IN-SIDE the Music!!!

It’s all about the music but sometimes you want to hear the music in side the music.  You are in the music. IN SIDE it! Can you see the streams?  Here, take this.  It’s the music music pill. It’s called Leary’s. Freak the shit out!  It’ll let you see the threads so you can reach out and strum ’em.

YEahh dude. There was this one cat who heard the seen music so hard that he died IN-SIDE his own head.

WOW! I want ta go out that way dude.

Dude!

dude….

D….u…d…e….

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Art Meets Motion

I love travel writers.  They move and flow around places while giving glimpses of them to us in their writings so as to fill our minds with images, smells, activity, events, etc..  These little birds of flight peer into the unknown and share their findings.  This we all love about them.  I can sit at home and open the pages of a great travel book, and I’m there.  If it is well done, heck, I don’t ever have to actually visit that place because I have been there.  That is the power of these words that they spin.  Transposition occurs!

I am now standing, sitting, swimming–existing in the place where she once was.  If her writing excels, then I become her.  I move in the ways that she does.  I smell the smells and see everything.  The transformative, translocation, transmogrifying  power residing in the words written by the travel writer amazes me.   Excellent words have this potential.  Just thinking about this aspect of writing illustrates the power of words.

Here, at this moment, I question, What can surpass this aspect of writing for these kinds of effects?  I start to say, “Nothing . . .” Heck, I even almost put an exclamation point at the end of nothing!!!! I never do that. . . tisk.  Then, I magically run across something like this blog and the whole experience is taken to a new level.  I am only able to say this because the travel writer, who also is an artist, draws and writes about places.  No mere feat I assure you.  I could attempt to do so as well, but I don’t think stick figures cut it some how.

So, without further adieu I give you the blog of Candace Rose Rardon and entreat you to think about the blending of art and words, really existing in the same realm of imagination, and how this brings a new depth and breadth to travel writing.

http://www.candaceroserardon.com/

I would end by saying something pithy, but I think I will let her work explain my words.

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Dialogue Tags

What is the function of dialogue tags?  It seems of late there is a trend in writing to drop dialogue tags, or at least the dreaded “said.”  In part, I agree that tags have been overused. The story and the dialogue should reveal those aspects of attitude a character emits instead of tags.  Over reliance on dialogue tags can stem from many factors: lazy, novice, rushed.  We all have faced deadlines.  We convince ourselves to short cut something.  “After all, doesn’t my editor know these things take time,” he groaned?  “That heartless rouge!” he spat.  “Well, I’ll just finish it with tags,” he said, barked, jeered, whined.  “The editor will never catch on.”

Do we need all this said, said, said stuff?  The short answer is yes and no.  Let the dialogue and the scene tell you if it is warranted.  Ask yourself, “Is it clear who said what?”  Ask yourself, “Is the character’s attitude and emotional state clear?”  You can also ask yourself, “Can I write the dialogue in such a way so the tag ‘barked’ is not needed?”  Another thing that is good to know is, “What am I trying to do with this tag/ why am I using it?”

I know that authors cannot agonize over every little word during the writing process nor should they.  This suffocates the writing process.  Also, they should not do this during the editing process.  This is not the function of editing.  However, writers can do it if they are doing so for practice.  Practice makes us all better writers.  So, I argue that sometimes we should slow down; heck, we should stop writing.  During these times, we change gears and practice.  Go back to 101 and relive those moments when we did not know this or that.  Take out those old exercises you did when you were taking that late night “How to Story Craft” class at the local Junior College.  Do these exercises again.  You might find them helpful.  After all, time erases all things, including those bits we want to keep.  If it has been a long TIME since you practiced, you may find that pulling out these old exercises from the attic, blowing off the dust, and going back to 101 exercises actually helpful.  They may assist you in blowing off the dust in your mind, covering up those old bits of knowledge.

So, here is a list of dialogue tags.  Along with them I offer you my 101 exercise.

