Edit, Revise, Rewrite

Any writer who takes their craft seriously will have edited their work many times over. I can pretty much guarantee that any bestselling novel or literary classic you take off the shelf is not in its first draft. Novels go through several drafts before they are published. It can be said of any form of creative writing too, really.  It can even feel at times while you write that you are editing too, and the editing takes over the writing process. Some say to not edit at all with the first draft, to just write it and get it done. Also, others will say that you eventually have to stop editing and move on, otherwise you never will. Both of those sentiments make total sense, but editing is still a vital stage of the writing process.

Perhaps you remember from writing school papers the concept of rough drafts and final copies. Editing enables you to polish a rough draft so that you have a final copy. It is the same with novels. So what chance does a work have without being edited, or without at least one other pair of eyes not your own offering critical feedback? Taking feedback is never easy, but it should be constructive, so you can see it as a way to ask yourself what can be done better.

Going beyond grammar and spelling, the book itself goes through many drafts. Plot points are altered. New ones come in. Old ones are eliminated. It’s same with characters, names, and the elements and rules of world-building. Plot holes are identified, along with anything that does not fit. The problem is tackled, usually more than once. It might be necessary to start over from scratch, using the old draft for reference. Format can change too: chapter titles come and go, length can be altered, and the format of chapter numbers (word numbers, Roman numerals, number numbers) can change.

With Mystical Greenwood, I’ve learned the power and importance of editing. It’s always beneficial to have another pair of eyes look at what you wrote, so you might see what potential readers might say. Whether they’re beta readers, critique group members, or professional editors, their opinions will go a long way. At a time when I thought Mystical Greenwood was good and the plot solid, an insightful and encouraging critique from author John DeDakis showed me that more work still needed to be done. To quote Ewan McGregor’s character in The Ghost Writer, I came to think of it as a case where “all the words are there. They’re just in the wrong order.” Some scenes were moved around and rewoven together as a result.

Originally I had around half as many chapters that were twice as long, but then I started to wonder if they were too long. I’ve read books with really long chapters and found it to be frustrating finding a place to stop before bed. So about two thirds through a draft, I split those I had in two (excepting the prologue). I also switched from word numbers to number numbers. I once had chapter titles, but grew to dislike them, and after failing to think of new ones, I discarded them altogether. I felt they had become unnecessary.

The main reason I approached Mockingbird Lane Press was its founder, Regina Riney-Williams, has a great reputation as an editor. Over the course of two rounds of editing, I have found her insights and opinions invaluable. She has been constructive and encouraging, and I’m very grateful for her feedback as much as her willingness to take my book on. I’ve learned not only that so much can change through editing, but as a writer to never stop with one draft. To be a good writer, one must seek and accept feedback, subsequently editing, revising, and often rewriting, which must continue with every novel to come.

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The Four P’s of Getting Published

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.

Patience

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.

Persistence

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.

Politeness

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.

Professionalism

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.

Cover Art: Mystical Greenwood

I’m very happy to reveal the cover art for Mystical Greenwood! Many thanks to Jamie Johnson of Mockingbird Lane Press for her excellent design!

I’m also delighted to announce it will be available before long on Deviant Art, where items can then be purchased with the cover art on them!

Mystical Greenwood RGB

Formatting a Manuscript

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.

Further Reading
  1. SMF – Standard Manuscript Formatting.
  2. Dacus, Kaye. Manuscript 101–Introduction & Basic Manuscript Format.
  3. Fogarty, Mignon. Two Spaces After a Period.
  4. Hill, Beth. Format Your Novel for Submission.
  5. Kewin, Simon. 16 Manuscript Format Guidelines.
  6. Klems, Brian A. What Are the Guidelines for Formatting a Manuscript?
  7. Williamson, Jill. How to Format a Fiction Manuscript.

