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Today My Children Are Not Dead

12/14/2012

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Oh, we are so fortunate --- so fortunate!

Our children don't die of tuberculosis or malaria or dysentery; they don't starve in front of our hopeless eyes in the dirt of refugee camps; they aren't blown up in buses, or vaporized in air strikes; they don't die from infected rat bites from scavenging in dumps; they don't freeze in the night in the ruins of earthquake flattened cities.

But the hand of random evil can still reach down at any time, and snatch away the ones who are far more precious to us than our own lives, and there isn't any prevention, any care, any attentiveness that can keep them safe. All we can do is weep, and rage, and fling our blazing spears of blame. And hold our children close despite their impatient protests, to reassure ourselves that, this time, it wasn't us.

Every living thing is born, I tell my children, and every living thing dies. Please, absent god or hand of fate or karmic wheel or anything to which I may appeal, please please please, let me die before my children.


20 Children Killed at Connecticut School
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So You've Written a Book: Now What?

12/14/2012

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Guy Kawasaki's blog post on the Kirkus Review, Top Ten Tips for People Thinking about Writing a Book, is full of really good, basic advice. I think I'd add three more points:

* Write another book. Your best marketing tool in the long run is your backlist.

* Make a Facebook (or the social medium of your choice) page for your brand, and use that to promote yourself instead of your personal page. If you don't have a separate blog, blog there. If you do have a separate blog, post entire blog entries (plus the link to the blog).

* Make an Amazon author page. Keep it updated, and polish it. For readers, this can be a signal indicating whether you're a "real" writer or a dabbler who's uploaded an ebook.
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Where To Begin?

12/10/2012

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John Ward, the moderator of a hugely popular writing circle on Google+, asked several authors "to share two paragraphs and then take us behind the scenes to explain what they were thinking as they wrote. Explain what they were trying to achieve and highlight the specific parts that were added to make those goals into a reality." For my contribution to this project, I'd like to talk about where to begin a story.
Like a lot of writers, I'm tempted to start a story at the very beginning, to explain who the characters are, what they're up to, why they're doing it . . . something like this:
Dave's thin shoulders were stooped, and he wore the plaid jacket that he always wore in the winter. The office was too cold, he thought for the thousandth time. His hair had been less sparse and less gray when he first bounded up these stairs twenty years ago. Today, though, he gripped the rail with one hand, hauling himself up the 24 steps to the second floor. His usual brown lunch sack was clenched in the other hand. "Today," Dave muttered to himself, "I swear something's going to change."
But when I read a story or the opening chapter of a book that starts with the Who-What-Where-When-Why formula, I'm almost always immediately bored. Why should I care about these characters or this story? I don't want to sit through a lot of tedious set-up, waiting for the actual story to begin. I want to start right in the middle of the action---if my attention is grabbed by the story, I'll plunge ahead and find out all of the 5-W details as I go along. For example, does the previous opening paragraph tempt you to read more of the Dave story? Or does this one?
Dave pulled the gun out of his rumpled lunch bag and shot Janice the HR lady through the eye. She squawked once and crumpled heavily across her desk, knocking the open bag of cheese doodles to the grimy carpet. Virulent orange powder drifted lazily down into the spreading pool of blood.*
Sometimes, I find it helpful to go ahead and write the lengthy, detailed, 5-W beginning that sets up the characters and the environment. I keep writing until I get to the point of conflict---the fight, the fall from the bridge, the turn of the doorknob. Then I cut everything before that point, and set it aside. I can mine that back story for details to weave into the plot as I go. But I think it's important to start at full speed. Don't ask the reader to bear with you; sweep them up and carry them along. Explain the rest along the way.

When I came up with the opening paragraph of my current work in progress, those were the criteria I used to decide whether to start the story there: Does this opening skip the exposition and drop the reader immediately into the story?
Bone Mother was tired. The hut caught a deer in the night, and the doe's shrieks and the crunching of bones kept the old woman awake long after the last of the hot blood seeped into the yard. Years ago, when the world was younger and her heart was, too, she hated the hut, and tried to pry the forest's wanderers out of its ivory-toothed maw. It was never any use. The deer, the rabbits, even the men that slipped through the hut's ragged fence always paid with their lives. She put their skulls on the fence posts, to discourage others.**
I hope that it does. I still have a lot of work to do before this story is finished, but I think I've given it a running start.










*For anyone who found the Dave story compelling, here's the end:
"Good riddance, you witch," he spat. "Now I'll never have to look at another one of your snack-stained expense reports again."
**For those of you who found Bone Mother compelling, you'll have to wait until it's published to find out what happens next. :)
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Success!

12/1/2012

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All that submitting and rewriting and resubmitting finally paid off!

Stupefying Stories, Amazon

and Stupefying Stories, B&N

Time for a happy dance!

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    Torah Cottrill

    I read. I write. And sometimes I talk about it.

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