Kevin Pajak’s 101 Dialogue Tag Exercise:                                                                                             Take these tags (found below) and stick them in a section of something you recently wrote.  You can only reuse each dialogue tag once.  This means that you can use them twice.  After you have done this, look at each line of dialogue and see if you can re-craft it so that what the character says reflects the tag.  If you are successful, then you will be able to drop the tag.  It will have become superfluous.

Below you will find the list of dialogue tags.  Although, it is in no way to be considered complete.  It is just a short list.  “Good luck!” he declared.  Notice: with the use of the exclamation point, I no longer need to say declared.  Ha!

barked
begged
bellowed
blared
bleated
cackled
chortled
coaxed
cooed
coughed
declared
demanded
expounded
gasped
groaned
haggled
harped
hissed
hacked
hooted
jabbered
jeered
jested
joked
moaned
panted
pleaded
pondered
posited
pronounced
protested
queried
questioned
sang
screamed
shouted
sneezed
snickered
sniffed
spat
spewed
spumed
stammered
stuttered
trilled
trumpeted
uttered
waffled
wailed
whimpered
whined
whispered
worried
yelled

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The Potentialities of Distance

Part I – Critique of Pure Judegement

What is critical distance and what is its function?  Critical distance is a mental and emotional aspect that gives one just enough distance so that an object can be seen truly.  This state can only be attained through the placement of limits on emotion and mental activity—analysis.  If both can be reduced to the bare minimum, then the proper detachment from an object allows it to come into focus.  Objects, moments, and events can be viewed in their uncorrupted state when critical distance is attained. Uncorrupted because the meaning has not been defined for it, but it has been allowed freedom to exist in all of its aspects.

Some emotion must remain otherwise all things become spartan, stripped of that aspect called life.  Likewise, the mind that examines and questions must float in awareness but not be engaged.  Some awareness must remain, else it will be invisible.  Should the mind be engaged, then the predetermined meanings of the object lash-out and trap it, leaving it to history and cyclical thought.  In other words, it can only think those thoughts that have already been thought.

But, should the interlocutor be able to use both mind and emotion properly, then a critical distance can be attained.  It is a distance that resides in a universe where the object exists in an uncorrupted state of infinite potentialities.  The proper focus of both act as the gateway to this universe.

Should this be accomplished, then the object, event, or moment can be seen in its true unaltered state.  The possible and probable stand exposed to the viewer.  Now, the infinite potentialities emerge.

Part II – Interface

How does this relate to interface?  Earlier, I discussed the moment of the interface.  This is the event that allows the author to merge with the reader to create a connection that cannot be achieved without it.  Let us turn to critical distance once again.

Critical distance, when created during an interface moment, brings the reader both mentally and emotionally to a state where a merging between the author and the reader occurs.  Remember, the reader has been motivated to attend the book signing moment because of the emotions stirred in the reader by the stories and tales the author told.  The reader attends, in an emotional state, the book signing event.  How then do we create the critical distance required for the interface to work?  As stated previously, the scene needs to be set.  The proper arrangement of books requires that the older works be more prominent.  Although the reader will remember with joy the older books, they will have a dampening effect upon the reader.  It will be a fondness encountered first.  As a memory, the dust has settled.  The edge of emotion has been blunted.  This will lessen the reader’s heightened emotional state.

Proper placement of the new novel requires it to be staged so it is encountered after the author.  I would say at the far end of the table.  I know that most authors place their new book front and center.  They are proud.  I would be too.  They do not understand that the focus of the reader needs to be shifted away from the novel and onto them.  So, we need to lessen the impact of seeing the latest novel by having it encountered last.  This will give the author a chance to increase the effect of interfacing with the reader.

