Why author’s should listen to the radio more often.

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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.

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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.

BUT…

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.

 

The following is from an earlier post, (January 2015), called ‘Subject Matter’. https://wp.me/p5nj7r-2H

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.

skeleton-sex-energy-transfer

My Heart

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.

Shadows of Emotion (kindle)

         Shadows of Emotion  (Paperback)         

OR simply paste, ISBN-13: 978-1500510312 into your Amazon search bar.

 

 

 

 

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Moment of the Muse

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

My belief is you may be overthinking the issue.

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

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

It does not have to be anything exciting.

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

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

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

Expand on that.

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

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

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

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

Grab the moment, grab the moment of the muse.

 

I’ll leave you with an instant.

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

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

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

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

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

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

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

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

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

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

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

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

This is a true story.

As I said above, my advice is;

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

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

Grab the moment, grab the moment of the muse.


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

 

 

 

 

 

 

Associating the Oblique and Ambiguous.

 

Firstly, a note:jot_a_note

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

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

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

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

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

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

A writer must want to write, above all else.

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


‘Association’

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Well, yes and no.

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

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

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

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

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

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

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

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The Humber Bridge

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

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

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

Here are the first wordsmithing associations.

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

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

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

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

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

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

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

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

The next ‘s sentences structure reinforces this unease.

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

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

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

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

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

Like these, from my poem ‘Doorway’

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This side or that.

In or out.

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

Life or death.

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

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

Division.

This side or that.

In or out.

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

Life or death.

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

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

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

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

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

Know your place.

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

Life or death.

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

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

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

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

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

This side or that.

In or out.

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

Life or death.

You choose.

..

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

First, ‘cowering in the shadows of mediocrity’.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anything less is less.


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

You can get yours by following the links below.

UK http://amzn.to/2zZFWFN

USA  https://goo.gl/Q0DXRq

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Lots of Author Stuff You Need to Know

This blog is all about sharing ideas and information about writing, to writers and authors.

Mostly, I share this information solely by way of a post, or two, on this blog.

Occasionally, however, a blog post is not enough. The amount and complexity of the information given are far too great, as with the following.

In these instances, I find it best if I assemble all the information and bind it together in one place. In other words, make it into a book.

Recently, I have published a second book dedicated to answering questions I am frequently and regularly asked by novice and established writers and authors.

This post is an introduction to that book.


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In February this year (2018), I published an eBook called ‘The Frugal Author’.

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.

TFAcover

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’.

AuthiorStuff

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.

Get, Lots of Author Stuff You Need to Know HERE

Or from Amazon HERE

Go on, treat yourself today.


My fiction, semi-fiction and non-fiction books can be found by visiting my website, http://bit.ly/paulswebsite

See you there, Paul.

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Me!

Just before I go, don’t forget you can read many e-books with Kindle Unlimited. Why not try it FREE for a whole month (30 days), HERE.

You have nothing to lose and a whole library to gain!

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

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©PaulWhite

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

 

A simple question.

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

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

I was.

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

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

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©PaulWhite

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

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

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

But I digress.

 

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

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

I was not disappointed.

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

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©PaulWhite

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

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

These are some of the most honest words ever spoken.

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

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

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

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

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

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

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©PaulWhite

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

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

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

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

Think about it carefully, do you?

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

Just click the cover image.  WtIPV1small

Thank you, Paul.  

When I am not writing…

“What do authors do when they are not writing?”

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.

Sure.

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 road to Oban
The road to Oban ©paulwhite2017

The Llyn peninsular in Wales gets better and better the further west you travel. The very best being Aberdaron and Bardsey Island.

Looking out, towards Bardsey

I reside in Yorkshire, the county known as ‘Gods Country’ for its stunning landscapes.

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Gods Country

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.

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The Garden of England

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.

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The path to the new vegetable garden passes the fish pond (left)
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Raised beds awaiting soil, the seating area (far left) will get chairs soon
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Note the vines and fig tree against the wall.

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/paulswebsite where you can find my latest books, including my Electric Eclectic Novelettes.

 

 

 

Some tips to increase your book sales

So much to do, so little time. (I think I have heard that said somewhere before.)

At least I have found a few moments to share another post about being an indie author.

I do not normally write a ‘list’ style post as they generally tend to be little more than ‘clickbait’.

However, on this occasion, I have made an exception to the rule and produced a sort of list post myself.  But one I hope is better and far more informative than those ‘clickbait’  I mentioned above.

I hope these tips will help you create a book which will sell in (vast) volume.

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“On with the post”

I hear time after time and frequently read, on social media, authors asking why no one is buying their book(s).

It could be down to many things, even the lack of serious or targeted promotion.

Novice writers often spending too much time and effort in posting their book(s) on author group pages… HINT… authors are more interested in writing their own books and most already have a vast TBR library they will get around to reading, soon(ish), one day, maybe later, or never.

