Check out our latest Writing in the Modern Age guest article here.

Check out our latest Writing in the Modern Age book spotlight here.

Check out our latest Writing in the Modern Age guest article here.

Check out our latest Writing in the Modern Age guest article here.

Check out our latest Writing in the Modern Age guest article here.

Hi, readers! We have a real treat in store for you today, a spotlight on a book by Sophia Zaccaria, quite a talented author!    
    
We wish you lots of success on your young adult fantasy novel! 
   
Let's check out the details, shall we?

About the Book

Here is the book blurb for Fairest.  

Flirting with evil will be the ruination of her soul.

Goodness is much easier to corrupt than it is to hold on to. And for Natasha, a woman reeling from the pain of losing a loved one, evil is all the more tempting. Luck or misfortune spirits Natasha away to the foreign Court of Velaris in a quest for a suitor but instead secures her a place among Velarian royalty. Craving revenge, Natasha makes use of this opportunity to enact her plans as she navigates the lush court where aristocracy is a double-edged blade. But when she befriends her soon-to-be husband Mikhail, the Beloved Prince, Natasha makes a deadly mistake. She captures the attention of the debonair Darkling Prince; a villainous man meant to ascend the Velarian throne.

Enamored, the Darkling Prince charms Natasha, and soon the two feel a forbidden emotion captivate their stoic, scabrous hearts. But with the existence of a violent rebel group capable of cataclysmic damage, there is little time for love. With war brewing amidst the enigmatic kingdom, the royals must become all the more cunning and devious if they wish to triumph over their adversaries. What draws the insidious line between right and wrong when it comes to a battle of survival? For Natasha, nothing is too far, too light, too bloody, too evil.

Soon, the only reflection Natasha sees in her mirror's beveled glass is that of an Evil Queen. Often, the cost of survival is more frightening than the beasts of death. But that's what gives the Queen of Shadow's beauty an edge: she wears her darkness adorned about her throat like the grandest of all diamonds, ebony, and bloodred in shade.

Release Date:  July 18, 2021

Genre:  YA Fantasy, Some Romance Elements

Sounds like an intriguing read here!

Purchase Links:

Goodreads     Amazon

Universal Reader link:  https://books2read.com/u/4Xreo9

Sophia is also giving us a peek at this book today!

Readers, here’s an excerpt...

Danilo’s blood drips mockingly from his mouth, a terrifying scarlet smile. “I think you know just how this has to end, my scarlet queen.”

Crimson blood slid down my alabaster skin as I innocently said, “With your heart on a platter for me to feast upon?” I tilted my head in consideration. “Or shall you prefer I maul your heart first, bathe in your blood, then feast upon your heart like the delicacy it is not?”

In a pique of rage, he snarls and lashes forward, his sword slicing into my left arm, reopening an old wound.

Attack. Attack!

In urgent, coaxing shouts like whispers and tears had become lovers and found their voices together, the alluring phantom’s voice said, Evil is to show mercy when death is inevitable. Instantly enraged with some ancient chaotic fervor, the adrenaline of the brawl masked my pain, and I lunged forward. Kill! Like before, I listened to the enigmatic voice. And now, I became a predator—lethality incarnate bent on only one goal: to kill.

I’d been depriving myself of revenge. I would do so no longer.

Ice exploded through my veins, heralding the darkness.

Drawing on a modicum of power, I summoned my darkness and turned the air around me to shadows of obsidian. Danilo deserves no mercy. At this thought, the shadows around me grew until I felt its edges touch the netherworld itself. My magic surged forward, and I twisted it into an imitation of the Velarian dungeons. Horrified, Danilo watched in morbid fascination as shadows reminiscent of a cell’s smothering walls surrounded him. “Don’t.” His voice was sharp with emotion, and a slow smile lifted my mouth.

“Don’t what? I mean you no harm.” No physical harm. The shadows merely created a mirage, a general impression of shades from dull greys to dried-out reds turned burgundy. Paired with chains and imposing spiked bars that seemed to asphyxiate its prisoner, my mirage was perfect. But not inescapable. If he had enough sense of mind, he could swipe his hand through the shadows, and the nightmare would disappear. But fear is the mind’s warden, and now it is Danilo’s prison. Danilo’s face contorted in a grave expression of pain. “S—stop.” I laughed caustically in the wake of his fear, remembering that a few hours ago, Danilo had stabbed me.

