It’s that time of year. In Australia, the end of the year signals groups winding up and the inevitable array of Christmas parties, exchanging of gifts and cards. In my writers’ groups we exchange cards, small presents and some give their latest book or manuscript to peruse. I’ll be guilty of doing that very thing this year, I hope. (Still in the process of editing my latest a detective novel, Fly on the Table.) Together with my fellow writers, I am looking for feedback. I’m hoping that over the holidays, my “test readers” will find the time and interest to read the manuscript. I want my novel to be the best it can possibly be.
But Feedback, that proverbial “elephant in the room” can be difficult for some readers to handle. So, here’s a revisit to an earlier blog. Check it out, I hope you find it useful.
Pitching can be defined as short verbal promotion of your book to a publisher or agent. The pitch can be face to face or on-line. It’s usually is between three and ten minutes. In some instances, the pitching appointment is a set time and you may need to alter your pitch to fit.
Elevator pitches are very quick and so named to capture the scenario of entering a lift with a popular publisher. You have just moments to convince them they need to accept your book for publication before the lift stops at the next floor. Pressure indeed.
The Australian Society or Authors and Romance Writers of Australia organise pitching sessions which get hopeful authors in front of people in the publishing industry. The ASA have courses for authors to learn all about pitching and also offer Literary Speed Dating sessions. The RWA offers pitching sessions as part of their annual conference.
But do you want or need to pitch your book to a publisher? Many writers decide to self-publish so don’t need to pitch their novel. However, if you would prefer to have your novel traditionally published, or you want an agent, then pitching is essential.
There is considerable information on line about how to formulate the perfect pitch. If you Google Author Pitching Formula a variety of web sites appear. I have done a pitch and used a formula but it went out the window in the actual interview. I would suggest doing the research and picking out the formula that suits you and your novel and construct it according to the time constraints of the publisher/agent.
At the minimum the pitch should cover:
That the book you are pitching is completed, fully edited and formatted and ready for submission.
The title (even if it’s a working title)
Word count
The specific genre and target audience
A brief description of the main characters
The conflict and resolution
Why it’s different from anything else.
With longer pitches you can include your author credentials and experience
What target market you envisage for your book
What books are similar to yours.
When you’ve written, re-written, practiced, timed and learnt your pitch off by heart take a course in deep breathing and mindfulness for anxiety and you’re ready to pitch.
Two articles from Romance Writers of Australia, Hearts Talk magazine provided some interesting and helpful ideas.
Rachel Sweasey The Importance of Pitching June 2023 suggests for Zoom pitching appointments
Practice looking calm and happy prior to the pitch. Smile maintain eye contact.
Be on time
Be prepared
Dress in the same style as your Author bio picture so the publisher/agent can put a face to your picture on your submission.
Have answers to expected questions on post-it notes stuck to the edge of your screen to act as prompts if you dry up. This way you won’t have to shuffle through notes and can maintain focus on the interviewer.
Amy Hutton Pitch Perfect April 2023 suggests:
Have a solid synopsis
Learn the pitch by heart
Make sure you know what a particular editor/agent is looking for before making a pitching appointment.
Allow time at the end of the pitch for questions
Have answers prepared about your character, themes, yourself and your writing history
If you have time include courses, groups and workshops you’ve attend
Also include your social media and marketing experience
Pitching is a difficult, nerve-wracking experience but it can get your book read rather than being left to languish at the bottom of a slush pile.
The art of pitching is different to presenting your book to potential readers. This is also a great skill to learn for both traditional and self-published authors. I will address author presentations in my next blog.
Some time ago, a member of our writers’ group recently published a book.
‘I don’t want to tell anyone,’ they said, ‘because I needed a lot of help.’
Certain members of the writers’ group ensured they revealed and celebrated the news; their achievement was our achievement. A book doesn’t happen in isolation; it’s a group effort. Just as a village raises a child, for the best outcome, a community or group births a book. There’s the writer with the ideas, then comes the editor, test-readers, friends and family, the proof-reader and finally, the audience, the readers out there in reader-world.
