Hello everyone, I thought today I would share an article on creating fantasy characters. I love reading and writing fantasy. It literally will let my mind go to this creation of fantastic times, people, and creatures.
I’ve written one fantasy book, Princess Adele’s Dragon, which is a medieval adventure story, but I couldn’t count how many books I’ve read in the fantasy category. I love to read those three to five book series that continue to lead you down those wild and wonderful paths. I have to admit I have read all of Harry Potter and the Outlander series which are far more than three to five books.
You have thought of a subject for a new fantasy book. The first thing you have to do is ask yourself if your protagonist is better suited to a series or a stand-alone novel. In Princess Adele’s Dragon, I have two protagonists, Princess Adele, and Prince Anthony. This book could very easily be made into a series because of the storyline I used. The main conflict is resolved but other conflicts have been brought up that can be carried forward.
Secondly, figure out what kind of story arc you want for your series. Do you want to focus on one problem or mystery per book, along with overarching character development? which means that the characters have more to tell. When you are writing book one you really don’t know how many books will be in the series.
Third, Carry character traits and quirks consistently from book to book. This is true of both your protagonist as well as the support characters in the story. If you can keep all your character details in your head, that is wonderful, but if you can’t make a cheat sheet. Your readers will catch the mistakes you make.
Fourthly, write characters and books that you enjoy. Just as readers love characters they can get to know and see, again and again, so do authors. My favorite books have characters that I can either identify with or would like to have a drink with. All accept Hairy Potter, of course, he is too young. I just want him to teach me magic. Write about what you like to read.
If you would like a free ebook of Princess Adele’s Dragon, just let me know along with your email and I will send you a gift code from Amazon. http://amzn.to/25lUOYM
I hope you have a great week ahead. Blessings to all. Shirley
Hello, everyone. I hope all of you experienced a great week. Today I’m giving you a blog that discusses how you can broaden your story and your readership from an article by Bharti Kirchner. This was originally published in the Writer magazine.
Why venture into unaccustomed territory when it comes to characters? In a globalized world, re regularly meet people.e very different from us in race, class, ethnicity, religion, politics or ideology. Modern novels and memoirs, as mirrors of a society, increasingly depict this heterogeneity.
In addition to expanding our readership, a diverse character, whether the protagonist or a secondary character brings a broader voice to a story. In the case of the novel Tulip Season, protagonist Mitra meets a mysterious German man, and the contrast between the two adds an element of tension. With dissimilar actions, attitudes and world views, backgrounds and upbringings, their interactions spark a great exploration of Mitra’s world.
Creating Authenticity: How do you get started writing about a person foreign to you? By immersing yourself in that particular culture of community through direct contact and by building relationships. Armchair travel can also help, as can books, videos, movies, art, and the Web. Remember, in the end, it’s your story and it’s fiction. You’re facing challenges no matter what. “If you’re going to write fiction, you’re going to write about people who aren’t you,” says David Guterson, author of 10 books, including Snow Falling on Cedars. “You should feel some healthy trepidation about that.”
Respect, openness, and empathy are keys to depicting an unfamiliar culture or perspective. Here are additional tips and techniques.
First Impressions: What a reader first notices is how the character looks, dresses, sounds and behaves. Bring the character alive with physical descriptions, but not too much and not all at once. Allow readers to use their imagination to fill in the blanks. Pay special attention to the rhythm of the spoken language. A foreign born person might speak with an accent and fall back on native words as necessary.
A Character from Inside Out: You’re writing about individuals, and the methods you usually employ to develop a character of any kind still applies. Remember that all cultures have hopes, fears, and dreams, and it’s your job to portray that.
Does a diverse character have to be sympathetic? Peter Mountford, the author of two novels, including A Young Man’s Guide to Late Capitalism, says no. “Actually, I’m not sure he is very sympathetic because of the choices he makes,” Mountford says of Gabriel do Boys, the 26-year-old, biracial protagonist in his novel. “He builds a lucrative career instead of abandoning it for love. I feel for him, definitely, but a lot of readers struggle with him, and I suppose that is the key to writing “the other,” for me.”
Beliefs and Conflicts: Every culture or community holds common beliefs about marriage, family, money, status and friendship. A character is likely to suffer moth internal and external conflicts when going against these beliefs and sometimes even when conforming to them.
Showing Universality: By wrestling with choices and obstacles, a diverse character, like any other, grows and changes. In the process, he or she displays common human characteristics as fear, anger, joy and love. Although I’m different, I’d feel much the same in the same situation, the reader realizes, and perhaps gets more involved in the book.
You can make a character accessible in other ways. Show how he or she relates to friends. Let him or her grapple with everyday issues like traffic. An element of humor can also help. We gravitate toward people who lighten our days with a joke or a funny situation. It is in those moments that we let go of our differences and embrace our common humanity.
I hope this article helps to make your writing this week easier. The more knowledge we have the better writers we are. Blessings to all.
How do you feel about authors advertising their books any and everywhere they can? I am one of those people. I’m an author, and I try to take advantage of every opportunity I come across to tell someone about my books.
Even if I am an author, I get tired sometimes of seeing so many ads on Facebook and Twitter, which is certainly two-faced of me. I can’t have it both ways. There’s one side of me that wants to see things I can read about a fascinating subject not another “look at my book, see me.”
Since I’ve said how I feel, let me share the link to my latest book with you and also offer tips on how to possibly market a book. Here’s my link. Have a look and if you would like to do an Amazon review, I will send you one free for an honest review. http://amzn.to/1Xogylz
Here are some book marketing tips taken from an article on Author Media by Caitlin Muir.