“Stop?” I parroted a moment later, stalking close enough to notice the tiny hairs on his neck standing straight while he trembled. “That word meant nothing to you then. It meant nothing when I begged. Nothing when I pleaded with you to show mercy.” I curled my fingers, analyzing his reaction to the prison encircling him. “Why should it matter to me now?” A mutinous smile of antipathy curled his mouth.

“I awoke you. Without me, you would still be the obedient Darkling Queen, nothing more than an antinome. I unleashed your darkness, and I will never leave you, even if I am gone.” No, it’s a lie, but . . . Danilo’s analysis is all the more poignant when I take into account the scene: Danilo, the victim, and me, the aggressor and villain. Embittered by this, I mocked, “Well, I want to know who we are without each other! I want to know if I’ll recover that broken piece of innocence you STOLE!” Collecting my magic for a finishing blow, I reared my arms back, aiming . . . Wait, whispered the feminine phantom. Against my better judgment, I did, reining in my power until it swirled in inky clouds and fulminated against the restraint. Keep him alive. Trust me, you’d rather make a wicked deal now than kill.

Intrigued by the suggestion, I scrutinized Danilo thoughtfully, my already opalescent complexion turning entirely statuesque as I stared down my enemy. Finally, I spoke, “I wish to have my curiosity satiated. To know what my temperament will be without you whispering evils in my ear.”

Intriguing!

So, what are other readers saying about this book?

☆☆☆☆☆

"Great dark fairytale!! I have a soft spot for villains. I always wonder what their backstories are and what caused them to become the bad guy. So, when I read the blurb for Fairest, I knew that I needed to read it. It is not very often where the origins of the Evil Queen from Snow White are explored!! I am glad that I did because this book had me glued to the pages.

Fairest tells the story of Alina (aka Natasha) and her rise/eventual metamorphosis to the Evil Queen. It was a sad but fascinating tale. A fantastic read." – Read with Me Blog, Amazon

Wow, it sounds like quite a read!

Get your copy of this YA fantasy novel today, readers! Or, add it to your Goodreads bookshelf or BookBub!

Thanks for letting us know all about this book, Sophia! :)

About the Author:

Sophia Zaccaria is the author of her debut novel, Fairest, a retelling of Snow White, and is a massive fan of the classic Grimm fairy tales. As a young Canadian writer, Sophia is always looking to weave mystical and magical things into her stories. Sophia enjoys kickboxing, jogging, and visiting eighteenth-century Gothic scenes to appease her muse's darker side when she is not writing. You can discover her linguistic adventures by following her on Instagram @thesophiazaccaria and Inkitt.

Author Links:

Inkitt     

Instagram

Hi, readers! We have a real treat in store for you today, a new release by Michael Aronovitz, a talented author! 
 
Congratulations on your latest book! 
 
Let's check out the details, shall we?

Here is the book blurb for The Sculptor.

At age seven, Michael Leonard Robinson commits his first murder, turning tragedy into an aesthetic. By the time he turns eighteen, he has become an expert with computers, gaming systems, and the art of video imaging. And now in his forties, fully realized, he has long erased his digital footprint. He is thirty years ahead of our most advanced scientists, military ops tacticians, and elite information tech specialists. He is a master of disguise. He can invent projected realities.

Of course, Michael Leonard Robinson could work his dark vision on a global scale, yet he doesn’t need “the world” for a fetishistic thrill, just a police captain, his receptionist, a detective, a rookie junior officer, his sister and mother, and a lot of dark theater. 

Robinson appears to these characters in disguise, film clips, and flashes as he torments them. Their multiple viewpoints are puzzle pieces.

When they fuse to finish the puzzle, the final sculpture becomes clear.

Release Date:  E-book - September 7, 2021 /Paperback - October 12, 2011

Genre:  Serial Killer Mystery

Publisher Link:  https://www.skyhorsepublishing.com/9781949102543/the-sculptor/

Universal Reader Link:  https://books2read.com/u/mdDdAw

Here is an excerpt...