You need to put your energy and effort into targeting those people who are more likely to want to read your work than another author. (Coals to Newcastle, busman’s holiday… ring a bell?)

However, before you get anywhere near that stage, here are a few basic questions, self-check questions, you should ask yourself and, this is most important, answer honestly.

You will only be letting yourself down if you lie to yourself.

In a nutshell, you must ask yourself, (way before you publish) if your book looks professional and is your blurb up to scratch?

These are the questions you need to use to clarify each point of consideration.

Regarding your books cover:

1, Does it look professional.

No, truly; do your book cover(s) look like they could be displayed alongside the best sellers on show in your city’s premier bookstore?

Bestsellers

If you cannot say it does with absolute certainty, take a mock-up, even a full-colour print of your cover and visit some bookshops. Hold your image up, place it on the shelf next to the big named author’s books.

Now, give it ten coats of looking at. Ask those who are browsing what they think of your intended cover.

This is a form of market research. It can save you a ton of heartache let alone money. But you must be honest and you must listen to what others say, after all, it is they who will be buying your book, not you.

 

2, Does your book cover clearly demonstrate the genre of your book?

Your potential readers will, most often, have one or two genres they prefer. Like many people, once we find something we enjoy it takes a giant leap to change.

Therefore, if your book does not accurately reflect the genre of its content, you WILL be losing any potential readers initial interest.

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3, Does your cover immediately garner attention?

Is it sufficiently attractive to stand out among other books on the shelf or on Amazon?

Does your cover artwork stand out amongst the other books around it? How well does your book ‘stand-out’ as a ‘thumbnail’ image on an Amazon page full of other books?

Are your friends or the bookshop browsers immediately drawn to your cover? If not, you need to make changes.C&Vfront3

Note: Too many authors make the mistake of trying to tell the entire books story on their covers. This is not what the cover is intended to do. In simple terms, the cover is like a candle flame to a moth. It is there to attract a person browsing to take a closer look at your book. Once the browser has the book in their hands or has ‘clicked’ for more details, the cover has done its main job.

After which the points below come into play.

 

 

4, Does your book title grab attention?

Pretty much like the cover image ‘as a whole’, the title of your book must do several things. It must accurately reflect the genre of your book while defining its own individuality.

Along with this, it must show who the book is intended to be read by. Not an easy task to succeed at, especially when regarding fiction, which is far more subjective than non-fiction.

Regarding non-fiction, your title must indicate the benefit and what makes your book different to other covering the same or similar subject matter.

 

5, Does your book’s subtitle and/or description clarify who the ideal reader is?

Does your description work as a prime first hook on the general browser?

The description (subtitle) should convey the emotional (or practical) payoff to the reader when reading your book. (The ‘what’s in it for me’ factor)

LitWZ finalTo communicate this your description needs to capture the curiosity of the browser, it must take them on a clear, cohesive, emotional journey and leave them wanting to know more. You must engage their curiosity?

Is your books description length similar to the prime authors/major publishers books of the same genre?

Note: Nothing on the cover of a major publisher’s book is thereby happenchance, everything is carefully calculated and designed based on a vast database of market research and marketing sciences. You should not go far wrong by following their designs and formatting.

 

6, Pricing your book

Have you priced your book to match that of similar titles of the same genre by other indie authors?

Here price point could be a major influencing factor. Price your book too high and few will buy it. Too low and many will perceive it as a low-value item and pass it by.

The trick is to get this balancing act weighed off. Not an easy task.

 

7, Are your books first pages intriguing enough?

Many online bookstores offer a ‘look inside/sample read’ function. This is akin to flicking through a few pages of a physical book in a bookstore.

When considering this fact, it becomes clear you need to ensure an early hook is built into the first pages, say the first 10% of your book.

This will create an intrigue, a wanting to know ‘What happens next’ question into your potential reader’s mind, encouraging them to buy your book.

I hope these pointers will help you with the designing your books cover and when writing your ‘blurb’.

You will find many more ways to reduce your publishing costs and loads of money-saving methods by reading ‘The Frugal Author’, immediately download-able HERE.

TFAcover

How to sell you book series by writing another book.

 

 

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

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

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

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

Okay, on with my post.

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

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

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

Anyway… I seem to be digressing.

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

Herein lies a quandary.

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

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

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

Well, yes and no.

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

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

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

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

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

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

BULLSHUSH.  51ap3vRNKyL._SY300_

 

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

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

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

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

Not necessarily.

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

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How about a prequel with a difference?

Let me ask you some questions…

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

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

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

What if…

What if…  you became an Electric Eclectic author?

EEgrunge

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

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

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

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

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

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

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

 

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

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

You have nothing to lose.

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

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

Simply Email EEbookbranding@mail.com for further information.

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