Regular readers of these Ramblings will know this post is a little ‘off-beat‘ to those I generally write. However, read on, I am certain you’ll find this entertaining if not a little… well, read on to find out…
I have the sunglasses.
Racing at the Yas Marina Circuit in Abu Dhabi
Although I am a multi-genre author, I do not tend to write science fiction and have never attempted a dystopian novel.
However, this does not stop my thoughts from wandering into such realms, such as it did a short while ago.
I was contemplating the forthcoming lifting of travel restrictions and therefore, by default, thinking about the pandemic, when this idea entered my mind.
Now, I have heard several conspiracy theories which claim Covid 19 is fake. Many of these theories then speculate about mass public control, or Illuminati culling the human species and so forth.
I am sure you have read many such posts on social, especially at the start of the Pandemic.
As part of my thought process, which was an uncontrollable stirring of the muses, I recalled the 2007 film ‘Invasion’ and the ‘Pod People’.
For those who are not familiar with the film, this is the explanation on Wiki:
“In ‘The Invasion’, the aliens are a virus. After the person falls asleep, the virus re-writes human DNA.
Then, these Genetically Modified (post-humans?) vomit a gelatinous substance to continue the invasion.
As their invasion snowballs, the pod people transform humans by injecting them with the substance under the guise of ‘influenza vaccines’”.
So, you may be asking… if you are still reading this… what my mind was doing with all this information.
Well, simple, it was drafting a rough outline for a novel that goes something like this. (Conspiracy theorists get your pens ready!)
What if this Covid 19 pandemic is fake?
What if it is planned unilateral action taken by world leaders?
What if they are doing it to appease an extra-terrestrial lifeform who have returned to ‘Harvest’ their human crop?
What if our governments are attempting to assuage the aliens by offering a limited number of humans, hence the major number of ‘deaths’ in the first wave?
Then, a lesser number in the second and third waves of the pandemic and the lockdowns, as our leaders negotiate with the extraterrestrials?
What if they are hiding the truth to protect us, to protect society?
It is said the human race may have come from stardust… maybe our ancestors were simply seeds?
Many peoples ask what is the point of life, of being… maybe we are just being bred as food, on a farm we call the universe?
Maybe we developed beyond that which was expected, maybe we have a chance of survival if we give up some of our numbers every 1000 years or so… maybe, one day we could fight back, even escape?
Maybe… You write the story… I’ll read it.
In the meantime, could I temp you to read one of my books? Check them out if you will by visiting mywebsite.
I have recently been helping several new-ish authors, along with some quiet well-established writers, with the design and layout of their book’s interiors.
It appears many authors, even those with some experience, do not understand the established and recognised principles of interior book design.
The standard layout of books is no accident. It has evolved from the first medieval printing presses to the current day online publishing, and POD.
The issue here is, if these basic conventions are not followed, at least to the greater degree, your book will look and feel amateurish to readers.
Thus, leading to slow take-up of your title, and possibly, maybe probably, eliciting poor or bad reviews.
In short, an inadequately formatted book, even one which has undergone meticulous copy, line, and development editing, will fall short of the standards expected and required by today’s avid readers.
This post, unusually for me on this blog, directly addresses the basic principles and concepts of interior formatting of paperback & hardcover books and, to some degree, that of their lesser cousin, the eBook.
I have not called this post ‘Interior Formatting,’ as that covers a much wider and far more complex set of procedures, and is covered elsewhere in greater detail, as in my books ‘The Frugal Author’ and ‘Lots of Author Stuff you Need to Know’.
At the end of this post, you will find links to these two books which address many, if not most aspects, of independent and small press authorship.
Both books are ready to download now and, I am certain, you will find the answers to many of the questions you have, but have never asked.
NOW, WITHOUT FURTHER ADO, HERE IS THE PROMISED POST….
BOOK DESIGN AND SECTION LAYOUT
Note:a page is one side of a leaf.
When you ‘turn a page’ you are actually turning the leaf of a book, which is two pages. Each side of the leaf is a single page.
In this post, ‘Blank’indicates a page typically left blank by traditional mainstream publishers.
The front matter of a book consists of its very first pages: the title page, copyright page, table of contents, etc. There may also be a preface by the author or a foreword by someone familiar with their work.