Moving on to the Next Step

Writing an entire book is a challenge, but one I have overcome with Mystical Greenwood. It isn’t finished yet technically as it’s still in the editing phase. But with Mockingbird Lane Press publishing it, it’s more apparent to me than ever that the day will come where I’ll have officially moved on from this one book I’ve worked on for so long. But that means I’m going face a new challenge, which may prove even greater: writing another book. Knowing I’ll have to move on to this next step, I’m already feeling the pressure.

It almost feels as if I’ve never written a novel before. I’ve noticed a similar situation in college: whenever a new semester starts, it feels like I’m back to square one. But in truth, I realize it’s only natural to feel this way, because every semester, like every book to come, will be different. Each new novel will be its own unique experience and journey, but I’ll have to remember the experiences  and challenges will be, to a certain degree, similar to those I’ve endured before. I have to tell myself I did it before, and can do it again. On the other hand, it may be necessary as well as only natural to feel nervous. I cannot become overconfident or complacent with myself. That fear of failure is what enables me to keep striving try hard, and be conscientious.

However, I find Mystical Greenwood as it is now – almost complete – in the back of my mind. As a result, I keep thinking about it, which isn’t a fair comparison because newer projects will be in their earliest, rough drafts. Sometimes I feel people, when reading a novel, don’t consider the earlier drafts it must’ve gone through. Speaking for myself as a writer, I see a similar problem when starting a new novel after finishing the last one. It’s easy to look at a book complete or nearly complete, and fear your next one won’t be as good or well-written. On the other hand, that last book was rough once. What I mean to say is, Mystical Greenwood‘s near-publication should motivate me to write more, but I can’t compare it to other novels as I begin writing them. The books to come will also take more than a few drafts. A well-polished book doesn’t come instantly.

As I have said before, Mystical Greenwood is intended to be the first book in a trilogy. The next book certainly is one of those up front I need to work on. I have some ideas already forming of what I want to include in the second book, including how I want to end it, but it won’t conclude the story, thereby giving me an early purpose for the third book. At the same time, I want to expand beyond this fantasy realm into other genres.

As a matter of fact, I wrote a manuscript for a high-level creative writing class during my last semester at St. Mary’s College. The class was a “novella” class, but others felt the story I came up was more novel-length, which I felt too. Unlike Mystical Greenwood, it was set in the real world, and was about pets that are neglected and abused. It was definitely a first draft that needs rewriting and I want to work on it. We’ll see what happens. I don’t want to overstretch myself by working on way too many projects at the same time, but there are several other ideas I could expand on eventually. I won’t reveal too much just yet, except there is hope. The day will come soon where I’ll be moving on to the next step. I cannot stop at only a single novel. I must write more, again and again.

Pronunciation

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:

mispronounce

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.

Pronunciation Sites
Irish Pronunciation Sites

Victorian Monsters

I’ve always been a fan of horror fiction, and every October I watch scary movies all month long. During my first semester at St. Mary’s College, I took a Freshman Seminar called Victorian Monsters and Modern Monstrosities. Professor Jennifer Cognard-Black introduced us (we came to be known as “Marvelous Monsters”) to six archetypes. With each we read a corresponding literary classic:

  1. Freak – Frankenstein
  2. Madwoman – Jane Eyre
  3. Schizo – The Strange Case of Dr. Jekyll and Mr. Hyde
  4. Horrorscape – Alice’s Adventures in Wonderland
  5. Deviant – Dracula
  6. Animagi – The Island of Dr. Moreau

Here are some of my notes from the start of the seminar regarding core themes:

image

Indeed these archetypes reflect Victorian social fears and limits. Yet there is something about what’s considered monstrous that draws people in. We delight in feeling terrified. We are interested in the unknown. During Victorian times revolutions were underway in science and philosophy. The establishment clashed with the Enlightenment.

