Publetariat

“A Christmas Carol” read by Neil Gaiman

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Today’s we have a special treat for the holidays. The New York Public Library offers a special reading of Charles Dicken’s “A Christmas Carol” by Neil Gaiman, using Dicken’s personal copy and notes.

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Even huge Charles Dickens fans may not know that A Christmas Carol is organized in five stanza-like sections called “staves.” They might not know the author’s only surviving “prompt” copy of the book, that is, Dickens’s own annotated version used for live readings, is held at the New York Public Library. But it’s without a doubt that Neil Gaiman gives one of the greatest deliveries of the classic holiday tale. Made up to resemble a nineteenth century man by Jeni Ahlfeld, the author was transformed for a performance at the New York Public Library, and his engaging reading captured the liveliness of Dickens’ prose. And so, as is our NYPL holiday tradition, we’re sharing Gaiman’s delightful performance of A Christmas Carol. We hope you enjoy it as part of your family tradition too.

Read the rest of the article at the New York Public Library website.

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Maeve Binchy – Tips for aspiring writers

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Today’s post is quick video from author Maeve Binchy, with timeless tips for aspiring writers. The best one, don’t let your book sit in a drawer or in your head. If you don’t take the risk you will never have the rewards. What a lovely woman, I still miss her.

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https://youtu.be/2jUBEFxfzUU

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Self Editing 4 Fiction #1 ~ Intro

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Today’s post by Stef Mcdaid, off of her blog WriteIntoPrint . It is the first part of a nine part series on content editing, but the whole series is available now and well worth reading.  I have bookmarked it myself to go back and reread.

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A lot has happened in the publishing industry over the last 25 years. The traditional industry has contracted due to competition from independently published authors (and the surreptitious surge into the publishing market by Amazon).Two angry men with crumpled paper

But even 20 years ago, publishers had (mainly) gravitated to being “printers”, in that they no longer provided their authors with editing services – perhaps a proofread, but authors had to edit for themselves and/or hire freelance editors to ensure their novels reached full potential.

And now we have ePub.

We have technology and communications that have reduced the editing fees of freelancers by more than half (think MS word ‘track changes’ tools rather than printed-out manuscripts edited redline style; e-mail rather than snail mail). Nowadays, editors can provide a good (much faster) service for as little as $10-15 per thousand words if the manuscript they deal with is in reasonable shape.

Reasonable shape.

Which is why self editing is important even if you intend to employ an editor to polish your work – the quotation you receive will be in direct proportion to the time the freelancer estimates it will take to complete the work. Also, the end result will sparkle more brightly as a consequence.

And even if you are yet to put pen to paper, the tricks and tips you will learn in the series will be well worth reading before you begin to write (prevention is better/easier than cure).

Of course, many writers cannot afford an editor, but that doesn’t mean their end result will suffer unduly – the trick is to learn to think like an editor; learn the artifices and apply them (invisibly) to your work.

Which is the object of this series. I will format the advice in the same style as one of my old favourite books written for authors who intend to self edit: Self Editing for Fiction Writers by Renni Browne and Dave King. Twenty years on, and the book is still the best all-round guide for new authors, in my opinion.

Introduction.

Firstly, please remember that the guidance given comprises general principles only; there are no rules to writing but it pays to know the general principles before deviating from them as an experienced writer.

Are you ready to edit? This is the most important question.

“Do I feel happy with it?” is the first filter to apply.

In a perfect world one would put the manuscript away for at least a few months and peruse it with fresh eyes. But perhaps that’s not viable, maybe the premise will be out of fashion or whatever – things move so much faster with ePub.

Did you rush the ending? I’m asking this because over the years I have encountered a lot of rushed endings. You know who you are – now go back and fill it out properly…

Have you tied up all loose ends? Look, I invested a lot of time at Uncle Ernie’s bedside after he dived in front of that bus to save the MC – you could at least tell me what happened to him…

Read the full series on WriteIntoPrint.

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Infographic: Why writers make great friends

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Today’s offering is from the FreelancersUnion site, (because not all writers are book writers), which shares this lovely post on why writers make great friends. Written by Brendan Brown, the founder of Global English Editing and The Expert Editor, two online editing and proofreading companies.

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Friends are important in so many ways. They help mold us as people and will be the first to intervene when our heads get too big, or taste in clothes too poor.

