So, You's Wants to be a Professional Writer?

British Library with Study Abroad Group

I just completed a short video presentation (below) concerning the art of writing, and it occurred to me that it might be nice to have a post directed at writers, or those considering writing professionally.

To that end, I am going to include collected links and resources here for people to explore as they may wish.

 RelatedVideos

(poetry reading)

(London and Rome)

Blog Posts

Writing Quality Fiction

On Plagiarism

What I Learned from Meeting Brian Jacques

Sense of Place

Reflections on the Promotion of The Blood Cries Out

An Interview of Karl Erickson

An Analysis of The Blood Cries Out  

An Office Interview 

Don't Forget the Editor!

Staying in the "Creative Groove"

What Not to Write

Art, Music, and the Church

A Writing Tip or Two

Beginning at the Middle

Published Articles on Writing *

"Art, and the Christian Gospel"

* It looks like some of my favorite articles on writing are no longer available online.  Guess it's time to write some more!

Don't Forget the Editor!

I hear a lot these days about the unfair  reputation of self-published authors.  Sadly, it seems many of these authors write their book, upload it to Amazon, and hit publish--all before seriously considering its editing.    

For those of us who may carefully try the self-published route, the authors who rush to press really aren't helping the marketplace situation.  It leads to the blanket refusal of some publications to even review our self-published works or to take them seriously.  This isn't some mysterious conspiracy of the big publishing houses--well, it might be that, too--it's primarily because of the dismal quality of some of the work that's easily found up on Amazon or Barnes & Noble.  I've been contacted, for instance, by friendly and well-meaning authors for reviews only to find significant grammatical problems within their first page.  

I don't care if you have the best darn story idea since Hamlet, if you can't write a coherent sentence, then you...may need to stick with that day job--or hire a real editor.  Yes, it sounds harsh, but no one wants to read a stream of consciousness narrative without correct grammar or punctuation.  

So, what are some low cost ideas for dealing with the editorial challenge?  In the case of my most recent work, which was published through a hybrid press, I relied upon several approaches.  Beta readers were arguably the most important part, though.  I don't want a beta reader who thinks everything I write is a masterpiece; I want a critical and well-read reader who can spot my errors and give me sound advice.  In return, of course, I need to be thankful and courteous--even if the beta reader tells me the entire subplot needs to be mercilessly ripped out.  (This has actually happened to me.)

I think many of us have forgotten that even independent eBooks should be higher quality than a college freshman's English paper.  If we all want to be taken more seriously, then we need to hold our fellow authors to a higher standard.  If you write, take your content seriously!

   

Writing Quality Fiction

Writing fiction can be a lot of fun, but other times it can feel like herding cats.  Marketing, in particular, often turns into a chore because we (as writers) fail to understand or respect our audience.  When talking about understanding the audience, a good essay on the topic--especially for Catholic authors--is this post be Regina Doman.  This is a good starting point, but, of course, just because fiction is written by a Catholic doesn't necessarily imply its Catholic fiction.  The latter term implies a writing infused with belief and the substance of our faith.  This does not mean preaching, but simply describing the spiritual realities of the world, not shying away from anything.  This quality then leads us to the absolute necessity of respecting one's audience.

This is beautifully addressed by C.S. Lewis in Of Other Worlds: Essays and Stories.  Here is a passage that describes what I am referring to--especially with regards to children's literature.

The third way, which is the only one I could ever use myself, consists in writing a children's story because a children's story is the best art-form for something you have to say: just as a composer might write a Dead March not because there was a public funeral in view but because certain musical ideas that had occurred to him went best into that form. This method could apply to other kinds of children's literature besides stories. I have been told that Arthur Mee never met a child and never wished to: it was, from his point of view, a bit of luck that boys liked reading what he liked writing. This anecdote may be untrue in fact but it illustrates my meaning.