Chapter 24

Beauty in the Eye of the Ripper’s Beholder

Captain Canfield ran into the storm. Cold stingers to the face, the front lawn was muddy, his clothing lay on him like lead. It was dark, the wind shaping the rain in what looked like the billowing cloak of some massive dark horseman, with intermittent moonlight coming through the road foliage and cemetery border trees.

Canfield took a position in the grass, gun leveled. He didn’t have a clear shot, not as a sniper would have had with a rifle with a scope.

Across the street on the sidewalk was the huge figure. He was smiling. His feet were spread, his left arm clamped around Erika’s waist, his right palm pressed to her mouth. She was straining hard, arms pinned to her sides, feet kicking insane bicycle pedals against his thick legs. Her T-shirt had ridden up; you could see the shape of her waist. Her ponytail had come loose, and wet strands were plastered to her forehead and jawline like skull-fissures.

The big man spoke. His hat pushed a shadow across his forehead, but below that his skin looked bad—spoiled and cracked like a leper’s. It was the caked-on makeup. The moisture out here had begun to erode it.

“Captain,” he called. “Advantage perp. You can’t risk discharging your firearm. And your prerogative is clear. As the first officer on the scene, you are to look after the safety of the victim before securing the arrest. And if the citizen endures physical harm at the crime scene, you are obligated to care for the injured before arresting the offender.” His grin became monstrous.

“Officer,” he said, “I’d like to report an injury.”

He took the hand covering her mouth and groped it up the side of her face. She squirmed, kicking harder, and he pawed at her, fingering. She jerked her head, and he smeared the cat’s eye makeup in a hash-mark up her left temple. He pulled back across, and she let loose a gargled scream, kicking like a frenzied horsefly held by the wings. He mashed his hand-heel into the other side of her face, slipping down along the bone like wet marble, and this time he streaked thick mascara onto her cheek, hooking down like an athlete’s smeared eye-black. He made an adjustment, and with the base of his thumb, his ring finger, and pinkie he cupped her chin, holding her still. He had to work it like the old Spock Vulcan “live-long-and-prosper” sign, but he spread his middle and index fingers back across the bridge of her nose, then started spider-crawling them up toward her right eye.

Canfield screamed “No!”

The monster’s two fingers were poised like a claw, uneven tongs.

He pushed in, over the eyeball, deep into the socket. Blood squirted up over his middle knuckles. She screamed herself raw, her kicking went nuclear. He let go of her mouth so he could work in the thumb, forming a pincer-grip. For a bare moment it cleared the horrific sightline; he dug in his fingers, and Canfield could see Erika’s eyeball slip from one side of the socket to the other as the monster worked in deep, trying to get to the back of it. Blood wept down his wrist, but the rain washed it away, making the effect seem ghostlike and illusory. He yanked, her head jerked forward, give, but no climax. He couldn’t pull it home, stubborn muscles and nerve fibers proving their elasticity, and he re-angled his elbow, bunched, set, and ripped that eye straight out of its socket.

She stopped kicking.

Thick blood welled in the dark crater and poured down her cheek. The rain doused and diluted it, ebbing down her face with the beat of her heart, tendrils and threads gyrating there on her cheekbone like algae floating off coral in a current. She was twitching, hanging there in his arms. He slapped her cheek and she jolted awake, shrieking incoherently, body in spasm, the broken doll, the lunatic stage-puppet.

He set her on her feet in front of him, bending his knees so she was still mostly blocking the line of fire. Both big hands moved to her hips to steady her, and he walked her back to an oak tree.

He whispered something in her ear. It took a moment. Then he smacked her hard on the ass and barked:

“Go!”

He ducked behind the wide tree and she ran, faster than one would have ever expected, moaning and crying, lumbering desperately away toward Sproul Road.

Canfield pounded after her, grass to driveway. Cutting across the corner of the neighbor’s lawn, he noticed quite academically that they had been gardening, planting shrubs. Passing through the line of them at the perimeter, he stepped on a trowel. It hurt, fucked his rhythm, and his ankles banged together; he went down. He hit the street, skinned an elbow, quick-rolled, and somehow managed to cradle the gun without having it blow a hole in his stomach. He didn’t allow himself time to recover. He sprang up and broke into a straight sprint, thinking, “Knees high, push hard, strong kick, arms in sync,” and by the time he caught up, she was almost to the streetlamp. She stumbled and collapsed, trying to grab hold on her way down, and he caught her from behind just in time to save her from falling onto her face. He went to the ground with her, held her, turned her so he could look at her.

