Publetariat

Thoughts On The Unreliable Narrator

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This post by Susan Crawford originally appeared as a guest post on Writer’s Digest on 5/15/15.

Dana is the main character in my book, The Pocket Wife. She is bipolar and off her medication; she’s also going through lots of “stuff,” and this toxic mixture is beginning to bring on a manic episode. In Chapter One, Dana is poised for flight. Still, she is quite lucid. In fact, except for a few oddities–reading a novel in two hours, feeling the “offness” of things in the air– she is a fairly normal housewife, bored, missing her son who has recently left for college, and annoyed with her workaholic husband.

Many stories told from the unreliable narrator’s point of view are written in first person. The Pocket Wife is told in third person, so Dana isn’t speaking directly to the reader. Nonetheless, we are often in her head and privy to her thoughts and conversations.

I think it’s important not to open a story or novel with the unreliable narrator already obviously a bit wonky because then the reader is less apt to really invest in him, or, for the sake of simplicity and because Dana is a woman, in her. If she’s too bizarre right off the bat, we’re far less likely to relate to her, and relating to a character, at least for me, is necessary if I’m going to climb inside her life for the next 300 or so pages. For me, this has very little to do with age or race or gender. E.T. was one of the most popular movies of all time. Its main protagonist, for whom the film was named, is a very short, mud-colored alien. But we can relate to him!

 

Read the full post on Writer’s Digest.

 

Secrets Of A Small Press

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This post originally appeared on Mysterious Matters: Mystery Publishing Demystified on 5/5/15.

Can it really be two months since I blogged? Wow. Well, I always said I wouldn’t blog unless I have something to say, so I guess the last couple of months have been pretty thought-free.

The idea for today’s post came to me after reading about the death of Ruth Rendell, one of mystery’s luminaries. This isn’t something I’d necessarily say in public, but I didn’t like her work. Nor was I a fan of the late P.D. James, either. I found Rendell’s work to be cold, and James’ to be unbearably snobbish. Both had a tendency to write books that were much too long, and I suspect both women liked the sound of their own voices (words on the page) a bit too much.

Are you clutching your heart, gasping in horror that an editor who publishes mystery fiction should dare say such things? I should say that I love any writer who has a loyal following and whose name sells books; I’m not snobbish that way. But I recognize that an effective brand name doesn’t necessarily mean that I have to like the brand myself. Would I buy stock in Pepsi? Sure I would, but I never touch the stuff. I’m a Coke man.

Anyway, this crazy desire to admit that I think both Rendell and James are overrated made me think about the other “secrets” that we small publishers keep close to the vest (but not any longer). Here are a few:

 

Read the full post on Mysterious Matters.

 

Want To Win Big Literary Prizes? Make Sure Your Story Is About Men

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This essay by Natalie Haynes originally appeared on The Guardian on 6/1/15.

Books with female subjects are less likely to win literary prizes. But why do men rarely feel confident enough to write about women?

Like anyone else who reads a lot of books, I’m not a bit surprised by the news that book prizes favour narratives with male characters at their centre. In fact, literary prizes tend to favour books by men about men, as novelist Nicola Griffith’s research reveals: the Man Booker, for example, has awarded nine of its past 15 awards to men writing primarily about men, the Pulitzer has awarded eight. The first five years of this century skewed the figures for the Man Booker: True History of the Kelly Gang, Life of Pi, Vernon God Little, The Line of Beauty and The Sea, all by men and primarily about boys or men (and a tiger).

Novels focusing on women or girls are very much less well-regarded, it seems. Griffith finds only two recent Man Bookers have been awarded to such narratives, and none of the Pulitzers. She’s right to point out the obvious: stories about women are stories about half of the world. Fail to reward those stories with recognition and publicity and you’re side-lining half of human experience. Quite aside from anything else, that’s robbing us of some good future books: publishers are often more likely to publish books that they think have a chance at a prize.

 

Read the full essay on The Guardian.

 

Cara Lopez Lee’s Thoughtful Rules for Compassionate Critiques

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This post by Cara Lopez Lee originally appeared as a guest post on Rebecca Lacko’s The Written Word site.