89+ Book Marketing Ideas That Will…
Increase your web presence:
Create a testimonial page on your website
Add the free My Book Progress plugin to your WordPress website to update your visitors about the status of your upcoming book.
Retweak the SEO on your site
Ask fans to post their reviews on your Facebook page
Ask fans to post their reviews on Amazon
Ask fans to post their reviews on Goodreads
Sign up for Twitter
Clean up your social footprint
Create an author FB page and use it instead of your profile
Sign up for Google Authorship
Offer bloggers advanced reading copies
Go on an online book tour
Create a book launch team
Host Q+A sessions on Google+
Create Facebook Friday videos
Register as an author on Amazon
Register as an author on Goodreads
Create a book trailer
Add the free My Book Table plugin to your WordPress website to boost book sales.
Create a hashtag for your next book
Build your fan base:
Start an FB campaign to increase your fans
Start a Google Campaign to increase traffic to your site
Start a controversial web series
Link up with other writers for your controversial web series
Start weekly Twitter chats with readers
Keyword your blog posts
Create a monthly newsletter
Create an affiliate program
Become a guest blogger
Create business cards with your web address on them and hand them out
Put your photo on your business card for stronger branding
Start commenting on other blogs (early and often)
Host regular author hangouts on Google+
Host regular author interviews on Google+
Record your Google+ hangouts and put them on YouTube
Get social media coaching
Create an online community with a forum
Say thank you to readers with special incentives for being a fan
Ask your reading community to design merchandise for your store
Create a fan page for your main character (works well if they are in a series)
Ask fans to create their own book trailers and post them online
Offer core fans advanced copy of future books
Ask fans to post pictures of “character spottings.”
Offer “extra features” on your website
Use Twitter hashtags
Poll your readers and listen to what they say
Answer all your blog comments
Engage with your fans on FB
Ask your fans to post pictures of them reading your book
Make some extra money:
Repackage old blog posts and sell them as an e-book
Join an affiliate program
Speak on the core topic of your book
Become a content writer
Host paid webinars
Freelance with niche magazines
Sell ads on your website
Sell ads in your newsletter
Write a new ebook tailored to your fans
Mentor another writer
Become an Amazon Affiliate (and use MyBookTable)
Offer customizable ebooks for readers
Sell your book on your site, not just Amazon
The @AuthorMedia crew just gave me 89 free book marketing ideas. Watch out the world! – click to tweet.
My sales should spike soon. I’m going to try out some of the book marketing suggestions from @AuthorMedia. – click to tweet.
89 Book Marketing Ideas That Will Change Your Life. Try one today! – click to tweet.
Have you tried any of these marketing tips from @AuthorMedia? They look great! – click to tweet.
Dang. I needed book marketing ideas, and I found 89 of them via @AuthorMedia. – click to tweet.
If you write books, you should look at this list ASAP. Unless you are my competitor. – click to tweet.
Need some book marketing ideas? One of these ideas should do the trick! – click to tweet.
Build your brand offline
Write a Press Release
Ask to be interviewed by your local paper
Ask to be interviewed by the paper your book is set in
Ask to be interviewed by the local radio host
Ask to be interviewed on the local morning show (read this article first)
Partner with a band that has the same cause as you
Go on a physical book tour
Start thinking local
Sell themed merchandise (Think “Team Edward” shirts)
Rent a billboard
Host a book release party
Link with an activity that supports your cause and sell your book there
Create a viral video about a scene from your book
Find a Place To Give a Book Reading:
Your local coffee shop
A retirement community
A rehabilitation center
A local church
A locally owned bookstore
The library (try the five closest to your house)
The local community college
Wherever the main setting of your book is
Videos you upload to Facebook
Discover where to donate your book (and make new fans):
The five closest libraries to your house
The library in your hometown
Community libraries at coffee shops
The local community college library
The libraries in the town where the book was set in
Cruise ship libraries
Become an expert:
Listen to the Novel Marketing Podcast.
Get active on LinkedIn
Write Op-Ed pieces on the core message of your story
Write freelance pieces on the core message of your story and pitch to niche publications
Give lectures on the core message of your story
Host webinars with other experts
Create a series of web-videos interviewing experts on the core message of your story
Make sure your author about me page is interesting and relevant
Create a Meetup group
Have any book marketing tips you’d like to add to the list? Leave them in the comment section.
We are always wanting to glean what other authors know about writing. This blog by Steve Silberman gathers together authors and has them give suggestions on how to improve your writing and make your book great. I thought it was something worth sharing. Have a blessed day. Shirley
I love books. My late father Donald, who taught Wordsworth and Melville to inner-city kids for decades, used to read Ulysses to me while he carried me on his shoulders. Perhaps it was inevitable that I grew up to be a writer. Now, after years of investigative reporting for Wired and other magazines, I’m finally writing a book of my own.
The subject of my book is autism, the variety of human cognitive styles, and the rise of the neurodiversity movement. The seed of the project was an article I wrote for Wired in 2001 called “The Geek Syndrome” about autism and Asperger syndrome in high-tech communities like Silicon Valley. I’m happy and humbled to say that it was an influential article, and I still get email about it from the families of kids on the spectrum and from autistic people themselves, though it was published more than a decade ago.