We write stories for readers, that’s why the editing process is vital. A story needs to be readable to be effective. Readers need to understand the story to enjoy it. It’s the reason language, especially written language has rules for grammar, spelling, and the art of storytelling has a structure.
So, you’ve finished your masterpiece, but now the challenge: how will you go about editing your work? That’s where the writers’ group comes in. Fellow writers are your work’s first point of contact. Their reaction to your story will tell you if your creation is a winner or a flop. Either way, there will be more work required to perfect your piece of genius—more pen to paper, more fingers tapping on the keyboard, more pain and hair-pulling before your work can be “birthed”.
Once you have completed your work, file it away in a drawer for about three months. You need distance between you and your “baby”. When you revisit your work, you may be amazed at how brilliant you have been putting all those words together in such a clever way, or be horrified at how the gremlins of grammar, spelling, typos, weasel words, repetitions, and so on have bred and multiplied. With fresh eyes, you’ll see ways to improve your story, thus creating your second draft.
Repeat the process of draft and distance until you feel it’s ready to meet fresh eyes that don’t belong to you. But who?
Ever had trouble getting someone to peruse your work? Suddenly, they’re all busy. Or they take your story and sit on it for months, years… Again, happy are those in a writers’ group. Or be bold and blog. Consider serialising your work on Wattpad, even. If you are wanting to sell your novel down the track, having a http://www.presence and band of followers may help.
For those finishing-touches to refining your work, you may seek out a professional editor. When paying an editor, ensure that you define the time and rates in a contract. For Trekking With the T-Team, I negotiated an hourly rate and a limit on the number of hours the editor would work on my book.
There are two types of editing: big picture and proof-reading. Big picture editing looks at the plot, pace, character development, language use and content. Proof-reading deals with the technical side of the work such as grammar, spelling, and formatting. But as my friend who’s an editor said, ‘It’s hard to separate the two. If the content and ideas trigger you, then it’s difficult to be objective and it affects how you respond to the piece.’
So, while it may be preferable for an editor to be outside the genre in which you are writing, it may not work for your book. A good editor, of course, is impartial, but they are still human and will approach your story from their worldview. And on the other side, we as writers are human and see the world through a filter of attitudes and the way we see ourselves. A good editor who is paid, then, is only as good as the receptiveness to feedback of the writer who pays them. After all, you are paying for that objective set of eyes, and feedback based on their experience as a reader and what they perceive as good literature or entertainment. In the end, whatever comments an editor makes, it’s up to you, the writer, to implement those changes—it’s your work, your story.
The last step of editing is proof-reading; the nit-picking of the piece before it surfaces for publication. Ernest Hemmingway, in an interview for The Paris Review (1958), said that he rewrote the end of Farewell to Arms 39 times before he was satisfied with it. However, each writer is different. I use five different coloured pencils: 1) grammar, 2) spelling, 3) word-use, 4) formatting, and 5) content. That being said, I am sure I have perused my works near 39 times by the time it reaches the Amazon shelves.
Other tips: • Reading out aloud helps with sentence structure, flow, and the art of storytelling. Even better, if you can bear it, use a voice-recorder as you read out your story, and then play it back. • Line by line editing. Print out your story and then use a ruler under each sentence to concentrate on each word. Effective for exposing typos and formatting flaws. • Start with the last chapter first, and so work through your piece backwards. Again, helps with plot-holes, character consistency and pacing. • Have an English grammar book and a dictionary within reach, for you’ll be reaching for them repeatedly. I’ve discovered that an online dictionary, or Google are also reliable resources, but beware, as dodgy information slips through the cracks of the Internet.
In the end, it’s up to you, but it’s also a group effort. We are all part of the larger community collective of writers, readers, sharers and receivers of ideas. And I cannot stress enough, the more you read, the more effective your writing will become. We learn from each other.