I have a small, trusted circle of critique partners. I know I’m lucky, they’re hard to come by. I met two at Writers’ Studio at UCLA, a couple of years ago, and I count them dear friends. Two others, I met when I began volunteering for Field’s End, a non-profit literary event group. In all cases, I found my partners by magic, or universal synchronicity, or dumb luck–I really don’t what alchemy transforms strangers to trusted allies. All I can I say is it is extremely difficult to both find and BE a good critique partner. That’s why I’m sharing ideas from author and HGTV-writer Cara Lopez Lee’s excellent post, Feedback with Compassionate Detachment.

Here are excerpts:

I’ve discovered that providing feedback with the goal of serving both writer and story can be fast and easy, if you know how…

Creative writing is always deeply personal, fiction or non, and I’ve learned that’s why it’s important for feedback to be both compassionate and detached. I’ve since developed a reputation among coaching clients, writing colleagues, and students for giving feedback that encourages and motivates. Here are a few tips that have helped me:

1. Take responsibility for your opinion by emphasizing “I” statements over “you” statements.
This helps writers take feedback as opinion, rather than personal blame or praise, encouraging them to decide whether their writing needs to change or just needs another audience. For example:

  • I’d like to know more about this character’s relationship with his father.
  • I’m confused here. Is it possible to clarify?
  • I find myself wondering how this character felt when she saw the body
    (Note: If you only adopt one technique, let this be it. You will win friends and influence writers! -RL)

 

Read the full post, which includes six additional specific critique tips, on The Written Word.

 

Seeing the Trees – Ten Ways Around Writer’s Block

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This post by JJ Marsh originally appeared on her site on 2/21/15. Warning: strong language.

A writer friend is helping me out by checking a Spanish translation of my work. I asked how I could repay the favour.

“Encouragement!” she said. “I’m blocked. So many false starts, I need help to get moving again.”

Blocks happen to all of us, sometimes caused by rejection or criticism, sometimes because we need to top up the creative reservoir. Advice often falls into the ‘Stand back’, ‘Take a break’, ‘Do something else’ category. Yes, that works.

But sometimes we get blocked because we’re looking at the woods and not seeing the trees. So get closer.

When I hit a wall, I stop trying to envisage the forest and get right down to twig level. I spend some time doing the equivalent of staring at a blade of grass. I’ve collected a series of exercises from all over and this is how I get past my blocks. After I’ve forced myself to complete a few of these, I return to my ms with an attitude I can only describe as Hell Yeah!

They aren’t for everyone – depends on what the block is – but it might give you a few ideas. Here are ten exercises which have worked for me:

Roll the dice. To generate some writing, start with www.storycubes.com/products. You could use cut out images from a magazine just as easily. Apply genres – whatever images you turn up, you have to fit them into crime/erotica/fairytale… WHY? Remind yourself of the childlike joy of just making shit up.

 

Read the full post, which includes 9 more specific tips for overcoming writer’s block, on JJ Marsh’s site.

 

Was This Review Helpful To You?

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This collection of ridiculous and maddening book reviews was curated by Rebecca Makkai on Ploughshares on 5/29/15. A tip of the hat to freelance editor Jim Thomsen for sharing it on Facebook.

one star
Oh, where to even start? I wanted so badly to like this book. The New York Times called it “a trenchant masterpiece,” and it has blurbs from three Nobel Prize winners. So I had sky-high expectations. I anticipated a book that would change my world, that would help me lose twelve pounds and make clear the meaning of life and cure my husband’s erectile dysfunction. This book, while excellent, did none of those things. Threw it across the room on page 20. Ugh. Will not be reading this author again.

 

one star
The paper was rough to the touch, and after just three weeks the back cover ripped. Also, the book was “like new,” not “new.” Regret ordering from vendor BookXPress314. Do not recommend!!

 

one star
The author, a known Liberal, has a clear agenda here in including an African-American neighbor and a “lesbian” boss. I read to be entertained, not to have someone’s politics shoved down my throat. I was going to pass this on to my sister, but instead I recycled the book.