The science of developmental disorders has made significant advances in recent years, and some of the social issues that I raised in the piece — such as the contributions that people with atypical cognitive styles have made to the progress of science, technology, and culture — seem more relevant than ever. At the same time, the wave of kids diagnosed with Autism Spectrum Disorders in the ’90s is now coming of age, and their heroically devoted families are facing fear and uncertainty about the future as crucial government-funded services and support provided to families of special-needs children dry up. Meanwhile,neurodiversity advocates are challenging narrow definitions of “normal” cognition, and autistic people — even those who are unable to employ spoken language — are using assistive technology like the iPad to express themselves. There’s a lot of new ground to cover.
I’ve signed a contract with a wonderful publisher — a Penguin imprint called Avery Books — and a sharp and enthusiastic editor named Rachel Holtzman. One of the most thrilling moments of my life as a writer was walking into Penguin headquarters in Manhattan and seeing classic jackets for Jack Kerouac’s novels like The Dharma Bums framed on the wall. It was reading the exhilarating, compassionate, and perennially fresh poetry and prose of Kerouac, Allen Ginsberg, Gary Snyder and their friends that made me want to grow up to be a writer in the first place.
I’m not sentimental about old media vs. new media. Nothing will ever replace the sublime feeling of sanctuary created by the printed page, but I treasure the books on my Kindle too, particularly when I’m reading at 30,000 feet. What I love is words — storytelling, the flow of well-wrought sentences, the gradual unfolding of a long and thoughtful tale, the private communion with an author’s mind.
But now comes the hard part. It’s one thing to work up a 4000-word magazine feature and another to sit down and write a 100,000-word book. I’m acutely aware that I’ve been granted a precious opportunity to cast light on forgotten history and provide a platform for voices that are rarely heard. At the same time, I’m scared out of my wits that the two decades of journalism that have led up to this project have not prepared me to write a good book. I wake up at 3am staring into the darkness, wondering if I’ll have the skills, discipline, and inner resources to pull it off.
I’ve chosen to deal with my anxiety by tapping into the wisdom of the hive mind. I recently sent email to the authors in my social network and asked them, “What do you wish you’d known about the process of writing a book that you didn’t know before you did it?”
I’m delighted with the sheer range of practical advice that poured in. The writers in this group are as diverse as the volumes that line the shelves in my home office. There are top science writers and journalists like Carl Zimmer, Jonah Lehrer, Deborah Blum, Paula Span, and David Shenk; prolific blogger Geoff Manaugh of the endlessly fascinating BLDGBLOG, which focuses on architecture and the future of urbanism; award-winning poet and essayist August Kleinzahler; a wise-beyond-his-years entrepreneur named Ben Casnocha; a Zen master named John Tarrant and an author of Buddhist bestsellers, Sylvia Boorstein; two-time Rock and Roll Hall of Fame inductee David Crosby of the Byrds and Crosby, Stills, Nash and Young; and two of the geniuses who helped launch 21st century digital culture and the spunky “maker” movement, Cory Doctorow and Mark Frauenfelder of BoingBoing. A more diverse group of writers, talking about the nuts and bolts of their craft, would be hard to find anywhere on the Web.
A few things became clear as soon as their replies came in. First of all, I’ll have to throttle back my use of Twitter and Facebook to get this writing done (and I may never rev up my idle Quora account after all.) Secondly, scheduling intervals of regular exercise and renewal amid the hours of writing will be essential. And thirdly, I’ll certainly be buying and downloading a software program calledScrivener, which is a powerful word processor specifically designed for writing books and keeping vast amounts of related data in good order.
Reading these tips has made the voice in my head that whispers I can do this a little louder when my eyelids snap open before dawn. I hope the advice here inspires the creation of many great books, not only the one I hope to write. I’m deeply grateful for the time and attention of the master writers assembled here.
Enjoy — and good luck with your own writing!
Author of A Planet of Viruses, The Tangled Bank, and Brain Cuttings
Do as much research as possible away from the Internet — with living people, in real places.
Be ready to organize vast amounts of data. Use a wall, or software like Scrivener.
Be ready to amputate entire chapters. It will be painful.
David Shenk Author of The Forgetting and The Genius in All of Us
Make it great, no matter how long it takes. There’s no such thing as too many drafts. There’s no such thing as too much time spent. As you well know, a great book can last forever. A great book can change a person’s life. A mediocre book is just commerce.
Get feedback — oodles of it. Along the way, show pieces of your book to lots of people — different types of people. Ply them with wine and beg them for candor. Find out what’s missing, what’s being misinterpreted, what isn’t convincing, what’s falling flat. This doesn’t mean you take every suggestion or write the book by committee. But this process will allow to marry your necessarily-precious vision with how people will actually react. I find that invaluable.
Let some of you come through. You’re obviously not writing a memoir here, but this book is still partly about you — the world you see, the way you think, the experiences you have with people. And trust me, readers are interested in who you are. So don’t be afraid to let bits and pieces of your personality and even life details seep into the text. It will breathe a lot of life into the book.
Cory Doctorow Author of With a Little Help, For the Win, Makers, and Down and Out in the Magic Kingdom
Write every day. Anything you do every day gets easier. If you’re insanely busy, make the amount that you write every day small (100 words? 250 words?) but do it every day.
Write even when the mood isn’t right. You can’t tell if what you’re writing is good or bad while you’re writing it.
Write when the book sucks and it isn’t going anywhere. Just keep writing. It doesn’t suck. Your conscious is having a panic attack because it doesn’t believe your subconscious knows what it’s doing.
Stop in the middle of a sentence, leaving a rough edge for you to start from the next day — that way, you can write three or five words without being “creative” and before you know it, you’re writing.
Write even when the world is chaotic. You don’t need a cigarette, silence, music, a comfortable chair, or inner peace to write. You just need ten minutes and a writing implement.