However, do writers make good friends?

On the one hand, writers are prone to alcoholism, cigarette addiction, and severe bouts of melancholy (at least according to the internet and stereotyping).

Nevertheless, I think writers have certain qualities that other civilians cannot match as friends. As an editor I have made friends with plenty of writers, and every one of them has added value to my life in some weird and wonderful ways.

The infographic below outlines 8 little-known reasons why writers make great friends.

1. Writers are knowledgeable

‘Knowledgeable’ probably wasn’t on your list of most desirable traits in a potential friend, but think about it. Nobody likes awkward silence. Lulls in conversation tend to come about when there’s nothing to talk about, but writers are often repositories of information ranging from the random to the hilarious (and inevitably the tedious).

When you’re at a party, sit next to the writer and you’ll hit the conversational jackpot: they’ll not only be up to date on the latest world events, but will also fill you in on what Kim Kardashian’s booty has to do with feminism.

2. Writers are great plus-ones at dinner parties

Offer a writer free food and they’ll rarely flake out on you.

Some might be in need of a good meal, being that they survive near the breadline on a daily basis or have been trying to finish NaNoWriMo and preparing food simply wasn’t an option.

Others may well be well on their way to a successful career in journalism or travel writing, but have never quite shaken those nightmares about being strangled in their sleep by ramen noodles. A catered-for dinner party is like therapy for them.

3. It’s hard to bore a writer

Most of your friends are probably fed up with hearing about your ex or how unreasonable your coworkers are. Instead of venting to them, turn to your writer friend.

Writers lap this stuff up. For you it’s catharsis, for them primary research. They’re probably working on a series of essays about how the monotony of everyday life is crushing the creativity out of a generation. Get ready for engaged questioning – “but why do you think you feel that way? Do you think there are societal forces preying on your mind, creating an unrealistic image of who you should be?”

If your rant is their brainstorm session and you’re helping each other out, isn’t back scratching what friendship’s all about?

4. Writers ‘get’ rejection

Even when they professionally benefit from your pain, writers are compassionate. Not because they’re inherently better than regular civilians, but because they’ve been through it all too: mind-melting jobs in call centers, getting dumped for spending too much time on their work, and being isolated from human contact for days or weeks at a time while writing.

Writers know your pain. Most of all, though, writers get rejected a lot.

You got turned down for a promotion this week? Your writer friend probably got turned down for three article pitches today. When you need a shoulder to cry on, writers are there to be your friend. But most importantly, they’ll insist you get back up on your feet and try again.

5. You might get a character named after you

Look at your friendship with a writer as a potential investment in future notoriety. If you’re in your writer friend’s inner circle while they’re working on a novel, you might get a character named after, or even loosely based on, you.

There are many examples of this, known as Tuckerization, but a notable one is Philip K. Dick naming fellow author Poul Anderson in his short story “Waterspider”.

Read the full post on FreelancersUnion .

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A reader’s manifesto

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Please read the full post on TheBookSeller website.

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New Literary Agent Alert: Rachel Burkot of Holloway Literary

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Today’s post I am trying something different. It is by , from the Writer’s Digest website, on December 7, 2015.   Chuck is introducing Rachel Burkot, or Holloway Literary who is looking for new authors to represent. Is this something you are interested in?

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Reminder: New literary agents (with this spotlight featuring Rachel Burkot of Holloway Literary) are golden opportunities for new writers because each one is a literary agent who is likely building his or her client list.

 

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About Rachel: Rachel Burkot of Holloway Literary has been in the publishing industry since 2009. After completing an internship with two literary agencies, reading mostly young adult and thrillers, she then worked as an editor for Harlequin, acquiring category romance, contemporary romance, multicultural romance and women’s fiction. She has decided to transition her skills to the agenting world in order to be an advocate and champion for her authors because she loves finding new talent and helping authors’ dreams of publication come true. Rachel’s career highlights include helping her authors achieve prestigious romance book nominations and two selective awards, including the National Readers Choice Award, and several top reviews in Romantic Times magazine for her books. Follow Rachel on Twitter at @Rachel_Burkot.

Read the full post on the Writer’s Digest website including instructions on how to submit and the types of books Rachel is interested in.

