So You Wanna Write A Book

Someone once asked me, "I want to write a book; how do I get started?"

Whether or not there is an answer to that question is a contradictory circumstance. I can discuss how one can get started, but at the same time, how the hell should I know? The aspiring writer could either have an idea as to what they want to write, or have no idea and still submit a request for guidance. If it's the latter, then the individual either is not a writer or not ready to write. I shouldn't have to help someone find a good idea to write about. If that were the case, I'd write it myself.

Strangely enough it is easy for me to give an aspiring writer an idea of how to begin, but an individual who wants to write a book needs to have the tools readily available, and I'm not just talking about the physical tools; a laptop (or typewriter, or paper and pen), I’m talking about the mental tools—they need to have a focal point; an idea where the story beings, or at least have a grasp of the tale’s plot. When one has serious notions about writing a book, one must have the ground work laid out.

First, consider your genre: What sort of story do you want to tell? Is it Romance, True Crime, Thriller, Horror, etc., etc…

Second, you should have an idea as to who your players are, and they all must have a specific “job” that is integral to the plot and/or moves the plot along. After all, that’s what characters do—they propel the protagonist, and antagonist, forward.

From there it all hinges on spending time with your subject matter and your characters. I’ve written a couple of posts regarding the importance of understanding who your characters are first and foremost (Using Your Characters To Write a Great Story / Developing Your Characters). If you don’t know who your characters are, if you don’t familiarize yourself with them, then it’s a guarantee your book won’t be successful.

You need to understand who is who and how they all fit together as a whole. I personally recommend spending time with your characters (in your head, of course) before you put pen to paper, so to speak, no matter how long that takes you, and that you have a solid handle on which character is being used for which purpose. Things change during the course of your writing; your first draft may change dramatically from the finished draft that you are ready to submit to publishing houses or self-publish, so it’s not as though you need to have your characters grounded and disallow them to budge, but by the time you’re moving things around or changing ideas, you should be well acquainted with the players.

I’ve also touched on the subject of writing what you know (Why You Should Write About What You Know). Basing a novel on a subject that you are familiar with can help you move through your ideas comfortably. If you do this it means one battle will already be won and in your favor. All that will be left is for you to A) Figure out the particulars of the story, and B) What role your characters play in it. That sounds easier said than done, and that’s because it is. Regardless of whether or not you’ve conquered the subject matter because it’s common knowledge to you, and you’ve grown so close to your characters that you send them Christmas cards, you still need to connect the dots. And in addition, you’re still going to need to research any information you’re not familiar with that fits into your story and is necessary.

And speaking of Research...It needs to be done. Research can be the difference between a successful novel and a devastating embarrassment. If you don’t have the wherewithal to research your subject matter, then forget about writing—you weren’t meant to do it. Writers take pride in their work, just like anybody else who loves what they do, and in the case of being a writer there’s the added concern that strangers from around the country, the world even, have access to reading your work if you choose to publish. If you don’t mind looking like an idiot, then by all means…publish drivel. I’d hate to encourage that, but the sad fact is this: There are many self-published authors who should not be, for all intents and purposes, published.

I guess the bottom line is figuring it out is not as simple as asking a writer who has traversed the playing field that is writing to help you collect your thoughts. A true writer will be capable of sussing out much of it all on their own—a true writer doesn’t need help getting started because a true writer will figure out where to begin. How can I tell you what you should write about?

 

 

 

So You Wanna Write A Book

Someone once asked me, "I want to write a book; how do I get started?"

Whether or not there is an answer to that question is a contradictory circumstance. I can discuss how one can get started, but at the same time, how the hell should I know? The aspiring writer could either have an idea as to what they want to write, or have no idea and still submit a request for guidance. If it's the latter, then the individual either is not a writer or not ready to write. I shouldn't have to help someone find a good idea to write about. If that were the case, I'd write it myself.

Strangely enough it is easy for me to give an aspiring writer an idea of how to begin, but an individual who wants to write a book needs to have the tools readily available, and I'm not just talking about the physical tools; a laptop (or typewriter, or paper and pen), I’m talking about the mental tools—they need to have a focal point; an idea where the story beings, or at least have a grasp of the tale’s plot. When one has serious notions about writing a book, one must have the ground work laid out.

First, consider your genre: What sort of story do you want to tell? Is it Romance, True Crime, Thriller, Horror, etc., etc…

Second, you should have an idea as to who your players are, and they all must have a specific “job” that is integral to the plot and/or moves the plot along. After all, that’s what characters do—they propel the protagonist, and antagonist, forward.

From there it all hinges on spending time with your subject matter and your characters. I’ve written a couple of posts regarding the importance of understanding who your characters are first and foremost (Using Your Characters To Write a Great Story / Developing Your Characters). If you don’t know who your characters are, if you don’t familiarize yourself with them, then it’s a guarantee your book won’t be successful.

You need to understand who is who and how they all fit together as a whole. I personally recommend spending time with your characters (in your head, of course) before you put pen to paper, so to speak, no matter how long that takes you, and that you have a solid handle on which character is being used for which purpose. Things change during the course of your writing; your first draft may change dramatically from the finished draft that you are ready to submit to publishing houses or self-publish, so it’s not as though you need to have your characters grounded and disallow them to budge, but by the time you’re moving things around or changing ideas, you should be well acquainted with the players.

I’ve also touched on the subject of writing what you know (Why You Should Write About What You Know). Basing a novel on a subject that you are familiar with can help you move through your ideas comfortably. If you do this it means one battle will already be won and in your favor. All that will be left is for you to A) Figure out the particulars of the story, and B) What role your characters play in it. That sounds easier said than done, and that’s because it is. Regardless of whether or not you’ve conquered the subject matter because it’s common knowledge to you, and you’ve grown so close to your characters that you send them Christmas cards, you still need to connect the dots. And in addition, you’re still going to need to research any information you’re not familiar with that fits into your story and is necessary.

And speaking of Research...It needs to be done. Research can be the difference between a successful novel and a devastating embarrassment. If you don’t have the wherewithal to research your subject matter, then forget about writing—you weren’t meant to do it. Writers take pride in their work, just like anybody else who loves what they do, and in the case of being a writer there’s the added concern that strangers from around the country, the world even, have access to reading your work if you choose to publish. If you don’t mind looking like an idiot, then by all means…publish drivel. I’d hate to encourage that, but the sad fact is this: There are many self-published authors who should not be, for all intents and purposes, published.

I guess the bottom line is figuring it out is not as simple as asking a writer who has traversed the playing field that is writing to help you collect your thoughts. A true writer will be capable of sussing out much of it all on their own—a true writer doesn’t need help getting started because a true writer will figure out where to begin. How can I tell you what you should write about?

 

 

 

The Importance of Networking

To those who are aspiring or new writers, or even writers who have been published traditionally or self-published for a while (they're out there), you must market yourself, and you cannot limit yourself to Twitter alone. Twitter can be a remarkable tool in terms of getting your work and your name out there, but you can't rely on Twitter alone! In fact, with Twitter, so many tweets go by at such an alarming rate that you have to consider (or wonder about) the reality of just how many people have noticed the information you tweeted about your book.
 
What you need to consider is the idea of using your head to both think and step outside the box. Believe it or not, most people rely on Twitter alone. You need to build websites, blog, maintain accounts under as many writing/reading sites as possible (i.e., goodreads, authonomy.com), and employ LinkedIn in order to make connections with other authors that may be of a higher caliber and in a position to help spotlight your novel in the event that they can appreciate your work. You need to contact local shops, small bookstores, and maybe even make appearances at flea markets or high-school bazaars in addition to setting up book signings at the conglomerate book stores.
 
