My very first guest appearance on an author’s blog! Many thanks to my friend and fellow writer Ari Meghlen for having given me this opportunity. For any of you who are writers looking for a place to be a guest blogger, I highly recommend her site.
As a friendly reminder, you can reserve the paperback through Amazon and Barnes & Noble. If you’re in Britain, it’s also available through Amazon.co.uk and Foyles Bookstore. Additional outlets can be found for both versions via Goodreads.
You can also try ordering directly at your local bookstore. That can help get it on shelves for other readers to find. If you belong to a book club, I hope you’ll recommend it to your fellow members! Your reviews will help me and this book immensely. Spread the word!
And don’t forget, if you become a fan you can order merchandise with the cover art at Deviant Art!
Yes! I’m very happy to announce that the paperback version of Mystical Greenwood is now available on Amazon!
Mockingbird Lane Press will also soon be offering an e-book version (which can be downloaded to Kindle and Nook)! It should be available in a couple weeks.
Mystical Greenwood will also soon be offered on Barnes & Noble.
I hope you enjoy it! Please read, review (be honest), and help spread the word!
The cover art is also available on Deviant Art! If you’re a fan, you can now buy merchandise!
Often when works of fiction are discussed, word and/or page count comes up. When you see books on a shelf, one of the first things you’ll notice, apart from the author’s name and book title on the spine, is how thick or thin they are compared to each other. Some people like J. R. R. Tolkien enjoy reading long stories. Others prefer shorter works. What is it about length? Does it matter?
Often when you look at a book’s title page, there will often be a subtitle saying “A Novel” or something similar. “A Novella” and “A Novelette” appear to be less common. Instead perhaps you might see “A Short Novel”. Furthermore, when it comes to defining types of writers we have novelist, poet, essayist, playwright, short story writer, and screenwriter. There are no set terms that I’m aware of for writers of novellas or novelettes. I sometimes feel novel is an umbrella term under which any fictional work longer than a short story can be labeled. Often, it seems word count is what it really comes down to, as I’ve seen so many sets of word count ranges that are used to define these works. Or is it?
In my senior year at St. Mary’s College, I took a high level creative writing class called “The Novella”. Some of the books we read felt like novels or long short stories. We each had to write a novella, and I started writing that story about neglected pets. It fit into a novella word count range. However, my classmates and the professor felt it should be expanded into a novel. I admit before that class, I’d first imagined it as a novel. Perhaps a work of fiction is what the author believes it to be, and subsequently calls it.
Writing for the stage and screen can be more restrictive, though it’s by page count rather than words. Once at a meeting of the MWA Annapolis chapter it was stated a page of a screenplay equals a minute of screen time. Thus an ideal film script should be 100-120 pages. A TV episode script would be 50-60 pages. Plays too it seems have page count limits these days. Audiences I can understand would rather not sit in a theater all day.
Some classic plays and films are long. Hamlet is usually abridged when staged or filmed. The 1996 unabridged film version lasted over four hours. Sometimes I wonder what Hamlet’s stage and screen history would’ve been like had Shakespeare written it as two plays, as he did with Henry IV (which has appeared onscreen only as TV films). I also wonder what the movie Gettysburg would’ve been like had it been a TV miniseries as initially planned.
Charles Dickens’s works were first published as a serial (like novelettes or novellas) before being printed as complete books. The serial versions were cheaper, making his novels available to the masses, whom, with a cliffhanger, would be enticed to buy the next installment. The novels of the Brontë sisters were published in “volumes” – but like Dickens’s books they’re are only published as complete works nowadays. Some people feel novellas and novelettes have difficulty getting published these days, and if they do they are usually combined with similar works.
In the end, it all comes down to the writer. It’s up to the author whether they want to define their work as novels, novellas, novelettes, short novels, or short stories. Length is applied in the public consciousness, but maybe it doesn’t have to. Does length and its description on the title page affect the customers decision to purchase or pass? What do you think?
- Meer, Syed Hunbbel. Differences Between a Short Story, Novelette, Novella, & a Novel.
- Playwriting 101. Chapter 1: The Play’s the Thing.
I’m sure many of you are eager to hear the status on Mystical Greenwood. So as a little treat on this Christmas Day I thought I’d share some updates.