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How The Literary Class System Is Impoverishing Literature

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Today’s post is by Lorraine Berry, from the Literary Hub website, on December 4, 2015.  In her article, Lorraine examines the realistic views on the class system within the literary community. This is something can be expanded to cover the divide between “self-published” vs. “traditionally published” authors as well. While the self publishing world is making great strides, how much does having connections and opportunities help with getting a contract and attention with a publishing house? 

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How The Literary Class System Is Impoverishing Literature

On the Systemic Economic Barriers to Being a Writer

One of the things I was taught as an elementary school student in Illinois was that America differed from Europe in that it was founded as, and has remained, a classless society. These days, if politicians such as Barack Obama or Bernie Sanders bring up the disparities among the classes in America, they are accused by their political opponents of conjuring up class Piggy bankconsciousness in order to foment class warfare. Unfortunately, of course, Obama and Sanders are right, and my schoolteachers were wrong. And while class disparity manifests in all sectors of society, for those who seek careers in literature, class differences have a huge impact on who gets hired and who gets published. This, in turn has a real effect on the portrayal of class in literature, and in media depictions of the writer’s life.

In the past few years, countless essays, articles, charts, graphs, and surveys have been published making the case for greater gender and ethnic diversity in the literary world, that our literature might present back to us a truer accounting of the society in which we actually live. There remains a long way to go but we have slowly come to understand that by publishing more writers of color, by increasing the number of women’s bylines, by being more inclusive, we will increase the quality of our collective storytelling.

But very little has been explicitly articulated about the exclusion of the great American underclass, that perpetually poor group on the bottom tier of society that includes all races/genders/creeds. And as we winnow out opportunities for art about poverty, we lose so much potential for change.

One doesn’t learn to be a writer in college and then graduate with the same opportunities as everyone else. When it comes to looking for a job, or having the time to write, social stratification determines who gets the internships, and by extension who gets to forge the connections that help one find an agent, or get a job with a publishing house.

A colleague and I have the same argument at least twice a year, usually at registration time when he bumps into me in the office and complains to me about our students’ unwillingness to go after off-campus internships. Most of his scorn is directed at students who only want to do an on-campus internship, during the semester, rather than taking an internship over winter or summer breaks.

And, given that the college where I teach is a four-hour drive from New York City, he is brutal when discussing the failure of the students to feed at the Golden Corral of publishing internships that is Manhattan. And so, each semester, I have to remind him of the reality of our students’ lives. I start with the fact that NYC internships often pay at most a token salary of perhaps a thousand dollars per month. Apartment rents in Manhattan and Brooklyn cost more per month than that highest token salary, and even if you can find a sharing sublet for summer and live on Ramen, rice, and mac-n-cheese, most of our students must spend summer working as many hours as they can so that they can get by working part-time during the school year. A summer internship that has a negative impact on summer savings is out of reach for any student not supplemented in some way. Some students luck out because a relative lives in one of the boroughs and is willing to house them, but once again, while it’s not a guarantee of money, it is still the accident of having a relative live within commuting distance of New York City.

Read the full post on the Literary Hub website

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The 58 most commonly misused words and phrases

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Today’s post is by Richard Feloni, off of the Independent website, on November 30, 2015.  In the article, Richard reviews linguist Steven Pinker‘s “The Sense of Style” and the most commonly misused words and phrases, some of which you will find in the recent post Quick Hacks for the Top Misused Words.

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Whether you’re trying to sound sophisticated or simply repeating what you’ve heard, word fails are all too common and can make smart people sound dumb.smiley-emoticons-face-vector-smart-expression_X1ZqT-_L

In his latest book, “The Sense of Style,” Harvard cognitive scientist and linguist Steven Pinker explores the most common words and phrases that people stumble over.

The book is like a modern version of Strunk and White’s classic “The Elements of Style,” but one based on linguistics and updated for the 21st century.

Since there is no definitive body governing the rules of the English language like there is for the French language, for example, matters of style and grammar have always remained relatively debatable. Pinker’s rules and preferences are no different, but the majority of the words and phrases he identifies are agreed upon and can help your writing and speaking.

We’ve highlighted the most common mistakes according to Pinker using examples directly from his book along with some of our own.

Here are the main ones to look out for:

• Adverse means detrimental and does not mean averse or disinclined.

Correct: “There were adverse effects.” / “I’m not averse to doing that.”

• Appraise means to ascertain the value of and does not mean to apprise or to inform.

Correct: “I appraised the jewels.” / “I apprised him of the situation.”