Bill Wasik Author of And Then There’s This: How Stories Live and Die in Viral Culture
The first tip is that readers expect books to be exhaustive on their subjects. That doesn’t mean they want the books to be long — it means that they expect that you will cover all the basic ground that needs to be covered to understand the subject, even if they know some of it already. This piece of advice may or may not be relevant to your subject. In my case, with a very idiosyncratic book on viral culture, it led to people asking me at readings why I hadn’t included an analysis of X or Y viral phenomenon in my book. “Because you already know about it,” the magazine guy in me always wanted to respond. But in the book world, people want to see you mention the stuff they already know, at least in passing (or to knock it down)– otherwise, how can it claim to be a book on the subject? It’s worth taking that point of view seriously.
This is a basic piece of advice, but it can’t be overstated when you’re trying to go from magazine-length to book-length writing: hone your outline and then cling to it as a lifeline. You can adjust it in mid-stream, but don’t try to just write your way into a better structure: think about the right structure and then write to it. Your outline will get you through those periods when you can’t possibly imagining ever finishing the damn thing — at those times, your outline will let you see it as a sequence of manageable 1,000 word sections.
Geoff Manaugh Author of The BLDGBLOG Book
Don’t hold back on that fantasy site visit / phone call / interview / query / meeting that you have always wanted to do, lest it become too late to include the results in your book. Do it now! This book is your golden ticket.
Don’t lose track of your notes and/or future ideas for inclusion by writing things down in multiple notebooks or on scattered pages of the same notebook; concentrate, aggregate, cohere, reread, and compress. Keep it all in one place (with back-ups). Obsessive-compulsive organizational habits are your bestfriend; telling insane and vaguely embarrassing stories later on, about how you used eight different colored markers, four highlighter types, and multiple versions of extra pages stapled into a vast mega-notebook that you re-read every night before bed – and that you also took digital photos of lest you lose the whole thing in a house fire – will be a lot more fun than explaining how you forgot to include certain things and your book sucked because you never got your shit together.
Quick, tossed off, last minute additions, typed right before you submit the final manuscript, probably aren’t a good idea, no matter how funny or emotionally powerful you might feel they are at the time of impulsively writing them. Always allow time to come back and read something from a distance.
And run all quirky one-liners that you hope to include in your author’s bio (do you “always enjoy a good latté”?) past a close friend; they don’t age well.
Mark Frauenfelder Author of The Mad Professor and Rule the Web
Use Scrivener to write your book. Awesome organizing tool as well as word processor.
If you have the feeling an interview isn’t yielding much, get off the phone as soon as you can. On the other hand, when you strike interview gold, keep it going as long as you can.
Don’t forget to write the book that you want to read.
Deborah Blum Author of The Poisoner’s Handbook and Ghost Hunters
here are a few things that i’ve learned or that people have told me along the way. i’ve written five books. the first two (monkey wars, sex on the brain) were issue books. the best advice i got when writing an issue book was to write the first chapter LAST. this isn’t absolute, but it’s in the research and writing of later chapters that you often figure out what your primary points will be and how best to frame them.
the best advice i got in writing narrative non-fiction was to get my hero in trouble and keep him there. this was with my first narrative book, love at goon park. my editor suggested that as the over all arc — how is harry harlow ever going to persuade the scientific community that love matters? — and within that to have him confront an obstacle in every chapter. i’m a little looser with that now, not an obstacle in EVERY chapter, but it’s still a great way to think about structure. for instance, in poisoner’s handbook, every chapter is a poison. so my heroes must confront arsenic in one chapter and thallium in another…
i usually try to have a single sentence that describes the primary message of the book. this turns out to be really useful when your editor asks you for the one sentence the sales force can use to persuade book sellers to buy your book. but, again, it’s also a useful organizing principle. so with monkey wars, the primary sentence (not brilliant for sales, but still) was “animal research is really about us.” number one species on the planet, can do whatever we want to other species. and i used that to frame every chapter around a decision that a researcher was making in his use of non-human primates, from brain surgeries to testing on endangered species.
i let my first draft suck. kind of the anne lamott advice on “shitty first drafts.” to me my first draft is just an attempt to start unfolding the flow and logic of the story. if i get stuck, i just put xxx in the draft (for figure this out later.) with one of my books (sex on the brain) i did this so often that i had literal nightmares about it, that people were coming up to me and asking me if i had adopted an avant garde writing style.
i’m obsessive about the research. i organize and cross-list and file from the very beginning. i make notes of key points, issues, and themes. the amount of research one does for a proposal is very different from the amount of research one does for a whole book. so i keep track of all these key moments in a way that lets me recognize patterns that i didn’t see earlier. and also so that when i’m later actually writing, i know where to find everything. writers waste a lot of time looking for that study that they filed, well, somewhere.
i recognize that today’s book author isn’t done even after the manuscript is accepted. publishers expect us to be part of the marketing of the book and the sooner that starts the better. i used to tell people that i wanted to be the j.d. salinger of science writing and just stay home and let the royalties wash over me. but that’s mostly in the moments when i’m just overwhelmed. the new public version of a science writer is actually pretty fascinating.
August Kleinzahler Author of Sleeping It Off in Rapid City and Cutty, One Rock
I find it helpful sometimes — and still to my surprise — trying to explain to someone what it is I’m trying to write about, usually someone bright but in a different intellectual zone, and not a writer. Or, likewise, in a letter or email to such a person.
When my self-disgust reaches critical mass I seem to be ready to go.
I tend to discover the structure, a structure, after diving in the deep end and swallowing water awhile, until I stop swallowing water, make my way to the surface and figure out how far it is toward shore or the side of the pool, and what mixture of treading water and the Australian crawl, given my limitations/aptitudes, might get me safely home.