First Page: Blank/Flyleaf
Leave this blank.
2nd Page: Frontispiece/Blank
Page 2 is the back of page 1 and remains blank unless you include an illustration.
Such an illustration is called Frontispiece.
This decorative illustration or photo appears on the page next to the title page.
Traditionally, a Frontispiece will be placed on a left-hand page.
Usually opposite the Frontispiece.
It shows the full title of the book, along with the author’s name as they appear on the cover.
The Colophon or copyright page includes technical information about copyrights, edition dates, typefaces, ISBN, as well as your publisher and printer.
Usually positioned on the reverse of the title page.
Quotes from esteemed reviewers and publications in praise of the book.
This praise, or some of them/it, often appears on the back cover too.
A page where the author names the person, or people, to whom they dedicate their book, and why.
This typically comes after the copyright page.
Table of Contents
A list of chapter headings and the page numbers where they begin.
The table of contents, often abbreviated to ToC, should list all major sections that follow, both within the body and in the back matter.
Blank or Epigraph
A quote or excerpt which indicates the book’s subject matter.
An Epigraph can be taken from another book, a poem, song, quotation or almost any source.
It generally immediately precedes the first chapter.
Reason for writing, word of thanks.
An introduction written by the author, a preface relates how the book came into being or provides context for the current edition.
An introduction is written by a person other than the author.
Often written by a friend, or scholar of the author’s work. Otherwise by a recognised authority of the books subject’s matter.
It is an honour to be asked to write a Foreword.
The body of a book is pretty self-explanatory: the main text that goes between the front matter and back matter. For readers and writers alike, this is where the magic happens — but it’s not just the content that’s crucial, but also how you arrange it.
Prologue (for fiction)
The section before the main story begins.
A prologue aims to set the stage and intrigue the reader.
Many prologues contain notes of intriguing events which only become contextualized as the reader gets deeper into the story.
Introduction (for nonfiction)
A few pages that usher the reader into the subject matter.
The introduction clarifies the book’s setting and/or events linking to the content, along with other information relating to the main narrative.
Note:The difference between a preface and an introduction is a preface is personal to the author, discussing why they authored the book, and what their process was.
An introduction relates directly to the subject matter, it establishes the position of the book in relation to its content.
All books have chapters, or sections, into which the narrative or content is divided.
Epilogue (for fiction)
An Epilogue is a scene that wraps up the story in a satisfying manner.
Often an epilogue takes place sometime in the future from the last chapter.
If the book is part of a series, the epilogue may raise new questions or hint at what is to come. A technique known as a ‘Hook’.
Conclusion (for nonfiction)
This section sums up the core ideas, values, and concepts of the text.
Explicitly labelled conclusions are becoming less frequent in nonfiction books, which now commonly offer final thoughts in the last chapter, but academic dissertations are still formatted this way.
This allows giving final notes on the books content not otherwise addressed.
It is a useful tool for edited, revised, and new editions.
The Afterword can be written by the author or another person.
A brief final comment after the narrative comes to an end, usually just a sentence or two.
For example, “Mr Archibald Carruthers died at his Cotswold cottage three months after this book’s publication. Happily, he saw his story come to fruition.
Also known as the ‘end matter’ is the material found at the back of a book.
Authors utilise the back matter to offer readers further context or information.
The back matter is also an excellent marketing tool, listing the authors ‘other publications’ and giving links to websites.
A section to acknowledge and thank all those who contributed to the book’s creation.
The acknowledgements generally appear directly after the last chapter.
About the author
Is where the author gives a summary of their previous work, education, and personal life.
For example, “John Doe lives in Hampshire with his wife, two wayward daughters and two, even more wayward, Great Danes”.
If the author has sought permission to reproduce song lyrics, artwork, or extended excerpts from other books, they should be attributed here.
Such items may also appear in the front matter.
A section rarely used nowadays, but worth considering for inclusion.
Thought-provoking questions and prompts about the book, intended for use in an academic context or book clubs.
Appendix or addendum (nonfiction)
Additional details, or updated information relevant to the book, especially if it’s a newer edition.
Chronology or timeline (nonfiction)
List of events in sequential order, which may be helpful for the reader, especially if the narrative is presented out of order. A chronology is sometimes part of the appendix.