Table placement needs to be discussed.  This concept is difficult to discuss as every location is structured differently.  We have even seen the chain bookstores have different layouts.  If the author is given a choice, the location of the table needs to allow the readers to come upon the author in such a way that it makes the author appear larger than life.  A long wall down which the readers file to the end where the table sits provides a good example of this heightening intensification of the encounter.  Stanchions and ropes act as further separators.  How big should the table be.  This is difficult to discuss.  In general, it needs to be large enough to contain the books, the author, and any signage.  A grouping of items is a good start.  Older novels with at least five inches of separation between the old novels and the author is required.  Then, the signage should be placed to the left of the author.  However, the signage should not be only about the new novel.  Any signage should mainly be about the author and the novels present on the signs should only act as support for bring the author into prominence.  Should there be a covering on the table?  Again, this is situational.  What color should the covering be?  There is no hard fast rule, but the color of the covering needs to compliment the complexion of the author.

Why all of this effort to make the book signing event about the author when we are attempting to create critical distance?  “This is an excellent question–Kevin,” said myself.  “Thank you.  I’m glad you noticed,” Kevin said. We need to make the author the focal point so that we can move away from him i.e. create critical distance.  When the author is too powerful or too prominent, several problems can occur.  The reader can become disenchanted with the author.  The reader can focus on the author and not his works.  When the author becomes more important than his works, the readers tend to fall into fandom.  Now, this is okay to a certain extent as long as the author does not become sidetracked by this fandom.  Altering the focus onto the author allows critical distance to be created.  Why?  The readers are presumably at the event because they love the novel.  They want more from it.  Blogs, magazine articles, and news letters from the author can only go so far.  What the reader wants is a connection.

If we shift the focus onto the author, then this connection can occur.  It needs to be modified so that the readers will still purchase future novels.  At the event, if we have done our job properly, the author has become the focus.  This has lessened the emotion of the reader.  Now we need to lessen the emotion of the reader who is focused on the author.  How do we do this?

To lessen the reader’s emotion on an author we need to generate a cooling down.  This is accomplished by having the author say no more than a few phrases to the reader.  This assumes a line.  The discussions should be about the writing of the book and not the actual story or characters.  This creates the critical distance.  Now, the interface can function properly.

If there is no line or this is a new author with no fans, we need to have the event structured differently.  In this instance, critical distance should not be created.  Any focus upon the author is needful.

Why worry about critical distance?  If critical distance can be created between the author and the reader while the reader’s focus is on the author, then a magical thing happens.  The reader adheres to the author because of the way he writes and not because of this or that novel.  Ultimately, the reader needs to be led to see that the author’s word craft, how his characters come to life, the structures and rhythms of his tales are what make the reader want to read this author.  After all, the fans may not like an author’s latest series.  Heck they may never read it.  Rest assured, if the author’s style is what moves the fans, they will be his readers for a lifetime.

Part III – The Novel

How can critical distance be attained between the author and the novel?  More importantly, what can it do for the author?  Let us begin with a discussion about what it does for the author.  If the author can gain critical distance, then the potentialities inherent in the structure of the chapter, the scene, or even the character become many.  The author sets out to craft a character.  Background is created along with description.  The author begins to see this character.  He is becoming mentally close to the character.  This is good for generating the character, but should this become set in stone?  The answer lies in the dynamic potentialities available to the author if the character does not become fixed until the story is finished.  Won’t the character be all over the place if it is not the same from start to finish?  Emphatically, I answer, yes.  This is the point.  If the author sees the character from this critical distance, then the as yet undiscovered aspects of the character can emerge.  This holds true for all aspects of the novel.   When nothing is fixed until the end, then the author likely will generate multiple aspects of a scene, setting, plot, character, etc.

The house was run a crumbling white two story structure.  No one had lived in it for years.  Chapter two.  The house was in need of repair.  No one had lived in it for years.  Recently, an traveling art community had moved into it.  Chapter seven.  The garish three story house was the residence of the local art community.  They had, over the years, fixed up the house and painted it with a vibrancy to match the life within.

Had the description of the house emotionally held the author, i.e. the author had emotionally been too close to this description, then the house could not evolved.  Had the author been to mentally close to the house, e.g. the intriguing effect of entropy motivated the author to retain the crumbling nature of the house, then it could not have evolved.  This holds true for too much distance.