As an example; having written about Billy the Kid, one of the avenues I'll be pursuing is to contact the museum out in Fort Sumner (the Kid's home), and find out if they have either A) ordered or intend to order my novel, or B) offer to send them my book to sell. In either respect, I will allow them to use any sales profits my book nets as a donation, as I intend to give back to the man, dead or not, who allowed me to follow my dream so enthusiastically.

In addition, I will be blogging for creative writing outlets such as The Examiner, which is a national blog that employs writers from all walks of life to discuss all sorts of topics. I plan to use this outlet to my benefit by discussing relevant topics such as politics and current affairs, as these sorts of publications are affective, effectively drawing the attention and being of interest to the population. I intend to build on my name in any way I am able, and I plan to do it while employing the highest standards of integrity.
 
The point here is that you really need to search the corners of your mind and push the limits of every imaginable resource in order to get the word out there. Word-of-mouth is such a powerful asset which can be considerably advantageous to your writing career.

 

The Importance of Networking

To those who are aspiring or new writers, or even writers who have been published traditionally or self-published for a while (they're out there), you must market yourself, and you cannot limit yourself to Twitter alone. Twitter can be a remarkable tool in terms of getting your work and your name out there, but you can't rely on Twitter alone! In fact, with Twitter, so many tweets go by at such an alarming rate that you have to consider (or wonder about) the reality of just how many people have noticed the information you tweeted about your book.
 
What you need to consider is the idea of using your head to both think and step outside the box. Believe it or not, most people rely on Twitter alone. You need to build websites, blog, maintain accounts under as many writing/reading sites as possible (i.e., goodreads, authonomy.com), and employ LinkedIn in order to make connections with other authors that may be of a higher caliber and in a position to help spotlight your novel in the event that they can appreciate your work. You need to contact local shops, small bookstores, and maybe even make appearances at flea markets or high-school bazaars in addition to setting up book signings at the conglomerate book stores.
 
As an example; having written about Billy the Kid, one of the avenues I'll be pursuing is to contact the museum out in Fort Sumner (the Kid's home), and find out if they have either A) ordered or intend to order my novel, or B) offer to send them my book to sell. In either respect, I will allow them to use any sales profits my book nets as a donation, as I intend to give back to the man, dead or not, who allowed me to follow my dream so enthusiastically.

In addition, I will be blogging for creative writing outlets such as The Examiner, which is a national blog that employs writers from all walks of life to discuss all sorts of topics. I plan to use this outlet to my benefit by discussing relevant topics such as politics and current affairs, as these sorts of publications are affective, effectively drawing the attention and being of interest to the population. I intend to build on my name in any way I am able, and I plan to do it while employing the highest standards of integrity.
 
The point here is that you really need to search the corners of your mind and push the limits of every imaginable resource in order to get the word out there. Word-of-mouth is such a powerful asset which can be considerably advantageous to your writing career.

 

A Little Bit About Dialogue And Dialogue Tags

Writing dialogue with the editing format in mind is important to your story/novel.

The reason for this is because it's one less thing to worry about when you submit to your publisher and the editor needs to get through it. If you do not punctuate dialogue properly it helps create longer delays and causes more work for your editor who, according to statistics, is extremely over-worked.

Dialogue is so very important. It allows your audience to connect with and learn to care about your characters. It can also transcend the pages and make a profound impression on the reader and, at the same time, allow your audience to understand what you are trying to achieve with your characters--how else will they decipher who your protagonist/antagonist is supposed to be? To that end, narrative is exceptionally important as well. Dialogue, and narratives, also allow the author to expand more. I've found that I had more to work with regarding what goes on between my characters because of dialogue and narratives rather than letting the conversation end, which would have been a detriment in allowing my readers get to know and understand the important personalities I was creating. You want to bring out as much as possible as far as your protagonist is concerned, as well as your supporting characters and antagonists so that your audience understands them. And certainly it allows the audience to associate with and appreciate your antagonist.

I've read excerpts of books written with almost zero dialogue, meaning, the story reads as a narrative--there is no feedback from the characters themselves, which, mind you, are very integral to the story. Having no or little dialogue between characters causes the reader to maintain an unemotional, unhealthy distance from the subjects in the story--subjects the readers are objectively supposed to decide to care about or dislike. Characters are essentially the literary lifeblood of your story, hooking your audience in. Having your readers relate to your character's plights, victories, downfalls, etc., etc, helps elicit feelings and sympathy from your audience. Your audience needs to understand what it is your characters suffer through. Otherwise, how good could your book really be? Readers want to relate--that's one of the general, essential necessities in making them feel they have read an exceptional story. If your audience can't connect, then why should they hold any interest in the plot or the players?

This, of course, applies mostly to fiction, but it can be used in historical novels as well--any story in which you want your readers to connect with and care about, as well as the characters enacting it within the pages.

If you are writing literature that involves plot, themes, and interaction between characters, use dialogue rather than simple narration to convey what each character is feeling, thinking, and/or doing. Make it obvious as to which characters POV you are describing, regardless if it is written in first person or second. Otherwise, it can not only become confusing, but rather boring.

I found a post on K.M. Weiland's (@KMWeiland) Facebook page that discusses this very problem:
How to Recognize and Fix a Weak Character Voice.

*K.M. Weiland writes historical and speculative fiction and mentors other writers through her website, books, CDs, and blogs.


Editing Dialogue

Here are only a few examples on how to correctly edit your dialogue.

Much of correct editing relies heavily on dialogue tags (as well a proper spelling and punctuation), i.e., "he said", "she said", "they said".
Dialogue tags are both found at the beginning and ending of a spoken sentence.

Example:
She asked, "Would you mind going to the store and picking up some milk?"

"She" is capitalized because "She" is placed at the beginning of the sentence. You'll note that a comma has been placed just after "asked" as "She asked" is a dialogue tag preceding the sentence.

Examples of dialogue tags capping the sentence:

     "Would you mind going to the store?" she asked.

"she" is lower case because this particular type of dialogue tag is still associated with the sentence, capping it off. And because it is a question, a "?" is used within the quotations as opposed to a comma.

Now, here is an example of two characters having a discussion together:

     "I need you to go to the store," she instructed.
     "Okay, I'll go in a minute." he remarked.

Placing a period after "minute" is okay because it is an imperative sentence at the end of the conversation. If the conversation goes on, then it would be a comma.

If you do not employ dialogue tags to end the sentence, you can use a period, and of course a question mark or exclamation point. i.e.,

"Okay, I'll go in a minute," he agreed. "If only I could find my car keys." ::no dialogue tag::


More Examples Of A Conversation Using Dialogue Tags:

"I need you to go to the store, " she instructed.
"Why didn't you tell me this before?" he wondered aloud.
"I did tell you before, you just didn't listen!" she exclaimed.
"You need to make sure you have my full, undivided attention," he admitted.
"Perhaps you are right. Next time I will see to it that you are paying attention," she agreed.

You can capitalize words like "she" & "he" to begin the next sentence after dialogue if the dialogue sentence ends in a period, question mark, or exclamation point, providing that the following sentence is beginning anew. i.e.:

"Will you please go to the store?" He understood that she was frustrated with him over this matter, and so he thought he ought to just go to the store and get it over with.