Recent talk in my writer’s group: one of us is in the throes of self-publishing and was filling us in on some of the trials and tribulations she was enduring. Currently, her chief complaint is that the route she’s chosen to follow does not provide her with a “proof copy” for checking prior to final go-ahead before printing the number of copies she requires.
What has really stunned her however is that her complaints to a writer acquaintance elicited the response, “What on earth do you want a proof copy for?”
We, too, were stunned at this response and began to quote examples, from our own experience, of how essential it is to proofread the “final copy” of any work. Lest you are tempted to feel the same way, let me list a few that we came up with:
1. Numbering on the table of contents page was not in line with the actual page number of each chapter in the body of the work.
2. Words, phrases and even complete slabs of print omitted or relocated.
3. Pages printed upside down or reversed.
Bottom line is – you can’t trust technology!
With the best will in the world, mistakes happen, glitches, hiccups, whatever you want to call them, occur in the best regulated circles so everything has to be checked. And rechecked!
Sometimes it is simply a small step in the process has been overlooked by the author. This was what had happened in #1. above: she’d neglected to send her file as a PDF. So easily done!!
But not always – the machine itself (maybe its human operator) can have a bad day and stuff things up by accident.
Perhaps the classic in this last was one involving my brother. He writes and self-publishes technical books and was somewhat diverted on receiving the proof copy of his latest effort. The cover looked great. But the book itself was quite a bit thicker than he’d expected. Opening it up revealed, not the words he’d labored over but the complete text of a romantic novel – a genre he never read, let alone ever wanted to write.
Imagine the waste if he’d by-passed requiring a proof copy and had simply taken delivery of the couple of hundred copies he expected to sell.
Comment from IS Administrator: Same company, different result. About the same time that the fellow above-mentioned author had published their book and had trouble having a proof copy delivered, I had published The T-Team with Mr. B. No problem having a proof copy delivered as you can see from the photo above. Had the publishing company’s policies changed in a matter of days? Or was something else going on?
Fellow authors, I invite you to share your experiences on publishing and having your books printed. Let us know in the comment box below.
Just write. Get the first draft down without thinking about it… Just do it.
For me, putting down a first draft is magical. The characters take over, the ideas flow and the dialogue takes your plot in unforeseen directions. But when I read over my surging words of creativity, I realise that repetition has crept into the work and that needs to be assiduously weeded out.
I have a tendency to overuse certain words and phrases such as smiling, feeling, frowned and ‘took a deep breath’. I also add extraneous words that I don’t need. She stood up. He sat down. She screamed loudly. Three words that are not needed at all, at all, at all.
Another major flaw is my inclination to belabour a point. I find in the first draft I often have up to three different paragraphs all saying the same thing but with different words or with the smallest of twists. This is demonstrated in the first line of this blog. Readers find this particularly annoying, as it implies they are not bright enough to get your message the first time.
I also use appellations repetitively. I will name a character time and time again when there are only two people in the scene and he or she will suffice. Miss Baker will look out the window. Miss Baker will sit down. Miss Baker will stand up. Miss Baker will scream loudly. Oh no, here we go again. When I go over my first draft, it’s not uncommon to find I’ve started several paragraphs on one page with Miss Baker…. Boring, boring, boring!
I’m finding that the more I write and edit my work the more aware I become of my tendency to be repetitive. I am using repetitions less and I’m starting to see the repetitions in my first read through and can correct them quickly. Except I’ve just used the word repetitions, or its derivatives, four times in the above paragraph. Sneaky little things.
The trouble with repeating ideas, words and phrases is that it’s damned annoying for the reader and slows down your pacing. Learning to spot the problems and editing them out is important and will make your writing zing.
But you say, can’t repetition be a helpful literary device? Homer’s Oedipus certainly uses repetition as a literary device when he writes about the “wine dark sea” which he uses 12 times in the text. It is thought that this type of repeated phrase is a device to assist oral story tellers remember the story line.