Supplementary notes relating to specific passages of the text, and denoted within the body by superscripts.
Most often used in nonfiction, but occasionally found in experimental/comedic fiction.
Definitions of words or other elements which appear in the text.
In works of fiction, the glossary may contain entries about individual characters or settings.
A glossary should appear in alphabetical order.
For example, in a science fiction book, the Glossary could list the names and details of individual planets in the story.
Generally used in non-fiction.
A list of special terms or phrases used in the book, along with the pages on which they appear, so the reader can find them easily.
An index should appear in alphabetical order.
A formal list of citations, a comprehensive breakdown of sources cited in the work.
Here are those two books I mentioned earlier, books no author should be without.
It is rare for me to post about my works in progress (WiP) on this blog, but today I make an exception.
Following is an excerpt from a novel I am working on titled ‘FLOYD’, which is a fast paced ‘slasher’ style story, about the deranged psychopath, Floyd, who is on a mission of revenge against all those involved with his committal to an institute for the insane, after he murdered his wife.
WARNING:The following contains scenes of extreme graphic violence and more than a sprinkle of bad language & swearing, so readers discretion is advisedbeyond this point.
… Floyd did not expect the Bitch to run at him. Neither did he think she would seize the carving knife from the counter. He was wrong on both counts.
She crossed the floor fast. He managed to dodge the blade as it whistled past his face. Instinctively he grabbed her arm, twisting it so she would drop the knife. But the Bitch continued to struggle, the long steel blade sliced the top of his thigh. It was damned painful.
Floyd kicked her knife-wielding arm away with his foot, keeping hold of her other arm. Then she was spinning towards him again. He took hold of both her forearms as they wrestled. Bending her wrist, forcing the knife away from his face caused the tip to sink into the top of the Bitch’s left breast. Floyd heard her flesh pop like a sausage.
The Bitch seemed oblivious. She pulled the blade free and stabbed it towards Floyd. This time he was ready, he knocked the knife from her grasp and took hold of her hair, jerking her off her feet.
The other Molly, Floyd’s new Molly appeared in the kitchen doorway. “Go on Floyd,” she shouted, “give the Bitch what she deserves. Go on Floyd, give her hell.” His Molly was bouncing up and down with excitement. Her presence bolstered his reserve, Floyd’s blood came back to the boil. Without thinking he dragged Bitch across the floor by her tangled blond hair.
“Stop, stop, you bastard,” she screamed. He ignored her, pulling her roughly up the staircase. She half bounced, half backwards scrambled, her legs flailing as she tried to keep her body moving to stop her entire scalp from ripping off her head.
Floyd lost his grip as they reached the landing, he stumbled to his knees, a great clump of tangled peroxide hair entwined between his fingers. In an instant the Bitch was on him, her small fists ineffectually battering against his back. He pushed her off easily. Standing, he grabbed her by her left arm, pulling her to her feet.
For a second they stood, panting and staring into each other’s eyes before the Bitch spat into his face. Flecks of spit, snot and blood-splattered Floyd. He hit the Bitch with a sweeping backhand. Her head bounced off the wall and she collapsed, an unconscious heap on the floor. Blood began pouring from her nose and the puncture wound on her breast.
The new Molly cheered. “That’s the way Floyd, you teach that fucking Bitch a lesson.”
Floyd hoisted the Bitch from the floor, carrying her limp body into the bedroom and tossing her onto the bed, noticing for the first time the red weal’s adorning her buttocks. So that is what the Bitch was into now, was it? So, she found she likes a bit of pain with her pleasure. Well, she could certainly look forward to some pain now.
Floyd took his leather belts from the dresser and strapped the Bitch’s hands together, tying them above her head to the bedstead. He used her stockings to fasten her legs to the bedposts at the base. The Bitch was now restrained. Spread-eagled and at his mercy, something he would have her begging for soon enough. She could not fight him now. She would have to answer his questions… or suffer the consequences.
“Let me look at your leg, you poor thing,” said his Molly, crouching on the floor in front of Floyd. “It’s quite deep. I think it will need stitches. A clean-up and some tape will help for now. Come on.” Molly led him into the bathroom.