To begin with, if you haven’t yet be sure to watch the book trailer!
Many thanks to Jamie Johnson of Mockingbird Lane Press for an excellent job, and also to songwriter Lee Chapman for the wonderful musical score. Some of you already know this, but Mystical Greenwood includes within its story the lyrics I wrote for two songs. Lee has composed music for both of them. The music in the trailer is for one of those songs.
I’ve gotten through the hard proof round of editing. It sure was a thrill to hold my book in my hands. I do not have an official release date yet, but it looks like Mystical Greenwood may be ready sometime in the coming months! I’ll make an announcement when it’s available. The cover art should follow on Deviant Art soon after the book’s publication.
As you saw from the trailer, when it’s officially released, it will be listed on Amazon and Barnes & Noble. It will be available in both paperback and e-book (downloadable to Kindle and Nook). Be sure to check the Events page for future events. I definitely want to organize a launch party once the book is released.
I’m looking forward to the new year! Once again, I’m thinking of resolutions. Those pertaining to writing include completing at least one draft of a new book (specifically those two that are in progress), and of course making Mystical Greenwood a success. You can help me there by reading it, reviewing it, and spreading the word.
My uncle first came up with the concept of the P’s of getting published. He came up with three: patience, politeness, and professionalism. I added a fourth: persistence. One could call them principles, or perhaps even virtues (although that doesn’t begin with P). Each is important when corresponding with agents, editors, and publishers, and ultimately towards becoming published authors.
Everyone knows patience is a virtue. It’s also something I brought up when I discussed rejections and criticism. One writer is a fish in a deep ocean when it comes to editing and publishing. People in this industry have to judge every query and submission carefully, and with great thought. They have to decide whether or not it is an investment worth the risk, which like the publication process itself, takes time. Another saying people know is that good things come to those who wait. It’s especially true for writers. Believe me, I’ve learned the hard way never to rush when it comes to writing or getting published. It’s important to respect publishers and editors for taking quality time to be thorough in their jobs so that a writer’s work reaches its full potential.
I already discussed the importance of persistence over a year ago when I talked about facing rejection and criticism. Writers have heard it said before and I’ll say it again: don’t give up. Now, once a contract has been signed, it isn’t a good idea to press agents, editors, or publishers, or sound pushy. Rather writers should be persistent to a degree that shows they care about their work and accomplishing goals, but are patient and respectful of those with whom they’re working.
A writer must never forget once they have a contract that he or she is not the only writer under contract. Agents, editors, and publishers alike have to work with and help many writers. So writers should always respect their position and what they’re doing for them. They should respect what they say in their critiques, even if they the writer disagree with it. Now, being a little rude is one thing. But I recall one editor’s story of how a client went beyond being merely rude to being outright vile and foulmouthed, calling the editor offensive names. That editor wouldn’t work with that client again. Now this case, as I said, goes beyond mere rudeness. If writers are a little rude such as when defending their vision of their work, publishers and editors can handle that. Sometimes, people can be rude without realizing it. Still, it’s important to remember editors and publishers are people and have feelings, as do writers. Being polite and respectful goes a long way.
A writer should be professional in his or her correspondence, something that’s apparent from the beginning when querying and submitting work. No doubt everyone recalls dressing professional when going for a job interview. One certainly wouldn’t think of dressing too casual then or when hired. It’s a similar situation when approaching and communicating with those who’s job is to edit, publish, and market writers’ creations. Only in this case it’ll usually take the form of words both written and spoken rather than clothing and hairstyle. Acting casually or even sarcastically can give the impression writers aren’t serious about their work being a success, that they don’t care. Publishing is a business. Writers must take it seriously as they would their work, so as to increase the likelihood of getting it and themselves out there.
Writers can certainly have visions of how they want their books’ interior to look when readers open them, with such things as drop caps and fancy-looking fonts for the title and chapters and body. For those who self-publish, it’s certainly up to them what design they want. However when submitting to agents and/or presses, they’ll rarely accept a manuscript that’s been elaborated as such. It needs to be easy for them to read and edit, similar to how play and film scripts must be easy for actors to read. Design for novels comes later. I’ve found it best to use a manuscript format while writing. It makes it a lot easier to focus on the story. A similar situation I think most people can relate to would be school papers; teachers and professors often give specific formatting guidelines to their students, based on their own preferences.
