“Q & A with Joseph Carrabis” now on Matthew Stern’s Blog

One benefit of social media is you meet some wonderful people. One of them is author Joseph Carrabis. He has been everything from a long-haul trucker to a chief research scientist. He has taught internationally at the university level; holds patents in a base, disruptive technology; created a company that grew from his basement to offices in four countries; and helped companies varying in size from mom-and-pops to Fortune 500 companies develop their marketing. Most of this bored him. But give him a pen and paper or a keyboard and he’s off writing, which is what he does full-time now.

Get the whole story now on Matthew Arnold Stern’s blog

(and thanks to Matthew for interviewing me)

Litcon 2021 World Building Panel with Science fiction, fantasy, alt-history, steampunk, YA science fantasy, speculative fiction, dystopia, and military science fiction authors F. Stephan, Geoff Genge, Claudia Blood, Theresa Halvorsen, C.G. Hatton, and Liz Tuckwell

 
Enjoy the panel discussion. Information on the participants is below.

 
Continue reading “Litcon 2021 World Building Panel with Science fiction, fantasy, alt-history, steampunk, YA science fantasy, speculative fiction, dystopia, and military science fiction authors F. Stephan, Geoff Genge, Claudia Blood, Theresa Halvorsen, C.G. Hatton, and Liz Tuckwell”

J.N. Williamson’s “How to Write Tales of Horror, Fantasy & Science Fiction

First, a different kind of how-to-write book; each chapter is written by a different notable in the field – Williamson, Bradbury, Tem, Grant, Bradley, …

The variety of perspectives is interesting. I wonder if each author chose their chapter subject or were assigned it by Williamson, who served as editor.

Bradbury’s chapter, for example, is about where ideas come from and nurturing them, not specific techniques. Tem and Castle each take a turn at character but each from their own perspective.

Bradley’s “World Building in Horror, Occult, and Fantasy Writing” marks the first time I’ve seen the “world building” term outside of writers’ cons (I’m hosting a World Building panel at LitCon 2021).

Beyond chapters on technique – Plot, Character, Setting, World Building, Revision, Submission, … – How to Write Tales of Horror, Fantasy & Science Fiction‘s contributors explain the whys of their suggestions. Example: William F. Nolan’s “Involving Your Reader from the Start” chapter contains several examples of opening paragraphs (I don’t agree that all of them are good). Near the end of his chapter he writes “In the no-TV, no-video, no-comics world of Charles Dickens, readers were conditioned to deal with complex, dense, often-wordy opening pages in books and stories. It was an era of leisurely reading when the pace could be slow and unhurried. Not so today. …”

In other words, writing evolves with a purpose. Yes, there are fads and they pass quickly. What survives is what out-competes others in the environment.

Amazing how evolutionary science affects everything, isn’t it?


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Kit Reed’s “Revision”

I first read Kit Reed’s Revision (probably) four years ago. It was one of the first books I read when I decided to spend the rest of my life writing. I dogeared two pages.

I finished my second read about a week ago (as I write this). The book is a mess of dogeared pages.

It’s amazing how much more Kit Reed put into this book in four years, don’t you think?

Extra Effort Closes the Distance between You and Your Audience.

 
The entirety of the book comes down to Reed’s Rule Six: Extra Effort Closes the Distance between You and Your Audience.

Whenever you come to a moment of hesitation, unsurety, confusion, skimming, general off-ness, stop, figure out what’s not working, and fix it.

 
And Reed also provides a caution; Recognize when it’s done and let it go. There’s lots of examples of recognizing when something’s let-goable and when something isn’t. The one that hit me smack between the eyes is “Whenever you come to a moment of hesitation, unsurety, confusion, skimming, general off-ness, stop, figure out what’s not working, and fix it.”

I am training myself to do that. Too many times I’d read something and need to reread it, figure it out on the second take and decide it was okay.

NO, IT WASN’T!

Reed also offers several question lists to help you in your own revising. Early in the book Reed poses twelve questions so you can learn if you’re open to revision. Don’t know about others, I found it revealing (especially when invoking Reed’s suggestion to be strict (unforgiving) with your answers).

Another duh! list early in the book (pg 39) deals with determining if your work (and others, too, if you’re in a critique group) is ready to go out. Reed suggests writers/authors/writer-wannabes read for:

  1. Truth in action
  2. Accessibility
  3. Completeness
  4. Time scheme
  5. Point of view
  6. Length (with an eye to possible cutting)
  7. Organization
  8. And, once again, balance of showing versus telling. (Reed’s words, this, not mine)

Unsure what some of those mean? Read the book.


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June Casagrande’s “It was the best of sentences, it was the worst of sentences.”

“It had been being the best of times, it had been being the worst of times.”
Really?

 
This is a small, short book that will so heavily impact your writing…no, scratch that.

It was the best of sentences, it was the worst of sentences. is a small book that will impact your writing.

Yes, much better.

If you don’t recognize the second sentence is better than the first – you may not understand why it is, but if you recognize it is – this book is a necessity.

If you do understand, you’ve probably read this book.

I didn’t write “…don’t recognize that the second sentence…” because It was the best of sentences, it was the worst of sentences. teaches lots about when to use that. I didn’t write “…probably already read…” because it also teaches lots about flabby speech and misuse of adverbs.

And how to subordinate for effect, such as “If you…”

And lots more, all with examples.

Casagrande’s mantra is “Write for the Reader.” Writers who say they write to please themselves first miss the point (almost wrote “are missing the point”); they write for a one-reader audience (rewrote that clause three times). Write to be read. Start with one reader, get more by developing your writing. (a missing conjunction, fix it (she demonstrates how)).

 


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