See how the "H" in "He" is capitalized as the dialogue sentence does not contain any tags.


Hyphens to indicate action during dialogue:

"I am planning to go to the store whether you like it or not,"--she flailed her arms about to let him know she was emphatic in her decision--"and there is nothing you an do to change my opinion or keep me from going!"


In the case where you are having a discussion among characters without dialogue tags, it should read like this.

Example:

     "I need you to go the store."
     She turned her face away from him, disgusted at the fact that he once again did not pay attention to her needs.

Note: There is a period at the end of the dialogue because it is an imperative sentence as opposed to part of a conversation. The "S" in "She" is capital as it is not part of a dialogue tag, but rather it begins a separate sentence. **Remember: In dialogue, a comma is only needed as the end of the sentence provided there is a dialogue tag indicating who had spoken the words.


Correct:

"Would you go to the store?" she asked politely.

Notice how "she" is lower case here. It is a dialogue tag so in essence, "she" belongs to the dialogue.

Incorrect:

"Would you go to the store?" She asked politely.

The "S" in "She" in the incorrect version has been wrongly capitalized. Again, only capitalize the words that close the dialogue.

To cap: Don't use capitals for dialogue tags. Only use capital letters for words that begin a new sentence that have nothing to do with the dialogue that had been spoken.


For more help:  Punctuation In Dialogue

A Little Bit About Dialogue And Dialogue Tags

Writing dialogue with the editing format in mind is important to your story/novel.

The reason for this is because it's one less thing to worry about when you submit to your publisher and the editor needs to get through it. If you do not punctuate dialogue properly it helps create longer delays and causes more work for your editor who, according to statistics, is extremely over-worked.

Dialogue is so very important. It allows your audience to connect with and learn to care about your characters. It can also transcend the pages and make a profound impression on the reader and, at the same time, allow your audience to understand what you are trying to achieve with your characters--how else will they decipher who your protagonist/antagonist is supposed to be? To that end, narrative is exceptionally important as well. Dialogue, and narratives, also allow the author to expand more. I've found that I had more to work with regarding what goes on between my characters because of dialogue and narratives rather than letting the conversation end, which would have been a detriment in allowing my readers get to know and understand the important personalities I was creating. You want to bring out as much as possible as far as your protagonist is concerned, as well as your supporting characters and antagonists so that your audience understands them. And certainly it allows the audience to associate with and appreciate your antagonist.

I've read excerpts of books written with almost zero dialogue, meaning, the story reads as a narrative--there is no feedback from the characters themselves, which, mind you, are very integral to the story. Having no or little dialogue between characters causes the reader to maintain an unemotional, unhealthy distance from the subjects in the story--subjects the readers are objectively supposed to decide to care about or dislike. Characters are essentially the literary lifeblood of your story, hooking your audience in. Having your readers relate to your character's plights, victories, downfalls, etc., etc, helps elicit feelings and sympathy from your audience. Your audience needs to understand what it is your characters suffer through. Otherwise, how good could your book really be? Readers want to relate--that's one of the general, essential necessities in making them feel they have read an exceptional story. If your audience can't connect, then why should they hold any interest in the plot or the players?

This, of course, applies mostly to fiction, but it can be used in historical novels as well--any story in which you want your readers to connect with and care about, as well as the characters enacting it within the pages.

If you are writing literature that involves plot, themes, and interaction between characters, use dialogue rather than simple narration to convey what each character is feeling, thinking, and/or doing. Make it obvious as to which characters POV you are describing, regardless if it is written in first person or second. Otherwise, it can not only become confusing, but rather boring.

I found a post on K.M. Weiland's (@KMWeiland) Facebook page that discusses this very problem:
How to Recognize and Fix a Weak Character Voice.

*K.M. Weiland writes historical and speculative fiction and mentors other writers through her website, books, CDs, and blogs.


Editing Dialogue

Here are only a few examples on how to correctly edit your dialogue.

Much of correct editing relies heavily on dialogue tags (as well a proper spelling and punctuation), i.e., "he said", "she said", "they said".
Dialogue tags are both found at the beginning and ending of a spoken sentence.

Example:
She asked, "Would you mind going to the store and picking up some milk?"

"She" is capitalized because "She" is placed at the beginning of the sentence. You'll note that a comma has been placed just after "asked" as "She asked" is a dialogue tag preceding the sentence.

Examples of dialogue tags capping the sentence:

     "Would you mind going to the store?" she asked.

"she" is lower case because this particular type of dialogue tag is still associated with the sentence, capping it off. And because it is a question, a "?" is used within the quotations as opposed to a comma.

Now, here is an example of two characters having a discussion together:

     "I need you to go to the store," she instructed.
     "Okay, I'll go in a minute." he remarked.

Placing a period after "minute" is okay because it is an imperative sentence at the end of the conversation. If the conversation goes on, then it would be a comma.

If you do not employ dialogue tags to end the sentence, you can use a period, and of course a question mark or exclamation point. i.e.,

"Okay, I'll go in a minute," he agreed. "If only I could find my car keys." ::no dialogue tag::


More Examples Of A Conversation Using Dialogue Tags:

"I need you to go to the store, " she instructed.
"Why didn't you tell me this before?" he wondered aloud.
"I did tell you before, you just didn't listen!" she exclaimed.
"You need to make sure you have my full, undivided attention," he admitted.
"Perhaps you are right. Next time I will see to it that you are paying attention," she agreed.

You can capitalize words like "she" & "he" to begin the next sentence after dialogue if the dialogue sentence ends in a period, question mark, or exclamation point, providing that the following sentence is beginning anew. i.e.:

"Will you please go to the store?" He understood that she was frustrated with him over this matter, and so he thought he ought to just go to the store and get it over with.

See how the "H" in "He" is capitalized as the dialogue sentence does not contain any tags.


Hyphens to indicate action during dialogue:

"I am planning to go to the store whether you like it or not,"--she flailed her arms about to let him know she was emphatic in her decision--"and there is nothing you an do to change my opinion or keep me from going!"


In the case where you are having a discussion among characters without dialogue tags, it should read like this.

Example:

     "I need you to go the store."
     She turned her face away from him, disgusted at the fact that he once again did not pay attention to her needs.

Note: There is a period at the end of the dialogue because it is an imperative sentence as opposed to part of a conversation. The "S" in "She" is capital as it is not part of a dialogue tag, but rather it begins a separate sentence. **Remember: In dialogue, a comma is only needed as the end of the sentence provided there is a dialogue tag indicating who had spoken the words.


Correct:

"Would you go to the store?" she asked politely.

Notice how "she" is lower case here. It is a dialogue tag so in essence, "she" belongs to the dialogue.

Incorrect:

"Would you go to the store?" She asked politely.

The "S" in "She" in the incorrect version has been wrongly capitalized. Again, only capitalize the words that close the dialogue.

To cap: Don't use capitals for dialogue tags. Only use capital letters for words that begin a new sentence that have nothing to do with the dialogue that had been spoken.


For more help:  Punctuation In Dialogue

Pacing

Pacing is extremely important to your story. Readers want you to get on with it, so don't dawdle--we get it. We don't need the trip to the corner store told in depth and detail. I can't tell you how many times I've hit a brick wall reading a book all because the pacing was horrendous. Even if your story drags on in only a few scenes. It's still too much.

