique association, or creating one in such a way, it strengthens the powerfulness of the imagery formed.

imagesIf this includes creating your own metaphors or making new words do so. Shakespeare did not suffer the slings and arrows of outrageous fortune by only using the accepted words of his time.

Using this ‘sideways’ form of association, not only in poetic context but in storytelling, can produce a weighty and influential transcript that will hook the reader both openly and subliminally.

Good storytelling is not just about style and content; it is not all about narration, it is not simply getting all your words in order, it is all of this melded cohesively and working in harmony throughout the entire structure of your manuscript.

It is about modelling the words you use, moulding and melding them to conceive something new, something uniquely yours, it is about practised and proficient wordsmithing.

When editing, read, re-write and work each individual sentence. Hone it, sharpen it, until it has its own perfect edge and then move onto the next.

Never skip a word, examine each one; examine its place in the sentence and change it, one word by one word, sentence by sentence, polishing and shaping and forming each little detail until every sentence is a magical story in itself.

Do the same time again and again, until every detail shines clearly.

Only then will your tale truly deserve to be called your ‘finished’ work.

Anything less is less.


The first excerpt in this post was taken from ‘Tales of Crime & Violence, a three-book collection.

You can get yours by following the links below.

UK http://amzn.to/2zZFWFN

USA  https://goo.gl/Q0DXRq

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Hluhluwe Umfolozi, feeding lions and a rather intangible abstract notion.

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©PaulWhite

I was asked recently, by Francis de Aguilar, a writer friend, what first caused me to “Become interested in African wildlife.

 

A simple question.

I told him it was after visiting South Africa, particularly the time I spent in the Hluhluwe Umfolozi Game Reserve. 

However, Francis’s question stayed in my mind; although I answered him, it left a nagging doubt in my mind I was wrong.

I was.

After pondering for a few days, the truth unravelled itself. I now knew the correct answer.

My interest with Africa and its diverse multitude of wildlife was first stoked by reading the novels of Wilbur Smith.

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©PaulWhite

Back in the early seventies, I picked up a rather dog-eared and worn copy of ‘When the Lion Feeds’, which I devoured within two days. I followed that book by purchasing ‘The Dark of the Sun’, again read within a few days.

I was about sixteen years old and, for the first time, ‘hooked’ on a particular author.

I read all of Wilbur Smith’s books up to the 1991 publication of ‘Elephant Song’. My favourite book, (excluding any of the ‘Courtney or Ballantyne Novels’) must be ‘Eagle in the Sky’…or ‘Cry Wolf’…or ‘A Sparrow Falls’….or…

But I digress.

 

The real answer to the question posed to me by Francis is, it was reading these books when I was a young man that stimulated my imagination, made me think about the heat, the vastness, the veld, the bush and, of course, the animals of Africa.

For years, I carried my imaginings of the world Wilbur Smith planted in my head with his words, until one day I had the opportunity to visit Africa myself.

I was not disappointed.

The continent is mind-bogglingly vast. The scenery, the smell, the sun, the animals, the people, everything exceeded my expectations, bettered those imaginings I held onto for so long. This I find is something rare, very few places ever exceed our own imaginative conceptions.

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©PaulWhite

I have returned to Africa many times, to different areas, different countries within this vast dark continent.

You may have heard it said, Africa captures, not only your heart but soul and once you have been, you can never really leave.

These are some of the most honest words ever spoken.

I am here now, but part of me will forever remain in Africa.

Now, being a writer, I cannot leave an article like this with just one conclusion when I know there are always several stories to be told about everything.

Therefore, I would like you to also consider this from Wilbur Smiths point of view; or maybe it is just my own interpretation of what I think his view may, or could, be.

Who knows? But I’ll write my thoughts out anyway.

I wonder if dear old Wilbur thought of me when he wrote his first novel?

I don’t mean me as an individual, as a single person but as a conceptual being. I wonder If Wilbur thought he may influence some young man, somewhere in the world, to fall in love with Africa as he typed out his very first paragraph of ‘When the Lion Feeds’ way back in the early 1960’s. (The book was first published in 1964).

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©PaulWhite

Then, my thoughts ask the very same question of myself.

Do I have an image, a conceptual ‘personage’ in my mind who may, one day, be influenced by my own work, by my writings, by the tiny little black shapes, these strange runes of ink I scattered across countless pages?

The answer is yes, I do have such a notion, albeit a rather intangible abstract.

Which leaves you to ask yourself the same, do you?

Think about it carefully, do you?

If you would like to take part in making my rather intangible abstract notion a reality, then please start by reading ‘Within the Invisible Pentacle’ a collection of thought-provoking stories which are not quite as you may think they may be…

Just click the cover image.  WtIPV1small

Thank you, Paul.  