She’d been truly violated, disfigured, it was real, no illusions. She had two faces now, the left profile all sleek cuts and angles, the makeup bird-winged up off her left eye giving her a futuristic look like a runway model, yet turned to the right, her profile was that of a ghost-witch, her long skull and jawline accented by the rough crater peering at you with blank recognition. She looked very much like the kind of thing you bought in an island hut, stuck on a voodoo stick with beads hanging off of the fist-guard. She was sobbing, still convulsing.

Canfield wanted to comfort her, but he didn’t know the words. He wanted to give her some kind of gentlemanly reassurance, but he didn’t know that song either. What came out was mechanical, almost programmed.

“What did he say to you?” he said softly, flatly. He felt terribly about it, but he was who he was.

“What?” she said. “What? When, Bill, what?”

“Easy,” he said. “What did he say to you in your ear? Just now. I’ll catch him, but I need all the data.”

She started weeping again and buried her face in Bill Canfield’s chest, shoulders shaking.

“He told me,” she said, voice muffled, “that I had to run hard, I had to run like the wind, toward Sproul Road. He said that I had to run straight into traffic. He said he was going to flush my right eye down a toilet, and if I didn’t run as fast as I could he’d hunt me down, find me at the hospital, at work, in the parking lot, the grocery store, my apartment.”

She pulled back and looked up at Canfield with her left eye.

“He promised he would give me round two,” she said. “He promised he’d rip out the other one.”

So, what are readers saying about this book?

★★★★★ “The Sculptor is one of the most grimly terrifying serial killers in recent literature.” - Horror scholar and editor ST Joshi

Whoa...what a disturbing teaser!

Get your copy of this serial killer mystery today, readers!

About the Author:

Michael Aronovitz is a college professor, rock critic, and author of dark fiction. His published novels include Alice Walks, The Witch of the Wood, and Phantom Effect, his collections – Seven Deadly Pleasures and The Voices in Our Heads. Aronovitz has published more than forty short stories, and has appeared in magazines and anthologies such as Weird Tales, Searchers After Horror, and Apostles of the Weird. His short story titled “How Bria Died” was featured in The Year’s Best Dark Fantasy and Horror, 2011, Prime Books, and currently, Aronovitz has much of the above-mentioned work being translated into German and re-released by Firma Edition Barenklau. His lifetime collection of novellas and short stories, titled Dancing with Tombstones, will be published by Cemetery Dance Publications in the fall of 2021, and his fourth novel titled The Sculptor will be released by Night Shade / Skyhorse in the fall of 2021.

Author Links:

Website: michaelaronovitz.com

Facebook: https://www.facebook.com/michael.aronovitz

Twitter: https://twitter.com/michaelaronovi2

Amazon Author Page: http://amzn.to/2yprVlr

Goodreads: https://www.goodreads.com/author/show/551323.Michael_Aronovitz

FictionDB: https://www.fictiondb.com/author/michael-aronovitz~99909.htm

Check out our latest Writing in the Modern Age guest article here.

How to Make Your Characters Believable:

a guest post by Stefan Vucak

People are quirky, unpredictable, emotional, and often cannot be relied upon. Governed by the environment within which they live, knowledge accumulated over years of learning, whether formal or through personal endeavor, and simply interacting with others, an individual is a complex matrix of what it means to be human. Above all things, people are self-centered, always looking for that angle which will make them come ahead—that quick fix to bypass the necessary hard work in-between. That’s why we gamble.

Standing on a busy street corner, waiting for the lights to change so I can cross, I am bemused by the sight of pedestrians hurrying, dawdling, or completely distracted with faces buried in a smart phone crossing the other way. There are tall people, skinny ones, some not so, Caucasian, Asian; all sorts. Some are wearing smiles, while others scowl, and there are those who seem to be stooped like they are bearing the load of the world on their shoulders. The teens skip gaily, chatting to each other and laughing, looking on us oldsters as incomprehensible cubes, wondering what all the fuss is about.