The town was a northern town in the rustbelt.  It had died the slow death like the rest.  Here we note that the author is detached from the town.  The town is depicted through preset imagery and symbols.  Does the author even care about this town?  Can he?  The answer is no.  The town will always be like this in his story.  The author is too far or too detached from the town.  It will always remain the same in this story.

Let us now discuss attainment of this distance.  After a while, it should happen automatically.  Initially, the author will have to work on letting go of everything.  It could be thought of as analogous to free-writing or in music terms, riffing.  To begin building this skill, the author could have several sentences back to back describing something.

The crumbling house was two stories and new with three stories.  The one story house needed some repair but its green paint was mostly intact.  The roof had recently fallen in which was why only the bottom two stories could be used.  The house had a front porch. The house only had a back porch.  The second story window led to a roof top gazebo.

This dynamic alteration of the house brings out aspects of the plot that could not be explored had it remained fixed.

The best tactic to take is to write without thinking.  Don’t get emotional about that perfect shade of blue.  All things should be liked, even enjoyed, but never loved until the novel is finished.  If the author can do this, then the potentials shine.  They may even lead to multiple novels based on a single item in the story.  When the author shares the telling with the tale all things become possible.

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The Interview: Its Function and Dangers

Nothing speaks of success like the good old fashioned interview.  The author worked hard on his piece of writing.  It was accepted and published.  He began the rounds.  Book tour, here I come, he thinks.  These are the exciting times.  People purchase the book, read it, and discuss it with others.  This smells like success in the author’s mind.  He now switches from author mode to advocate, publicist, and salesman, while retaining his persona as an author–great times.  There are things the author should do to ensure everyone who would want to read it knows about its existence.  Thus, the author does book tours and anything else he can to make that a reality.  Adding to this excitement, the publicist or agent calls him to inform him about an interview.  Immediately, he says yes and then asks who wants to interview him.

True, an interview does mean that your work has garnered enough notice that it is worthy of an interview.  This is one sign of a successful book.  The impending interview does not give him pause.  All that needs to be done, in his mind and the publisher’s, is to ensure that the interview is conducted by a business conducive and relevant to the author’s work.  Home and Garden should not be allowed to interview Franz Kafka nor should Bozo the Clown be interviewed by The Economist.  There may also be some legwork involved in obtaining the best interviewer.  Famous is better than obscure.  Who wouldn’t jump at the chance to be interviewed by Johnny Carson?  However, both the author and the publisher need to be mindful of what institution is hosting the interview.  They need to also take into account the personality of the person doing the interview.  If the wrong institution or person does the interview, then disaster strikes.  When all things are proper, the interview still poses serious problems.

What is the function of the interview of an author of a novel?  It is hosted to provide insight into both the author and his work.  It also provides another point of contact for the author and the novel to interface with the reading public.  (I wrote about interface in another post.  Click Here to go to it.)  The reading public desires to know, more intimately, the author and the book.  It wants to learn answers to its burning questions posed by the novel.  The interview satiates, in part, this desire to know more.  It seems that making a connection to the author through this method creates a personal bond between him and his audience.  This holds true for the novel as well.  They (the readers) want a connection to the story or the characters in it so they can understand them on a deeper level, whatever that means.  Society understands this need and so it has created the interview platform.  What the author does not realize is that the interview format (written, oral, or visual) is the most potentially dangerous thing that can be undertaken.

Interviews have several methods they use to pull out information from the author.  They can ask relevant questions about the book.  They can ask what led the the creation of something.  They can ask what made the character the way he is or do what he did.  Alternatively, they can ask the author questions about the book.  They can ask him what made him construct a portion of the novel the way he did.  They can ask him what was the thing that made him think of the story in the first place.  They can ask him why he crafted a situation to conclude or begin as it did.  Much more dangerous are the questions to the author about himself.  Questions about his childhood cause damage to the author.  Even worse are the questions about who he is.  The most devastating questions ask the author to define himself in relation to a philosophical concept or a social moment or trend.