• As far as means the same as but cannot be used the same way as as for.

Correct: “As far as the money is concerned …” / As for the money …

• Begs the question means assumes what it should be proving and does not mean raises the question.

Correct: “When I asked the dealer why I should pay more for the German car, he said I would be getting ‘German quality,’ but that just begs the question.”

• Bemused means bewildered and does not mean amused.

Correct: The unnecessarily complex plot left me bemused. / The silly comedy amused me.

Read the full post on the Independent website

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Author Websites: Part One – The Domain Name Game!

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Now that you have decided to create your own author website, the first step is figuring out what your domain name is going to be. Even if you plan on hiring someone to do most of the heavy lifting for you, it is good to understand the process.

According to Wikipedia, a domain name is “an identification string that defines a realm of administrative autonomy, authority or control within the Internet.” Yea. If that made sense to you, then congratulations, you don’t need this article. In plainer words, it is what people type in their browser to pull up your site.Robot with WWW sign. Website building or repair concept

As discussed in the post What is in a name? Everything if you are an author. Why you need your own author site, the best choice is to use your author name if you can. To find out if it is available, you can go to one of the many domain search engines on the web. I personally like namecheap.com. I am not getting paid in anyway to promote them, I just like them. Feel free to use whomever you want.

If your author name is not available, consider adding extra words to your name such as “author” or “books”. For example AuthorJoeName.com, or JoeNameBooks.com. If you are blessed with a heritage that leans towards long and unpronounceable last names, go ahead and shorten it to something that is easily type-able. Anastasios Papademetriou from high school, I am talking to you. You want to make it easy for people to find you.

The nice thing about these search tools is they will offer you suggestions if your desired domain name is already taken. Beware, they will often show you your domain name with other available domain extensions like .biz. Don’t waste your money. Really, when most people search they will be going by a .com name. If you buy the .club, .biz, or any of the other options, the .com is what people will find first. You will be spending your time trying to educate people about how the yourname.com is not you. The only exception would be if you are writing on behalf of a charitable organization, then the .org could be used or if you are writing x-rated material, then the .xxx is perfect for you.

So you found your domain name is available. That is awesome! While you are looking, go ahead and see if your book title is free too. You can always have more than one domain redirect to one site. So for example, you could have AuthorJoeName.com, JoeNameisreallylong.com, and Joenamebook.com all end up at the website AuthorJoeName.com. (I will go into this in later posts!)

So now you are ready to purchase! You can either purchase from the place where you did the search, or sometimes you can go through the web host. I will have more on that next week’s post – Author Websites:  Part Two – Hosts With The Most! A lot of web hosts will also allow you to purchase domain names, and even help you set things up.

A side word on “Whoisguard”.  Whoisguard is a service that blocks the public display of your domain registration information.  To register your domain, you need to provide personal information including your name and address, things you don’t want to be public. When you go to purchase your domain, you might be offered Whoisguard for a year free, or for purchase for a few bucks more. Do yourself a favor and get the Whoisguard.

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If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit to be posted on this site or just general comments, please contact me at paula@publetariat.com

How Indie Authors Can Use Preorders to Crack the Bestseller Lists

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Today’s post is by Mark Coker, off of the Publishers Weekly website, on November 20, 2015.  He discuses how self publishing authors can use preorders to boost their rankings and be a part of a good marketing plan.

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Imagine you could press a magic button that would make your next book launch more successful. The magic button is the e-book preorder, which gives indie authors a sales and marketing advantage.

Over the last 12 months, nearly two-thirds of the top 200 bestsellers distributed by Smashwords originated as preorders. This statistic is all the more impressive when you consider that only one in eight books published at Smashwords during this period was listed as a preorder.

A preorder is an advance listing of your e-book at major retailers that allows your reader to reserve a copy of your book up to 12 months before the release date. When the book is officially released, the customer’s credit card is charged and the book appears in her device’s library.

Although preorders are standard practice for traditional publishers, most self-published authors don’t yet know how to take advantage of them. Let’s fix that problem right now.

Five Big Benefits of E-book Preorders

1. More effective advance marketing of your book: Most authors use Facebook and other social media to communicate with readers about works in progress. By providing a preorder link every time you share news about your upcoming releases, you can capture readers’ orders when you have their greatest interest and attention.