In my own experience, my novel deals with The Lincoln County War, but because my book was meant as a character study on Billy the Kid, I really didn't want to delve into the war too much, but there was absolutely no way around that. Without that war, there's no Billy. So what I did was this: I told only the most essential, necessary points of that war. The points that, and this is important, moved the story along. It's actually important to touch on the things that not only help your reader to understand what the hell is going on in your story, but also keep the path clear for you to keep going. You don't want to lose your audience.

So many authors want to bloviate, maybe because they want to showoff how profound they can be. Believe me, this does nothing for the story. What's important is telling your story in a most effective manner, and if you drag on about something, not only will your reader become bored, but they'll get lost. So your ego will ultimately destroy the impact of your book.

You have no choice but to deviate in some cases as it pertains to allowing your readers to understand where you are going. It's knowing when to quit and not get caught up in the reverie of telling the tale.

And believe it or not, being an avid reader can, over time, instruct you, without knowing it, on how to move it along. If you're a natural you'll probably pick up a lot of key pointers if you read as religiously as I do.

Since I'm not some Creative Writing professor and don't have all day, here's a link that can relate it to you better. Pacing Your Story

Pacing

Pacing is extremely important to your story. Readers want you to get on with it, so don't dawdle--we get it. We don't need the trip to the corner store told in depth and detail. I can't tell you how many times I've hit a brick wall reading a book all because the pacing was horrendous. Even if your story drags on in only a few scenes. It's still too much.

In my own experience, my novel deals with The Lincoln County War, but because my book was meant as a character study on Billy the Kid, I really didn't want to delve into the war too much, but there was absolutely no way around that. Without that war, there's no Billy. So what I did was this: I told only the most essential, necessary points of that war. The points that, and this is important, moved the story along. It's actually important to touch on the things that not only help your reader to understand what the hell is going on in your story, but also keep the path clear for you to keep going. You don't want to lose your audience.

So many authors want to bloviate, maybe because they want to showoff how profound they can be. Believe me, this does nothing for the story. What's important is telling your story in a most effective manner, and if you drag on about something, not only will your reader become bored, but they'll get lost. So your ego will ultimately destroy the impact of your book.

You have no choice but to deviate in some cases as it pertains to allowing your readers to understand where you are going. It's knowing when to quit and not get caught up in the reverie of telling the tale.

And believe it or not, being an avid reader can, over time, instruct you, without knowing it, on how to move it along. If you're a natural you'll probably pick up a lot of key pointers if you read as religiously as I do.

Since I'm not some Creative Writing professor and don't have all day, here's a link that can relate it to you better. Pacing Your Story

Dealing With Rejection

Most writers who are serious about becoming published have more than most likely come across stories of rejection and are well aware of the fact that it's all but a near guaranteed certainty, so this post will be nothing new. But still, despite all that's been heard or read, many writers are still paralyzed by just the mere thought of being rejected.
 
Well, as everybody knows, in this industry, rejection isn't personal. And a lot of it has to do with who you submit your manuscript to, also. You're not going to make a lot of headway sending your fantasy novel to a publisher that only publishes books that deal with religion, or psychology, etc., etc... I was picked up after about a month of submitting because after sending my manuscript to all of the commercial publishers (which you should always attempt) which subsequently rejected me, I decided to go through the books that dealt with my subject matter and find out who published them. I then submitted my book to those publishers, and, fortunately, the first publisher I sent it to, and the publisher I truly wanted, wanted me back. I've written another blog that deals with submitting your story to the right publishing house, so I won't reiterate here (Attempting To Get Published)
 
It used to be that the large commercial publishing houses sought out talent and gave new authors a chance. Now they only risk it if you've been published before and maintained decent sales. Because of that, your best bet is submitting to a small publishing house, or even self-publishing. You don't receive the amenities with self-publication, such as proofreading, typesetting, books in print, marketing, etc., but regardless, that door is open for you so there is hope of getting your work out there if you've been turned away too many times.
 
The small publishing houses are not a guarantee either, however. In many cases a lot of success deals with how professional and "clean" your manuscript is when you send it. First and foremost, you really ought to have proper spelling and punctuation down. And what you submit should flow nicely and lack confusion. A lot of publishing houses receive sloppy, messy manuscripts. How can they take you seriously if that’s how you propose your work? So, REJECTION!
 
Always check out the publisher's website and find out exactly what they expect in the manuscript; do they want the entire book? Do they want only a few sample chapters (in which case choose the most inspiring and sensational chapters)? Do they want a synopsis included? Knowing all of these details and following the proper procedure can reduce your chances of being rejected.
 
But, as I’ve mentioned, I’ve already posted a blog about how to increase your chances in signing a contract with a publisher.
 
The rejection thing…Everybody always says it, and it’s nothing but the truth: You have to keep trying! I am the sort of person who does not want to deal with criticism and will avoid it if it serves no purpose for me. But I’ve always wanted to be a writer and in order to get there I knew I was going to have to swallow that jagged little pill and learn to deal with rejection—and I did. So you need to decide which is more important—your pride, or doing whatever it takes to make your dream or goal come true.
 
There are several stories out there that deal with successful authors being rejected constantly. J.K. Rowling was rejected many times over before being picked up, and she only received a contract by the grace of God when the editor's daughter picked up her manuscript, began reading, and enjoyed it. If J.K. Rowling had quit, I think everyone can agree things would be quite different for her.
 
The biggest thing here to remember, if you’re truly serious about and believe in your work: Fight for it! In fact, being rejected and going back for more is just a testament to how very serious you are. I was looking forward to fighting for my book, to be honest.
 
Please, please, please don’t become discouraged. To be a published author is to have a voice in this world, and it’s an accomplishment that many, many people wish they could complete but never do. Writing is hard work, and writing an entire novel is a huge effort. If you go through all of that trouble only to give up because one person out there isn’t in to your story then you’re foolish. When you submit that manuscript, and when it is read (if it is read), it is subject to that individual’s taste. And not everybody can recognize talent or importance right off the bat. Perhaps it doesn't speak to them. It doesn't mean the next publisher won't be excited over your story. Every industry is rife with tales of those who were not appreciated for their work “at the time”, and certainly the publishing industry is no different.
 
 

 

Dealing With Rejection

Most writers who are serious about becoming published have more than most likely come across stories of rejection and are well aware of the fact that it's all but a near guaranteed certainty, so this post will be nothing new. But still, despite all that's been heard or read, many writers are still paralyzed by just the mere thought of being rejected.
 
Well, as everybody knows, in this industry, rejection isn't personal. And a lot of it has to do with who you submit your manuscript to, also. You're not going to make a lot of headway sending your fantasy novel to a publisher that only publishes books that deal with religion, or psychology, etc., etc... I was picked up after about a month of submitting because after sending my manuscript to all of the commercial publishers (which you should always attempt) which subsequently rejected me, I decided to go through the books that dealt with my subject matter and find out who published them. I then submitted my book to those publishers, and, fortunately, the first publisher I sent it to, and the publisher I truly wanted, wanted me back. I've written another blog that deals with submitting your story to the right publishing house, so I won't reiterate here (Attempting To Get Published)
 
It used to be that the large commercial publishing houses sought out talent and gave new authors a chance. Now they only risk it if you've been published before and maintained decent sales. Because of that, your best bet is submitting to a small publishing house, or even self-publishing. You don't receive the amenities with self-publication, such as proofreading, typesetting, books in print, marketing, etc., but regardless, that door is open for you so there is hope of getting your work out there if you've been turned away too many times.
 