These questions and their power to alter perception have lasting effects upon the author and the reader.  They ask for a thinking about something in such a way that it irrevocably changes that thing or person, be it the character, a portion of the book, the whole novel, or even the author.  The question, once posited, must be answered.  Even if it is a well-formed question that is beneficial, it still causes change.  It is not about properly answering the question, although the answer can have the desired result.  It is about the nature of questions.  They have lasting effects.  The author may have never introspectively analyzed the thing about which the question is.  This can be good or bad.  An off-the-cuff answer is no better for he will unconsciously still truthfully answer it during the small hours.  The author cannot escape this threat by simply interviewing himself first.  It will still have the same effect.  On the other hand, not asking these probing questions can be equally disastrous.  It could avoid causing a needful change.  Likewise, limiting the questions to specific ones still is dangerous.  This avoids organic/natural changes.  The audience, the publisher, the agent, and the author all need to understand the dangerous, permanently altering effect interviews have on all aspects related to the novel.

So, interviews are dangerous, but they need to both occur and not occur.  They need to be  unfettered/not-scripted interviews.  If interviews are conducted in this method, they can provide a way for the author to become different, thus not stilted.  They provide a way for the audience to see the novel and the author in a new light.  They can generate new works and allow old ones to resurface.  They create the potential for the author to become a different person. What is the right question?  It depends upon how the author wants to change.  It depends upon how the reader wants to understand the book.  It depends upon what type of change is desired and needed for the novel, author, audience, publisher, agent, and editor.  In other words, for all parties involved.  What does this work mean in and of itself and to me, and who is the author and where is he taking us?  That is the question, and introspection will provide the answer–change.

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Interface

Recently, I had a discussion with an author about a particular facet of writing that a lot of us dread, the book signing event.  He resisted the whole pomp and circumstance involved, including the arduous tasks travel and setting up his table.  Mainly, his criticism of it resulted from his feeling that book signings are contrived to make the author seem superior to the reader, and thus to be adored.  Indeed, many of us also hate self promotion, but for some of us our aversion, instead, stems from feeling inadequate.  We wonder why someone would want to talk to us.  More so, we cannot imagine that someone would want to meet us.  Unsure of our worth, we face the moment with trepidation.  Sometimes, this feeling comes from a writer’s relentless desire to avoid anything that would distract him from the important bit, writing.  We all can attest to feeling this on occasion.  There is the writer who selfishly refuses to modernize, believing it to be the job of the publishing houses to get the novel or book into the hands of the reader.  This author feels burdened by having to present himself to the throng.  All these issues are relevant concerns.  This small paragraph presents several topics which need to be addressed separately.

What is a book signing event and what is its function?  First and foremost, it is a celebration of the author, the reader, and of writing.  Positive emotions generally fill the bookstore during one of these events.  It is a type of party held by the bookstore, arranged by the publisher, and hosted by the author.  Likewise, it also serves as meeting place that fills the gap left by the loss of front porch meetings and other bygone social gatherings.  Unlike typical parties that allow people to abandon themselves in a maelstrom of joy, it also has a specific function.  Partly, that function is about creating potentials.  The potential for: increased sales, creating a new reader, gaining notoriety, and to make the public feel connected to the author.  Mostly, however, it is about interface.  A properly publicized event provides a platform for the author to interface with the public.  This interface, though controlled, makes the author visible to the public.  The low intensity festive nature of the moment and the setting, a place filled with books, brings out the best in readers.  In order to be able to do this, the event needs to accomplish the creation of a distancing between the reader and author.  The scene must be set.  We have books galore in a bookstore.  Surrounding the author with books gives credibility to him as an author.  The other bit of staging required is a table piled with the author’s novels.  Because he is sitting behind the table, he will be perceived as separated from the attendees.  We now have what we sought, critical distance. This may seem odd, especially since this event is held so that the author can meet the public.  My friend Chris Philbrook (thechrisphilbrook.com) and I discussed this very thing.