Read the full post on Publishers Weekly

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What Is the Most Important Thing To Do When You Finish Nanowrimo Or Any Other Writing?

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It is the beginning of December and for those of us who NaNoWriMo’d that means we have made it to the end! Congratulations to those who met the goal of 50K words or beyond. To any of you who did not quite make it, this is truly one of those times when you get props for making the attempt and better luck next year.

The rush of counting down those last words or those last steps until you make your goal is addicting. Being done is wonderful! Then there is the temptation to rush to send it to an editor or god forbid trying to publish it. But the most important thing to do next is

Stop.Stop Button As Symbol For Panic Or Warning

Take a breather. Go do something else. Connect with family. Binge watch a show. Clean. Sleep! Anything but what you were doing. Don’t be stingy, give yourself enough time for a real breather. The manuscript or project will still be there, just like you left it. Except now you have fresh eyes and clear mind to look at your work again.

After you have given yourself a break, there is one more step that you should do. This is one I pull from my experience as a software engineer and the software life cycle. This is how you get more out of your hard work.

Evaluate the performance. What does that mean, especially with writing? With software you are usually evaluating the performance of the application, but you are also evaluating the whole process of development. With writing you are not evaluating the words, but your writing process.

Take time to look back at what you have accomplished. Did you meet your goal? What worked well? What do you need to improve? By taking a moment to be introspective and review your efforts you can greatly improve your work and yourself.

For example, this is my eighth year of doing NaNoWriMo and I did make the 50K goal. I have one year I did not complete the required words, so every year I do manage to make it is a pat on the back. Looking back after a breather, I find that my storytelling has grown immensely, with a depth of character that surprised me. I am now inspired to continue to work on this story due to that success.

This introspection also showed me that I need to grow in two areas. I still struggle with having dialogue that flows. Moving forward I will be looking for articles and help in that area. I also need to improve my work/life balance because to be honest I did most of my words in the last three days. It is nice to know that if my life depended on it, I can whip out 15k words in a day but I don’t want to do that again. But now I know what to spend my time focusing on to grow as a writer.

We often push ourselves or get caught up in the moment and rush to the next whatever. But by stopping and giving our brains a chance to rest, then looking at our work and ourselves we actually improve more so than by just pushing forward blindly.

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The Top Seven Arguments Against Using Profanity in Your Writing (And Why They’re Dumb as Fuck)

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Today’s post is by Robert Bevan, off the site Caverns and Creatures on November 28, 2015.  Warning, cuss words ahead!

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The Top Seven Arguments Against Using Profanity in Your Writing (And Why They’re Dumb as Fuck)

Earlier this week, a writer friend of mine shared one of my blog posts on his timeline. Incidentally, this was the same post that first caught the attention of Phil Elmore. It got someone else’s attention this time. Here’s a comment someone left on that Facebook post.

That one like was from me. I knew then what this week's blog post was going to be about.

That one like was from me. I knew then what this week’s blog post was going to be about.

And so I embarked on a mission to discover what it is about “bad” language that gets people so riled up. Here’s what I found…

7. It’s lazy.

What’s lazier than parroting some bullshit your high school English teacher told you fifteen years ago, and trying to pass that off as some kind of intellectual argument?

As many times as I’ve seen or heard this argument raised, I’ve never seen anyone show a specific example of what they’re talking about, then provide a suggestion on how it might be improved.

"Fuck that. I'd rather just call you lazy."

“Fuck that. I’d rather just call you lazy.”

I’m afraid that won’t do, Mr. GoGettter. In order to drive this point home, I’m afraid a single example isn’t enough. You’re going to need to provide enough examples to establish a pattern, and demonstrate that profanity can be singled out as the sole source of laziness.

Otherwise, you’re just talking out of your fat, lazy ass.

6. It shows a lack of intelligence and/or creativity.

This is complete and utter horseshit. I don’t even know what it’s supposed to mean.

Every time you write a word or a sentence, you are rejecting an infinite number of words or sentences you could have used in its place. There are no true synonyms. Every word or combination of words carries its own connotations in a given context. As a writer, it’s your job to choose the words and combinations of words which most closely paint a picture in the reader’s mind. If some of those words happen to be the ones which society has arbitrarily deemed “bad”, so be it.

By the logic of this argument, you could say the same thing about any word in any sentence ever written.