“Oh, oh, look at this,” Floyd said pointing to the floor. “That fucking bitch has bled all over my fucking cream carpet. I’ll never get the blood out. For fuck’s sake, it will cost a fortune to replace.”
Molly bathed his wound, temporarily taping it together with some plasters from the medicine cabinet. He changed his dishevelled, blood-soaked clothing. “Grab me a cold beer, Molly,” he said, as he made his way back to the bedroom. “I am certain the Bitch will make this thirsty work.”
Floyd splashed the Bitch’s face with some of the cold beer. She blinked and coughed as she regained consciousness. “Now, now Molly, my dear,” he said looking down at her, feigning a smile.
He spoke softly, much like talking to a child. “Now I have your complete attention, your undivided attention, you will answer my questions, no lies, no evasion. Do you understand me?”
The Bitch struggled against her restraints. “Untie me, let me go,” she demanded.
“Oh, but I thought you liked that type of thing, a bit of bondage, a good thrashing?” He kept his smile in place as he spoke.
“What?” she asked.
“The red marks, the welts on your fat arse. There is only one way they got there,” he said.
“You’re not man enough for me to let you do that. You don’t excite me or stimulate me enough, not one little iota. You never did. Now untie me, you bastard.” The Bitch’s voice was screechingly loud.
“After you answer my questions.” Floyd perched himself on the edge of the bed and gently stroked the Bitch’s head, brushing the hair away from her eyes. “That must feel better. I know how you hate it when your hair covers your face.”
“Let me go, Floyd. This is not funny anymore.” The Bitch spoke a little quieter but through gritted teeth.
“Oh Molly, you must listen to me,” he said, bending close and grinning.
His voice changed to a spiteful hiss, “For once in your fucking life listen to me, hear me, answer me, you bitch.”
“Fuck you.” Molly was shouting again.
Floyd punched her full in the face. He found the crunching sound her nose made is it snapped deeply satisfying.
The new Molly stood behind Floyd, her arms wrapped around his waist, she rested her head on his shoulder as she spoke. “You know the truth. You know she’s been cheating. Why not finisher her off now, so we can be together.”
Floyd looked at the Bitch laying on the bed. Her face was turned away. She was crying. Her body shaking with each sob. The fuck, she looked so pig ugly with her mouth screwed up like that. Besides, there was blood and snot everywhere.
Glancing over his shoulder, the pretty face of his new Molly was smiling at him. There was no contest, no contest whatsoever.
“Your right. Let’s get rid of this bitch,” he said.
Molly stepped backwards and held up the kitchen knife, the one Bitch Molly picked up in the kitchen, the one she used to cut Floyd’s leg.
“This should do it,” she said.
He took the knife and held it in front of the Bitch’s face. “So, you like something long and hard inside you, eh? You like some pain, do you?”
This was it.
This was it. This was his dream.
This was the moment he recalled from all his nightmares.
The Bitch lying on the bed, looking up in fear, in terror. During his dreams it seemed wrong, it frightened him. But now it all made sense. It was a premonition. A warning about this evil Bitch’s intentions.
“Go on Floyd, do her.” Molly was bouncing with excitement again.
“Oh, I shall. I am going to slit her throat from ear to ear.”
The Bitch was staring at him. “Who the fuck are you talking to? You sick bastard.”
He smiled, “Say hello to Molly, Molly.” Floyd reached out and pulled the new Molly to his side. “Look, isn’t she beautiful? She looks like you used to before you changed, before you cheated, before you became an old haggard Bitch. My new Molly is taking your place now.”
“You’ve lost the plot, Floyd. You’re sick. Sick in the head.” The Bitch spat out a mouthful of blood. “You’re hallucinating, seeing things.”
“She looks like you did once, do you know why? Eh, do you?”
“There’s no one there Floyd, you’ve turned fucking psycho.”
“She looks like you because she is you. My new Molly’s from a parallel dimension, a multiverse.”
“Fuck you, fuck you. You sick cunt. Now let me go.” Molly began to scream. Loud, high pitched screams and shouts for help.
“Shut her the fuck up, Floyd,” new Molly said. She had stopped bouncing up and down and was covering her ears with her hands. “It hurts my head.”
Floyd straddled the Bitch, one knee each side of her chest. His left hand forced her chin up, exposing her throat. He held the knife inches from her eyes, “Say goodbye, Molly. Say goodbye.”