So, what’s with the philosophical sideline? Believe it or not, there is a point. Purse your lips and ask yourself if you have really looked at a stranger lately, and simply from his appearance tried to work out his personality, social status, mannerisms, identifying marks? If you can see them, does he have brown eyes or blue ones or green? Is his face round, square, long, gaunt, plump? Does he walk with confident strides or is he hesitant, his eyes darting suspiciously as he pushes through the crowd? Is he carrying anything? If so, what is it? Does it help you identify him? On an instinctive level, do you like him or do the hairs on the back of your neck tingle at the sight of him?

Are you starting to get the broader picture? Do you observe people or does the mass of humanity simply slide past your consciousness as you hurry across the street, your mind focused on whatever it is you need to do? Finishing that chapter you’ve been struggling with, perhaps? The struggle caused because your main character, and maybe the whole cast, is somewhat two-dimensional, a nobody, and you cannot quite figure out why? Then again, you might be thinking: I don’t need to describe my characters; the story is good enough to carry them. You could be right. You could also be wrong, you know.

Deciding how to portray characters in your writing can be a contributing factor in producing a great book, or something that’s okay for a once off read. Every book has two basic components: action sequences and characters who do the action or have action done unto them. Many books rely on action alone, and some do it with superb craftsmanship. Others get into a character’s mind and never let you leave it. That can be entertaining and enthralling—if done well. But how can you tell whether your characters are genuinely alive and real? Simple, really. Think of a recent book you have read and ask yourself this. Do the characters stand out? If so, why? Or are they cardboard cutouts who cannot utter a coherent sentence? It is an instinctive thing anyone can spot. Unfortunately, many writers can spot it in someone else’s book, but are unable to see it in their own writing.

All right, how do you make your characters believable? Before you even start writing that epic, you need a detailed outline, a story skeleton on which you’ll hang the words. Part of writing that outline will require that you line up your cast and stare at them, then pick those that will star in your book. Think of a casting director for a movie. Your cast will be determined by the type of book you are writing. Is it a love story, a techno thriller, a murder mystery, a convoluted spy thriller, a tearjerker? Are you looking for action men, sleuths, hard-boiled gumshoes, sleazy womanizers, or just mean guys? What does this process do for you? Whether you realize it or not, and you should, you are taking a first step toward making your characters believable. You are thinking of them as individuals with personalities.

To make every member of your cast a living person, you need a police profile that goes something like this:

- Height

- Weight

- Complexion

- What color eyes

- Does he chomp his food, or is he a dainty gentleman

- Does he swear

- What is his normal behavior: tense, relaxed, awkward, sharp…

- Special mannerisms, use of phrases, habits…

I think you are starting to get the idea. Why such a profile you might ask? For one thing, it will crystallize that character in your own mind. Whenever you write about him, the character will always behave consistently, true to himself. Any deviation will not be looked on favorably by your readers. There is nothing more irritating than reading on one page the character is five foot ten, and later, he is six feet two, or something like that. You may never employ all of the character’s profile in the book, so why bother? What this does is makes the character live, which is the important thing. He becomes a close friend, or an enemy. You will like him or you won’t. Either way, you will know this character, and so will your readers. If someone asks you to describe your sister, brother, mother or friend, you can readily spew out the words with hardly a pause. In the same way, you must be able to handle your characters in your writing.

Remember that cardboard cutout? He is a cutout simply because the writer doesn’t know him. He is a complete stranger, and he comes across as such to readers. That’s all there is to it. Well, there is a bit more, of course. That more being the dialogue.

You cannot handle a novel with a character not having to say anything—unless he is a Robinson Crusoe. Since there are no more unoccupied coral islands where someone can get away from it all and clam up, your characters will have to say something sometime. What they say and how they say it will go a long way toward making them real and believable, or two-dimensional cutout dummies. Some writers can handle dialogue with natural skills, while others agonize. How do you master dialogue? Grab one of your favorite books and check the dialogue. Why do you like it, and does your dialogue come anywhere close? If not, what can you do about it? That’s simple, but involves some sweat on your part. You are a writer, right? So, practice writing dialogue until it becomes second nature. Never mind about what, just write. Think of the last conversation you had with someone and write the ensuing dialogue. When you read it, does every aspect of that episode come through? And I am not talking only about what was said, but how it was said, what emotion was displayed, gestures, tone of voice, hidden meanings. If what you have written doesn’t match your memory, you obviously haven’t got it right. Give the piece to the person you had the conversation with and get his feedback.