Ben Casnocha Entrepreneur and author of My Start-Up Life
Shitty first drafts. Anne Lamott nailed it! But with books, it seems to be more like “shitty 20th drafts.” So shitty, for so long.
Develop a very serious plan for dealing with internet distractions. I use an app called Self-Control on my Mac.
Develop a very, very, very serious plan for dealing with internet distractions.
Author/editor of The Mindfulness Revolution and In the Face of Fear
You’re better off than you think, because you’ve done this before, just not in as large a format. Almost every technique and skill you’ve used to structure and tell a story at feature length scales to book length. So, let go of the excess anxiety about never having done this before.
Planning. Planning. Planning. It’s a campaign. I used some project management tools in the end to put some order into the vastness. That’s the thing about the bigger scale. It requires more management to support the creativity. Cultivate a good relationship with your editor from the beginning. He/she is going to be your task master at some point. That’s going to go so much better if he/she is also your friend, colleague, supporter, and fan. The campaign of writing a book can get so lonely sometimes, you need a good attaboy just to remind yourself of why you’re doing it and that you’re not the crazy loser who needs to get out more.
As Trungpa Rinpoche said (I paraphrase): enjoy refreshing activities from time to time. If you’re planning and scheduling well, you can find opportunities regularly to breathe more fresh air into your life and replenish yourself, because “the work fills the available space” is nowhere more true than on a book project. Watch out for self-indulgent and cheap substitutes for actually taking an honest to god break, of whatever duration.
Peter Conners Author of Growing Up Dead: The Hallucinated Confessions of a Teenage Deadhead and White Hand Society: The Psychedelic Partnership of Timothy Leary & Allen Ginsberg
When I’m writing a book I only read other books that somehow inform my book. If it doesn’t serve my process — no matter how much I want to read it — I don’t. I suspect there are a lot of people who will give the opposite opinion (take a break from reading about your subject matter, etc.), but I’m not one of them. This is your time to be completely and justifiably obsessed. So go ahead — bask in the madness.
Non-fiction shouldn’t mean poorly written. Writing is writing and art always counts. Make your book beautiful to read and you’re more likely to communicate your messages to your reader.
Don’t focus on the promotional aspects of social media. Just share your passion for the subject matter as it filters through your writing process. The promotion aspect will be an organic extension of your passion.
David Crosby Singer-songwriter, founding member of the Byrds and Crosby, Stills, Nash and Young, author of Long Time Gone and Since Then
Love of the well-turned phrase.
Set specific times to work.
Paula Span Author of When the Time Comes
You already know what you need to know to do this. The fact is, my 60,000-plus-word book was pretty much like writing 8 to 10 long-form pieces. I didn’t do it differently, in terms of research or writing or rewriting. My existing skills were perfectly adequate to the task; yours will be too. It took me 2.5 years but then, I was teaching and freelancing at the same time; had I focused solely on the book, it probably would’ve taken 18 months. So you will make your deadline, even if your book is longer and more complex.
Unhelpful, right? But maybe not. Bottom line, this is not some whole different sphere for which you are ill-prepared. For better or worse, whether you use some nifty software to organize your material or you use a whole bunch of yellow legal pads and photocopies in hanging files (like me — so retro), this is familiar territory and you are an old hand. So get to it.
Rudy Simone Author of Aspergirls: Empowering Women with Asperger Syndrome andAsperger’s On the Job
I had the easiest time of my life writing my three Asperger books. I just ran like Secretariat once I got going. But, I did learn that questionnaires make good research tools. I had three levels of questionnaires, each expanding on the one before it, so I didn’t have to individually interview each person. I did that by email or phone if and when it was warranted. By the time I wrote Aspergirls I had it streamlined: The questionnaires were posted on my site, the first one visible to the public so anyone could use it, then the 2nd and third were on hidden pages that I gave my participants the URL to. The data was compiled and I received email alerts whenever there was a new entry. So while I was researching certain elements of my book, the questionnaires and the people who used them were doing a lot of the legwork. Being that I’m fairly uneducated, I think I did a pretty good job with it.
John Schwartz Author of Short: Walking Tall When You’re Not Tall at All
Advice from a Newsweek editor I worked with in the ’80s, Nancy Cooper. Roughly my age, but so much smarter and more worldly and sophisticated. I was worried about writing the opening story of the nation section. And she sent me a note that read: “You just start working and you keep working til it’s done. That’s all there is to it; no mystery.”
Sylvia Boorstein Author of Happiness is An Inside Job and It’s Easier Than You Think
When I settle into writing, i.e. proposal signed, accepted, etc., I…
Do not open email until 5PM on any weekday or other day when i expect to be writing much of the day.
Do not read other people’s work on the same subject. That might be hard for you, since you are collecting research data, but I say very little about what other people have said or thought. They’ve already said or thought it.
I am VERY selective about having other people read it as I go along other than my editor, and that only when I have enough written to feel secure that I have found my voice.
When I do not like how what I’m writing is sounding, I quit. I leave the computer. I do something else, like cook soup. I “hear” what I am about to type before I type it and if it is not sounding like me naturally talking, I know i am not clear or balanced enough to go on.
I do not write from the beginning to the end. I write in the order that particular parts take form in my mind and I enjoy mulling them over… I mull and mull and imagine I am explaining them to someone and then I write them down. I have the order in mind, so I write whatever part is bubbling energetically in my mind, print it out (always) and begin a stack on THE BOOK on a corner of my desk into which I can add pieces (in their proper order) as they get written and so I have a visible proof at all times that something is happening.