The Bitch shrieked an ear-piercing, spine-tingling scream which vibrated every bone in his body. The knife sliced through the Bitch’s flesh like a butcher cutting pork. Her screams turned into a bloody bubbling gurgle. Floyd noticed the realisation and saw the disbelief in the Bitch’s eyes as the last moments of her life soaked into the crisp white linen bedsheets.
“Oh, my love, you did it, you did it,” said the new Molly, slinging her arms about Floyd’s neck, smothering him kisses. “You are such a darling.”
“Time for another beer I think,” said Floyd…
FLOYD continues to be a Work in Progress, I’ll post more here when I’m nearer to completing this story.
In the meantime, why not read another of my books, perhaps an Electric Eclectic novelette like ‘A New Summer Garden‘, a classic Crime Thriller.
Do you believe your writing has been enriched and influenced by the books you have read?
If so, is it just the good books, the ones you love, the ones which made some connection with your soul?
Or… would you say the bad books have an equal hand in affecting your stories?
By ‘bad books’ I don’t mean the poorly written, but stories that aggravated, annoyed and even rasped on your sensitivities. The ones that you recall for the opposite reasons to those you loved, which means, in their own way, they too made a connection with your inner being.
So, did those bad books achieve the aim of their authors and if so, should we consider them good books for that very reason?
Something to ponder.
Here’s another matter for thought while on this topic.
I don’t write stories which have any direct connection with the books that made a mark on me. Like the historic African based fiction of Wilbur Smith; whose books I devoured as a teenager. My books are not based in history, in Africa or in any set time, as it happens.
Neither do I attempt to write like Criena Rohan, (Deirdre Cash), whose book, Down by the Dockside still resonates with me today.
While I enjoyed such wonderful works as Catch 22, Life according to Garp, and Do not go Gentle, I have never tried to replicate those authors style or attempt to write in their chosen genre.
In fact, I write the only way I can; by scribing the thoughts and feelings flitting through my mind at any given time. Oh, and as quickly as I can, before those very contemplations disappear into the amnesiac blankness of absolute… now, what was it, where was I?
So, I wonder how much and how many of those authors I read, the ones who pen compositions of illusion, write of their imaginary netherworlds and create the fictitious lives of the characters inhabiting them, find their way onto the pages and into my own work, without my being aware of their presence.
Are we, us writers and authors, part of all those who have gone before? Do we inherit, by some magic, some mystery, a trace of another, many others, literary DNA?
Are our own stories part of a continuous evolution of literary nature? Are you, in therefore my brother, my sister, my sibling or, in that context, my child?
If so, are you writing my words, is your hand guided, even in part, by that which I have written before?
Or are my words part of you?
Now, there is something to contemplate.
Thank you for reading this post on Ramblings from a Writers Mind.
I do hope you will read at least one of my books, either an Electric Eclectic novelette or one of my prime works. All can be found on my website right,HERE
Okay, so this is another long (and boring) title for a post.
But you know what? I have found oblique or inferred titles do not get the views, irrespective of how well thought out those titles may be, and regardless of the quality of the post’s content.
Possibly, this is because many readers just ‘don’t get’ them? Or it maybe it is because people think the writer is being ‘a bit too clever’?
So, here I am with a plain statement for a blog post title. At least this way you get the gist of what the article is about… or do you?
Read on to find out…
I am a regular listener of the radio. I don’t just mean music radio, the odd quiz show or sport. I am referring to ‘talk’ radio, interviews, articles and in-depth discussions.
Serious radio, if you like to call it that.
I got hooked on listening to this sort or broadcast some years back when I did a lot of driving. Sometimes music becomes monotonous; there are times when even your favourite and most loved tracks won’t cut the mustard.
Then you have the ‘Radio Presenters’, we used to call them DJ’s back in the day.
But that was when DJ’s were star celebrities, when everyone and, I mean everyone, knew their names because they were bloody good at entertaining and engaging all who were tuned in.
Unlike the inane, immature, crass drivel which spouts from the mouths of the current drove of unprofessional, clearly uneducated people who host many a radio shows, both on national and local stations.
Okay, rant over. Back to the article…
When you have many miles to drive, listening to intelligent and informative conversation, presentation and debated opinions is often welcome company.