The Freak is considered, as I wrote in my notebook, the “embodiment of cultural anxiety”. Freaks are the ultimate outsiders, who can never fit due to a social abnormality, physical or not. Dr. Frankenstein’s creation is a result of his desire to know higher truth. Yet out of fear for what he achieved, he abandons his creation. The creature longs to be human. Born innocent, he teaches himself by observing them. Yet they ultimately reject him. Mary Shelley was shunned for being her eventual husband’s mistress while he was still married to his first wife. Shunned himself, Frankenstein’s creation becomes a raging and vengeful monster, but only because society made him one. He still has a heart and feels guilt.

The Deviant can infiltrate society and take it down from within, without guilt. Count Dracula moves to London and attacks young well-born women, who symbolize what is valued by Victorian society. After the character Lucy is vampirized, she attacks children, representative of society’s future. The vampire deviates from social norms through murder and raw sexuality (something Bram Stoker could only reference indirectly in his time), and operates secretively. Yet Dracula is from a different world than Victorian London. His is one of superstition, presenting a clash between Christian and non-Christian. Exotic landscapes and languages are seen as beautiful yet terrifying. Though Victorians saw themselves as cosmopolitan, they enjoyed expressing exotic tastes. Stoker merged old and new, drawing from folklore while using a contemporary setting.

Sometimes what is deviant to one culture is not to another. A Horrorscape can be seen as a Deviant story in reverse. After tumbling down the rabbit hole, Alice enters a world where everything that defined hers, her whole cultural upbringing, is turned upside down. Everyone’s mad. Alice tells the caterpillar she’s not herself. She cannot conform. She’s transgressive. Perhaps the inhabitants of Wonderland saw Alice as a Deviant trying to tear down their world.

The notion of giving in to one’s “animal” instincts is most clearly depicted in Animagi. They represent a move away from rational towards emotional, thus revealing the beast hidden within, which is violent and aggressive. Dr. Moreau’s creations blur the boundary between man and beast. Another famous example is the werewolf. Often those animals personifying evil are feared, exotic predators. Such instincts can be classified as Christian deadly sins: greed, gluttony, anger, and lust. Yet there is something appealing about giving in; a sense of freedom. H. G. Wells defied convention by advocating “free love” – and was notorious for his affairs.

The schizo is the ultimate human split between good and evil, yet it is often unclear which is the true personality. Though Jekyll’s desire to know the unknown results in a physical transformation (which is not required for schizos – it can exist solely within the mind), even if Hyde is guilty for crimes Jekyll would never commit, Hyde is still a part of him, and slowly takes over. It calls into question identity itself. Identity is in turn reflected in residency and possessions. Jekyll lives in a respectable, cosmopolitan neighborhood; Hyde’s is far less respectable. Once I watched a documentary discussing how Robert Louis Stevenson’s birthplace, Edinburgh, was a city divided between old and new, rich and poor, suggesting that duality may be what inspired his story.

Victorians had a dual perspective regarding women, at a time when many like Shelley’s mother began challenging the status quo and seeking rights in what was still a male-dominated world (a world in which Shelley published anonymously while Charlotte Brontë and her sisters used male pseudonyms). On one side was virginity, marriage and motherhood. On the other were Madwomen: temptresses, mistresses, witches – women who played upon men’s desires, using their femininity for selfish, nefarious purposes. The lunatic Bertha Mason prevents Jane Eyre from marrying Rochester because she’s his wife (though she would later be portrayed as a victim in Wide Sargasso Sea). She dominates Rochester through marriage. Madwomen seek power over men, and greater knowledge (tied back to Eve in Eden). Women were linked symbolically with Nature because of their ability to bear children. Sometimes madwomen were associated with water and drowning, though Bertha herself dies by fire.

People are inexplicably drawn to what terrifies them. These fears and anxieties live on today. There are still outsiders, some by choice and others who have none. Criminals deviate. We all struggle with primal urges and desires. Wherever there are rules, there are always rebels. Perhaps that is why we still enjoy horror fiction. That seminar was the highlight of my first semester. I loved it. Hopefully someday I’ll apply some of these themes to horror stories of my own.