Then there’s Martin Luther-Kings’ speech “I had a dream.” A repeated phrase which provides emphasis and also gives the speech a rhythm and flow that captures attention. Repetitions are often used in speeches deliberately to hammer home a idea.
I recently had the pleasure of critiquing another writers’ first draft and noticed they repeated a characters action at least three times on the first page. It made the action stand out and emphasised the point that the character was skilled in meditation and philosophy. Over use or a useful device to emphasis the characters’ abilities?
Repetitions are a double-edged sword. They can sneak in uninvited and slow your writing down or you can use them deliberately and they can be a powerful literary device. Awareness is important so after the first draft look out for unplanned repetitions and cut, cut, cut.
The spark of the idea for an Indie Writers’ collective came out of belonging to Marion Art Group; a group of painters who meet together every Monday morning and exhibit their works in shopping centres.
With that premise, I thought, ‘Why not draw together a group of writers who help each other, with their different gifts and talents to publish their books?’
Fellow MAG artist, Elsie King thought this was a great idea and with Mary McDee, Indie Scriptorium was born.
Currently, Marion Art Group is holding an exhibition at Brighton Central (Foodland) in the mall area. If you are in Adelaide, South Australia, come and have a look. The exhibition is on for another week until October 29, 2023.
So, on that note, I have included below a story of the beginnings of my journey with art which combines with my love of Central Australia.
Mount Hermannsburg
My father and I sat in the dry river bed of the Finke River painting Mt Hermannsburg which towered above the river gums and spinifex. We painted our muse on site; Dad painted in watercolour and I painted in acrylic.
After a couple of hours, Dad packed up his brushes and palette and returned to the town of Hermannsburg. I stayed, in the creative zone, dibbing and dabbing, the setting sun casting shadows over the river bed and a cool breeze pricking me with goose bumps on my bare arms.
I made the final touches as the sun sank below the horizon and I was called in for tea. I signed with my maiden name, naturally, as I was only 18.
Dad’s painting and mine sat side by side on our host’s piano where all who saw, admired our work. I kept walking past and gazing at my painting. Did I really do this? Wow! Did I really?
[Holidays, Swiss relatives visiting from overseas, and a mis-timed meeting at Morialta falls, reminds me of this post I wrote some time ago. I ran out of time for a fresh and pertinent post to publish, so here is this old but timely post—with a few adjustments related to the skill of storytelling.]
WARPED TIME
An argument broke out between two members of our family over time—threatening a war that would rival the epic war of the Time Lords from the Dr Who series.
‘You better allow at least two hours to get from Zurich Airport to Wattwil,’ a member of our family who came from Switzerland warns.
‘What? According to Google Maps, it should only take an hour,’ another family member shows their relative the map on their computer screen. ‘See? It’s only sixty kilometres—and we’ve got the freeway.’
And so, a joke endures in our family that time speeds up in Switzerland, perhaps owing to the mini-black hole created by the Large Hadron Collider.
Fast forward to Zurich Airport August 2014…and we witness not time, but our relatives, fresh off the plane, stand still for an hour and a half, debating where to change Australian dollars into Swiss Francs. Is this what our relative meant when they said all goes slower in Switzerland? For them, perhaps, not us. Up until then, the only impediment to our timekeeping was a wayward Tom Tom who prefers scenic routes to the more expedient ones, and road works—the bane of summertime in Europe.
So, maybe it wasn’t the mini–Black Hole after all, but I have observed time does speed up or slow down depending on the place and activity. You may have heard the old adage: “Time flies when you’re having fun”. When I’m painting, I’m in the zone, and hours melt away, and a whole afternoon disappears into night. My son will come to me and ask, ‘When’s tea?’
‘Soon,’ I say. ‘Just need to do a few more dabs.’
Another hour slips by and my husband comes and says, ‘It’s nine o’clock, when are we eating?’