Agents and publishers will often have their own preferences that they specifically ask for or use later, but there are some commonalities I’ve found in advice and tips already out there, and from my own experience. What follows are some personal observations and recommendations based on some of these commonalities. Note: this discussion focuses specifically upon novels, as opposed to plays or screenplays (both of which I’ve learned have their own formatting guidelines), and using Microsoft Word.
Now, writers can go in manually and adjust, or modify text formats and headings so they can just be chosen. When it comes to the text, Left is preferred rather than Justified, and no hyphenating (both will come later, with the final layout). Tabs aren’t recommended; instead, format paragraphs so the first line is always indented. The only paragraphs which don’t have to be indented are the first in each chapter. With titles and chapter headings, I’ve learned it’s best to Center and Bold them so they stand out. Italics are used only when there’s a specific need for them, such as for internal thoughts.
When it comes to font, a small handful are generally preferred: Times New Roman, Arial, Courier New, and probably Calibri and Cambria now. Make it all size 12 (except the book title if you wish). I also turn off the Widow/Orphan Control when setting the paragraph format. Why? Say there are one or two lines left on a page for a brand new paragraph. It’ll automatically instead go over to the next page and you have an empty line. Turning off the Widow/Orphan Control prevents that, so a page’s entire space is used. 1″ margins and regular paper size (8.5″ x 11″) are also preferred. Old school would have two spaces after every sentence, but nowadays it’s just one. Some would have the book title on the same page as the first chapter. In other cases there’s a separate title page, which I personally prefer. I also make it a separate section from the chapters, so it doesn’t have page numbers like they do (which are typically centered in the footer).
In the end, I now think of manuscript formatting this way: it’s a book ready to receive edits as well as an elegant design, just as a play or script is ready to be read by actors. It’s beautiful in its own way, designed to be presented to the publishing world. If you have experiences and/or opinions of your own on formatting a manuscript, please feel free to share them.
- SMF – Standard Manuscript Formatting.
- Dacus, Kaye. Manuscript 101–Introduction & Basic Manuscript Format.
- Fogarty, Mignon. Two Spaces After a Period.
- Hill, Beth. Format Your Novel for Submission.
- Kewin, Simon. 16 Manuscript Format Guidelines.
- Klems, Brian A. What Are the Guidelines for Formatting a Manuscript?
- Williamson, Jill. How to Format a Fiction Manuscript.
Nom de Plume, pseudonym, pen name, whichever term you prefer to use, several writers have used one instead of their real names. Like fictional characters, a pen name in itself is a persona created in the writer’s imagination.
Your real name can in essence become a pen name, or what I like to call a “writer’s name” where nothing is made up (otherwise it’s a pen name). There are many options beyond your first and last names. You can include your middle initial, go with your full name, or use initials. If you prefer your middle name, you can use it alone or also include your first initial. If you go by a nickname, have a suffix, more than one middle name, and/or a maiden name, you have even more possibilities. Try saying them out loud, so you can hear how they sound.
There are many sources from which you can create a pen name. You can of course use part of your real name. You could pay tribute to relatives, friends or other people, places real or fictional, something special to you, or maybe it could be an anagram. Samuel Clemens came up with “Mark Twain” from working on the Mississippi River (from a phrase indicating the water to be two fathoms deep). Charles Lutwidge Dodgson took the Latin versions of his first and middle names, anglicized the spellings and swapped them to create “Lewis Carroll”. It could even be one name. Charles Dickens initially used the pseudonym “Boz”.
Usually, a pseudonym is used if a writer feels that he or she has a specific need for one. Some sought to distinguish themselves from someone well-known with a similar name. Others wanted to reflect their chosen genre. It can become a character within the story, like Daniel Handler and William Goldman did respectively with “Lemony Snicket” and “S. Morgenstern”. A writer with multiple works coming out simultaneously might publish some under a pen name and the rest under their real one, which Stephen King did for a while with “Richard Bachman”. If you simply desire privacy, probably your best option then would be something that doesn’t stand out, and even better, isn’t an obvious tribute to anyone or anything special to you.