Social Media

Social media is without a doubt one of the greatest technological advancements in modern times. Gone are the days when the only way to spread word by handwritten letters or word of mouth. Now in the computer age people can communicate with one another in the blink of an eye. For a writer, social media has become indispensable for informing prospective readers of theirs and their work’s presence, especially for the unknown writer trying to establish a foot in the writing world. Yet social media, like the writing world, is a vast ocean filled with fish. Each writer must find ways to make him or herself stand out.

When I first started writing I used word of mouth to talk about it. Still, I was young and woefully unprepared for marketing (I certainly was not ready for publication either). Throughout high school I was not on social media of any kind, and would really not get into it until after college.

In addition to this website/blog, I have a Facebook page and a YouTube channel. In observing site stats, I can see it has gotten far more referrals from Facebook than anywhere else. Several friends from the Maryland Writers’ Association created a public page that anyone can like and follow. I knew at some point I ought to create one of my own, but it was not until my first writing award in the MWA creative nonfiction contest and agreeing to read from it in Baltimore that I finally got around to that. I invited all my connections to like the page, and still do.

Almost instantly, inquiries were made on the page regarding my website. I hesitated to create one because I hadn’t published much, nor had I found a publisher for my novel. Nevertheless, I wondered if I should start early. At a meeting of the Annapolis chapter of the MWA, I talked about it with a friend. She encouraged me to start right away, so I did. Website building blogging, and specifically WordPress, were the topic of discussion at a previous meeting. So I decided to go with WordPress. I started with one visual theme, but another site I formerly followed already used it. Eventually I grew dissatisfied. I knew I needed to find something different. Eventually after looking at many other themes, I chose the one I have now. Like in all aspects of writing and social media, I have continued to learn through trial and error to refine my site’s image.

My site’s domain name was not my first choice. I originally hoped to use my first and last name, like many writers’ professional websites. Unfortunately it had already been taken. My first post appeared the month after I created my site. In future I hope to use my blog to make announcements about and market my work. For now, I have been discussing my experiences and beliefs I have formed about writing. I do sometimes wish there were more likes and comments, but I have learned it is not always easy to catch people’s interest. Sometimes to do so, the old ways like word of mouth are best. Still, not everyone you invite responds. Some prefer not to subscribe. It is something we all must learn to accept. No one can be forced to subscribe or even view a site. All you can do is invite them.

Social media has a dark side too. We all must strive to remain dignified and respectful when many others will not be, which is not always easy. In the past on Facebook I have at times written without thinking, or were distracted or having a bad day. Some friendships were broken as a result, despite my attempts to make amends. Lesson learned; we are all people with feelings, opinions, and flaws. At times I fear I might become trapped within my own creation. I have to do my best to restrict myself sometimes; to know to when to stop. Social media can be like public appearances in that you need to guard your private life outside of them. Sometimes it feels like I spend too much time on it, and I have to be mindful there too. It is good to unplug sometimes and get away from it all, to enjoy life and discover true inspiration.

As mentioned earlier, I am also using YouTube. I uploaded my first video back in April from the Open Mic I participated in that month. There have not been any more at the moment. In the future I hope to change that, with more appearances, book trailers, and other videos. I have created a presence on social media and acquired a following. I sometimes fear I will run out of ideas to blog about before a publisher accepts my manuscript. I can only hope this platform will continue to grow, and that I will continue to learn new ways to market my work and presence so they stand out.

Building Worlds

Writers create more than stories and characters. They create places, sometimes within the world of today or the past. There are also places, and whole worlds that never existed, except within the imagination.

I find the key to worldbuilding is how believable it feels. A good setting, however fantastical, must feel real to the writer and reader (with satire and comedy you can get away with this). A few times on the British sitcom Are You Being Served? when the characters would put on theatrical pageants, senior saleswoman Mrs. Slocombe was going to (or wanted to) play a character far younger than herself. Someone would remark that it was “make-believe” to which there were responses of “We’re going to have to stretch our imaginations” and (to Mrs. Slocombe’s chagrin) “Not to the point of incredibility.”