Whether we are talking about children's literature or a work for older audiences, one dimension of this respect lies in whether, or not, the story comes first. Many years ago, for example, I tried to use a short story format to write a tale to prove that some people find right behavior wrong and wrong behavior right. These days we hardly need reminding of this, but, at that time in my life, I was exploring the moral compass of a drug dealer. The story didn't work for many reasons, but probably the main reason was that it began as a kind of moralizing piece; the story was secondary to the message, and this almost always brings ruin to the writer's endeavor.

When it comes to fiction for older readers, my pet peeve is sanitizing dialogue or situations for the taste and preferences of the writer or a select group of potential readers. If you have a story, tell it truthfully. As Flannery O'Connor so eloquently put it,"Fiction is about everything human and we are made out of dust, and if you scorn getting yourself dusty, then you shouldn't try to write fiction. It's not a grand enough job for you.”

Not too long ago, I was discussing a work of fiction with some fellow Catholic writers who were very passionately debating their view that profanity had no place in fiction--especially the writing of a Catholic.  While I don't agree with the premise at all, it did encourage me to lighten the profanity in my own novel, The Blood Cries Out.  (As an aside, I hope when fellow writers make recommendations along these lines (that you accept in part), they have the courtesy to at least read your work.  If they have no interest in the art you create, I'd just as soon they keep their writing suggestions to themselves; they're not part of your audience.)  Some might say that my lightening of the profanity was an unnecessary sacrifice to political correctness, but I suggest that realism and truth can be achieved with a lighter touch at times.  Finding that balance can be hard, but it's what lies at the heart of writing that matters the most: truth. 

Like I wrote for Seattle Pacific University in "Art and the Christian Gospel," we engage the culture around us for Christ by seeking truth even if we happen to be writing fiction or creating another form of art.

Art calls us to worship; it also empowers us to engage our culture with the gospel. Given the present world crisis, I believe Christians have a responsibility to address the moral issues facing us in this troubling time. The words of Christian writers and theologians from C.S. Lewis to Dietrich Bonhoeffer still give us much to consider and discuss. From Michelangelo to Handel, our Christian heritage is also replete with the finest artists and composers who have ever lived. This rich Christian perspective plays a vital role within our culture. It is our responsibility to ensure that this legacy endures and continues.

Christians are aware that there is more to life than what simply meets the eye, and that the spiritual world is just as real as the earth they are standing upon. The Christian must focus and hold on to “whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable.” That is the only way we can maintain our clear vision and grip on the eternal priorities facing us.

Locked and Loaded, A Sneak Peek at "The Blood Cries Out" Newsletter!!

I have a confession to make; "Locked and Loaded" may not ultimately be the name of my new newsletter, but I figure why not try it on for size first?  It is kind of growing on me...

Now, if you're familiar with my Kickstarter Project (Spare a Dollar for a Great Book?), you've probably seen me referring to the newsletter.  I thought I'd offer just a glimpse of the kind of content I have planned.  First, I'd like to offer look at part of the novel's outline.  Second, I'll offer a few words about the places in and surrounding the story.  Third, I am going to include a short excerpt from the novel.  Fourth, I'd like to try a Q & A section.  The challenge here, is that I'll be asking and answering the questions.  In the future, I'd like to invite other authors to answer a few questions about writing--among other things.  As it is, I'll do my best to ask myself hard-hitting questions.

A Glimpse of the Outline

What happens when Seattle Police Detective David Lightholler must face the brutal death of a friend?  The story, divided into two parts of six chapters each, opens with the protagonist responding with his partner to a particularly bloody murder scene in Seattle.  He soon discovers something about the victim that sends his emotions spiraling out of control...

A Sense of Place

I seem to either connect or not connect with a place; there's seldom a feeling of ambivalence.  In the case of the south and midwest, for instance, I always felt like a fish out of water.  Don't get me wrong, I love the people, but I can't feel a sense of connection to the place.  In Washington and Oregon, there's so much beauty and majesty all about you, that it's sometimes hard to take it all in.  You get accustomed to it.  I think this is part of the reason why it was so important to me to get the details right.  I wanted to convey a strong sense of place in The Blood Cries Out.  Early reader feedback suggests that I was successful.