I take the due date for the first draft EXTREMEly seriously., like everything depends on that day. it makes the project energetically alive for me, like a James Bond five-minutes-and-fifty-two-seconds until the whole world blows up movie and even if the draft is finished a week early I push the SEND button just after 12AM on the day it is due. Theatrical, I know, but I learned it from a friend of mine whom I admire as being a fine writer who prides himself on doing that.
Anonymous Author of notable books on science and psychology
What I wish I didn’t know now that I didn’t know then:
How hard writing a book would be on my body — two major illnesses and two surgeries in two years, a health record unprecedented in my life, and unrepeated in the two years since. No idea what to do differently, other than maybe make sure I have good health insurance. (But you shoulda seen me revising my last draft as they wheeled me into the OR for an appendectomy.)
How important and valuable the final reward would be. Not the money, but (in my case) the promised trip to a very special place. Wish I had put the photo of my destination on my screensaver long before I did, as it worked like an extra force of gravity pulling me to the end. The trip also gave me a coda to write into the book, just an extra added benefit.
How inept publishers are at selling books, even books that, as in my case, they have a significant financial stake in and that they profess to love. Once they get rejected by Today and Terry Gross and once the Sunday Timespasses (or, as in my case, assigns a review and then never runs it), they’ve exhausted their playbook. Solution: what you’re already doing, which is to build your brand among your intended audience.
David Gans Musician, radio producer, and author of Playing in the Band and Conversations with the Dead
The most striking thing about my book processes was that no one at the publisher did any editing at all. No fact checking, no line editing.
Josh Shenk Author of Lincoln’s Melancholy
Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of Lincoln’s Melancholy I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly.
Find ways to break it into chunks and set concrete deadlines with friends/agent/editor. I’m sending my agent material every week now. The shit is super rough, but at least I’ve got *something* on page. Also consider a writer’s group. When I asked Bruce Feiler for this advice at the start ofLincoln’s Melancholy, he said: “emotional management.” I told him, yeah, but I really want practical advice, etc. etc., and he repeated the phrase. Writing a book is a crushingly lonely experience in ways that no one who hasn’t been through it can really imagine.
What’s the idea/argument in a sentence or two? You shouldn’t have this necessarily at the start but will want to by the time the book is done.
Apply to MacDowell, Yaddo, Blue Mountain Center, Headlands — a few other good residencies, including one in Cali I can’t remember now. Four to eight weeks of you, quiet, among other artists, with people feeding you on schedule can do wonders.
John Tarrant Author of Bring Me The Rhinoceros & Other Zen Koans That Will Save Your Life, and The Light Inside the Dark: Zen, Soul & the Spiritual Life
Here’s a triplet of things that may apply only to me.
Ideas don’t come from anywhere identifiable, so I’ve come to trust that they will be given. This is along the lines of not whipping the donkey.
The process of lining the book up, giving it a bedside manner, asking “Is this what it is about? But what is it really about?” was a plunge. I had to explain the work to myself in more and more elementary language. I came to enjoy doing this. It helped when I realized that the discovery process was part of the writing and I didn’t have to be through it already.
There is always period when I wrestle alone with my own process and at the same time I like collaboration. So I’ve learned what kind of editing works for me. A good editor is an impersonal force who says things like, “You could ditch the first half of your first chapter and start with what comes next,” and immediately I know if the edit is true or not. So I learned to be confident about sharing my work when it is not fully formed, learned that the process is robust and will look after itself.
Jonah Lehrer Author of How We Decide and Proust Was a Neuroscientist
My one piece of advice is to insist that your editor be brutal — there should be red pen on every page. At least in my experience, the book only gets decent during this phase, as all the darlings and digressions get killed. It’s such an important process, and yet too many editors are too meek (or overworked) and too many writers resist their edits. A good editor is a great thing.
Author of The Panic Virus and Feeding the Monster
If you’re a Mac guy, I whole-heartedly, full-throatedly recommend using Scrivener. I think you can get a free 30-day trial, so it’s at least worth checking out. Especially with this last book, it totally saved me from having hundreds of (virtual) stacks of thousands of (virtual) scraps of paper.
For me, it was vitally important that all non-book related reading be as mindless as possible. I binged on mysteries…Rex Stout and Donald Westlake/Richard Stark in particular.
I tried, not always successfully, to start each day with some discrete goal I wanted to accomplish: write 200 words, or get through a certain amount of research, or conduct two interviews, or whatever. If I set out to spend a day “writing,” that would be so overwhelming I’d end up just farting around online all day instead of starting the climb the mountain.
Finally: assume your book is going to completely tank commercially. That’ll help you remember that you’re not writing this for the purpose of writing a best-seller (at least I assume you’re not), but because it’s something that you care passionately about and excites you intellectually and because you hope to be able to share your thoughts and observations and conclusions with a group of people you respect and want to discourse with. Everything else is gravy. At the end of the day, what’s important is producing something you believe in…not producing something that’ll catch people’s eyes at B&N.
Author of Superbug and Beating Back the Devil
Find an organizational scheme for your notes and materials; keep up with it (if you are transcribing sound files or notebooks, don’t let yourself fall behind); and be faithful to it: Don’t obsess over an apparently better scheme that someone else has. At some point during your work, someone will release what looks like a brilliant piece of software that will solve all your problems. Resist the urge to try it out, whatever it is, unless 1) it is endorsed by people whose working methods you already know to be like your own and 2) you know you can implement it quickly and easily without a lot of backfilling. Reworking organizational schemes is incredibly seductive and a massive timesuck. (I use DevonThink, OmniOutliner and Filemaker Pro. David Dobbs apparently has a quite different flow. We hope to do a workshop on this at NASW.)