Many considerations are necessary. Every detail must harmonize with the story, style, and themes. Otherwise that sense of reality will shatter. The reader will be left questioning why a certain little thing is the way it is rather than enjoying the story. The Writer’s Circle once posted this list to their Facebook page:

World Building (Writer's Circle)

A contemporary setting, whether fictional or not, is usually pretty easy. With a historical backdrop, I recommend doing research into what life was like back then. Or perhaps the world is science-fiction, set several years in the future like Star Trek, or like Star Wars in a galaxy far, far away. There I suggest looking at the present; not just science and technology but the whole world. Imagine where it could all go in the future. Or it could be an alternate reality: what it would the world like had the past been different?

In fantasy, where the greatest amount of world-building undoubtedly occurs, I find it best to begin by looking at history, or even mythology. Suppose your world could have existed. Where and when would it be? Perhaps there’s more than one possibility. If so, perhaps you can merge them. J. R. R. Tolkien drew on myth, religion, and his own life experiences, from childhood and World War I, to create his stories.

Early on I envisioned my story as an epic adventure that would’ve taken place long, long ago. As a child I’d always been fascinated with knights. So I researched medieval life and society. However when it came to symbolism, names, and other details, initially I didn’t pay as much attention. It was a mix from various sources.

With new drafts of course came changes and the need to make everything fit together. As I mentioned before, I renamed characters, places, and things to strengthen my story’s feeling of “Gaelicness” which came out of a lifelong love for nature. I added details and symbols inspired by Ancient Celtic life and Irish myth. But I was careful not to take them too far so they didn’t feel out of place with what I already had. I looked again to history and symbolism to help refine the “map” of my world. It is at present no longer a purely medieval setting but a mixture of different periods, which thereby makes it more its own unique world.

When it came to magic, rituals, and beliefs, I looked at myth and folklore, as well as numerous books and articles on Wicca, Neopaganism, Neo-Druidism, natural magic and spirituality. This research helped me reinforce the atmosphere I wanted. I’ve found that bridging ideas and sentiments from the modern world with ones from the old helps readers connect with themselves more.

When it came to the environment, I ultimately looked to the flora and fauna of Ireland and Britain. Brian Jacques, the late author of the Redwall saga, once said that he chose creatures native to his homeland for his anthropomorphic characters, rather than trying to use every animal in the zoo. I considered the latter once, until I realized many would never survive outside of a habitat not their own, and it would be too crowded. One or two exceptions won’t hurt. Still, they shouldn’t be too out of place. Herbs were researched for medicinal purposes. Some were later discarded as they were either not native to those lands if not found in a temperate climate. Many trees were chosen for being sacred to the Celts.

In addition to real creatures, I tried cramming in mythical ones too. Earlier drafts of my book included gryphons, unicorns, dragons, elves, dwarves and centaurs. The latter three were dropped as it again was a problem of overcrowding. With too many details, places and characters, a story becomes lost in itself. As a writer, you have to know when to stop.

If you write a series of books with an imaginary setting, I strongly advise you do NOT map out the entire world at the very beginning. Otherwise you’ll be trapping your story (and yourself) in a box from which if you try to expand out of could lead to contradiction or dead ends. Without a complete box/map, you can add newer details with much more freedom. I found it very relieving, as I was able to concentrate more on my plot. Thus the world and characters could grow in conjunction with it.

I will continue to build this fantasy world I’ve created as the trilogy progresses. Other, completely different worlds will no doubt follow with future projects. As in all aspects of writing, worldbuilding is undertaken with trial, error, patience, passion, and dedication. It is all part of a writer’s evolution.

Off the Page

Writers must play a role in marketing their work, so that prospective readers will know about it, and them as writers. Central to that role is taking their written words off the page by reading aloud. Sometimes there are full-length reads in person, or short clips meant to entice readers to want more. Writers also speak publicly about their experiences as writers. In all cases, it is important to give a strong presentation.