Neil Low gives me the royal tour of SPD.

I love Seattle.  I attended Seattle Pacific University in the late 1980s, and I worked at the university in the early 1990s.  It's a special place, and I love the light and atmosphere of the city.  I could spend a lifetime photographing it, but I never have the time these days to spend considerable time there.

  In the spring of 2011, we took a few days to visit areas of critical importance to the tale.  This included the Seattle Police Department, where Neil Low graciously came in on his day off to give me a department tour. The tour was great, but, sadly, the Seattle weather was...a lot like Seattle weather.

St. Francis Catholic Church, Friday Harbor, Washington

Friday Harbor was that other western Washington area we visited on that 2011 vacation.  The weather was lovely the first day, but things began going downhill on the second.  It didn't matter much to me, though.  It was wonderful to visit the island again.  It had been far too long--and it has been so again!  Some authors will say that that these kind of personal visits aren't necessary for fiction authors, but I think this kind of in-person research is terribly important if the writer is to successfuly capture and convey the unique feeling of a particular environment.

Welcome to Oregon's Wallowas.

While it's true that the northeastern region of Oregon referred to as the Wallowas only plays a minor role in the novel, that wasn't the original plan.  More on that later!

The Blood Cries Out Excerpt  (Updated July 2014)

It was early Friday morning by the time David was finally in bed.  Exhausted, he fell into an uneasy sleep, his bloodshot eyes closing on the image of his badge and holstered .45 caliber Smith and Wesson with its ejected magazine beside it on the bedside table.  The room was dimly illuminated by the moonlight beyond the rustling lace curtains.   Outside, the night wind blew the old madrona’s branches against the house.  The clanging of sailboat rigging blowing against the tall masts drifted up from the harbor along with sound of a distant foghorn.  The Friday Harbor ferry terminal below lay dark and still.  Deep sleep came eventually, but then the nightmarish blackness seized him.  He was dragged to the place he dreaded the most.  He tried to turn away, to run, but he stood immobile now before that evil house on Parkmont Place.  It was late evening with an unsettling reddish light, and he was utterly alone.  A damp and cold wind blew, and he felt something pulling him forward, towards the steps.  Against his own will, he pushed the unlatched door, and it creaked in protest--or warning.  He walked silently up the steps and turned into the second bedroom on the left.  The stillness of the room was in sharp contrast to his beating heart.     

The blood was everywhere, and Catryn lay exactly as he had first seen her.  Only this time there were no uniformed officers milling about outside, no detectives taking notes or talking on the phone, and no squawking radios in the background.  The night beyond the windows was an impenetrable mass now with no sign of life or light, a darkness that could be felt.  Her mouth was agape at a distorted angle, a mockery of life, and she was crumpled up in the corner like so much garbage left on the roadside.  Her torn blouse exposed that jagged and terrible laceration in her chest.  It was too horrible to look at, but...curse his eyes!...there it was.  He couldn’t turn away from the silent woman gazing up from the crimson floor.  His eyes were drawn to her slender fingers, now bloodstained.  No, it was impossible, but something was happening!  Her index finger gestured for him to come closer, but he managed to hold his ground.  It was madness.  In desperation and terror, David felt for the reassurance of his holstered service weapon, but it was gone.  Suddenly, his hand fell unexpectedly upon his grandmother’s familiar rosary, the one he sometimes kept in his pocket.  Something like a distant bell sounded from far off, and the icy chill of the room began to melt away. 

Questions and Answers: Karl and Karl

Q: What's a fiction passage you've read recently that you not only loved, but that somehow conveys something important about how you think about the art of writing?

A: I love Flannery O'Connor, and one thing I love about her is that her characters are real to me; they're authentic.  It's so hard to find characters I can connect with in a lot of modern fiction.  Flannery O'Connor has my attention at her first word.  Here's a passage from her short story "Revelation" that I am particularly fond of.  (It's not quite the same unless you read it in its entire context.)  