Don’t wait too long to start writing, especially if your book incorporates descriptive or narrative elements. Write at least a quick sketch of the sensory and emotional elements that stick with you as you come back from field reporting.
You’re going to spend a lot of time in your head. Take care of your physical self too. Be just as committed to that as you are to getting your writing done every day. If you don’t care about your health, think your vanity — there’s an author video and a lot of public appearances in your future.
Bonus tip: Be good to your spouse/partner and protect time for them. They’re in this with you, but unlike you, they didn’t choose it.
How up are you on the acronyms used by teens or anyone else. I for one am not. I have to usually asked someone that has sent me something, what it means. I came across this posting and decided to share it with my readers because if you have a teen it could be very interesting and helpful facts to know. You might even print this off and keep it handy, especially if you check your child’s texts they are sending.
If you think you are tech savvy all because you know what “LOL” means, let me test your coolness. Any idea what “IWSN” stands for in Internet slang? It’s a declarative statement: I want sex now. If it makes you feel any better, I had no clue, and neither did a number of women I asked about it.
Acronyms are widely popular across the Internet, especially on social media and texting apps, because, in some cases, they offer a shorthand for communication that is meant to be instant.
So “LMK” — let me know — and “WYCM” — will you call me? — are innocent enough.
But the issue, especially for parents, is understanding the slang that could signal some dangerous teen behavior, such as “GNOC,’” which means “get naked on camera.”
And it certainly helps for a parent to know that “PIR” means parent in room, which could mean the teen wants to have a conversation about things that his or her mom and dad might not approve of.
Katie Greer is a national Internet safety expert who has provided Internet and technology safety training to schools, law enforcement agencies and community organizations throughout the country for more than seven years.
She says research shows that a majority of teens believe that their parents are starting to keep tabs on their online and social media lives.
“With that, acronyms can be used by kids to hide certain parts of their conversations from attentive parents,” Greer said. “Acronyms used for this purpose could potentially raise some red flags for parents.”
But parents would drive themselves crazy, she said, if they tried to decode every text, email and post they see their teen sending or receiving.
“I’ve seen some before and it’s like ‘The Da Vinci Code,’ where only the kids hold the true meanings (and most of the time they’re fairly innocuous),” she said.
Still, if parents come across any acronyms they believe could be problematic, they should talk with their kids about them, said Greer.
But how, on earth, is a parent to keep up with all these acronyms, especially since new ones are being introduced every day?
“It’s a lot to keep track of,” Greer said. Parents can always do a Google search if they stumble upon an phrase they aren’t familiar with, but the other option is asking their children, since these phrases can have different meanings for different people.
“Asking kids not only gives you great information, but it shows that you’re paying attention and sparks the conversation around their online behaviors, which is imperative.”
Micky Morrison, a mom of two in Islamorada, Florida, says she finds Internet acronyms “baffling, annoying and hilarious at the same time.”
She’s none too pleased that acronyms like “LOL” and “OMG” are being adopted into conversation, and already told her 12-year-old son — whom she jokingly calls “deprived,” since he does not have a phone yet — that acronym talk is not allowed in her presence.
But the issue really came to a head when her son and his adolescent friends got together and were all “ignoring one another with noses in their phones,” said Morrison, founder of BabyWeightTV.
“I announced my invention of a new acronym: ‘PYFPD.’ Put your freaking phone down.”
But back to the serious issue at hand, below are 28 Internet acronyms, which I learned from Greer and other parents I talked with, as well as from sites such as NoSlang.com and NetLingo.com, and from Cool Mom Tech’s 99 acronyms and phrases that every parent should know.
After you read this list, you’ll likely start looking at your teen’s texts in a whole new way.
IWSN – I want sex now
GNOC – Get naked on camera
NIFOC – Naked in front of computer
PIR – Parent in room
CU46 – See you for sex
53X – Sex
9 – Parent watching
99 – Parent gone
1174′ – Party meeting place
THOT – That hoe over there
CID – Acid (the drug)
Broken – Hungover from alcohol
420 – Marijuana
POS – Parent over shoulder
SUGARPIC – Suggestive or erotic photo
KOTL – Kiss on the lips
(L)MIRL – Let’s meet in real life
PRON – Porn
TDTM – Talk dirty to me
8 – Oral sex
CD9 – Parents around/Code 9
IPN – I’m posting naked
LH6 – Let’s have sex
WTTP – Want to trade pictures?
DOC – Drug of choice
TWD – Texting while driving
GYPO – Get your pants off
KPC- Keeping parents clueless
Here is another tip for you. I do hope it is helpful.
Cord vs. Chord
Latin chorda referred to catgut used to make the strings of a musical instrument. Chorda entered French with the spelling corde and the meaning “string for a musical instrument.”
English took the word from French, but eventually dropped the e and spelled it cord.
In English, cord came to mean different kinds of string or rope. The earliest illustration in the OED (1305) shows that “a cord” could be used to bind a person hand and foot; by 1330, cord could refer to the hangman’s rope.
In modern usage, cord is string composed of several strands twisted or woven together. By cord, modern speakers usually mean a light rope–the kind used for a clothesline–or a thick string–the sort used to wrap a parcel for mailing. In earlier usage, cord could refer to the ropes of a ship.
The OED shows that cord was used as a medical term for a body part that resembles a string, for example, a ligament.
