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.

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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!

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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Stop whinging, get off your arse and DO something about it

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It is some time since I wrote a ‘Rambling’ Rambling on this blog.

Partly, this is because of the large number of commitments I have undertaken recently. Commitments which have left little time to indulge myself in creating an informative and entertaining Ramble.

Which I hope this post shall be, (at least if you read on from this point.) Although this post may seem to ‘go around the houses’ to reach its point, bear with me. It will be worth it in the end… Honest 😊

During the absence of such Ramblings, I have posted a few pertinent, factual and I hope helpful articles about internet security, publicised ‘The List – CQI Magazine’s must-read books for 2018, and posted about the launch of Electric Eclectic books,  a new way to find great authors and amazing books.

My last Rambling style post was a bit of a rant, but one which shares the truth about how ineffective giving away free books is and how doing so is damaging all indie author’s prospects.

grumpy_old_man-Converted-1024x953This post sort of follows suit regarding ranting… maybe I am becoming a ‘Grumpy old man’ or maybe I am already one?

The basic theme here is “Stop whinging, get off your arse and DO something about it.” In fact, I think I’ll use that phrase as the title of this post.


 

First, the ‘whining and whinging’, the consistent, droll, mind-numbing drivel I am hearing from too many indie authors recently.

“My sales are bad.”

“Facebook doesn’t help anymore.”

“Things are getting worse.”

“People don’t even want my free book.”

“Nobody leaves reviews.”

“Adverts are so expensive and don’t reach enough people.”

And so forth. All one must do is read the comments and posts in various social media groups and pages to find a torrent of such remarks.

Now, I may or may not agree with all the above. Okay, the first three are stupid statements, the last three have some if little, merit.

But this wave of despondency seems to be sweeping the internet at present and gathering momentum as it does.Facebook-Finger

Fuelled, no doubt, by the rumours about CreateSpace, Amazon and Goodreads along with the recent and forthcoming changes and alterations to Facebook.

 

Don’t ask me for details, go read Gisela Hausmann’s books on the subject, she is far better informed than I.  Read more Here

Now, nobody said writing a book would be easy. Nobody told me marketing and selling would be a cinch.

IT’S NOT.

It takes commitment, persistence, patience and determination… and lots of it. I said lots of it, that’s much, much more than you are considering or believing right now. So, treble the difficulty factor and then multiply that by the power of 92 and you could be approaching reality.

imagesCalculate the exact opposite for difficulty and obstacles. The resultant sum should reflect the starting point of your journey into the realms of authorship.

Bilbo Baggins exploits were a simple walk in the park, in comparison of what you shall have to endure.

That is why we love being indie authors.

However, (for those who may not be familiar with my Ramblings I love the ‘However’s’.)

So, to continue.

However, I cannot take this downhearted view as one expressed solely by the Indie community, or for that matter, one voiced on social media alone.

I think this mood or at least the pessimistic and depressed expression of disappointment and negativity concerning the present and, more so, the cynical distrust of the future is something which is sweeping our society.

This attitude has now reached such proportions everybody has to have ‘a condition’, be it a simple skin complaint, a dietary need or speech impediment, let alone a major physical or mental syndrome.

As an alternative, or as an added factor, one must also be a survivor… of sexual or mental abuse, a victim of crime, a recovering drug user or alcoholic with latent effects of reoccurring PTSD… and so forth.

Nowadays everyone must have an underlying ‘Backstory’ to be accepted as part of our modern society, however truthful or however factitious that may be.

Personally, I blame Simon Cowell and the XFactor… which traumatic experience I have survived, by the way.

simon-cowell-erectile-dysfunction

I am an exexfactorbackstorysurvivalist, in tentative remission.

NOW… don’t get me wrong. I am not speaking of genuine suffers from such disorders, I am speaking of the media hype and their insatiable appetite to present all who become ensnared in their tentacles as some form of miracle entity. A god or goddess-like warrior who has fought off the evils life has thrown at them.

Such influence affects us and our children’s perception of ‘normality’ in the most ambiguous ways. It is this seeking of constant sensationalism which clouds many of the authors and writer’s minds when they complain about how difficult it is to sell their books.