I contended that it is this slight distancing between them that elevates the author to the superior status.  This is important.  Readers need an author to be superior so that it is worth expending their time reading his work.  Thus, it is elevated status that makes the author readable.  We need our authors to stand above the crowd and to be excellent.  It is this excellence that helps to make them established authors.  Granted, when the author is unknown,  he will likely be perceived as some guy sitting at a table in a bookstore during the book signing event; but, as he gains notoriety, they will begin viewing him as an author at a book signing event.  The author needs to accept his role in the relationship forged between author and reader.  In order to attain this status, he must interface with the public in engineered and accepted ways that are designed to make him seem superior.  The book signing event is one such way.

If instead, one’s aversion to the book signing event stems from a feeling of inadequacy, we must look to its cause and address this problem.  Someone who feels unworthy or insecure about his standing as an author has a problem that results from a distrust of his abilities or he does not see the value he has as an author.  People who are shy or feel inadequate typically shrink from presenting themselves to public display.  Public scrutiny, they fear, causes exposure.  But, this is exactly what the book signing event is designed to accomplish.  The wordsmith compears to his readers in naked form; however, it is only through interfacing with him that they can accurately pass judgement.  This type of measuring can be unsettling.  It is a violence that strips the author of everything save data.  Properly used, interfacing can ameliorate some if not most of this violence, soften it.  A revealing of himself, more fully than less, allows him to retain some if not most of who he is in their eyes.  This is why the author needs to be more than the reserved, distant writer when at a book signing event.  It is a place of violence and he must, without fear or reservation, fling himself into that darkness.  The shy person cannot do this.  He shrinks from view and hesitantly reveals small portions of himself to his audience.  Even worse, the terribly shy person virtually removes himself from life and society.  He does not want any attention,  only desiring to slide past life without grasping it.  Thus, he does not want to interface with people or society.  Quietly, he moves, ghost-like, through life, unable to truly experience living.  This type of person shudders at the mere thought of interfacing, and thus exposing himself.

On the other hand, if this distaste comes from a belief that writing is king, then we have forgotten that there are two thrones.  On one throne sits the author, and, upon the other, the publisher sits.  These two kings work jointly to oversee the kingdom of words.  The publisher is the inveterate risk taker, companion, and kinsman to the author.  The four ring circus he creates with book tours, book signings, conferences, and workshops, along with advertising in all its various forms, serves the sole function of providing platforms where the author can interface with the reading public.  If we desire to sit on the throne reserved for authors, then full advantage should be taken of the well-crafted moments created by the publisher king.  After all, the author, if he is to be a good king, knows that he serves best by assisting the publisher in securing his reign.

Part II

The small man began to wander from his hearth.  The thousand-stepped journey brought him to Experience.  She was a mighty woman, full and new.  Excitement was her husband.  They welcomed him to this new land, finding such a small man amusing and cute, if not quaint.  He drank of their tea and was changed with every sip, somehow causing him to grow in stature and ability.  After tea, the couple conducted him around their fine palace.  The many rooms and passages it contained would have stunned most, but fortified by the tea as he was, he could contain their essence.  Then, the three approached a door gilded with stars, reliefs of children at play, and friends.  “May I enter?” he asked.  “As you are, you cannot.  You wear the raiment of structure and confinement.  Come, we will release you with garments of color,” they spoke.  So, they undressed and dressed him.  Thus adorned, he approached the fabulous portal.  Pausing, he asked, “But how do I open it?  It has no handle.”  Smiling with joy, Excitement and Experience said as one, “You need only interface with the gateway to continue your journey.”  He approached the door placed both hands on it and pressed his face into it.  “May your path find you well and your hearth open,” the couple said as he withdrew from their dwelling to enter the new realm.  With each step, man grows.