 

one star
I expected this book, which won the Story Prize and the PEN Malamud award, to be a new favorite. Apparently one of the chapters won an O. Henry award, and O. Henry is a highly respected author. But each chapter started off with a completely new set of characters and even a new title! I didn’t see any connection at all between the various chapters. One took place in 1873, and one was set on a distant planet in the future. I worked so hard to find the connections between the chapters, and just couldn’t find one. Too much work, gave up.

 

Read the full collection on Ploughshares.

 

The Telling Signs of Content Flops, and 6 Ways To Fix Content Marketer’s Worst Nightmare

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This post by Olsy Sorokina originally appeared on the Hootsuite blog in 3/15.

Even the best-love brands have their haters—that’s unavoidable. So for marketers, it’s often better to focus on being memorable and stand out from the crowd. Think of all those commercial jingles that just won’t get out of your head, or anticipation of products associated with the coming of a new season (Pumpkin Spice Latte, I’m looking at you). Brands that achieve this do so by straying off the beaten path. Marketing guru Seth Godin calls this “finding your purple cow,” a term inspired by a short 19th century nonsense poem and used by Godin to describe being remarkable, and succeeding in advertising by thinking outside the box.

Should you be thinking about finding your own brand’s purple cow? Finding that truly unique way of telling your story means taking risks and surprising your audience. That means the first step down the path to a more memorable bovine brand is to figure out if you’ve been boring your followers.

 

3 warning signs that you might be boring your followers:

1. Your Twitter engagement rate is low

Once Twitter has rolled out their analytics tools to all users, determining how well your messaging is performing on the microblogging network is easier than ever. Perhaps the most telling of all metrics available to users is the engagement rate, a number calculated based on the number of impressions (i.e. how many people saw the Tweet) and the number of engagements (link clicks, favorites, retweets, etc.) with your Tweets. Obviously, the higher the engagement rate, the better you’re doing. We experienced this ourselves when we doubled our Twitter engagement rate in two months.

 

Read the full post, which includes two more signs you may be boring your readers and six tips for fixing boring content, on the Hootsuite blog.

 

How Mad Max: Fury Road Turns Your Writing Advice Into Roadkill

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This post by Chuck Wendig originally appeared on his terribleminds site on 5/26/15. Warning: strong language.

Said it before, will say it again: Mad Max: Fury Road is the dust-choked rocket-fueled orifice-clenching crank-mad feminist wasteland batfuck doomsday opera you didn’t know you needed. It’s like eating fireworks. It’s like being inside a rust tornado. It’s like having a defibrillator pad applied directly to your genitals but somehow, you love it?

It’s not a perfect movie.

But it’s amazing just the same.

And part of — for me! — what makes it amazing is how easily it flaunts its rule-breaking. Writing — particularly the very-patterned art of screenwriting — comes with all these preconceived sets of “rules” or “guidelines,” and like most creative rules and guidelines, they’re half-useful and half-dogdick. It’s great once in a while to be reminded why the rules work. But it can be even more illuminating to realize when something works in spite of those rules — in direct contravention to what you expect can and should happen.

And I wanna talk about that just a little. Real quick.

Hold still. *fires up the defib pads*

CLEAR.

bzzt

Begins With Action And Then Action Action Holy Fuck More Action

Beginning with action is hard. Because a lot of the time, you need context. You jump right into some actionstravaganza and you feel lost — unmoored, drifting, caught up in OMG THIS IS SUPPOSED TO BE EXCITING BUT MOSTLY IT FEELS LIKE ACTION FIGURES BEING FIRED OUT OF A CANNON AGAINST A WALL BECAUSE I DO NOT YET HAVE A REASON TO CARE. It’s all whizz-bang-boom, but ultimately? Hollow as a used grenade. Shallow as a puddle of sun-baked urine.

Fury Road is like, “Yeah, fuck you, mate,” and then instantly there’s a car chase? And then like, five minutes of setup and another car chase that goes until the middle of the movie? And then a sequel to that car chase that ends the movie. On paper, that shouldn’t work. On screen, it roars like an engine and drags you behind it like you’re chained to the goddamn bumper.

 

Read the full post on terribleminds.

 

Writing: Front and Back Matter for your Self-Published Book

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This post by Jessica Bell originally appeared on the ALLi blog on 5/27/15.