Instead of ‘doing something‘ to alter the situation it is far easier for many to shout “I am a Victim” and “Facebook is abusing my rights” and such like.

This is where, if you are still with me, I refer you back to the title of this post. “Stop whinging, get off your arse and DO something about it.”

I shall finish with one simple and short example-

I recently launched an initiative for indie authors called Electric Eclectic. I doubt very much if you have not seen at least one blog, post, comment or advertisement concerning such.

EEgrunge

Electric Eclectic allows indie authors a way of using, or recycling, short stories to market and sell their prime titles. This is a form of promotion which actually earns the author money while working as a silent salesman on their behalf.

I have offered, both on major social media sites and by personal email invitation, the opportunity for a limited number of other authors to join us.

The take-up has been dismal, even though our own authors have seen sale generated via Electric Eclectic already and indications of ongoing success.

YET, I have seen some of those who know about this opportunity continue to whinge and whine about sales, the cost of promotion and the ‘state of the market’ while ignoring the offer from Electric Eclectic and other genuine initiatives.

My suspicions are these people enjoy the attention their complaining creates and, I wonder if, they like to ride the current media bandwagon of portraying themselves as victims, casualties and wounded sufferers of circumstance?

Thank you for reading this Rambling. Paul.

To find out more, or to request becoming an Electric Eclectic author, visit the website HERE and use the contact page to message Electric Eclectic.

reflection

Dyslexia, Irlen Syndrome and Alexia. (This has nothing to do with Amazon gadgets)

While this post focuses on writing blogs, website content, social media and emails rather than stories and books, much of the following could be adapted by authors and publishers of books.

As independent authors, our ability to write such is of paramount importance to our promotional and marketing strategy. Yet the way you write could be alienating those who are not quite as apt as you or me at reading.


How-is-All-Started

A couple of years ago, I had a wonderful comment from a person who suffered from dyslexia about a post.

Although his comments were primarily about the content and not the presentation of the post, he mentioned he found my post far easier to read than many, if not most.

Curiosity got the better of me.

Why I wondered, could he read and understand my posts, when he struggled to read so many others?

Over the next few days, he and I conversed, by email, about his reading on a personal AAEAAQAAAAAAAAxCAAAAJDdmZDE5N2IxLWUxZmUtNGMwNi04YzE3LWYyNGUxYjA3MDE1MQlevel and Dyslexia in general.

 

Before I carry on and explain the outcome of our conversations, I think as writers we should all know and understand what dyslexia and some of the most common reading difficulties are. So, I am including the following few paragraphs & bullet points, (which I cribbed from the internet), for clarity.

 

A formal definition of dyslexia used by the National Institute of Child Health and Human Development states, “It is characterized by difficulties with accurate and / or fluent word recognition and by poor spelling and decoding abilities. These difficulties typically result from a deficit in the phonological component of language that is often unexpected in relation to other cognitive abilities and the provision of effective classroom instruction. Secondary consequences may include problems in reading comprehension and reduced reading experience that can impede growth of vocabulary and background knowledge. “

Unsurprisingly, the International Dyslexia Association defines it in simple terms. “Dyslexia is a language-based learning disability. Dyslexia refers to a cluster of symptoms, which result in people having difficulties with specific language skills, particularly reading. Students with dyslexia usually experience difficulties with other language skills such as spelling, writing, and pronouncing words.”


In contrast, Irlen Syndrome is a perceptual processing disorder, meaning that it relates specifically to how the brain processes the visual information it receives. It is not a language-based disorder and phonics-based instruction will not help someone with Irlen Syndrome improve in the same way it will help someone with dyslexia improve their reading skills.

At its core, Irlen Syndrome is a light sensitivity, where individuals are sensitive to a specific wavelength of light and this sensitivity is what causes the physical and visual symptoms that people with Irlen Syndrome experience. People with Irlen Syndrome have difficulty reading not because their brains have difficulty connecting the letters they see with the sounds those letters make, but because they see distortions on the printed page, or because the white background or glare hurts their eyes, gives them a headache, or makes them fall asleep when trying to read.

Unlike dyslexia, difficulties experienced because of Irlen Syndrome can reach well beyond just reading. People with Irlen Syndrome have difficulty processing all visual information, not just words on a printed page, so they often have trouble with depth perception, driving, sports performance, and other areas not generally connected with dyslexia.