The small publishing houses are not a guarantee either, however. In many cases a lot of success deals with how professional and "clean" your manuscript is when you send it. First and foremost, you really ought to have proper spelling and punctuation down. And what you submit should flow nicely and lack confusion. A lot of publishing houses receive sloppy, messy manuscripts. How can they take you seriously if that’s how you propose your work? So, REJECTION!
 
Always check out the publisher's website and find out exactly what they expect in the manuscript; do they want the entire book? Do they want only a few sample chapters (in which case choose the most inspiring and sensational chapters)? Do they want a synopsis included? Knowing all of these details and following the proper procedure can reduce your chances of being rejected.
 
But, as I’ve mentioned, I’ve already posted a blog about how to increase your chances in signing a contract with a publisher.
 
The rejection thing…Everybody always says it, and it’s nothing but the truth: You have to keep trying! I am the sort of person who does not want to deal with criticism and will avoid it if it serves no purpose for me. But I’ve always wanted to be a writer and in order to get there I knew I was going to have to swallow that jagged little pill and learn to deal with rejection—and I did. So you need to decide which is more important—your pride, or doing whatever it takes to make your dream or goal come true.
 
There are several stories out there that deal with successful authors being rejected constantly. J.K. Rowling was rejected many times over before being picked up, and she only received a contract by the grace of God when the editor's daughter picked up her manuscript, began reading, and enjoyed it. If J.K. Rowling had quit, I think everyone can agree things would be quite different for her.
 
The biggest thing here to remember, if you’re truly serious about and believe in your work: Fight for it! In fact, being rejected and going back for more is just a testament to how very serious you are. I was looking forward to fighting for my book, to be honest.
 
Please, please, please don’t become discouraged. To be a published author is to have a voice in this world, and it’s an accomplishment that many, many people wish they could complete but never do. Writing is hard work, and writing an entire novel is a huge effort. If you go through all of that trouble only to give up because one person out there isn’t in to your story then you’re foolish. When you submit that manuscript, and when it is read (if it is read), it is subject to that individual’s taste. And not everybody can recognize talent or importance right off the bat. Perhaps it doesn't speak to them. It doesn't mean the next publisher won't be excited over your story. Every industry is rife with tales of those who were not appreciated for their work “at the time”, and certainly the publishing industry is no different.
 
 

 

Why You Should Write About What You Know

Because writing a novel is hard work! When you finally take the plunge and explore the frontier that is writing, make sure, at least for your first book, that you write about something you're very familiar with! That is the first rule of writing: Write what you know!!!

And in this event, since it's something you know, you'll be able to fill in the gaps between research with your own point of view in the meantime. Not to mention that you'll be taken seriously since you'll know the material you're writing about frontwards and backwards. Your readers will take you seriously.

And for your first book writing a topic you're familiar with will help get you through your first idea of what it is/means to write a book. The first time you tread the deep waters of writing a book can be daunting, so the last thing you need is to do so with a topic you don't know much about--it will only add to the frustration when it's time to search out a publisher, and provided you're lucky enough to find a publisher to back your novel, it will also add to the frustration of proofreading your work. You'll find that you're checking and double-checking your material to make sure it's right (that is if you care enough about it and don't want to look like an idiot to your readers). So...take the pressure off and write what you know!!

Read this article as it explains that just because you should write what you know, it doesn't mean you are limited to the areas of your mind. You can use your creativity parameters.

http://www.writing-world.com/fiction/know.shtml

And in addition to writing what you know means you'll have a better chance of a publisher choosing you to bring in to their fold. It's much easier to write about something you're familiar with or passionate about. Writing about something you have to learn about means a lot of starts and stops as you read through and learn the materials.

Why You Should Write About What You Know

Because writing a novel is hard work! When you finally take the plunge and explore the frontier that is writing, make sure, at least for your first book, that you write about something you're very familiar with! That is the first rule of writing: Write what you know!!!

And in this event, since it's something you know, you'll be able to fill in the gaps between research with your own point of view in the meantime. Not to mention that you'll be taken seriously since you'll know the material you're writing about frontwards and backwards. Your readers will take you seriously.

And for your first book writing a topic you're familiar with will help get you through your first idea of what it is/means to write a book. The first time you tread the deep waters of writing a book can be daunting, so the last thing you need is to do so with a topic you don't know much about--it will only add to the frustration when it's time to search out a publisher, and provided you're lucky enough to find a publisher to back your novel, it will also add to the frustration of proofreading your work. You'll find that you're checking and double-checking your material to make sure it's right (that is if you care enough about it and don't want to look like an idiot to your readers). So...take the pressure off and write what you know!!

Read this article as it explains that just because you should write what you know, it doesn't mean you are limited to the areas of your mind. You can use your creativity parameters.

http://www.writing-world.com/fiction/know.shtml

And in addition to writing what you know means you'll have a better chance of a publisher choosing you to bring in to their fold. It's much easier to write about something you're familiar with or passionate about. Writing about something you have to learn about means a lot of starts and stops as you read through and learn the materials.

How To Handle Manuscript Submissions

When you are finally done that manuscript and are ready to submit it to a publisher, things can seem quite confusing. Because of this, I've already submitted a post in my blog that states both the difficulties and the ways to navigate this particular endeavor (Attempting To Get Published).

Before submitting my manuscript to a publisher back in January 2013, I had joined Harper Collins' website (Authonomy.com) as an extra effort to make sure I would be submitting the best manuscript I could. The site is excellent in the sense that many aspiring authors (as well as seasoned authors) post their manuscripts for critiquing amongst their peers. It is the equivalent of a writer's group, only with the added benefit of convenience by being held online, and in the event that your book is a good one, one has a good chance of having it rise through the ranks simply based on word of mouth. If your novel is good enough, other aspiring authors will place it on their shelves to be read, and so-on-and-forth. It will get around. And finally, if that is the case, if your book makes it into the top 5 and finally to the coveted No. 1 spot, Harper Collins will consider that manuscript for publishing.

The downside, however, is this...The aspiring writers who are critiquing your work are amateurs, just like yourself, provided you are a 1st time author. What do they know? Well, truthfully, if they are avid readers such as myself, they can in fact offer quite a bit to help one improve upon their writing. However, that said, they are still not professional editors and cannot take the place of one.

Now I am not going to get in to how to find a publisher as, like I've said, that information can be found within my first post. But for those of you who are still in the thought process in regards to writing a book, I may be able to add a little something else...

When I wrote my book about Billy the Kid, I initially began it as a biography. Well...I quickly abandoned that approach as there are already TONS of biographies out there.

One of the most important rules of writing is to write what you know, especially if it is your first novel. Well, I knew all about Billy backwards and forwards--No problem. So, because I chose to abandon the biography as they are a dime a dozen, I decided that if I were going to take the time to write this novel I was going to write it so that it had the potential of possibly bringing in a fair income. Will that happen? I can't say. I can tell you, however, That Billy the Kid sells!  Unfortunately, obscure topics are often much more difficult for readers to locate. Basically, I'm praying/hoping that my book will be granted the same fortune as all of the other books that reveal the life of William H. Bonney. And as I had mentioned previously in my blog as well, I did not write this book in an orthodox manner. I wrote it through the eyes of a fictitious, young wealthy socialite from the east who had been sent to New Mexico to marry Billy's employer and owner of the land Billy and the other hired-hands worked

The reason I told you ALL of this information just to get to the part where I discuss the publisher is this:

I wrote about Billy the Kid, therefore, I checked out the very same publishers who publish books on him and other western literature. My first choice was Sunstone Press, the very same publisher who publishes the books on the accepted, undisputed authority on Billy the Kid, Frederick Nolan. When Sunstone Press accepted my book (very quickly I might add), I was so very, unbelievably excited! I was going to be published alongside the very man whose books taught me about my subject, not to mention the man who is undisputed to be the expert on Billy the Kid.