How to sell you book series by writing another book.

 

 

Does this title sound stupid? (Don’t answer that.)

I was trying to come up with a fancy, clever, literary genius of a title, one which would give an undeniable clue to the content of this post.

I got a few good ones lined up and then re-read them. Most were so oblique even I forgot the connection. Others read more like popular newspaper headings than a serious post about writing.

In the end, I settled for what you have above. Which cannot be too bad because here you are, reading me waffling on about something inane.

Okay, on with my post.

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Many of my indie author friends, especially those who tend to write in a specific genre, have one or more series of books.

I know writing a book series is no new thing, but it is one which has become resurgent in popularity over recent years. This is partly because of a shift in reading habits, which in turn is partly influenced by film and television ‘franchises’. (I shall not go into the reading trends and patterns regarding general social psychology of the masses here… albeit a subject I love.)

The ideal is to have someone buy a copy of one of your books and like it so much they rush out and by the whole series… or nowadays go to an online bookstore; not so much fun as browsing a ‘real’ shops shelves but quite practical, especially for social hermits.3D0BD1E700000578-4211670-image-a-35_1486740472482

Anyway… I seem to be digressing.

The problem, it seems, lays with having ‘that someone’ buy the first book of your series.

Herein lies a quandary.

Until such a person has a copy of your book in their sticky mittens, they shall never know how captivating the story is. They shall never know your carefully crafted characters, fall in love with your protagonist or hold disdain for your antagonist.

Neither will they learn how well you write, narrate or how charming a tale spinner you are. Which would all be a ‘bit of a shame’.

Oh, I hear so many of you thinking, “it’s all about promotion and marketing, that’s how you get readers.”

Well, yes and no.

Yes, it is about promoting your works, and NO… Allow me to enlighten you on my reasoning.

It is not all about promoting your books. (‘Promoting’ is a word I shall use as an ‘umbrella’ term to include marketing, advertising and such hoo-ha for the duration of this post.)

It is all about promoting you, your books, both individually and collectively, and your author brand, in a certain way.

If I were to cover all these topics, in one post, I would end up writing an entire thesis three thousand pages long, neither something I have time to write in one sitting, or, I am sure, you have time to read. So, I shall concentrate purely on one aspect and follow up, in future posts, on other relevant subjects.

As the amazingly conceived title of this post states, I shall continue discussing your book series.

It has become something of an urban legend, a myth which survives to the present day and one which far too many authors still fall prey to, that is the one which says: “if you give your first book of a series away as a freebie you will gain lots of new readers who will buy all your other books.”  

BULLSHUSH.  51ap3vRNKyL._SY300_

 

That is a lie, promoted by those who generate financial gain from (often desperate) indie authors. Free may have been a viable option in the early days of the internet when Amazon was just a simple bookstore when indie authors were referred to as desktop publishers and vanity press meant having a book for sale outside of a mainstream publishing house. (See: https://wp.me/p5nj7r-1fn )

There are ways forward, none are push and go or plug and play. Each takes time and consistent effort to achieve and not all will work equally for all authors, their books or series. Book promotion is not an exact science.

Thunderclaps, Daycause, Blog hops, Tweet chains can all form part of your overall promotional strategy… You know, the carefully planned and timed schedule you have designed. The one which ensures you maximise each promotional effort… Yeh, that’s the one, your synergetic multi-arena integrated sales stratagem for the 2018/19 marketing period.

However, few authors consider writing a further book, or two or three or more to help gain and build readership and, on the face of it, with good reason. After all, writing another book is only adding to the series and that takes us back to square one… doesn’t it?

Not necessarily.

You see, this is about taking a new approach to authors promotions, in this case, Prequels… now, I know prequels are not new; way back when, we had Charlotte Brontë’s ‘Jane Eyre’ (1874); but did you know that Jean Rhys wrote the ‘Wide Sargasso Sea’ in 1966 as a prequel and response, describing the background to the marriage Jane learns about after going to work for Mr Rochester?

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How about a prequel with a difference?

Let me ask you some questions…

What if… you could write a shorter book, a book especially targeted at attracting readers to your current series?

What if…  a group of authors would help you promote that book?

What if…  a book brand would include your book in its promotions, making it constantly visible to a global audience, online, in magazines and via social media?

What if…

What if…  you became an Electric Eclectic author?

EEgrunge

Currently, Electric Eclectic are well known for their ebook Novelettes, their short stories books which help connect readers and authors.

