Courtesy of Indies Unlimited, Melinda Clayton shares her experiences with the changeover from CreateSpace to KDP Print. Straightforward tips that you may find useful. I’m going to tackle this soon. Read the comments; they are helpful as well.
Tag Archives: novels
Here’s the primer. Save those apostrophes for the times you really need one—and that means NOT in plurals!
NO APOSTROPHE IN THE PLURAL OF YOUR FAMILY NAME—OR YOUR CHARACTER’S FAMILY NAME. APOSTROPHES ARE FOR POSSESSIVES AND CONTRACTIONS. THAT’S IT!
Yet again, on a Facebook page for writers of fiction, someone asked about a clear vanity press scam. Page members quickly jumped in with the appropriate answer for such a query: RUN!
But what amazes me is that I see so many of these kinds of questions. I’m not a particularly patient soul myself, so I had to throttle my immediate response: Don’t you have a computer? Don’t you know how to Google? Shouldn’t basic research be the first step for someone thinking about publishing? Doesn’t it occur to folks that in this day and age, How-To is there for the asking? All you have to do is look.
I consider the answer I composed reasonably tactful (for me):
These days, when we all clearly have access to the Internet, it surprises me that people don’t actively search for information on “how to publish a book.” Of course, a search like that will turn up lots of scams and vanity presses, but it will also turn up many useful sites that offer advice. Everyone who is thinking seriously about publishing should be compiling a personal list of the most helpful FREE sites that lay out the ins and outs of today’s publishing options. A search for “best websites for writers” would yield a ton of these. Yes, you will get some conflicting opinions–some people love Amazon, some hate it–but you’ll begin to get the lay of the land. After a while you begin to get a sense of which bloggers know their business and which don’t. In my earlier comment, I listed Jane Friedman and Victoria Strauss (Writer Beware): invaluable. I also recommend The Book Designer (Joel Friedlander). You can buy books by the carload that will walk you through every step; most are cheap enough as ebooks that you can buy more than one and get a wider set of options. Takes a little time, yes, but not nearly as much time as you have devoted to writing your book, and this basic research will save you many hours by helping you make the best choice for you. Chris the Story Reading Ape also offers regular links to excellent advice. I found these people by Googling, attending conferences, and searching Amazon. Don’t put less energy into this than you would in buying a car!
Okay, I get it that posting questions to Facebook groups is a step in this process. But Facebook friends can’t offer the kind of education we writers need. Learning about style and grammar and showing-not-telling are basic skills, but so are the fundamentals of the business you are thinking of entering. For example, one respondent said she couldn’t afford to self-publish! Facebook friends can’t possibly slap up a full explanation of why this comment is unfounded. They basically have to say, “Go look it up!”
So that’s what I’m saying: Want to be a writer? Go look it up.
Am I completely off base here?
This article (via that incredible resource, Chris the Story Reading Ape) rings so true for me. I, too, have “lost novels,” one of which actually got published, to my everlasting regret—even with a supposedly top editor! Just goes to show you (me): it’s YOUR book, and you are the one who either makes it work or not. K. M. Weiland’s focus on story—on structure, on having an arc that provides readers with the narrative pull to keep reading: vital. I’ve written and reblogged about that (just some examples), because I learned the hard way. Take her advice to heart.
Do you have a “lost novel”? What did you take away?
on Helping Writers become Authors:
Mistakes are unavoidable. To fear them is to fear life itself. To try to eliminate them is to waste life in a futile struggle against reality itself.
I daresay no one has more opportunities to learn these truths than does a writer.
As writers, our lives are a never-ending litany of mistakes. Certainly mine has been full of mistakes—everything from the opening sentences I wrote for this post, thought better of, and replaced—to literally hundreds of thousands of deleted words I’ve carefully saved from all my rough drafts—to entire story ideas (representing hundreds of hours of dedicated, hopeful work) that have proven themselves unsalvageable and earned a dusty place in a back corner of a closet shelf.
I won’t say I don’t regret these mistakes. I do. I regret the wasted time and effort. I regret the bereavement of loving and nurturing something that never…
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One of my favorite posts—hope it helps with one of writing’s toughest little questions: When should you use a comma?
Commas are among my favorite tools for building meaning. Used intelligently, commas are wonderful signposts that tell readers which part of a sentence they’ve stumbled into—and then help them make their way out again. I like commas so much I’ve written multiple posts about them.
If comma rules confuse you, take heart! If improving reader comprehension is your goal, there are really only a few “rules” to remember:
Rule 1: After introductory elements.
This is the one most people seem to know about. But I argue that commas are really only necessary when the introductory element gets long enough that readers may miss the lane change back into the main part of the sentence.
After a moment he left the room. (No comma needed unless you want to emphasize a pause.)
After he spent an extended vacation in a remote village in the Alps, where did he go next? (The comma lets readers know that “where” begins a new clause.)
Rule 2: Around or after “interrupters,” including non-essential modifiers (this is a rule, not an option).
I think this one is the most confusing for many writers.
Short interrupters can be easy to spot:
Jane, however, did not go with him to the Alps.
However, Jane did not go.
Non-essential modifiers are elements that can be lifted out of the sentence without compromising its meaning or purpose.
The old car, which was a lot like the one my grandfather used to drive, had been repainted bright blue.
The information about grandad’s car is incidental to the meaning of the sentence, which is that the car is now bright blue. Lift it out and only this incidental information is lost. The rule here, and it IS a rule, is TWO COMMAS, not just the first one. You need that second comma to signal the return to the main clause.
Contrast the example above with this example of an essential modifier, one that can’t be lifted out without eliminating the point of the sentence:
The car that gives you the most mileage is the one you should buy.