Fine then. I put down my brushes and admire my work…for another half an hour.
Yet there are places where time slows and stretches almost into eternity. My mother and I are convinced that Magill, a suburb east of Adelaide city, is one of those places. We love our “Magill time”—a leisurely lunch, then a slow snoop at the Salvos, then the bookshop, and still time to do the grocery shopping before we pick up my son from his guitar-making workshop.
However, for my son, “Magill time” doesn’t exist. For him, the time spent on his craft vanishes into the sawdust—much like when I paint, I guess.
My son theorises that time is relative to age. When a person is young, say, one year old, they haven’t experienced much time so the time they have lived seems a long and drawn out. But for an eighty-year-old, one year is one of eighty and thus seems short in comparison.
I guess there’s something to be said that time is related to energy. Young people possess a greater amount of energy; they pack so much more into a day, and still don’t tire. Have you noticed, as you get older, young people speak faster? Or if you are younger, you wonder why older people speak so slow. What’s going on there? Young people complain about being bored and needing to fill in each minute of the day, so as not to waste time. Screen time fills in the gaps when “nothing” is happening.
In contrast, I believe there is a phenomenon called “older people’s time”. I observed this with my aging relatives. They complain time speeds up, but from my point of view they are just slowing down. They compensate for their slow movement in time, by preparing in advance for events, and arriving early so as not to miss out. It’s not unusual for the older generation to arrive at a venue an hour early so as to be on time.
Now that we have reached that golden age, Hubby still needs to learn this skill. Just fifteen minutes late to a rendezvous with the younger relatives today, and poof, they were off. Never caught up to them. They must have been doing a cracking pace, while we (or should I say, I) ambled to the first falls at a “knee-cracking” pace, what with my dodgy knee and my wonderful kind hubby keeping me company.
And in contrast to their youth, older people prefer to sit for hours pondering, their memories perusing their past. For them, days blend together, years vanish into a succession of Christmases. ‘Oh, dear, how time has flown,’ they say. Some think they’ve lived so long, they experienced the pre-Industrial Revolution. Not sure what’s going on there.
How does this relate to writing a story? Well, pacing comes to mind. I have observed that the younger generation enjoy a faster pace, many characters all interacting. I’m amazed at how they keep track of so many characters.
Meanwhile, as we age, we savour a slower, gentler pace. Time to breathe between the dramas and crisis in a story. And as for characters, it’s fair to say, from my experience with the older and wiser of us, we appreciate a character list if a book has too many characters.
Also, when planning a story, or novel, a timeline is helpful to avoid timing issues and plot holes.
So, after a busy day hiking (or hobbling in my case), then finally meeting the Swiss relatives for dinner, it’s time to say “goodnight”.
I’ve always thought of anthologies as books of short stories and poems put together by writers’ groups as a fun and interesting exercise. A way to get your work into a book format that can be sold at low cost to family and friends and maybe raise funds for the group or for a charity.
I recently entered a competition with the Romance Writers of Australia (RWA) and the prize was being included in the Sweet Treats anthology Lollipop. I was short listed and my story The Houdini Lollipop was included. It was fabulous encouragement, a learning experience and wonderful publicity. It was great to be published with other romance authors but the proceeds the anthology raised were used for the organisation.
Ebony contends, and with lots of evidence, that anthologies don’t only make money for the authors included, they can also be listed on best-sellers lists and get the attention and publicity that all authors need in order for their work to get into the hands of readers.
I won’t go through the steps Ebony suggests in her book, it would be better for readers to purchase her book and use it as a reference. But I will go through some of the advantages and disadvantages of the process and some things to consider when deciding to put together an anthology.