I have found many a premise for a new story, or a character base, or a situation to set my tales within, by listening to such programmes. Some of those inspirations are still with me, unused. Some are notes, other simply bullet points, an aide memoir waiting to be built upon at some future date.
Others have found homes, they are now part of my story worlds awaiting the next reader to uncover their being.
Yes, one’s muse may be triggered by many things. All writers, I am sure, gain inspiration from a million stimuli each and every day; films, TV, magazines, social media, overheard conversation, observed actions… the list is limitless.
For me listening to the radio has become a prime source for stimulating my creative juices.
I think this is because when one listens exclusively, that is without accompanying visual input, the mind can focus more accurately, its subconscious, or semi-conscious, concentration allowed to fix, to centre on the words alone without distraction.
Yes, when driving the main emphasis and attention is clearly applied to controlling the car and reacting to all which is around you. However, your cognitive ability allows another part of your mind to absorb and assimilate the information you hear, clearly and precisely, without conflicting with the prime task in hand, that is your driving.
When I hear something of interest, I take a mental note of the time, channel and programme name, so when I am home, I can go to the broadcaster’s website and re-run the article I heard earlier. It is then I make my written notes and detailed memos.
Allow me to give a couple of examples by way of explanation.
A few days ago, while driving home I tuned into a programme which was delving into the issue of female autism. This report was enlightening enough regarding the subject itself. I found it full of stimulating information which I could, and still can, use in my future writings.
However, one statement touched my heart to such a degree I knew I had found a wonderful gem of inspiration.
One of the experts discussing this condition told of his interview with a young sufferer who, upon being diagnosed, said to her doctor, with much relief;
“For all my life it felt as if I had a black spot inside of me. I thought it would never go away”.
That one simple sentence was, for me, like finding a pot of gold at the bottom of the rainbow. Those of you who are artistically minded will, for certain, understand the enormity of such a stimulus.
Another example, which I have already taken advantage of, by writing a poem called ‘My heart’, was during a play where one of the lines was about skeletons ‘kissing with their skulls’.
I wrote the following poem shortly after arriving home that evening.
Here is that poem.
My heart is a grave for lovers
Where skeletons embrace ever crumbling lust,
And skulls kiss in breathless anguish.
Scarlet blood long soaked into the ashes,
Forgotten passions abandon, the cast-off flesh,
Sensuous agonies of the soul
Haunt faded moments embezzled by time.
Rise up from the earth,
Stand upon your tombstone,
Seek your absent self, your withered spirit
Wandering aimlessly in immortal eternity.
But look not within my heart,
For it is but a grave for lovers.
This poem and many others can be found in my book Shadows of Emotion.
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’.
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.
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.
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
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.
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.
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.
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’
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.
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.
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.
If 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.
It is, as one might expect from the title, a book about publishing at the lowest possible cost.
It is NOT a ‘how to’ book. Neither does it portend to be a step by step guide.
The Frugal Author is a book which considers indie authoring as a professional, commercial practise and, therefore, endeavours to share ideas behind the methods employed to minimise costs and maximise profits, just as any well-run, good mercantile enterprise should.
Following the publication of The Frugal Author, I am continually asked numerous questions about being an indie, small-press or hybrid author.
Many questions are common, others are those which frequently plague our minds; the ones we never openly inquire about for fear of feeling ‘foolish’ before our peers.
This has led me to create a book which gives the answers to those questions and maybe a few more? A book I have simply titled,
‘Lots of Author Stuff You Need to Know’.
I called it so because that is exactly what it contains, lots of author stuff you need to know.
This book is all about helping indie authors by sharing knowledge, like insights into book parts – which to use & where, important printing terms, best word counts for genres, formatting, the differing forms of editing and a ton of other ‘Stuff’ which is considered in this books various sections.
‘Lots of Author Stuff You Need to Know’ is produced as an easily downloadable eBook, available from most online retails including Barnes & Noble, Kobo, Scribd, Baker & Taylor, Tolino, Angus & Robertson, 24Symbols, Playster, Overdrive, Bibliotheca and, of course, Amazon.
This is a question I asked myself while pottering about in the garden.
It may seem like a simple question, one which has a very simple answer; the likes and the things we do listed, almost ‘bullet-pointed’ as a reply.