My novel is an epic length (130,000 words) which is difficult for a first time author to get published. Remember, publishers want to make money, and to do this they need to spend money on you in order to get your book out there in addition to running marketing campaigns, etc., etc...

As a 1st time author on their payroll, you must remember that you are at their mercy--don't argue! Of course you may voice your concerns and opinions, but don't be a pain in the ass; don't make them sorry they administered a contract to you.

The option of self-publishing is a wonderful ability now, but before you decide to turn to that, try seeking out a publisher first!

Now, I was nervous! Under Sunstone Press's website (Sunstone Press) they have several groups of genres. They have Outlaws, which most of you ought to know that is what Billy was considered and is found under that category. They had a genre marked strictly for cowboys, which of course Billy the Kid is found under as well. However, Billy has his own genre--Click on "Billy the Kid" and it takes you to all of the books they sell/published on the infamous, notorious outlaw. This had me extremely anxious! But no matter, I submitted my manuscript nonetheless because if you want to be a writer you have to ignore the personal roadblocks and go for it. You have to leave the fright far behind!

Upon receiving a letter from the publisher (which could have only meant good news as compared to receiving back your full manuscript) I was thrilled!

And not only did I receive the letter, but within the letter, sent directly from my editor, he  told me that I "obviously knew what I was talking about." Reading those words gave me a heady feeling and I only wish it for each and every one of you who are trying to get your foot in the door in the publishing community!

Now that I've mentioned that last bit yet again, as I've discussed it in my first post, please remember that you must submit your manuscript to a publisher that deals with your genre. For example, you do not want to send a horror or thriller story to a publisher that strictly prints books on gardening! This is where researching your publishers come in, and that being said, be prepared to be rejected more than once! But don't lose heart! A true writer who believes in their brainchild will not give up!

Now, that being said, be sure you spend the $35 dollars to copyright your precious work!!! Take no chances!

A publisher/editor doesn't want to see a sloppy submission, so go to the site of the publishing house you want to submit to and be sure to find out what they require in forms of submissions; usually one example chapter, an Author's Bio, a Marketing Plan, Brief Synopsis, and in my case, a movie treatment in the event it is sold to Hollywood. And please remember that the last thing you want to do is come off cocky in your submission! You should certainly appear confident, but watch your tone! Remember...you are humble as a new author--a publisher/editor holds your future or literary happiness in their hands, so respect that.

For some extra help, go to the Literary Market Place to research publishers.

I have been writing since I was six years old, and now I'm in on how it all works. It used to seem so hard, difficult, and confusing, and certainly submitting a manuscript was not as easy as it is today!

One of the MAJOR rules to consider is to make sure your writing is clear and that you've edited your work before submitting it. No editor/publisher wants anything to do with a potential author who doesn't bother to even submit the necessary work right.

And remember to please, please, please come to any one of us published authors with questions. We're all only too happy to help :o)

How To Handle Manuscript Submissions

When you are finally done that manuscript and are ready to submit it to a publisher, things can seem quite confusing. Because of this, I've already submitted a post in my blog that states both the difficulties and the ways to navigate this particular endeavor (Attempting To Get Published).

Before submitting my manuscript to a publisher back in January 2013, I had joined Harper Collins' website (Authonomy.com) as an extra effort to make sure I would be submitting the best manuscript I could. The site is excellent in the sense that many aspiring authors (as well as seasoned authors) post their manuscripts for critiquing amongst their peers. It is the equivalent of a writer's group, only with the added benefit of convenience by being held online, and in the event that your book is a good one, one has a good chance of having it rise through the ranks simply based on word of mouth. If your novel is good enough, other aspiring authors will place it on their shelves to be read, and so-on-and-forth. It will get around. And finally, if that is the case, if your book makes it into the top 5 and finally to the coveted No. 1 spot, Harper Collins will consider that manuscript for publishing.

The downside, however, is this...The aspiring writers who are critiquing your work are amateurs, just like yourself, provided you are a 1st time author. What do they know? Well, truthfully, if they are avid readers such as myself, they can in fact offer quite a bit to help one improve upon their writing. However, that said, they are still not professional editors and cannot take the place of one.

Now I am not going to get in to how to find a publisher as, like I've said, that information can be found within my first post. But for those of you who are still in the thought process in regards to writing a book, I may be able to add a little something else...

When I wrote my book about Billy the Kid, I initially began it as a biography. Well...I quickly abandoned that approach as there are already TONS of biographies out there.

One of the most important rules of writing is to write what you know, especially if it is your first novel. Well, I knew all about Billy backwards and forwards--No problem. So, because I chose to abandon the biography as they are a dime a dozen, I decided that if I were going to take the time to write this novel I was going to write it so that it had the potential of possibly bringing in a fair income. Will that happen? I can't say. I can tell you, however, That Billy the Kid sells!  Unfortunately, obscure topics are often much more difficult for readers to locate. Basically, I'm praying/hoping that my book will be granted the same fortune as all of the other books that reveal the life of William H. Bonney. And as I had mentioned previously in my blog as well, I did not write this book in an orthodox manner. I wrote it through the eyes of a fictitious, young wealthy socialite from the east who had been sent to New Mexico to marry Billy's employer and owner of the land Billy and the other hired-hands worked

The reason I told you ALL of this information just to get to the part where I discuss the publisher is this:

I wrote about Billy the Kid, therefore, I checked out the very same publishers who publish books on him and other western literature. My first choice was Sunstone Press, the very same publisher who publishes the books on the accepted, undisputed authority on Billy the Kid, Frederick Nolan. When Sunstone Press accepted my book (very quickly I might add), I was so very, unbelievably excited! I was going to be published alongside the very man whose books taught me about my subject, not to mention the man who is undisputed to be the expert on Billy the Kid.

My novel is an epic length (130,000 words) which is difficult for a first time author to get published. Remember, publishers want to make money, and to do this they need to spend money on you in order to get your book out there in addition to running marketing campaigns, etc., etc...

As a 1st time author on their payroll, you must remember that you are at their mercy--don't argue! Of course you may voice your concerns and opinions, but don't be a pain in the ass; don't make them sorry they administered a contract to you.

The option of self-publishing is a wonderful ability now, but before you decide to turn to that, try seeking out a publisher first!

Now, I was nervous! Under Sunstone Press's website (Sunstone Press) they have several groups of genres. They have Outlaws, which most of you ought to know that is what Billy was considered and is found under that category. They had a genre marked strictly for cowboys, which of course Billy the Kid is found under as well. However, Billy has his own genre--Click on "Billy the Kid" and it takes you to all of the books they sell/published on the infamous, notorious outlaw. This had me extremely anxious! But no matter, I submitted my manuscript nonetheless because if you want to be a writer you have to ignore the personal roadblocks and go for it. You have to leave the fright far behind!

Upon receiving a letter from the publisher (which could have only meant good news as compared to receiving back your full manuscript) I was thrilled!

And not only did I receive the letter, but within the letter, sent directly from my editor, he  told me that I "obviously knew what I was talking about." Reading those words gave me a heady feeling and I only wish it for each and every one of you who are trying to get your foot in the door in the publishing community!