The homophones cord and chord are often confused–with good reason.
As most of the readers of DWT know by now, some of our oddest spellings were born in the 16th century thanks to helpful grammarians who wanted to “restore” Latin spellings that weren’t missing. My favorite example is the alteration of the perfectly practical English spelling dette (“something owed”) to debt, to make it “accord” with Latin debitum.
The 16th century tinkerers decided that the spelling chord should replace cord because that was closer to Latin chorda. For a time, medical writers wrote about “spermatic chords,” “spinal chords,” and “umbilical chords,” but modern medical usage prefers the spelling cord.
For a time, the spelling cord was also applied to the musical term that meant “agreement of musical sounds,” or “a combination of three or more simultaneous notes according the rules of musical harmony.”
The musical term was spelled cord for a very good reason: it was a clipping of the word accord, a verb meaning “to bring into agreement.” Musical “cords” were sounds that agreed.
As it turns out, having different spellings for each term is quite useful. The current usage is:
chord: agreement of musical sounds
Unfortunately, some speakers get mixed up when it comes to the anatomical term “vocal cords”:
Do you want to strengthen your weak vocal chords, so you can become an amazing singer?
How to Keep Your Vocal Chords in Good Condition
Although used to sing, vocal cords are not spelled “vocal chords.”
I’ve two more factoids to share before leaving the fascinating subject of cord:
The smokeless explosive called cordite got its name from its “curiously string-like appearance.”
A quantity of wood is called a cord because it was originally measured with a string.
Hello everyone, this morning I am posting from Daily Writing tips about some common problem words. Have a great weekend and blessings to all.
English has several words that begin with the prefixes for- and fore- Sometimes the prefix means “before” or “in front of.” Sometimes it means “outside,” a meaning derived from an Old French element related to modern French hors, as in the French borrowing hors d’oeuvre, “outside the main course.”
Perhaps the most frequently misspelled of this category is the word found at the beginning of many books: Foreword.
A book’s foreword is a preface, a brief essay not necessarily essential for the understanding of the text of a book and commonly written by someone other than the author of the text. Confusion arises from the existence of the adjective forward.
As an adjective, forward is used to describe something that is in front of or ahead of something else. On a ship, things located towards the front are said to be forward, for example, the “forward hold.” A “forward child” in a positive sense is a clever child, precocious for its years. In a negative sense, a “forward child” is like the ones on television who exchange quips, insults, and double entendres with adults; again, the sense is that the child is ahead of its years.
The three verbs forecast, foretell, and foresee all mean “to predict” or “to prophesy,” but have different connotations:
The weatherman forecast showers for Monday. (prediction based on analysis of data)
The gypsy foretold Gwen’s marriage to a rancher. (prediction based on mysterious knowledge)
Harold’s business experience enabled him to foresee the consequences of his partner’s decision. (prediction based on personal experience)
Some other verbs beginning with fore- in which the sense is “happening before” are:
forebode: to announce beforehand.
Forebode and forbid come from OE verbs with similar meanings. Forbid now means “to command a person not to do something.” Forebode means to announce ahead of time. The word forbode carries a connotation of dread, for example, “Vanishing act of middle class forebodes turbulent time.”
The verb bode, on the other hand, means simply “to predict” or “to give promise of something” and may be used in either a positive or a negative context:
Stephen Colbert’s Super-Charming ‘Late Show’ Appearance Bodes Well for His New Gig.
Scottish independence does not bode well for its economy
foreordain: to determine in advance.
“His hostility drives the drama in the first act, and his frenetic dancing in the second makes his demise seem foreordained.”
forewarn: to warn or caution in advance.
This quotation from Charles Kingsley has become a proverb: “To be forewarned is to be forearmed,” (i.e., knowledge of what is about to happen is like having a weapon with which to defend yourself).
In the following nouns the prefix has the sense of “before”:
forelock: A lock of hair growing from the fore part of the head, just above the forehead.
In old novels you’ll find references to farm workers and other social inferiors touching or tugging their forelocks to show respect to their superiors: “There was plenty of bobbing from the girls and pulling of forelocks from the boys.” The expression “to take opportunity by the forelock” means to take advantage of a situation as aggressively as possible: “He seized opportunity by the forelock and secured the best aid possible in his business…”
forefather: an ancestor, one who has come before.
foresight: The action or faculty of foreseeing what must happen. For example, “[Jacob Little] had unusual foresight, which at times seemed to amount to prescience.”
In the following verbs, the prefix is from the French borrowing that meant “outside”:
forbear: to abstain or refrain from
“The defendants were asked to forbear to arrest Mr. Swift.”
forswear: to swear falsely; to abandon or renounce
“As waggish boys in game themselves forswear,
So the boy Love is perjured everywhere.” –A Midsummer Night’s Dream, I, i, 240-241.
forfeit: to lose the right to; give up
“The execution of a murderer does not violate his right to life, because he forfeited that right when he committed a murder.” –John Locke
forget: to lose remembrance of
forgive: to give up resentment
forsake: to give up, renounce
foreclose: to preclude, hinder, or prohibit (a person) from (an action). Although spelled fore-, the prefix in foreclose has the “out” meaning, as in “to shut out.”
Finally, there are two words that look almost alike, but have quite different origins:
forebear (noun): An ancestor, forefather, progenitor (usually more remote than a grandfather).
This noun is formed from the prefix fore- (before) and an old word, beer. This beer has nothing to do with the beverage. Instead, it comes from the verb to be. A be-er is one who exists. A forebear existed before you did.
forbear (verb): to abstain or refrain from something.
“Woman, forbear that weeping!”