Perhaps one of the most frequent historical cases has been female authors using male or gender-neutral pseudonyms to give their work a higher chance of success. Some continue to be used, like “George Eliot” (real name Mary Ann Evans). Others no longer are. The novels of Charlotte, Emily, and Anne Brontë appear today under their real names. However the sisters first published them respectively as “Currer, Ellis, and Acton Bell”. Sadly this trend still seems to continue. Joanne Rowling‘s publisher apparently did not feel the target audience for Harry Potter (teenage boys) would be inclined to read books written by a woman. Rowling subsequently came up with “J. K. Rowling”, when in fact she does not have a middle name (she chose K in honor of her grandmother, Kathleen).
Often, writers become better known by their pen names. A friend who’s a teacher told me of a time when he asked his students if any of them knew who Theodor Geisel was, and no one could answer him. Had he used Geisel’s most frequent pen name (Geisel did use more than one, which you can certainly do), “Dr. Seuss”, they could have answered him right away.
At times I’ve thought about using a pen name. I came up with several possibilities (much like Eric Blair did before he settled on “George Orwell”). I also thought about how my own name could be written in various ways. In the end, I settled for my first and last name, which suits me fine. It’s unlikely, but not impossible, that I might still use a pseudonym for something someday. Whether you use your name or a nom de plume is entirely your choice. If you haven’t decided yet, try not to take too long. Always remember, your creative work is your first and foremost concern.
From infancy onward we learn how to pronounce words by hearing others talk and from reading books. When it comes to literature, often we find words invented by the author or ones that weren’t but we don’t frequently hear. They are often the names of people, places and things, but not always. In all cases, we are prone to mispronouncing them, out loud or just in our heads.
Names and words can be spelled the same but pronounced differently depending upon where and from whom you hear them. For example, the name Guy in French is “GEE” (not “JEE”) as opposed to the English “GIE”. In Ireland, Saoirse is most commonly “SEER-shuh” but in certain regions “SAIR-shuh” is more popular. How you say Cairo depends on whether you’re referring to the city in Egypt (“KIE-roh”) or Illinois (“KAY-roh”).
Some names have been anglicized in how they sound if not their spelling. For instance, Brian and Dylan, which respectively originate in Irish and Welsh myth, were “BREE-in” and “DULL-in” but have since been anglicized as “BRIE-in” and “DILL-in”. Ethnic background however doesn’t always guarantee a specific pronunciation. It ultimately rests with personal preferences. Welsh poet Dylan Thomas used the anglicized version of his first name. Actress Saoirse Ronan prefers “SUR-shuh”.
Not every name or word is pronounced how it’s spelled either, which many Irish, and Old Irish, names demonstrate. To use one example, a letter combination (known as a diphthong) of MH or BH sounds like either a W or a V; the name Siobhan is “SHIH-vawn” and the festival Samhain (which helped create modern Halloween) is “SOW-in”. Some Welsh names beginning with an I pronounce it like a Y. The examples go on.
Yet sometimes, a mispronunciation has with time become the correct one. Jekyll in The Strange Case of Dr. Jekyll and Mr. Hyde today is “JECK-uhl” but was originally “JEEK-uhl”. The T in Voldemort was meant to be silent, but it was pronounced in the Harry Potter films. The surname of Dr. Seuss was supposed to be “ZOICE,” but after people kept saying “SOOSE” he gave up trying to correct them.
Mispronouncing a word when reading is nothing to be ashamed of. We’ve all been there, including me. This quote/image has been shared frequently on social media:
For us writers, there are steps we can take to help readers pronounce words correctly. Here are some personal recommendations. First, make sure you know the proper (or your preferred) pronunciation, especially if you think people will likely mispronounce it. If you have several names and/or words you believe will be hard to pronounce (such as within fantasy or science-fiction), it might be a good idea to include a pronunciation guide. With works where there are fewer such words, an easier method could be incorporating the pronunciations into the text or dialogue (if you’re writing for the stage or screen, actors will be enabled to pronounce them for you – just make sure you let them know how you want them said). That way, incorrect pronunciations don’t become correct ones.