But now, Electric Eclectic is launching a form of book they call a ‘Proquel’

These are Prequels, Character Backstories and Parallels designed specifically to introduce readers to your book series, in fact, the name Proquel is simply an amalgamation of the words promotion and prequel. (Pretty cool, yeah?)

Now… unlike many books, an Electric Eclectic proquel is unashamedly a promotional tool. While there is no compromise regarding the quality of content or storytelling, these books do not have to be full-length novels, but novella’s, with a suggested word count of between 17K and 40K words.

Once assessed and accepted by Electric Eclectic, your book(s) benefit from all the marketing and promotional activities of Electric Eclectic and your fellow EE authors.

You will have your books on the Electric Eclectic website along with a personal author page and much more. You can check out the Electric Eclectic website HERE.

And…this is the BEST BIT… you make money on your proquels too… yep, you still earn full royalties on your book sales. future

 

Electric Eclectic is NOT a publisher and does NOT take royalties.

You will get all the above for a minimal fee… and I mean a minimal fee.

You have nothing to lose.

So, why not find out more about becoming an Electric Eclectic author and, how writing just one other book, could help you sell your whole series?

With major ground shifts and changes occurring throughout the publishing and online worlds, becoming an Electric Eclectic author could be the best decision you make this year.

Simply Email EEbookbranding@mail.com for further information.

reflection

 

That was 2009… Now it’s 2018 it doesn’t work anymore.

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Once we have learnt about something, once we consider we understand it, think we have mastered it, we like to run with it, to keep it.

We are often loath to stop, to give it up… to alter anything.

Many of us are resistant to change, of losing the little comfort zone we made for ourselves. One can liken such to the reluctance of a child giving up a blanket, or a soother.

If we do make the move, we find it easier to be weaned, to slightly adjust, little by little, so we don’t notice the change, or at least that is how we convince ourselves.

The problem is, by the time our situation has evolved in a way which assuages our reluctance, we find we are far behind the madding crowd, so far behind we have little chance of catching up.

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In these days of high tech communications and internet connectivity, it is now more obvious than ever before.

Only the fearful and desperate cling to what once was,.

Only the backward and slow reminisce and wish for those ‘good old days‘ when a Facebook post actually reached ALL your ‘friends’ and not just the 3 to 10% they do with today’s algorithms.

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The same is true of your book promotions. This is why your sales do not exceed the minimal expectations you tell yourself are reasonable goals, let alone your wishes and dreams to become a consistent bestselling author.

To give away a book for free is an archaic, outdated and outmoded marketing model. One which no longer holds any credence, but one which so many still cling to with dying hope, like a gambler sliding deeper into depressive debt.

Paying another organisation to give your books away is a sign of utter desperation. A despondent cry for help, for someone, anyone to read your story.

In reality, it is authorship suicide; one you may never recover from financially and one which could leave your reputation in raggedy tatters, before you even start.

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Book launches and parties no longer pull the crowds. They are a nice way to spend a few extra hours chatting with those you regularly talk to every day; to hear them say nice things about you, your book and “what a marvellous cover” you have.

But such events no longer attract readers. They have been overdone and done over, like an ancient, wrinkled whore, they no longer hold any attraction whatsoever.

Thunderclaps, Headtalkers, Daycause are little more than a (mostly) unseen flash-in-the-pan. A quick blast of tweets and public post which disappear down the scrolling stream faster than Usain Bolt running a hundred meters.

Authors, you NEED to find new ways to promote your works, ways which offer longevity rather than the promise of making a ‘quick buck’ or selling a few more copies of your latest tome overnight… for one night only.

You need to find a simple, ongoing promotional aid which is always working for you, even when you’re not working.

A low-cost way that won’t break the bank, or better still, a way which will pay you a return, a royalty, on your promotional material.

Now wouldn’t that be wonderful…

If only such a thing existed…

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Well, such a thing does exist, but only for those who are prepared to move forward, to see the changing lights (mostly red ones) as social media platforms are brought to task and the hyper highway of freedom and unlimited possibility become more crowded, slower and, well… limited.

Even more so now Google plus is/has shut its doors. MeWe and Pluspora just don’t have the numbers or, as yet, the financial backing to grow fast enough or fight hard enough to take on the big boys… at least for now.

A small, but growing group of indie authors, are moving forward into the new dawn of altered perception, of interweb reconstruction and publishing future.

It is a group which, (at present), still has its doors open to welcome a few more indie authors inside. Authors with great tales to share, who are well crafted in penning a wonderful story. Authors who are serious about writing, about selling their books, about being authors.

So, what is this group and who are these indie authors?

Simple, we are Electric Eclectic. The book brand which is sweeping the internet.

This is your opportunity to be part of it.

Visit the Electric Eclectic website now.

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