Book promotion expert Ben Cameron always says “writing the blurb is the hardest 100 words you’ll ever write”, and many authors are also stumped when it comes to writing the front and back matter – another task that usually falls just when you’re feeling least like writing another word, after completing your book’s final edit. Coming to the rescue today is ALLi partner member Jessica Bell, also an author and book designer, with this handy summary.

The front and back matter in a book are one of the key factors to presenting a professional and quality product. If done haphazardly, it’s a sure sign in most people’s eyes that the book content will not be up to par. So please do take these things as seriously as your story.

First I’ll explain what to include, and how to order it in a paperback. Then I will tell you how to reorder the content for your ebook.

FRONT MATTER

Front matter can be subjective as it varies from book to book, but I’m going to advise you based on what I would do. The order isn’t set in stone, but it’s what I think looks the best in a paperback.

 

Read the full post on the ALLi blog.

 

A Checklist to Evaluate Your Story After You’ve Written It

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This post by Jodie Renner originally appeared on Killer Nashville on 5/21/15.

Once you’ve got the first draft of your short story or novel down, it’s time to go back and reassess each scene to make sure the characters are engaging and the scene is as compelling as it can be.

Besides advancing the storyline, every scene should:

  • Reveal and deepen characters and their relationships;
  • Show setting details;
  • Provide any necessary background info (in a natural way, organic to the story);
  • Add tension and conflict;
  • Hint at dangers and intrigue to come;
  • Enhance the overall tone and mood of your story.

Remember that every scene needs conflict and a change.

To bring your characters and story to life, heighten reader engagement, and pick up the pace, try to make your scenes do double or even triple duty – but subtly is almost always best.

For example, a scene with dialogue should have several layers, including:

  • The words being spoken;
  • The character’s real thoughts, opinions, emotions, and intentions;
  • The other speaker’s tone, word choice, attitude, body language, and facial expressions;
  • The outward actions, reactions, and attitudes of both.

Here are eight key ways you can intensify your writing and enhance the experience for readers:

 

Read the full post on Killer Nashville.

 

10 Things Authors Learn The Hard Way…

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This post by Diane Hall originally appeared on BDAILY on 5/25/15.

Writing workshops and books, professional advice, even Google, won’t answer every question an author may have. Some knowledge can only be gained by personal experience. The following list stems from genuine reports by authors I’ve either spoken to or worked with, across the globe. Individual points are not meant as sweeping statements; there may be a good portion of authors who have different outcomes and opinions. Nevertheless…

No one but you cares as much about your book

Agents, publishers and publicists – and especially readers – don’t have the same emotional investment as the author of a book. They might just as easily prefer another book on the same subject, or easily forget your title altogether; with over 14 million books to choose from, that yours will be the best, most unique book they’ve ever come across is unlikely. Dump the ego, and work on enticing them to look at your book in the first place. Help them to make their buying decision, don’t just assume that once seen, automatically sold.

Traditional publishing is not better than self-publishing

Yes, TP has a lot going for it, but it also has its downsides. Sacrifices to become a TP author may include your book no longer being recognisable to you, little control over the book’s aesthetics, a long, long time to market and vastly reduced royalties. That’s not to say self-publishing doesn’t have any cons; TP and SP are essentially just different ways to publish that should each be thoroughly investigated.
 

Read the full post on BDAILY.

 

Kindle Scout

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This post by Polly Iyer originally appeared on The Blood-Red Pencil on 5/20/15.

My book, Indiscretion, has been on Amazon’s Kindle Scout program for an entire week as of today. It’s been on and off the “Hot and Trending” list, which I guess is natural. This is measured by how many people read the sample and nominate my book during a thirty-day period. I’ve done some promotion, but there’s a fine line between promo and overkill. I try to be cognizant of where that line is. That said, self-promotion has never been an easy fit for me.

So what is Kindle Scout, you ask? This is from the Kindle Scout website:

“Kindle Scout is reader-powered publishing for new, never-before-published books. It’s a place where readers help decide if a book gets published. Selected books will be published by Kindle Press and receive 5-year renewable terms, a $1,500 advance, 50% eBook royalty rate, easy rights reversions and featured Amazon marketing.”