Alexia is a form of dyslexia, but dyslexia is developmental, meaning that it does not happen from an occurrence such as a stroke or traumatic brain injury.

Alexia is an acquired reading disability because of an acquired event such as a stroke. It is most common for alexia to be accompanied by expressive aphasia (the ability to speak in sentences), and agraphia (the ability to write).

All alexia is not the same, however. You may have difficulty with the following:

Recognizing words ● Difficulty identifying and reading synonyms ● Difficulty with reading despite your ability to sound out pronunciation of words.

Although you can read words, it is too difficult to read for very long ● Blind spots blocking the end of a line or a long word ● Focusing on the left side of the paragraph or page ● Double vision when trying to read ● Reading some words but not others. Of course, this makes reading impossible.

A stroke survivor with alexia that can read larger words, but cannot read tiny words such as “it,” “to,” “and,” etc. ● Any combination of some of these traits.

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My conversations with, (I shall call him ‘Jay’ during this post), led me to take a close look at how I was presenting my blogs, what made them so different and, could I improve them further?

It turns out the style I chose… I was going to say developed, but that sounds arrogant. So, the style I was using at the time was to write in small(ish) chunks, using relatively short sentences and paragraphs, as I have so far in this post.

Unlike the following.

This differed to most blogs and posts on the interweb which were, (and still are), long blocks of continuous sentences and sub-sentences, forming large paragraphs with very little line spacing or breaks. This may be a ‘style’ welcomed by universities and those writing technical/medical/professional and some literary journals. I have seen many papers which follow this style. I have even read a few and I must agree it makes for extremely uncomfortable reading. To read such a document, one must concentrate fully and focus on each word of each line. Whenever the eye moves from its forced liner motion, even for a moment, is when the reader finds some difficulty in returning to the exact location they were at previously, often meaning one must, annoyingly, re-read sections already read. Like you have possibly just done when reading with this last long drivelling, over-worded paragraph I have written in just such a manner to illustrate my point that it makes for uncomfortable reading, even for those of us blessed with good eyesight and adequate skill. A point which I hope I have now made adequately clear with this paragraph which is representative of many blogs.

Writing in this form creates such a large block of words it becomes challenging to separate them into clear concise ‘bite-sized‘ and manageable ‘lots’ of information.

This is one of the areas of written presentation which was highlighted to me by Jay.

I already used a style of writing which broke long paragraphs into much smaller ones, whenever practicable, but I was not aware of the impact doing so made on the reader. From then on, I broke paragraphs down even further than I did ‘pre-‘Jay’

I was also made aware of unnecessarily long sentences, sentences with too many superfluous words.

This simply meant cutting out all those unnecessary words to make sentences read far more precisely and clearly.

OR

Eliminating irrelevant words.

You see, this is not fictional or creative literature as when writing a novel, or even a short story. This is describing and sharing thoughts, ideas, information and data. Another skill set entirely.

Authors often discover this when having to write a precise about their latest book, like the back-cover blurb, an agent’s query letter, a synopsis or copy text for a promotional activity.

We all know, or at least should, that mixing sentence lengths makes for a better reading experience. But so does spacing and breaking them up as I have done in most of this post.

Please do not get me wrong.

I am not solely writing or directing my words specifically to those with reading difficulties, but I am looking to be as inclusive as possible and not simply because I am attempting to be politically, or socially correct.

I do it because I want as many people as possible to read my words. That is why I write.

Looking at how one presents their posts on the screen does not take much effort. Neither does adjusting one’s style to make it clearer and easier to read… for everybody, including you and me.

To finish, look at this Git-Hub virtual reality page. It shows how we can best comprehend the way those suffering from dyslexia and associated reading difficulties may see the written word.

https://geon.github.io/programming/2016/03/03/dsxyliea

My lesson, following those conversations with ‘Jay’, is, 

“We can all learn from others, even those we may have previously considered had nothing to give us. After all, I never thought a dyslexic could teach an established author how to write clearer, even better.

How wrong I was.”

Thank you for reading another of my Ramblings. Please subscribe to this blog if you will.

