My “Marianne” now in Visions anthology

Kaye Lynne Booth gathered some amazing authors for Visions anthology. Reviewers can pick up a copy on Bookfunnel and readers can use this universal book link.

 
About the Author
Easiest way to do this is to head over to my About page. Alternately…
Joseph Carrabis told stories to anyone who would listen starting in childhood, wrote his first stories in grade school and started getting paid for his writing in 1978. He’s been everything from a long-haul trucker to a Chief Research Scientist and holds patents covering mathematics, anthropology, neuroscience, and linguistics. After patenting a technology which he created in his basement and creating an international company, he retired from corporate life and now he spends his time writing fiction based on his experiences. His work appears regularly in several anthologies and his own published novels. You can learn more about him RIGHT HERE! (exciting, isn’t it?) and find much of his work at http://nlb.pub/amazon.

 
How the story came about? Continue reading “My “Marianne” now in Visions anthology”

Christopher Herron, Publisher/Producer at Tall Tale Narration, LLC, does a dynamite job reading “The Magic Tassels”!

Tall Tales TV‘s Chris Herron again does a truly amazing job narrating The Magic Tassels. Chris previously narrated Winter Winds and did a truly superb reading.

 
His reading, voice skills, and emotional delivery just blow me away.

Take a listen on any of:

Enjoy!

Writing and Reading Rhythms

Listening to Pitjantjatjara elders’ stories as they escort you through their memories, one is aware of three rhythms working together; the rhythm of the story, the rhythm of their movement, and the rhythm of time passing.

 
I mention writing and reading rhythms in Toing and Froing Again Parts 2 and 3 and mentioned in other posts readers often tell me my writing pulls them along, that reading my work is effortless because it flows. First reader and critique group comments are often along the lines of “These lines flow so well and are easy to picture.” with criticisms along the lines of “this part broke the flow of the scene for me.”

There’s (hopefully) no effort reading my work because I write to a rhythm which is what readers describe as “flow.” That rhythm depends on the work itself. Some pieces are meant to be read at a quick march, some at a slow waltz, some are jive, some are tango. I work at creating a rhythm that non-consciously catches the reader and propels them through whatever they’re reading.

To do that properly – and this is key – I need to write to a rhythm. My writing rhythm differs from the reading rhythm in beats (in music, per minute. In writing, per line, paragraph, scene, …), not in time signature (in music, 2/3, 3/4, 7/8. In writing, which beats are emphasized. Study the music of James Brown. He mastered playing to the beat). Most writers/authors change time signatures via chapter breaks, scene breaks, page breaks, et cetera. Ever write an action scene and have a character pause at the end? Congrats, you’ve changed the time signature. Does the pause carry a different number of beats than the action sequence? Probably better if you have a complete break.

Writing and reading rhythms differ because I compose more slowly than I play. Two things one learns in music – sight-reading and improvisation – come in writing and usually after lots of practice (for me, anyway).

Sight-reading occurs when I write to an outline; all the pieces are there and I’m adding the flourish, the emotion, essentially turning the outline into a story. Improvisation happens when I have the basic idea and I sit down and write without an outline. The two are the dividing line between pantsers and plotters. Sight-reading is plotting and improvisation is pantsing.

Consider the following from Writing Realistic Hand-to-Hand Combat Scenes

Ellie blocked Earl’s left with her right. She locked his wrist and elbow against her abdomen. Her elbow smashed his ribs. He coughed up blood. A hammerfist to the groin doubled him over. A front knee strike shattered his jaw. He fell and she released his arm. He wasn’t getting up again.

Pay attention to how you read that excerpt and you may notice a change when you hit “He wasn’t getting up again.” I changed the time signature so the reader could catch their breath after an action sequence. I do such things because I want the reader to relate strongly to the character. If the character can relax, I want the reader to do the same.

…the same rhythm can be used when switching from a humor scene to an action scene. Often it’s required for the reader to keep moving through the story.

 
However, I can’t write at a tango rhythm if I want the reader to move at a jive rhythm. I can slow the jive down but too much and it’s no longer jive, it’s jibberish.

Take another look at the Writing Realistic Hand-to-Hand Combat Scenes excerpt:

  • Ellie blocked… – Strong simple past tense verb two beats in (second word in sentence)
  • She locked… – Ditto
  • Her elbow smashed… – Strong simple past tense verb three beats in
  • A hammerfist to the groin doubled… – Strong simple past tense verb six beats in
  • A front knee strike shattered… – Strong simple past tense verb five beats in
  • He fell and she released… – Ditto
  • He wasn’t getting up… – Weak, past continuous (or past progressive) tense taking up three beats.

Chart this and you get

 
Have you ever listened to some music and things suddenly get more intense, more lively, perhaps louder, and next there’s a sudden quiet or slowing down or change in the chord structure? That’s what you’re seeing in the chart above, a kind of crescendo in the writing and done with language instead of music. That sudden drop at the end is the diminuendo and due to a change in verb tense, hence authorial voice, and signals an end to the scene therefore a scene break (as written it would be a good cliff-hanger chapter break, too. Always leave ’em wanting more).

Always leave them wanting more. – P.T. Barnum (maybe)

 
The crossovers between music and writing, writing and photography, dance and writing, … are too numerous to elaborate here. Ask me about them if we’re together in a writing class.

In the meantime, study different disciplines to strengthen your writing. I study photography to learn how to put scenes together. I study acting to learn how to show emotion. I study music to learn how to pace my work. I study artwork to learn how to draw readers’ attention where I want it.

And always practice practice Practice!

Toing and Froing Again, Part 2

This is the second post regarding teaching myself to recognize Toing and Froing when I commit it (a most heinous act done by inept writers on hopeless prose, poetry (it’d be tough but I’m sure it can be done), scriptwriting, playwriting, (possibly) non-fiction, creative non-fiction, …).

And remember, folks, I’m including myself in the above. I’m writing this Toing and Froing arc to teach myself better writing techniques because I Toed and Froed like a marathon runner who’d lost their bearings while writing The Alibi chapter 3 (of my current work in progress which I’ll start posting in August 2022).

Toing and Froing occurs when the writer/author has their characters move around or do things for no real story purpose; there’s no character development, no character revelation, the atmosphere doesn’t change, no plot elements are furthered or revealed, the movement is irrelevant to any established or impending plot points, the movement is unnecessary to the dialogue, et cetera.

Toing and Froing Again, Part 1 ended with “My writing speed slows down,” meaning I’ve lost my rhythm, and I pick up from there…
Continue reading “Toing and Froing Again, Part 2”

Trigger Warnings – Did you forget to put the gun in Act I?

“If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don’t put it there.” – Anton Checkov

I keep running into editors and publishers wanting trigger warnings when submitting manuscripts.

The need for trigger warnings confuses me because it raises a question about storycrafting, specifically the aspect of storycrafting known as foreshadowing.

If I, as an author/storyteller/writer, have done my job, the reader won’t need a trigger warning because any story element requiring a warning will be warned of well ahead of its happening by previous events in the story itself. And don’t say “What if in the first scene…” because now you’re talking genre tropes, not storycrafting.

Does some event come out of nowhere without precedent? It doesn’t belong in the story, or the story needs major revision.

Examples Continue reading “Trigger Warnings – Did you forget to put the gun in Act I?”