If you have read this far, you are right to point out that there is much more to making your characters believable, but I hope I got you thinking and looking at your characters in a new light. By the way, get a professional editor to go over your writing. An impartial pair of eyes can do wonders for your novel.

Guest Blogger Bio

Stefan is an award-winning author of eight techno sci-fi novels, including With Shadow and Thunder which was a 2002 EPPIE finalist. His Shadow Gods Saga books have been highly acclaimed by critics. His political thriller, Cry of Eagles, won the coveted 2011 Readers Favorite silver medal award, and his All the Evils was the 2013 prestigious Eric Hoffer contest finalist.   

Stefan leveraged a successful career in the Information Technology industry and applied that discipline to create realistic, highly believable storylines for his books. Born in Croatia, he now lives in Melbourne, Australia.

Links:

Website:  http://www.stefanvucak.com/

Facebook:  https://www.facebook.com/StefanVucak

Twitter:  https://twitter.com/stefanvucak 

Shadow Gods Saga:  Series Link

Check out our latest Writing in the Modern Age blog article here.

Book Review Etiquette

Authors can’t sell books without reviews. Especially now that a lot of authors are going the self-published route, book reviews are crucial elements that authors seek and crave. Well, good reviews are craved.

Recently, there has been a trend for readers to post reviews before they have even read the book.

A fellow author recently received the following ONE star review: "I did not read it I just downloaded it," says Raebeth Buda, author of ‘Silenced’ and host of the Writing World web site. “Last year I also got a ONE star review that said, 'I haven't read it yet, I will leave a review when I do.'  They have yet to review it. That star has been sitting there hurting my rating ever since. And with only 10 ratings on that particular site, it hurts a LOT.”

It hurts the author because most book review sites give an average star rating, figuring all the reviews into one score. It’s like getting straight A’s all semester, and then getting one F that pulls your grade average down to a C.

“It seems like common sense, but I think more people need to be aware of how much needless one star reviews can hurt. It's great you bought the book, [and] it's great you intend to review it. But leaving a one star 'placeholder' hurts the author much more than leaving no review at all,” Buda says.

Stars on a book review are pretty much equal to the five point grading system used in schools. A five star rating is the same as an A on an essay. It means you thoroughly enjoyed the book. Four stars means the book was enjoyable, but had a few faults. A three star rating means the book barely passed. Anything below three stars warns other readers to pass the book by and buy something else. A one star rating means the author should not have published the book in the first place.

When writing a review for a book, the reader should give a summary of the story to let the next reader know what the subject of the book is about. It also lets the reader know that the reviewer did in fact read the book. It should then point out the book’s virtues and weaknesses. Is it well paced? Does the plot make sense? Are the clues foreshadowed, or does the answer appear out of nowhere? Are the characters believable and likeable? Is it well researched? 

The conclusion of the review then gives an overall reaction to the book: it was a pleasant read, it was a page turner, I couldn’t put it down, I highly recommend the book, I can’t wait for the next one. The conclusion of the review should not be what is called a 'spoiler': the butler did it. It’s acceptable to say that the ending was surprising, but not to say what the surprise actually was.

So, please, write your reviews, but follow the rules and format of a good review. Even if your opinion is bad, every review posted should be good in quality, helpful to other readers, and a true reflection of the reader’s opinions.

Guest Blogger Bio 

Paula Hrbacek is the author of five books, including Stars Shine After Dark, a sweet Christian romance, available in paperback, Kindle and Nook.

Day Camp in Hawaii, a complete program guide for summer camp or summer school, is available in paperback, Nook and Kindle. For more information see http://paulahrbacek.weebly.com or her author page at https://www.amazon.com/author/paulahrbacek.

She also writes two columns for The Examiner, a free online newspaper; Children’s Arts and Crafts, and Book Reviews.

Links:

LinkedIn: http://www.linkedin.com/profile/view?id=104609576&locale=en_US&trk=tyah2

Facebook:  https://www.facebook.com/PaulaHrbacek?fref=ts

https://www.facebook.com/pages/Paula-Hrbacek/199054570166688?fref=ts

Twitter:  https://twitter.com/PHrbacek 

Universal Amazon link:  mybook.to/DayCampHawaii 

Also in paperback at B&N.