Before stories were written, they were told aloud. We still read them aloud today. As a child my parents read to me before bed, which I hope to do someday when I have children of my own. Some of my favorite TV shows were essentially narrations of the stories they were based on, from Beatrix Potter’s tales to The Railway Series by Reverend Awdry (these were narrated by George Carlin and Ringo Starr). The narrators I remember did an excellent job. I watched them over and over again. Those stories stuck with me. In recent years when I volunteered at a library annex on Ft. Meade, once in a while I read aloud to visiting children. Listening to and telling stories are a way we can connect to each other.

In school I read my work aloud, which continued at St. Mary’s. I listened to writers talk as part of the college’s VOICES reading series. Back in high school I participated in the drama club, where I had to memorize lines. Public readings and talks are themselves a dramatic performance. Therefore the writer is an actor playing a role. Charles Dickens gave numerous readings of his work (notably A Christmas Carol). He actually considered becoming an actor before he started writing. Nevertheless, he was a master of vocalizing characters. It has been sadly noted his time was before voices could start being recorded, so we can never hear what he sounded like.

My mother told me I could once recite Dr. Seuss’s The Cat in the Hat from beginning to end. I have no memory of that sadly, but I certainly have been able to quote works I have read. At work I’ve done so when people check out those works, such as Shakespeare. In my junior year of high school I participated in a Poetry Out Loud contest where I recited Shakespeare’s famous Sonnet XVIII: “Shall I compare thee to a summer’s day?”. Although I froze near the end, I managed to save my performance and ended up winning third place.

The first time I read from my work that was published was back in September at the Baltimore Book Festival, for my creative nonfiction essay on Asperger syndrome. In analogy to King George VI, that reading could be considered my Wembley speech. Though I dressed the part of a writer (someone there even commented so) right down to the Tweed jacket, I did not prepare well at all. I had to select which excerpts to read then and there. Also, in choosing I could see parts I felt could have been written better, and in the end I rushed through it, flustering.

People still enjoyed it, but I knew it could have been better. Pictures taken that day show me looking frustrated. To the superstitious, I guess it did not help that a black cat crossed the road as I was preparing to leave for Baltimore (no joke; that really happened). That day was a lesson to never be totally unprepared. The next reading I knew had to be better. When I agreed to participate in an open mic event back in April, I repeatedly recorded myself reading using an app on my iPhone. I listened to myself, noting where I needed improvement. After the final reading it and watching the video recording of it, I felt satisfied. I hope the next public reading will be better, and every one to come.

Author, teacher, speaker and voiceover artist Izolda Trakhtenberg discussed the importance of speaking well at the Annapolis MWA meeting last week. She showed us different exercises to help in preparation for reading aloud. In many ways they reminded me of Geoffrey Rush’s portrayal of Lionel Logue in The King’s Speech. She showed us a writer needs to have good vocal presence, posture, balance, breathing, and must connect with the audience by maintaining eye contact. Regulated breathing helps you speak better. Eye contact has always been difficult for me, with my Asperger syndrome.

I and others at the meeting read a few lines of dialogue from published or unpublished work. In my case, I read from an early scene in my novel, during the protagonist’s first meeting with his eventual mentor. Izolda mentioned I started strong but went softer and mumbled. Would that not have happened had I practiced? Perhaps. Still, I was complemented for using a lower pitch of voice for my mentor in contrast to my protagonist to show who was more confident and self-assured. She suggested to all of us that we record samples of different vocal tones so to remember them for specific characters.

Public appearances are important. Now I don’t want my presentation of myself to become my life. I hope to live a private life away from public eyes, so it in turn can truly inspire my work. Nevertheless I hope to do more readings, so people will know me and my work. I’m sure there will have mistakes, but I accept that. Everyone makes mistakes, including me. The best I can do is minimize them as much as I can.