I am open to all comments and try to reply to them all personally.

Keep happy, Paul


Oh, take a peek at my website, I have a ton of good stuff waiting there 

All about Marketing

 

 

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You have guessed it, this post is all about marketing…

BUT… not marketing as you may comprehend it from a basic level, which is an amalgamation of advertising and promotion, but marketing from a perspective you may not have realised exists.

Have I got your attention?

I do hope so, because I believe having a clear understanding of this view of marketing can make or break your success as an author.

I once worked in hard-copy magazine publishing and spent many hours discussing marketing with prime agencies like Saatchi & Saatchi, John Walter Thompson (JWT), BDM & BBDO (now combined with Abbott Mead & Vickers I think,) along with media buying services Zenith, Media.com and OMD and PR companies including Ogilvy, Brunswick and Edelman.

ALL the agents I met were looking for that ‘something’ which would take the target audience by storm. They all wanted to make their mark within the industry by having a campaign which would enter media/publishing/broadcasting folklore. I.E, propel them into ‘the big time’.

Now, I am not one to poo-poo or trying to dissuade anyone from wishing to advance their career, far from it, BUT (I always have but’s in my blog posts), these agency agents failed to notice an overriding fact. The most successful agents, many whom now owned or partnered the companies these agents were working for, became successful by constants and continuity, not by a flash in the pan, however big a bang that may make at the time.

It is this same attitude I find when speaking to many business people, including authors, particularly new and/or first time/wannabe writers.

It is irrelevant, regarding the content of this post, if you write the most amazing, perfectly formed tome ever, or you have hastily scribbled a ‘quick’ novella or e-book novelette.

NO one will buy your book… unless they know about it, so you must tell people you have written a book. Doing so is called advertising, which a division of marketing.

Running a Thunderclap or posting about your book on social media is another area of marketing, like sending emails to friends to let them know you have published your book, BUT (another one), these are only the most obvious and basic parts of what marketing covers.

However, what marketing REALLY is, is EVERYTHING that you do.

You are Your Own Brand card isolated on white background

Allow me to explain.

Whatever tasks you are working on now, right now, ask yourself this question…  “How does this affect my marketing?”

Ask yourself this question at the beginning, during and at the end of each and every task you undertake in your role as a writer and author. Soon you will begin to understand everything has some form of influence in marketing you and your work to the world.

The way you look and dress in a video or podcast… “How does this affect my marketing?”

The images you post on social media. “How does this affect my marketing?”

Your profile image, “How does this affect my marketing?”

Your comments and replies. “How does this affect my marketing?”

How you look and speak at book fairs and events. “How does this affect my marketing?”

The layout and design of your tables and space. “How does this affect my marketing?”

Where, when and how you advertise and promote. “How does this affect my marketing?”

…… and so on.

You may notice I have not touched on your books covers, content, banners, advertising material design or so on, yet.  

When do you make a paperback or eBook version of that book? “How does this affect my marketing?”

Did you notice I said when? Timing is also critical as an aspect of marketing.

There is an old, but true adage, is say’s, “If you want to sell your [books] you have to sell yourself first.”

Nothing is truer.

Another is, “People buy People”.

I will not argue with that.

These are things we all need to keep in mind. Dale Carnegie should have said, “we have to win friends to influence people.” That saying would sit well in our modern digital world.

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In conclusion, we must create a persona as an author or business person. Much like a fictional character from one of our tales.

This character however should not be fake, but a facet of ourselves, our ‘public image’ one we must nurture and cultivate in absolutely everything we do.

The one of which we ask, “How does this affect my marketing?” in everything you do.

Only by doing so, by becoming aware that marketing means marketing YOURSELF, constantly, consistently and at every opportunity can you play the long game, the strategy which will make you an ongoing constant and not another nonentity looking for that great flash in the pan, the non-existent big bang which will propel you into the big time.

images

 

I could go on and write more. But… (another but) I would like you to consider this content seriously before I delve any deeper into the subject of marketing.

 

Thanks for reading this Rambling, Paul

(“How does this affect my marketing?”)


 

I also write fiction…

Take a peek at my website while you are here, 

http://paulznewpostbox.wixsite.com/paul-white