Before setting up an anthology you will need to consider what sort of anthology you want to produce. Anthologies can include short stories, novellas, poetry or even non-fiction articles but the first thing to think if you are putting the anthology into the marketplace is who is your targeted audience. Readers like anthologies with a consistent content, whether that’s all historical, crime, romance, fantasy science fiction or poetry. Ebony also suggests similar heat levels (sweet or erotic) and a consistent type of content. This makes advertising easier and you won’t shock a reader who expects an anthology full of sweet love stories and finds one or more stories with erotic or horror themes. A full study of what is popular and what is selling is important. Google ‘popular anthology books’ to get an idea of what is out there. The most important issue is that all the included writers must do their bit and contribute equally to the project. Ebony suggests a contract clearly stating the terms and obligations required.
Advantages
You can make money.
You will get your work published.
It may help you get your name into a new genre.
You have a given theme/subject.
Writing novellas and short stories can be easier than a full-length novel.
You can learn a lot about publishing and marketing in a group experience.
It could be fun.
Disadvantages
It does require good organisation.
You will need to ensure all members contribute their time equally even if their skills differ.
Contributors do have to “buy in” to the anthology, which means you pay to cover costs such as the cover design, formatting, marketing, advertising etc.
The organiser will have to work out the steps of producing the anthology and ensure they are carried out professionally.
Anthologies often take 2-3 years to put together.
The group may have to learn about taxes and royalties and sort out the finances before proceeding.
If you don’t want to organise your own anthology many are advertised on-line. Romance writers have an advantage as there is a dedicated Facebook group: Australian Romance Anthology Connection. Other genre’s may require some internet searches to find what is on offer.
Writers organisations also provide information about anthologies and many competitions will include your work in an anthology. Try browsing through the Writers SA website under competitions and opportunities, and have a look at other writers centres interstate or overseas.
Following Lee-Anne’s blog last week I realise there are a couple of extra points to be made in relation to this thorny issue of others being upset by something we have written. These are points of a more general nature however.
Memoir is probably a simpler issue: you yourself as the writer are recording events from your own point of view. Yes, there are others involved but you can run your work passed them prior to publication to seek approval or come to an agreement re any changes or omissions that seem to be either necessary or kind and considerate.
As I see it, the real problem comes if you have chosen to write family history. All families have skeletons in their cupboards. Some don’t care a fig if and when these skeletons are dragged out and aired; others can be hugely embarrassed, distressed, humiliated… Basic common decency and respect for others means that these concerns must be dealt with carefully and caringly.
By way of example let me tell you about my own family where there were a couple of babies born “out of wedlock” back when such things were not acceptable in most circles.
One was born in the 1930s and on the chart of the family tree her name was underlined; the only one that was. My brother and I were intrigued and asked questions. We were told that even though it looked like she was the youngest of a number of siblings that underline indicated her birth mother was in fact her eldest “sister” and the people she regarded as her parents were actually her grandparents.
All this was well known in the large family she was born into but never held against either lass. Both were much loved and treasured family members who always belonged regardless of what any neighbours might say or think. As this was a couple of generations ahead of us it was ancient history and never mentioned when we were being regaled with stories of the doings and peccadillos of our forebears – not because it was shameful; simply because it was no longer relevant.
By way of contrast, the same situation took place on the other side of my family but was treated very differently. To be fair, this occurred back in the late 19th century in a very conventional Methodist family. Currently, most of the family could not care less at the present time but the branch descended from that wayward one still feel shamed and humiliated and, while happy to be included in the family history, were guarded and most reluctant to supply certain details.
When we write history, it is important to present the facts. This is obvious. What is often not so obvious is that we can so easily present those “facts” from a current, 21st century perspective and thus unconsciously skew them somewhat. The values, ethics and attitudes to morality can be (and often are!) very different today from what they were fifty, one hundred or even more years ago.
If you are torn between producing an historically accurate record or one that does not cause distress to others might we suggest one way out of the dilemma is to produce a text that pleases all but then also quietly write a sort of addendum stating the “truth” of the bits that had to be omitted or glossed over; put it in a sealed envelope marked “not to be opened till twenty (or fifty if you prefer!) years after my death”. Lodge it with your lawyer or in a strong box in a bank or with a highly trustworthy family member.