Check out our latest Writing in the Modern Age blog article here.

A simple question, but a complex answer.

First off, I’d like to thank Marie for allowing me to visit her blog today! My second novel is about to be released later this month, but you’ll learn all about that later.

Recently, a friend of mine asked a group of us to answer a question for her. Keep in mind, the group is a very talented gathering of people. And while most of us had had some success getting short stories published, I was the only one who’d made the leap to novels. She’d been mulling it over in her mind for a few months and couldn’t come up with an answer. Her question was this: 

“What does it take to be a writer?”

My initial response to her was to ask her if she wanted to know what it took to be a writer or an author. I asked her this because there’s a difference. Anyone can write. My kids write every day at school, you’ve probably sent a dozen emails this week alone. Writing is not hard. Being an author, though, that’s a different story. Every author is a writer, but not every writer is an author. This is what I told her. 

First, it takes courage. Tons of it. It's no easy thing to hit that send button. Confidence is good, but it comes with time. Courage is more important at the start.

Being willing to see errors when pointed out, and learn from them. There's a difference between an opinion and a valid crit. Sometimes, the opinions are understandable and you should change something. Other times, you're going to go with what you wrote originally. A crit, however, is different. That's a comment about something that really doesn't work (putting the wrong name of a city, for example), technical help (should be went to the store, not had to the store!), or helping you find the holes in your story. If you want to be an author, you have to get ready to have people tear your 'baby' to pieces. 

Perseverance. It takes time. Time to get the contract (shall we play rejection letter lotto today? I've got lots of cards!), time for it to go from signing to release, time put into marketing (even the big Houses are going to expect you to do some), and time for readers to discover your book. Unless you've somehow got the name recognition already (Amanda Knox, Michael Jackson, a former President, or Brad Pitt), you will not get stellar sales out of the gate. It can take months, even years of concentrated effort to gain a loyal enough following that the royalty payments are going to buy you more than something to eat off the dollar menu at McDonalds.

Seriously, don't sweat the small stuff like adverb usage, tell vs. show, active vs. passive, and any of the two dozen so-called rules of good writing. Spelling, grammar, punctuation - as long as they're not blatantly bad, most EICs will look past that as something that can be easily corrected in editing/proofreading. As my wonderful late Big Brother told me, "Did it sell? Then it's good." The other stuff, eh, it's just guidelines. The story has to be engaging and grab the attention of the reader. I've read stories that followed 'the rules' - and rejected them because they were dry pieces of cardboard without any depth. Or made my eyeballs want to bleed.

An author's going to write, revise, cry, revise some more, and polish it within a millimeter of its life. A writer's going to slap something onto a piece of paper and call it good.

In the end, it’s your decision if you’re an author or a writer. Do the rewards outweigh the risks? Do you want to invest the time and work to market yourself? No one can make that decision for you.

Guest Blogger Bio 

Born in the late 60's, KateMarie has lived most of her life in the Pacific NW. While she's always been creative, she didn't turn towards writing until 2008. She found a love for the craft. With the encouragement of her husband and two daughters, she started submitting her work to publishers. When she's not taking care of her family, KateMarie enjoys attending events for the Society for Creative Anachronism. The SCA has allowed her to combine both a creative nature and love of history. She currently resides with her family and three cats in what she likes to refer to as "Seattle Suburbia".

Links:

Twitter: @DaughterHauk

FB: http://www.facebook.com/pages/KateMarie-Collins/217255151699492

Blog: http://www.katemariecollins.wordpress.com

Check out our latest Writing in the Modern Age blog article here.

“That which we call a rose by any other name would smell as sweet.” I teach Romeo and Juliet to rather reluctant 8^th graders every year. I’ve collected enough materials to probably teach a college course on the play, but no matter what every year we pause at Juliet’s words here and talk about the power of names. I ask them to think about it. How much of their personality is connected to their names? Is Juliet right? Can we simply change someone’s name without it changing the person? My students and I don’t think so.