Now that I've mentioned that last bit yet again, as I've discussed it in my first post, please remember that you must submit your manuscript to a publisher that deals with your genre. For example, you do not want to send a horror or thriller story to a publisher that strictly prints books on gardening! This is where researching your publishers come in, and that being said, be prepared to be rejected more than once! But don't lose heart! A true writer who believes in their brainchild will not give up!

Now, that being said, be sure you spend the $35 dollars to copyright your precious work!!! Take no chances!

A publisher/editor doesn't want to see a sloppy submission, so go to the site of the publishing house you want to submit to and be sure to find out what they require in forms of submissions; usually one example chapter, an Author's Bio, a Marketing Plan, Brief Synopsis, and in my case, a movie treatment in the event it is sold to Hollywood. And please remember that the last thing you want to do is come off cocky in your submission! You should certainly appear confident, but watch your tone! Remember...you are humble as a new author--a publisher/editor holds your future or literary happiness in their hands, so respect that.

For some extra help, go to the Literary Market Place to research publishers.

I have been writing since I was six years old, and now I'm in on how it all works. It used to seem so hard, difficult, and confusing, and certainly submitting a manuscript was not as easy as it is today!

One of the MAJOR rules to consider is to make sure your writing is clear and that you've edited your work before submitting it. No editor/publisher wants anything to do with a potential author who doesn't bother to even submit the necessary work right.

And remember to please, please, please come to any one of us published authors with questions. We're all only too happy to help :o)

Don't Make Your Protagonist Perfect, Perfect, Perfect. Employ Character Flaws!!!

When writing...

If you have a solid idea of the bare bones of your story and are ready to flesh them out, try to remember this: Make your characters as fallible as you can. After all, nobody is perfect--we all have flaws.

The reason I raise this issue is not only because it's true, but because I knew a girl who aspires to be a writer. She's in her mid to late 20s, and she had put me on the spot and had me read what she had written so far.

From what I read, the dialogue wasn't up to par, and more than that, her protagonist and subsequently the "good guys" relating to the protagonist were all described as good-looking and otherwise perfect, whereas her antagonist(s) sported seriously flawed looks and behavior. What utter triteness! The good guys are beautiful, the bad guys are ugly. Check please!

I pointed this out to her and suggested that she use every chance she could in order to create a much more realistic, and therefore profound story, and that included putting a blemish on her faultless protagonist, et al. The more imperfect your characters are, especially those in the protagonist role, the more you have to work with (not to mention the realism you'll garner within your pages). Creating imperfect characters who are subject to the moral code and confused when confronted with it is not only much more fun but makes for an interesting read. Tormenting your protagonist with a dilemma enables you add depth and character as well as interesting scenarios.

At any rate I don't think she agreed with me, and that among other things told me she wasn't mature yet enough to write a novel. That being said, she had abandoned her "novel" which only stated further that she wasn't a true writer, at least at present. Writer's don't abandon their work for new boyfriends. And though I knew this, as a writer, I still felt obligated to be truthful to her while reading her shaky, unfinished manuscript.

I am not fair to any of my characters. They all have good in them, they all have bad in them. The only intervening factor regarding both aspects is the degree to which they are good and bad. Employing these characteristics to all of my main characters allows me to have something to work with, to perform character arcs and quite possibly allow them a form of redemption if their character is found wanting. You'll have the ability to allow your characters to grow.

You want to make sure your characters have to face adversity, and by causing them to face moral and ethical situations will allow you to push the story in different directions all while keeping your readers on their toes. Don't make it too easy for your audience to know what your character will do based on the personality you have created for him/her. A character that does not make any mistakes and, therefore, cannot grow and learn, is boring. Making your characters imperfect will also help your readers relate to your work which, I might add, opens the door to their becoming attached to your story.

In my case, my characters have the potential to surprise my audience (and even myself) by possibly doing the opposite of what they and the readers would think. There is no telling what either my protagonists or antagonists will do in any given situation, and this helps keep the suspense going.

If you keep everything on the straight and narrow you won't have much of a story. You certainly wouldn't have an interesting story (in most cases) to say the least!

Don't Make Your Protagonist Perfect, Perfect, Perfect. Employ Character Flaws!!!

When writing...

If you have a solid idea of the bare bones of your story and are ready to flesh them out, try to remember this: Make your characters as fallible as you can. After all, nobody is perfect--we all have flaws.

The reason I raise this issue is not only because it's true, but because I knew a girl who aspires to be a writer. She's in her mid to late 20s, and she had put me on the spot and had me read what she had written so far.

From what I read, the dialogue wasn't up to par, and more than that, her protagonist and subsequently the "good guys" relating to the protagonist were all described as good-looking and otherwise perfect, whereas her antagonist(s) sported seriously flawed looks and behavior. What utter triteness! The good guys are beautiful, the bad guys are ugly. Check please!

I pointed this out to her and suggested that she use every chance she could in order to create a much more realistic, and therefore profound story, and that included putting a blemish on her faultless protagonist, et al. The more imperfect your characters are, especially those in the protagonist role, the more you have to work with (not to mention the realism you'll garner within your pages). Creating imperfect characters who are subject to the moral code and confused when confronted with it is not only much more fun but makes for an interesting read. Tormenting your protagonist with a dilemma enables you add depth and character as well as interesting scenarios.

At any rate I don't think she agreed with me, and that among other things told me she wasn't mature yet enough to write a novel. That being said, she had abandoned her "novel" which only stated further that she wasn't a true writer, at least at present. Writer's don't abandon their work for new boyfriends. And though I knew this, as a writer, I still felt obligated to be truthful to her while reading her shaky, unfinished manuscript.

I am not fair to any of my characters. They all have good in them, they all have bad in them. The only intervening factor regarding both aspects is the degree to which they are good and bad. Employing these characteristics to all of my main characters allows me to have something to work with, to perform character arcs and quite possibly allow them a form of redemption if their character is found wanting. You'll have the ability to allow your characters to grow.

You want to make sure your characters have to face adversity, and by causing them to face moral and ethical situations will allow you to push the story in different directions all while keeping your readers on their toes. Don't make it too easy for your audience to know what your character will do based on the personality you have created for him/her. A character that does not make any mistakes and, therefore, cannot grow and learn, is boring. Making your characters imperfect will also help your readers relate to your work which, I might add, opens the door to their becoming attached to your story.

In my case, my characters have the potential to surprise my audience (and even myself) by possibly doing the opposite of what they and the readers would think. There is no telling what either my protagonists or antagonists will do in any given situation, and this helps keep the suspense going.

If you keep everything on the straight and narrow you won't have much of a story. You certainly wouldn't have an interesting story (in most cases) to say the least!

Blog Hop Interview

            I want to thank Reece (@Reece_Bridger ) for the opportunity to be a part of this by selecting me and pinging me to take part in a blog-hop, prompting me to discuss my work.

            I think it’s wonderful that she has taken the time to initiate this interview as a way to encourage writers to discuss and promote their writing—I think we all (those of us who are fortunate to be published authors) want to help others who are aspiring to achieve their own literary dream, and I am more than happy to participate. Any considerate offering such as this ought not to be squandered!

            So thank you kindly, Reece, for selecting me as one of your three picks and boosting me to discuss my novel!

1)      What are you working on right now?