When I first mooted (last century) to author a story of our adventure in Central Australia in 1977, Dad told me, “No! You’ll upset people.”
So, I waited decades, then wrote a private copy for my dad. Dad was appreciative but thought our safari adventures in 1981 would be more entertaining. Hence the creation of my travel memoir, Trekking with the T-Team: Central Australian Safari 1981.
The 1977 pilgrimage to the Centre languished in the draw for another decade, until enough time had passed to hopefully not offend people, and it had morphed into a historical travel “faction”; a story based on real events, some real people and others made up. In fact, before publishing my latest book, The T-Team with Mr. B: Central Australian Safari 1977, I included a disclaimer to that effect.
Why all the drama?
You see, as we know in life, an individual’s image of themselves, their reputation is important to them. Their reputation, social status, and what others think of them is vital for their survival and advancement in society.
With this in mind, you could wonder how accurate is history? Especially as individuals and cohorts of high status must maintain their reputations to keep that high status. I mean surely kings have never been murderers, leaders been despots, sports and movie icons immoral.
Have they?
I wonder…
Meanwhile, certain internet platforms are full of happy, well-adjusted individuals with thousands of friends.
Anyway, that being said, it’s not just these days that people have put their best face forward and hide their proverbial skeletons in cupboards. I confess that there are bony “proverbials” in our family history—locked away, key lost…
An elderly relative told me that I couldn’t put my missionary great-grandmother’s letters relating to her Caesarean birth experience in the Cameroon Africa in 1899 into the Lutheran Archives. Too personal, she said. Somehow, they are there now.
If my great-grandmother’s birth experience is too sensitive for some, imagine the real spicy skeletons that exist in families. Again, in our family, those fascinating stories have been leaked by enterprising characters who have written about them and published the works, these being limited publications such as family histories, part of a research study or as a theological study in one case. With the theological study book, we were told plainly, we were forbidden to read that book. Heaven help us if we developed sympathy for the good doctor with a problem with alcohol addiction. I read the book and found it fascinating and encouraging as it revealed in a very real and practical way, God’s love and grace for his broken people.
So, here I am thinking, just the type of stories the rest of the world would be interested in. Stories with grit, guts and depth. Stories that can change our thinking. Help grow us to be better people. Yet, because of an individual’s or community’s sensitivities and threat to their individual or collective reputations, these life-experiences remain ethereal, talked about in whispered tones around the dinner table after a few drinks, or when reminiscing the past with elderly relatives.
Well, that’s my family.
On the other side, there are writers who have no inhibitions when it comes to publishing juicy details on their family’s or friends’ misfortunes and unfortunate life-choices. They change the names, add spicy details of their own creation (just to give a little “kick”), and on they go to entertain their readership. Nothing like those skeletons to fire up the imagination. My eyes widen as one tells me about their friends or family they’ve included (without their knowledge) in the latest novel. I muse how common this modus operandi of writing is.
However, the rest of us, especially in Indie Scriptorium are sensitive to the feelings of family, friends and associates, and have shrouded our characters’ real-life identities in history, Science fiction, fantasy, as well as conglomerating them with several people we know while at the same time veiling the situations to disguise them. That way, no one gets offended or takes us to court…hopefully. As I mentioned, disclaimers about characters not resembling anyone in real life help.
So, I bring this missive to it’s conclusion, for now; our life’s journey, the people we meet, the people we from whom we are descended, the choices we make and the consequences that come from those choices, all enrich our lives and creativity with the stories they generate. And the skeletons in the cupboard also have stories to tell. In whatever way we decide to tell those secret spicy stories, whether as history or fiction, true characters or disguised ones, you never know, it may be those stories that will have influence for good and growth for the reader.
What do you think? Let us know in the comments below.
Indie Scriptorium -- Self Publishing Collective 