It is amazing to me how people get into an uproar over the death of a lion and don’t do the same thing about people. Don’t get me wrong, I think hunting for sport is wrong. If you want to eat it then that’s fine. It is a waste of life to go out and shoot a beautiful, majestic animal, such as Cecil.
The words below are a repost from the Conservative Tribune.com and they do make sense so I want to share them with you. Have a blessed day. Shirley
Both social media and the progressive mainstream media have been in an uproar over the past few days about the death of “Cecil,” a 13-year-old lion in Zimbabwe.
Cecil was killed in an organized licensed hunt by a big game hunter, Minnesota dentist Dr. Walter Palmer, who has now gone into hiding after receiving numerous death threats from outraged animal rights activists.
However, it would appear that the outrage surrounding the death of Cecil is what is commonly known as a “First World Problem,” as residents of Zimbabwe were mostly unaware of, and really don’t care about, the death of just another lion.
“What lion?” was the response of acting Information Minister Prisca Mupfumira, after being asked about the death of Cecil.
Though the government had yet to give an official response to the lion hunt, local authorities opened an investigation into whether the professional guides who led the hunt abided by the rules and regulations in place for such things.
According to Yahoo News, that hasn’t stopped angry animal rights and anti-hunting activists from ruining the life of Dr. Palmer, with some calling for his arrest, extradition and even death for hunting the lion with a bow and arrow and finishing it off with a gun.
But most people in Zimbabwe don’t care about the dead lion, as they have much greater problems to deal with, such as an 80 percent unemployment rate, insane monetary inflation and a hugely corrupt government.
“Are you saying that all this noise is about a dead lion? Lions are killed all the time in this country,” said Tryphina Kaseke, a used-clothes hawker on the streets of Harare. “What is so special about this one?”
The truth is, most locals in Zimbabwe actually look forward to the big game hunts that Westerners engage in, as the high price tag for the hunts means money pumped into the local economy, not to mention the meat from such hunts is required by law to be given to local tribes and villages.
“Why are the Americans more concerned than us?” said Joseph Mabuwa, a 33-year-old father of two. “We never hear them speak out when villagers are killed by lions and elephants in Hwange.”
Lions and other large animals are typically viewed as dangerous by the local population, and if these animals are not hunted, their populations will explode and bring about all sorts of other issues, like rampant disease and increased attacks on people.
If only as much outrage over a dead and dismembered lion were directed at those who kill and dismember hundreds of thousands of babies per year, our society might have a moral leg to stand on.
This is a blog about book reviews. I can’t make myself not want to get 5 star reviews. I want my book to be enjoyed when it’s read. That’s bottom line for me.
As an author with five books on Amazon, I have found out from experience that books which do not get reviews slip to the darkest regions of Amazon. I’m there with a couple of my books because I couldn’t get the reviews I needed without paying big bucks.
This article from Dudley Press gives you more information You can use.
Book reviews make books a known quantity. They decrease the risk to readers that a particular book will be not what they had in mind at all. In fact, book reviews help potential readers become familiar with what a book is about, give them an idea of how they themselves might react to it and determine whether this particular book will be the right book for them right now.
Book reviews save readers time, prepare them for what they will find and offer them a greater chance of connecting with a particular book, even before they read the first page!
Greater Visibility, Greater Chance of Getting Found
Book reviews give books greater visibility and a greater chance of getting found by more readers.
On some websites, books that have more book reviews are more likely to be shown to prospective readers and buyers as compared to books with few or no book reviews.
Book reviews also help amplify your book’s reach among book clubs, bookstores, blogging communities and other opportunities to gain attention from new readers.
For an author, book reviews can open doors to new and bigger audiences.
Have you ever heard the phrase “Success begets success?” Or the term “social proof?” Books that have a lot of book reviews appear to be popular books. It’s human nature for people to be curious about what looks popular and want to check it out for themselves. As a result, a good number of book reviews can help lead to a snowball effect of book sales.
In other words, the presence of book reviews can help validate the worthiness of a book and establish who the book’s audience is. Then once validated, other similar people are much more likely to want to join their peers and buy that same book.