            Look deeply into any mythology, particularly the mythology involving the Norse and Celts and we see the power of names so clearly. The Fae of the Celtic mythos kept their true names secret for if anyone knew their names they could be commanded. In Ursula K. LeGuin’s EarthSea series we see power tied to true names. Native Americans changed their names as they grew, preferring to refer to them as “use names” in some tribes. We too, in modern Western culture, change our names. How many of us cringe when we hear grandma call us by that nickname she gave us when we were little bits? I have a cousin who’s over 30 who many in the family still call “Juice.” Long story.

            As authors, we know that the name of a character can be a very powerful characterization vehicle. Certain names have certain connotations. If we name a character Damien, there are certain images that go right along. Now, sometimes we like to throw those preconceptions for a loop, but we go into naming that character knowing he’s going to be up against some interesting preconceived notions. Character names also have to be true to the genre and time period. There’s nothing that throws me out of a book than a trendy modern name in a period piece. Above all, we need to like the name. If we don’t like the name or we don’t really see how the name fits the character, well then we can’t make our readers see it either.

            Naming books too is an interesting and frustrating process. Just as a character’s moniker is the reader’s first impression of him or her, the title can very often make or break a sale. There are a lot of “rules” about titles. Many of them contradictory. Titles should only have six or fewer syllables—the shorter the title the more intriguing. Now, I admit you don’t want a title that scrolls across the entire book cover, but I don’t personally see anything wrong with longer titles. That being said, could “The Fellowship of the Ring” gotten a pass in today’s marketing world? Or would Tolkien have been told to shorten it up or at least “punch it up?” I’ve heard that a lot lately too. “Punch up that title!” What in heaven’s name does that actually mean? Make it shorter, catchier, or easier to remember?

            I struggle with titles. My first novel “Ribbons of Moonlight,” a time travel romance was easy to name. It was inspired by a poem and the title was merely a rearranging of one of the common poetic images. That was a rare exception. When I’m writing a book, the file usually has some sort of single word working title. My next book, a fantasy, “The Shattered Prism” due out on June 17th from Solstice Publishing, was much more difficult to title. It had originally been called “Dark Rainbow’s End,” but I’d expanded the idea and it transformed from one novel into a trilogy. So, now, not only did I need three titles, I needed three titles that worked together and I already had one. I scribbled and scratched out about a dozen title ideas with rainbow or circle or star imagery in them. The book was finished, ready to be sent out, but I couldn’t because I wasn’t certain of the title! That’s one of the most frustrating feelings for a writer.

            Unlike Juliet’s assertion that “Romeo would, were he not Romeo called, retain that dear perfection that he owes”, naming characters and books can be tricky. Coming up with the idea of the story, the problems the characters need to face and the end of it all can sometimes be child’s play compared to figuring out what to call the thing! Names and titles are a reader’s first impression and we all know that you never get a second chance to make a good first impression.

Guest Blogger Bio 

When I was a kid growing up in the near Chicago suburbs, I knew what I wanted to do. I wanted to teach and I wanted to write. I’d spend hours over the little typewriter Mom and Dad bought for me when I was little, clattering away at stories and plays I’d wheedle my cousins and brother into performing. I think I wrote my first “book” in 6^th grade and had a friend illustrate it for me. I never really looked back from there. 

Now, I can say that I’ve achieved both of my goals. I’ve been teaching 8^th graders for more than 15 years, sharing my love of words with hundreds. I always tell my kids that it’s not that they don’t like to read; they just haven’t met the right book yet. I make it one of my missions in life to put those books into their hands.  
My love of literature led to my debut Solstice novel. I’ve always loved poetry and “The Highwayman” has always been a personal favorite. I always thought there was more to that story and now there is. 

So, here am I living—still living in the Chicago suburbs, a little further out than where I first started, but I can still see the skyline on my drive in to work. I married my high school prom date and we share a beautiful little girl, two spoiled hound dogs, a love of reading and all things Disney. Overall, I’m happy where I am, but I’m also looking forward to seeing what the next several years bring. Hopefully, it will bring me several more books on this author page!

Links:

http://rebeccalfrencl.blogspot.com/
https://www.facebook.com/pages/Rebecca-L-Frencl/115163871892050?ref=hl

Universal Reader link:  https://books2read.com/u/mZrrWR

Check out our latest Writing in the Modern Age blog article here.