Bloggers have debated the pros and cons of the program. From my point of view, the answer depends on where you are in the publishing world. I’ve self-published seven books with Amazon. The difference with Kindle Scout, besides the nice advance, unheard of for an indie writer, is the strength of Amazon’s marketing that I wouldn’t get otherwise.

 

Read the full post on The Blood-Red Pencil.

 

Science Fiction Is for Slackers

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This post by Jacob Brogan originally appeared on Slate on 5/26/15.

It would be a mistake to say that science fiction as such is “about” laziness—no genre reducible to such a singular point of significance can flower long—but it is uncommonly good at animating fantasies about avoiding labor.

On a desert planet baked by two suns, a young man contemplates the sky, dreaming of a life beyond the workaday tedium of his family farm. He imagines that the robots his aunt and uncle have recently purchased—apparently sentient beings that work without compensation—will take on his burdens. You know his name as well as I do, and you know as well as I do that he will spend the weeks and month ahead on the run, fleeing this world of tasks and troubles as much or more as the evil empire that chases him.

Science fiction is a genre of dreams, and Luke Skywalker may be the most emblematic of all its dreamers, emblematic not because he longs for the stars, but because of what those stars represent. Above all else, Luke is a slacker, and when he looks to the heavens, he imagines release from the obligations that bind him to the surface of Tatooine.

Luke is not alone in his aversion to work: As a rule, science fiction may be the laziest of all genres, not because the stories themselves are too facile—they can be just as sophisticated and challenging as those of any other genre—but because they often revel in easy solutions: Why walk when you can warp? Why talk when you’re a telepath? Technology in such stories typically has more to do with workarounds than it does with work.

 

Read the full post on Slate.

 

On The Length Of A Story

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This post by Alan Baxter originally appeared on his Warrior Scribe site on 5/22/15. Warning: strong language.

There’s been a bit of to and fro via The Guardian recently about fantasy novels and short stories. Firstly Damien Walter wrote this pile of bollocks about how publishers need to stop encouraging big fat fantasy multi-book series. Then Natasha Pulley responded with this bullshit about how fantasy just can’t be done in short books, and especially not in short stories. I do wish people would stop trying to proscribe what the rest of us like to read and write.

You know what? A good story is exactly as long as it needs to be or it’s not a good story. Simple as that. If that means a fat book trilogy, or a ten book mega-series, or one thin novel or novella, or a short story, it doesn’t matter. A good story is good because it’s told in the right amount of space it needs. A really good story is made from great ideas, wonderfully written, using exactly the time and space required.

Sure there are plenty of rubbish, bloated books out there and loads of short stories that fall flat. But even the shite stuff has found its niche if its successful, because people are reading and enjoying it. If people are reading and enjoying something, get the fuck off your high horse trying to tell those people that they should be reading and enjoying something else.

 

Read the full post on Warrior Scribe.

 

Whose Game Are You Playing?

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This post by John Pettigrew originally appeared on Future Proofs on 5/4/15.

We hear a lot about Amazon, the new giant in the playground. But Amazon may actually be the least of the industry’s problems, because they at least play by rules we recognise. There are plenty of other giants out there who are playing entirely different games – but who may still stomp all over our playground. The question is, what do we do about them?

The publishing industry feels under threat from a lot of places these days. And the most commonly mentioned cause of this fear is surely Amazon. Starting off as just another book retailer, Amazon has grown hugely and very cleverly to become a true global giant.

Amazon seems to be the kid everyone’s afraid of – bigger, stronger, and not afraid to use its muscle to get what it wants!

Playing by the rules
However, Amazon is still playing in our playground, basically working with the same rules publishing companies are used to – getting books to customers more effectively and more cheaply than ever before. This is a game that publishers understand and play all the time. And we can see this by the way that publishers and Amazon are always talking about this or that, arguing about a particular situation and coming to new agreements.

The problem, it seems to me, is that Amazon isn’t actually what publishers should be most worried about. We fear Amazon, I think, because we understand it pretty well and so can predict clearly what effect its actions are going to have on us.

 

A different game
The true danger may not be Amazon but other giants who are playing entirely different games. Companies like Google and Facebook, who use content (including content from publishers) as part of their business but who don’t really care much about that content because their real business is selling advertising.

 

Read the full post on Future Proofs.