Knowing this, some authors try to game the system by outright buying or inventing book reviews. But that’s not a good approach at all. Don’t do it. It’s not right and you’re better than that.
Soliciting real reviews from real people can help you as an authors achieve more sales in a completely ethical way.
This blog was originally published in Southern Living and was written by Rick Bragg who is a Pulitzer Prize- Winning writer and author of several best selling books. I identified with it so much I wanted to share it with you.
When I was a boy, when monsters were real. I would see it in the distance, hovering just above the hot, almost liquid blacktop. It had no form, just a thing shimmering, indistinct. Now I know it was the heat itself, distorting the very air. How odd, to see the heat. But when I was small, it was easy to see more in it than that. This was the creature that came in the worst of summer, the boiling eye of it. It was the could in a white-hot sky that gave up no rain. Aristotle knew it, and the Romans, and then us, in the American South. That thing of glimmering heat from my imagination did not have a name, truly, but its season did. We called it the dog days.
The Greeks and Romans believed Sirius, the brightest star in the constellation Canis Major (Great Dog), ushered in an evil season in late summer, one that boiled seas and soured wine and sent people and livestock into fits. In that season, the DogStar and our sun hung together in the heavens, one rising, one setting, which, they believed, produced more heat than the planet could stand.
Now, of course, we know it is the tilt of the planet, closer to the sun, that brings the heat, but my grandmother knew better. Ava Bundrum knew there were more things than heaven and earth, and spoke of the dog days the way she would any unnatural thing. She would motion me close, as if the clinging air were listening, wave a cardboard funeral home fan at me like she was giving me some kind of blessing, and tell me to stay out of the pasture, stay out of the woods.
It was more than myth. Dogs went mad, or lay panting, glassy-eyed, and you could not rouse them to play. Food went bad in the dog bowls. Cats, through, did not seem to care. Cats don’t ever care.
I can remember children crowded around a rattling box fan, as if it were telling them a story. I remember strong men going white as chalk, trying to catch their breath.
Bulls went mad and tore through fences. Cows would not give mild, and when they did, it went sour, or tasted of sulfur or onions. Birds flew in the house, a bad omen. It meant someone was going to die. Chickens perished in the coops Rabies resurfaced, in foxes, usually, and men shot them from the porch.
The gardens withered. You got either quick, violent storms or no rain at all. Mudholes vanished into pieces of hard clay, like someone had smashed a pot on the ground. Grogs perished, which made my grandmother sad; the more frogs, the healthier the land. (Everyone knew that.) Only the insects reveled. Flies and gnats swirled. Mosquitoes danced. and there was nowhere to hide.
Air-conditioning was myth. We put a man on the moon before my family had a window unit. But when we did, when the air blew cool in August, it was like the mean season became myth itself, just another story, like the ones that old people told of the Depression. I guess I am the old people now. I think of the dog days when I see that glimmer on the distant asphalt, but when I there, it is already gone.
Shirley slaughter-Harris you said this was worth reblogging and I totally agree. I find reviewing books can be stressful especially if they are not well written. These tips will make it easier for all book reviewers. Blessings
This article by James Scott Bell was first published in the Writer’s Digest. I read it this morning on Books Go Social Authors Group ( https://www.facebook.com/groups/booksgosocialauthors/?fref=nf ) and thought it was worth sharing. Even if were not writing a thriller we may want to add a touch into whatever we’re writing. Enjoy. Shirley
Remember when Tommy Lee Jones holds up the empty shackles in The Fugitive and says, “You know, we’re always fascinated when we find leg irons with no legs in ’em”? It makes me think of readers who pick up thrillers and find no thrills in them. Or at least not as many as there could be.
I’m not just talking about plot here. It’s possible to have guns and bombs and hit men and terrorists and black helicopters and still not have a novel that grips the reader in the gut.
For a healthy, fully functioning thriller, try some literary vitamin C. Dose your book with these five Cs and it will stand strong, chest out, ready to give your reader a run for the money.
The first place to fortify a thriller is its cast of characters. A critical mistake made here can undermine even the best story concept.
Is your protagonist all good? That’s boring. Instead, the thriller hero needs to struggle with issues inside as well as outside. She’s got to be a carrier of flaws as well as virtues. These roiling conflicts make her survival an open question.