That’s fine, for most people.
But I am an author, a writer. To me, even those simple answers have hidden depths, more meaning and a thousand stories each to be told.
Here is where my writer’s mind went after I asked myself that question…
I know what I do, but I wondered if that was ‘just me’?
You see, I love travelling. I love to explore other countries, sampling their food, their culture, being amazed at wonderful vistas, cascading waterfalls, crazy cities, wild traffic and such.
I also like to travel around Britain, the place I live. So far, my favourite areas are the Highlands & Western Isles of Scotland.
The Llyn peninsular in Wales gets better and better the further west you travel. The very best being Aberdaron and Bardsey Island.
I reside in Yorkshire, the county known as ‘Gods Country’ for its stunning landscapes.
I originate from the south and was lucky enough to have lived in Kent, called the ‘Garden of England’, which kind of speaks for itself.
All in all, I love nature; landscapes, coastal areas, animals, plants, and grand views. I like red wine, cold beer, fine whiskey, food and some good company.
To my mind this is what home is all about, making a comfortable place with hints, reminders and touches of all the things you love. Pictures and photographs of loved ones, trinkets and ‘tat’ from all those places you have visited; be it a foreign country or the local park, it’s those little inconsequential, yet sentimental items, like a shell collected from a beach, a pebble from a mountain path or a serviette from ‘that’ café.
In a way that is what our homes are for, storing and sharing all those little things which bring back the memories from a life well lived.
We can also make our homes reflect the things which make us… us. Especially, at least for me, in the garden, the garden in which I was pottering when I first asked myself the question I am writing about now.
In this instance, I have ninety per cent completed a project I started about three weeks ago.
In one corner of my garden was a derelict, rotted and neglected raised ‘deck’. I built the deck about ten years or so ago from reclaimed scaffolders boards and, I must admit, was proud of the outcome.
The said deck, (holding tables, chairs, potted plants and lighting), hosted many ‘al fresco’ lunches and dinners, served as a ‘buffet’ table during garden parties and barbecues it even became an improvised office for my writing on the days the sun shone and the rains held off.
But, as many structures constantly exposed to all weathers, it slowly degenerated, until it was little more than a rickety load of planks balancing precariously on a few rotten cross-members.
After laying unused and unloved for so long I decided to rip it up, replacing it with raised-bed vegetable plots and a small seating area.
Partly this decision was to do with the ‘stuff’ I wrote about earlier, the travelling to places, the sampling of food and wine and such like.
You will see in the following photographs I have placed my potted vines along the wall. These have never produced any edible grapes or enough to make even a single glass of wine, not here in England, not with our weather. But they do grow some large and tender leaves which are perfect for making dolmades, one of those foods I first ‘found’ on my travels many years ago.
I have made one deep growing bed and two shallow beds. The idea is to grow ‘root’ vegetables, such as carrots, parsnip, onion and sweeds in the deep one, leaving the shallow beds for the vegetables that grow ‘upwards’; beans, peas, sprouts, lettuce and so forth… once the soil has been delivered, which is about all I need now to complete my task, hence it is only ninety per cent complete.
I already have an area for soft fruits and yesterday harvested a bumper crop of particularly sweet and sticky Gooseberries, the ‘Brambles’ (Blackberries) are beginning to set fruits and so still have many flowers.
This then, is my answer to my own question, “what do writers do when they are not writing?”
For me it is often gardening, but not simply for gardening’s sake.
Its for relaxation, creativity, frugality, satisfaction and for good food, healthy unadulterated food which I and or my wife will turn into some amazing dishes or preserves; some that will bring memories of a time, a trip or a place, flooding back, or maybe excite us, as we look forward to the next travel experience we have planned.
These are the sort of things I do when not sitting alone, isolated, eyes glued to the screen and scribbling away like a manic… I’ll let you finish that line!
However, I am curious to know what you do when you are not writing, please, let me know so I can be sure it is not ‘Just me’.
Keep Happy, Paul.
Don’t forget to visit my website,http://bit.ly/paulswebsitewhere you can find my latest books, including my Electric Eclectic Novelettes.
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.
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.
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.”
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?
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?
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… you became an Electric Eclectic author?
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.
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.