            Presently, I am in the final proofing stages of my first novel (with the sequel itself halfway written) which I had gotten the idea for about 25 years ago when I was thirteen—I wasn’t mature enough back then to tell the story in the profound way it deserves, but little more than four years ago that old idea began to surface in my mind again and so I decided, “Why not?” After all, I had invested so much time in learning about all of the facts and details concerning what had happened under recreational circumstances which could only mean I’d be able to put my story together appropriately.

            Bandita Bonita: Romancing Billy the Kid is a story that details the account of the New Mexican Lincoln County War (1878), the small war that was responsible for initially catapulting William H. Bonney, aka, Billy the Kid, into the legend he became in those days and still is today. The story deals with Elucia Howard, an eastern socialite who crosses paths with the Kid and, through unfortunate circumstances, finds herself caught up in the whirlwind along with Billy and the gang of men who fought with the Regulators. She describes the account of the war from a first person perspective, as well as giving the audience a look into Billy’s personality which I was able to put together based on the countless, detailed information and interviews taken from those who knew him during those volatile days.

 

2)      How does it differ from other work in its genre?

            I suppose I couldn’t say for sure, but though I had to tell this story in an unconventional manner, creating a fictitious female protagonist whom did not exist, let alone ride with the Regulators and fight alongside of them, I had an initial goal of using my protagonist to tell the details as we know them today, and so the story sticks very closely to the facts. I did not take liberties and bend the facts to fiction, but rather I made sure to bend fiction to fact, making sure the two melded nicely and justly. So it’s half fiction/fantasy and historical fact.

 

3)      Why do you write what you do?

            Because over the years I had not only become extremely fascinated with Billy—this boy who not only had to learn to survive on his own from the tender age of 14—but began to hold a considerable amount of affection for him as he is one of my three favorite historical figures. The maternal instinct in me developed the desire to want to nurture his memory and try to offer my own perspective on who I believe this boy was based on the numerous accounts told of him, and to have my book serve as a highlight to the biographies written by the countless numbers of men—the veritable “Boys Club” of Billy Bonney. I wanted to create a character study, but I did not want to write yet another biography. I wanted to tell a story that paints Billy as a three-dimensional literary being, and for the most part, I think I have a pretty good handle on him.

4)      How does your writing process work?

            I spend a lot of time thinking up a story before laying it down. It took me three years of mentally considering this account before finally sitting down to write it about a year and a half ago.

            My writing process consists of driving around endlessly while listening to my music (especially music that I can make relate to the tale I want to tell) and thinking about what it is I want to say. It often works like a charm, and though I’m extremely fortunate in that I can come up with fun scenarios or dialogue without too much effort thanks to all of that time spent sussing things out and smoothing out the lines before even beginning my project, there are some occasions when I hit a wall. I can’t rightly consider it writer’s block because I’m far too involved in this story to truly have any problems such as that (this story now unfolds in my mind as though it is second nature), but sometimes I have a new idea that I want to insert and so I head out in my car, drive for however long it takes, and when I arrive back home I’ve got the answer!

 

I hope the three I select will also take the time to complete this short interview as it does serve an incredible purpose. That is…it serves a purpose if you truly believe in your work and have every intention of taking advantage of any opportunities that come your way to get it out there and share it with others.

 

I would like to select these three in the hopes that they, too, will take this opportunity and run with it. Publicity is publicity—don’t waste it!

 

** Please take these questions and apply them and their answers to your blog/website.

 

@Gary_C_King

 

@GiselleMarks1

 

@KMWeiland

 

Blog Hop Interview

            I want to thank Reece (@Reece_Bridger ) for the opportunity to be a part of this by selecting me and pinging me to take part in a blog-hop, prompting me to discuss my work.

            I think it’s wonderful that she has taken the time to initiate this interview as a way to encourage writers to discuss and promote their writing—I think we all (those of us who are fortunate to be published authors) want to help others who are aspiring to achieve their own literary dream, and I am more than happy to participate. Any considerate offering such as this ought not to be squandered!

            So thank you kindly, Reece, for selecting me as one of your three picks and boosting me to discuss my novel!

1)      What are you working on right now?

            Presently, I am in the final proofing stages of my first novel (with the sequel itself halfway written) which I had gotten the idea for about 25 years ago when I was thirteen—I wasn’t mature enough back then to tell the story in the profound way it deserves, but little more than four years ago that old idea began to surface in my mind again and so I decided, “Why not?” After all, I had invested so much time in learning about all of the facts and details concerning what had happened under recreational circumstances which could only mean I’d be able to put my story together appropriately.

            Bandita Bonita: Romancing Billy the Kid is a story that details the account of the New Mexican Lincoln County War (1878), the small war that was responsible for initially catapulting William H. Bonney, aka, Billy the Kid, into the legend he became in those days and still is today. The story deals with Elucia Howard, an eastern socialite who crosses paths with the Kid and, through unfortunate circumstances, finds herself caught up in the whirlwind along with Billy and the gang of men who fought with the Regulators. She describes the account of the war from a first person perspective, as well as giving the audience a look into Billy’s personality which I was able to put together based on the countless, detailed information and interviews taken from those who knew him during those volatile days.

 

2)      How does it differ from other work in its genre?

            I suppose I couldn’t say for sure, but though I had to tell this story in an unconventional manner, creating a fictitious female protagonist whom did not exist, let alone ride with the Regulators and fight alongside of them, I had an initial goal of using my protagonist to tell the details as we know them today, and so the story sticks very closely to the facts. I did not take liberties and bend the facts to fiction, but rather I made sure to bend fiction to fact, making sure the two melded nicely and justly. So it’s half fiction/fantasy and historical fact.

 

3)      Why do you write what you do?

            Because over the years I had not only become extremely fascinated with Billy—this boy who not only had to learn to survive on his own from the tender age of 14—but began to hold a considerable amount of affection for him as he is one of my three favorite historical figures. The maternal instinct in me developed the desire to want to nurture his memory and try to offer my own perspective on who I believe this boy was based on the numerous accounts told of him, and to have my book serve as a highlight to the biographies written by the countless numbers of men—the veritable “Boys Club” of Billy Bonney. I wanted to create a character study, but I did not want to write yet another biography. I wanted to tell a story that paints Billy as a three-dimensional literary being, and for the most part, I think I have a pretty good handle on him.

4)      How does your writing process work?

            I spend a lot of time thinking up a story before laying it down. It took me three years of mentally considering this account before finally sitting down to write it about a year and a half ago.

            My writing process consists of driving around endlessly while listening to my music (especially music that I can make relate to the tale I want to tell) and thinking about what it is I want to say. It often works like a charm, and though I’m extremely fortunate in that I can come up with fun scenarios or dialogue without too much effort thanks to all of that time spent sussing things out and smoothing out the lines before even beginning my project, there are some occasions when I hit a wall. I can’t rightly consider it writer’s block because I’m far too involved in this story to truly have any problems such as that (this story now unfolds in my mind as though it is second nature), but sometimes I have a new idea that I want to insert and so I head out in my car, drive for however long it takes, and when I arrive back home I’ve got the answer!

 

I hope the three I select will also take the time to complete this short interview as it does serve an incredible purpose. That is…it serves a purpose if you truly believe in your work and have every intention of taking advantage of any opportunities that come your way to get it out there and share it with others.

 

I would like to select these three in the hopes that they, too, will take this opportunity and run with it. Publicity is publicity—don’t waste it!

 

** Please take these questions and apply them and their answers to your blog/website.

 

@Gary_C_King

 

@GiselleMarks1

 

@KMWeiland