When we first meet Detective Carol Starkey in Robert Crais’ Demolition Angel, she’s flicking her cigarette ash on the floor of a therapist’s office, “pissed off” because it’s been three years and her demons are still alive and well. Quite an introduction, especially for someone on the LAPD bomb detail. We know she has a short fuse. And we want to watch to see if it goes off.
Brainstorm a list of at least 10 inner demons your hero has to fight. Ten. Get creative. Then choose the best one. Work that demon into your hero’s backstory, and show how it is affecting him in the present—and could hinder him even further in the future. Give him actions that demonstrate the flaw.
Move on to the rest of your cast. Avoid the “stock character” trap, which can be especially perilous in this genre—e.g., the cold, buttoned-down FBI agent; the police detective with a drinking problem. Here’s a good habit: Reject the first image you come up with when creating a character. Entertain several possibilities, always looking for a fresh take.
Then, give each character a point of potential conflict with your hero as well as with the other characters—especially those who are allies. Look for ways friends can become enemies or betrayers. Short of that, create more arguments.
To help you add complexity, make a character grid like this:
Mary Steve Cody Brenda Julio
Now, fill in the blank boxes with possible relationships, secrets and areas of conflict. For example:
Hates him because he abused her sister
Steve Knows that Mary had a child by Julio
If possible connections are eluding you, try running this exercise for each of your main characters: The police come to the character’s residence with a search warrant. In his closet is something he does not want anyone to find, ever.
What is it?
What does this reveal about the inner life of the character? Use the secrets and passions you discover to add another point of conflict within the cast.
Standout thrillers need complexity and webs of conflict, so that every page hums with tension.
I call the main action of a novel the confrontation. This is where the hero and antagonist battle over the high stakes a thriller demands.
When it comes to the antagonist, writers can easily make the opposite of the “all-good protagonist” mistake: They make their bad guy all bad. Worse, they make him all bad because he’s crazy.
More interesting confrontations come from a villain who is justified in what he does.
You mean, in doing evil things?
Yes, that’s exactly what I mean—in his own mind, that is. How much more chilling is the bad guy who has a strong argument for his actions, or who even engenders a bit of sympathy? The crosscurrents of emotion this will create in your readers will deepen your thriller in ways that virtually no other technique can accomplish. The trick is not to overdo it—if you stack the deck against your villain, readers will feel manipulated.
Start by giving your antagonist just as rich a backstory as your hero. What hopes and dreams did he have? How were they dashed? What life-altering hurt did he suffer? Who betrayed him? How did all of this affect him over the course of his life?
Write out a closing argument for him. If he were in court, arguing to a jury about why he did the things he did in the novel, what would he say? Make it as persuasive as possible:
“Ladies and gentlemen of the jury, my name is Hannibal Lecter. You’ve heard a lot of lurid tales about me from the prosecutor. Now you will hear my side of the story. You will hear about a world that is better off without some people being in it. And you will hear about the conditions I endured inside the horror of a place called the Baltimore State Hospital for the Criminally Insane …”
It can feel a bit disturbing to try to understand someone you might hate in real life. Good. You are a writer. You go where angels fear to tread.
Now take all of that material and use it to strengthen the antagonist’s position in the story. A stronger confrontation can only result.
There’s nothing like a stunning twist or shock to keep readers flipping, clicking or swiping pages. Part of the fun for readers is thinking a story is going one way, and getting taken completely by surprise.
Harlan Coben is one of the reigning kings of the art of surprise. “I’ve rarely met a twist I didn’t like,” he has said. His method, if it can be called that, is to write himself “into a lot of corners” and see how things work out.
That’s one way to go. Forcing your writer’s mind to deal with conundrums is a great practice.
But there is another way. Pause after every scene and ask yourself: “What would a reader expect to happen next?” Create a list of at least three directions the story might take.
Then discard those three and do something different. I call this unanticipation.
Another method is the old Raymond Chandler advice: When things slow down, bring in a man with a gun. It doesn’t have to be an actual man with an actual gun, of course. It can be anything that bursts into a scene and shakes things up. Here’s the key: Get your imagination to give you the surprise without justification.