I would like now to turn to the concept of interfacing with the public.  Authors most often interface with the public through events designed to bring them notoriety.  As previously mentioned, this occurs through a critical distancing of the author from the reader.  [For more information on critical distance read Immanuel Kant’s Critique of Judgment.]  This allows the reader to view the author as an author.  More so, it creates potentialities.  (More about potentialities in another post.) This system of promotion works for all types of writers, both unknown and well known.  Controlled interfacing with the public is both necessary and desirable.  Since the spectacle is structured, the author cannot, by design, interface closely with the reader.  There are others waiting in line or the superiority of the author distances the person so that insightful questions about the author’s personal information are not asked.  Thus, intimacy is denied.  As a result, unknown authors and authors who are writing outside their accepted genre will have difficulty in increasing readership outside of those who either already read him or read that genre.

What then to do, since the book signing event is one of the accepted ways of interfacing with the public?  Again, we return to our friend Chris Philbrook and his method for interfacing with the public. I must thank him for making it possible for me to see this subject about which I am writing.  Chris’ genre deals with horror or fantasy.  As such, he is a prime candidate for interacting with the public in a different manner.  He attends, on occasion, tabletop gaming conventions.  These events have board gamers, role players, and miniature wargamers attending them for the sole purpose of playing games and having an enjoyable time.  The attendees are also there to meet new people and to learn new games.  Also at these events, are vendors who sell merchandise that the gamers need and want.  The author who writes in a genre that blends well with gaming should also be considered a proper vendor.  Examples of these types of genres include zombies, vampires, cyberpunk, steampunk, or fantasy.  These players also read.  So, the vendor booth or table for the author functions as a book signing event at these conventions.  If all the author does is stay at his table to discuss his books and writing, then there is minimal gain for the author, except for the potential to gain readers who do not go to bookstore events.

What then should the author do to take advantage of the table top gaming convention?  Before we can answer that question, we need to understand why he is here in the first place.  If properly aimed, the author attends these events so that he can interface with the reader in a more intimate way.  He needs to reduce the critical distance, but still maintain it.  This is done by having his booth while also hosting games during the convention.  The attendees can now view him both as an author and as someone who is approachable (i.e. knowable).  Because the author gains this dual status he can retain most of his author nature as he opens up to the players.  This depends upon the type of game he runs.  He needs to game master games that have light to medium strategy involved in the game play.  This makes it possible for there to be moments where all players but one have nothing to do.  When there is an extended delay between a player’s turn, and there are multiple players, conversation naturally follows.  If the game is too simple or too complex, then there is either no down time or no conversation because the players are having to plan too much to be able to chat.  If it is the right sort of game, the author, now turned game master, becomes someone who is fun.  The players, already in a good mood, discover the person side of the author and begin, hopefully, to like him for who he is.  After the convention, if all goes well, they will return to their social groups and talk favorably about the author.  They may have even purchased a work from him during the convention and are discussing it.

Both aspiring and freshman authors should look for events where they can interface with the public in unique ways than formal book signing events.  Attending these non-traditional ways of interfacing increases the author’s potential to become established.  So, whether it is the gaming convention, the coffee shop, the art show, or any other moment that seems applicable, authors should seek these alternative avenues as they, too, will find them personally rewarding, insightful, and enriching.  The magic created through them may even be inspiring.  Interfacing with the public may seem a daunting task, but done correctly it will prove a boon to both the author and his readers.

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The Ingenious John Banvard

The Ingenious John Banvard01

This is a wonderful tale full of imagery and imagination.  A must read for any young adult.  It is a timeless classic about the Mississippi River.  This is a true tale about a real artist’s struggles.

Join the artist as he struggles to overcome obstacles on his journey to discover the natural beauty that is the Mississippi River.  He begins by forming a plan of action.  He will paint the river.  First he needs a boat, funding, and supplies.  With determination and an unflagging will, he accomplishes his goal and conquers a river.  Now, he must take his sketches and bring them to life.  He does this by painting them on a 3 mile long canvas.  He then puts it on rollers to create the first motion picture.  The Mississippi comes to life as the painting scrolls across the stage.  He fills the room with images by narrating his adventure.  Audiences are spell bound.

Both nature lovers and Eco enthusiasts will love having their children discover the splendor of the mighty Mississippi.

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