Without the modifier, we have:
The car is the one you should buy.
Since the point of the sentence is to say which car, the modifier is essential to the meaning.
NO COMMAS around essential modifiers! They are integral to the sentence, not “interrupters.”
Sometimes confusion about what constitutes an essential or non-essential modifier can turn a sentence into nonsense. I often see commas inserted into constructions like this.
Author Stephen King wrote a lot of books.
Note: no commas. Now try it without the essential modifier, in this case an appositive:
Author wrote a lot of books.
The trick: try taking out the modifying clause and see what remains.
Rule 3: Direct address (this is also a rule, not an option):
Hi, Mr. Smith.
Did you buy bread at the store, Louise?
Louise, did you buy the bread?
Well, Mr. Smith, I guess we won’t be having any bread today.
Rule 4: Before “and,” “but,” etc., if you have more than two items. (This is the infamous Oxford or serial comma.) The elements of the “serial” or list can be words, phrases, or whole sentences.
Louise forgot the bread, cheese, and fruit; she did remember the wine, beer, and vodka.
My worries about her diet involved her lack of protein, her lack of vegetables, and her preference for liquid components.
If you have only two items linked by “and” or “but,” you have a compound and don’t need a comma, as in this sentence, which contains a compound predicate for the pronoun “you.” I’ve underlined the two components (and note the comma after the introductory clause).
Rule 5: Before the “and” or “but” if you’re joining two complete sentences.
I’d argue this is a judgment call, but this sentence illustrates how judicious use of a comma in a compound sentence like this one can tell readers which part of the sentence they’ve ventured into.
That’s five “rules” to absorb—not really so many. Rule Number Six: if one of those five rules doesn’t apply, DON’T INSERT A COMMA. No commas between subjects and their verbs, no commas after “and” or “but,” and so forth. List the five rules and check your questionable comma to see whether one of these applies*:
- After introductory elements
- Around interrupters
- In direct address
- Before “and” or “but” in a list of three or more items
- Before the “and” or “but” in a compound sentence (two complete sentences joined with a coordinating conjunction like “and” or “but”**).
*There are some “conventional” rules for commas that don’t really affect readers’ comprehension, such as the comma that should follow the name of a state (“Austin, Texas, was his home.”) or the ones before and after the year in dates. Any handbook will answer your questions about those minor comma uses.
**There are actually several coordinating conjunctions in addition to “and” and “but,” and the rule applies to them as well, but I didn’t want to muddy the waters too much. The other coordinating conjunctions you’re likely to use include “for,” “nor,” “or,” “yet,” and “so.”
What comma rule confuses you most? How do you decide when to include one? Share you solutions with us all!
Here’s a terrific follow-up to an earlier post of mine, “Why I Quit Reading Your Book.” The Red Ant hits some specifics that resonate for me. Especially this one, which addresses a problem I’ve seen over and over:
So you have a great plot and good, strong characters (quirky individuals or admirable, real people), and now… nothing keeps happening. The characters chat, hang out, look at the landscape, wait for the curtain to go up so the show can start… how long will you keep the reader waiting?
Folks, something has to happen—fast. Not necessarily a bomb going off, but something. Some really great advice from a conference I attended: Start with conflict, not crisis. Get those characters arguing about a challenge or a problem that’s got to be taken care of. They’ll start talking, and you and your readers (me, at least) will soon be taking sides!
I also echo the points about finding the balance between too much and too little world-building. Exposition and description piled up in the first pages are static. Get people doing things, and let their world settle into place around them.
More great advice in this post. Check it out!
I just came across this post again:
Back then I thought she had nailed it. I still think she does, as do some of the commentators. I agree with Roughseas that it’s more than just Voice; but I also agree with Virginia, there has to be Voice.
In the Land of Fairies and Storytellers
Ireland is amazing. (I knew it would be.)
Almost everyone I encounter here is a natural storyteller. So it’s hard to understand, if this comes so natural to people here, how others can struggle to write so it engages the reader.
You write a story the way you would tell it to a crowd of avid listeners.
Those passages that make you blush? Strike them from the manuscript! The parts where your audience starts yawning and looking around? You know you’ve lost them, you need to intensify the writing. Maybe lie lower on the description…
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This article from Writers Helping Writers by Deborah Dixon, author, editor, and racial justice activist, addresses an issue that has troubled me and that should, in my view, be of concern to us all. Not everyone may agree with Dixon on every point, but as a middle-class white woman (raised in the south at the end of Jim Crow and on the edge of the Civil Rights Movement) trying to produce writing that entertains yet does no harm, I’ve struggled with how to or whether to develop minority characters in my work (as well as how to address socially problematic themes).
I don’t want to preface this post with an extended essay on my own consciousness—there are probably better places for that, if it needs to be written at all—but I do want to say that when I wrote the novels that were published in the 1980s, I was massively ignorant and insensitive (though perhaps not insensitive enough to commit most of the more egregious mistakes). When I returned to these books to self-publish them, I reread them with more awareness and indeed made some changes, so that I hope people buying my two republished books purchase those and not the earlier versions (this is truer of Blood Lies than of King of the Roses, although I still sometimes consider further edits of that book).
My depictions of characters came from my experience of the people around me in the horse world. That those experiences were incomplete goes without saying. In my defense, I think that in those books, I write about a range of characters with many nuances, good people and bad.
In any case, Dixon’s discussion gives me some guidance, and with that guidance, perhaps some confidence going forward that will allow me to take risks I’ve probably been shying away from. Even if you don’t agree with every request Dixon makes of us, I hope you will agree with me that it is better to make decisions about representation thoughtfully, with our eyes open, even if we don’t always get it all exactly right.
Have you ever struggled with representing people different from you in your writing?