Make a quick list of at least 10 things that just pop into your mind. For example:
A woman runs in screaming.
The lights go out.
A car crashes through the wall.
SWAT team outside.
Marching band outside.
TV announcer mentions character’s name.
A baby cries (what baby?).
Blood drips down the wall.
Justin Bieber comes in with a gun.
Some things on your list will seem silly. That’s OK. Don’t judge. Look back and find the most original item, and only then find a reason for it. In this case, No. 8 creates the most interest for me. I have no idea where that came from or what it means. But I can make it mean something.
And so can you.
The best thrillers stab the heart, throughout. They do it by getting readers to experience the emotions of the scenes.
How can you do that? First, by experiencing them yourself. Sense memory is a technique used by many serious actors. Here’s how it works: You concentrate on recalling an emotional moment in your life, and recreate each of the senses in your memory (sight, smell, touch, sound, etc.) until you begin to feel the emotion again. And you will. The actor transfers that to her role; the writer, to the page.
When I was getting to the heart of one of my own thrillers-in-progress, a story of two brothers, I needed to feel what the younger one was experiencing when the bad guys came. I recalled a time when I was 6 or 7, and some bullies were holding me hostage on a hill. Terrified, I finally made a break for home and sobbed to my big brother about what had happened. He left me at the house.
I never saw those bullies in our neighborhood again.
When I wrote the scenes with the younger brother, I focused on feeling those moments again, and transferred those emotions to the page.
They’re going to kill Chuck and they’re going to do the same thing to me. That’s why they have me tied up and they put another thing in my mouth and they won’t let me talk. … They hit me. I’m in the back of some truck. They’re taking me somewhere. I hope they take me where Chuck is. If they do anything to Chuck I will bite them. I will do anything I can to hurt them. Maybe I’m going to die but I will not die until I hurt them because of what they’re going to do to Chuck.
Another way to tap into your character’s heartbeat is the run-on sentence. Interview the character at the height of an emotion. Write down his reaction for at least 200 words without using a period. Then explore that text to find gems of emotional description. You might actually use some of it, as Horace McCoy did in his 1938 noir thriller, I Should Have Stayed Home:
All Dorothy’s fault, I thought, cursing her in my mind with all the dirty words I could think of, all the filthy ones I could remember the kids in my old gang used to yell at white women as they passed through the neighborhood on their way to work in the whore houses, these are what you are, Dorothy, turning off Vine on to the boulevard, feeling awful and alone, even worse than that time my dog was killed by the Dixie Flyer, but telling myself in a very faint voice that even like this I was better off than the fellows I grew up with back in Georgia who were married and had kids and regular jobs and regular salaries and were doing the same old thing in the same old way and would go on doing it forever.
The original storytellers spun thrillers. When heroes went out into the dark world to confront monsters and demons and great beasts, the tribe vicariously lived the tale. But there was something more—they learned how to fight, act courageously and survive.
The first thrillers carried a message and helped bring a local community together.
Readers still seek that kind of story. So you ought to spend some time asking yourself what your thriller is really about. Does it offer hope for justice? Does it end with justice denied?
In short, what will the reader take away from your book?
Many aspiring thriller writers, perhaps seeing the genre as action-driven, avoid thinking about theme (or meaning, or premise). They prefer to let the characters duke it out, and leave it at that. There’s nothing wrong with this approach, as long as you realize that you will be saying something. Why not be intentional about it?
Here’s an exercise I call “The Dickens” (named for Charles and his time-traveling story A Christmas Carol): Go forward in time 20 years after your story ends. Your lead character is now 20 years older and has had time to reflect on all that happened in the story you told. You’re now a reporter, and you track down the character and ask, “Looking back at everything that happened to you, why do you think you had to go through that? What life lesson did you learn that you can pass on to the rest of us?”
Let the character answer in a free-form way, for as long as possible, until you sense that it’s right.
Now use all your skills to demonstrate that lesson at the end of the story itself, without necessarily using words. Give us Clarice Starling sleeping at last, the lambs of her nightmares silenced. Or Harry Bosch in Lost Light, holding for the first time the hands of the daughter he never knew he had.
Those are the moments that will take your thriller from entertaining to unforgettable.