In the recently released Critical Failures IV: The Phantom Pinas, a character says, “Randy, you already done shit in the chili.”

This wasn’t the result of me crapping out the first thing that popped into my head and saying “Fuck it. That’s good enough.” There are other ways I could have had this character express that Randy had been the catalyst of a situation which was now beyond his control. Hell, I could have said that very thing, but it wouldn’t have been true to the character. She isn’t the type to say “catalyst of a situation.”

I could have gone with, “Randy, you already done scrambled that egg.”, but I felt the phrase I chose instead more accurately reflected the character’s personality and upbringing.

Comparing those two metaphors, “shit in the chili” is objectively more creative, because “You can’t unscramble an egg” is a much more known saying. This would still be the case if the word “shit” were replaced with “poop” or “defecate”, which tells us that the vulgarity of the word “shit” is not a means with which to measure the writer’s creativity. And your inability to come up with a competent counter-argument lends credit to the writer’s intelligence.

Read the full post on Caverns and Creatures.

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How to Find a Literary Agent for Your Book

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Today’s post is by , off of her site janefriedman.com  on April 29, 2015.  With Nanowrimo ending (Hooray and congrats to all who entered!) it is time to think of next steps. Jane’s post gives some really good advice on deciding if you need a literary agent, and then what steps to take.

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Ready to get publishedWhen writers ask me “Can you find me a literary agent?” they don’t realize it’s kind of like asking me “Can you find me the right spouse?” This is a research process and decision that’s best conducted by you. I think you’ll understand why by the end of this post.

Understand Your Work’s Commercial Potential

There are different levels of commercial viability: some books are “big” books, suitable for Big Five traditional publishers (e.g., Penguin, HarperCollins), while others are “quiet” books, suitable for mid-size and small presses. The most important thing to remember is that not every book is cut out to be published by a New York house, or even represented by an agent; most writers have a difficult time being honest with themselves about their work’s potential. Here are some rules of thumb about what types of books are suitable for a Big Five traditional publisher:

  • Genre or mainstream fiction, including romance, erotica, mystery/crime, thriller, science fiction, fantasy, young adult, new adult
  • Nonfiction books that would get shelved in your average Barnes & Noble or independent bookstore—which requires a strong hook or concept and author platform. Usually a New York publisher won’t sign a nonfiction book unless it anticipates selling 10,000 to 20,000 copies minimum.

To better understand what sells, buy a subscription to PublishersMarketplace.com and study the deals that get announced. It’s a quick education in what commercial publishing looks like.

Also, check out Manuscript Wish List, where agents/editors specifically spell out what they’re looking for. It’ll keep you up on trends.

If your work doesn’t look like a good candidate for a New York house, don’t despair. There are many mid-size houses, independent publishers, small presses, university presses, regional presses, and digital-only publishers who might be thrilled to have your work. You just need to find them.

Decide If You Really Need a Literary Agent

In today’s market, probably 80 percent of books that the New York publishing houses acquire get sold by agents. Agents are experts in the publishing industry. They have inside contacts with specific editors and know better than writers what editors or publishers would be most likely to buy a particular work. Perhaps most important, agents negotiate the best deal for you, protect your rights, ensure you are paid accurately and fairly, and run interference when necessary between you and the publisher.

The best agents are career-long advisers and managers.

Traditionally, agents get paid only when they sell your work, and they receive a 15 percent commission on everything you get paid (your advance and royalties). It is best to avoid agents who charge fees other than the standard 15 percent.

So … do you need an agent?

It depends on what you’re selling. If you want to be published by one of the major New York houses (e.g., Penguin, HarperCollins, Simon & Schuster), then you more or less need to have one—and want one on your side.

If you’re writing for a niche market (e.g., vintage automobiles) or wrote an academic or literary work, then you might not need an agent. Agents are motivated to take on clients based on the size of the advance they think they can get. If your project doesn’t command a decent advance, then you may not be worth an agent’s time, and you’ll have to sell the project on your own.

Read the full post on janefriedman.com.

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If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com

We will be back to our regular schedule Monday, October 30th. December 1st. See what all NaNo and no sleep does!

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ALAN MOORE – advice to unpublished authors.

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Today’s post is quick video from author Alan Moore with some great advice to unpublished authors and honestly authors in general. I love his accent <3.

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[quote]If you write everyday, then you are a writer[/quote]

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If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com