The book struck her directly over her left eye. It struck almost at the same instant that she realized the girl was about to hurl it. Before she could utter a sound, the raw face came crashing across the table toward her, howling. The girl’s fingers sank like clamps into the soft flesh of her neck. She heard the mother cry out and Claud shout, “Whoa!” There was an instant when she was certain that she was about to be in an earthquake.



Q: Why else is it important to visit the areas about which you want to write?

A: Another reason is that people are so different from place to place.  Having a conversation in Joseph, Oregon is entirely different than speaking with someone on the streets of downtown Seattle.  Authors who don't take the time to understand their settings, also usually fail to understand their characters.

Q: This Kickstarter thing of yours is kind of annoying.  Why are you doing it?

A:  Sorry!  I’m doing it because the publishing market has changed so drastically over the last decade.  This seems like a legitimate option to help an author bridge the gulf between the children’s market and adult fiction.  (I always have to mention now that, no, I don’t mean that kind of adult market.  I mean older readers, folks!  I also don’t plan to start writing romance novels…)

Q: What’s in it for me?

A: Well, I think crowd funding is a rather cool way to raise funds for projects close to people’s hearts.  It brings a sense of shared community and purpose, and it allows people be a part of some pretty exciting endeavors.  I was happy to be able to make a (very) small donation to Sean Astin’s recent Kickstarter success  for example, and I found it pretty rewarding to have played a tiny, tiny part in that project’s success.  

In my case, it’s only a novel, but I think in the right hands, this book could go far.  I will also say that I am always happy to help a fellow author with a similar venture down the road—if I feel that I can connect with their tale.  Some types of fiction are hard for me to enjoy, but I will do my best!

Q: I know your one of the original founders of the Catholic Writer’s Guild.  Has this book been awarded their Seal of Approval?  

A: No, unlike Tristan’s Travels, this book has not received this important stamp of approval.  There are a lot of reasons why I didn’t want to rush into that too early.  For one thing, the novel requires a strong editor’s hand.  I’m learning it takes a special author to successfully edit his own work.  Many self-published authors end up embarrasssing themselves with a wyde variety of editorial problemzs.  

My use of a hybrid press, such as Inkwater, is an effort to create the highest quality work I can possibly create.  Another reason is that the content of the book strives for realism, and realism isn’t always pretty.  In my younger days, I spent countless hours racing along as an observer with police officers in Washington State—from Yakima to Seattle and Port Townsend.  It was awesome for a young man to experience the excitement tearing down dark streets with lights and siren (at close to a hundred miles per hour a few times), and those experiences really helped shape my novel.  Realistic scenes and characters are always my goal.  I’d also add that, as author and teacher Regina Doman has pointed out, the Catholic reader is sometimes…a strange duck.  More on that another time perhaps.

Q: Are you planning to write a sequel?

A: YES, but I haven't started yet.  :)

If any of the preceeding content caught your interest, I hope you will check out my project on Kickstarter!

A New Beginning

So, here we are again at the start of a new blog adventure. While the food blog was fun, I've decided to give a traditional writer's blog a shot. If a few readers find the offerings of interest, I'll endeavor to keep this ball in the air for a while.

The blog's new name, The Singing in the Wood, comes from a couple different sources. First, it's been the name of a document in which I used to try to save all my writings in chronological order--whether published, or not. The original idea was to bring good out of declined articles by finding a place that recorded our spiritual journey in the form of these diverse essays and articles starting about a decade, or so, ago. As time went on, I stopped being so careful to record my articles there, and it's probably quite out of date by now. The central idea of one large volume of all my writings, documenting a long spiritual journey for myself and family, still resonates deeply with me. Maybe someday I'll resume the endeavor more seriously.

You might also say that the singing in the wood refers to the call of Christ and His Church echoing forth from His creation. It reminds us that we don't go out in search of Him, so much as He goes in search of us. It evokes this love and grace, which infuses our lives through and through with meaning and substance otherwise missing entirely.

PS. One of the reasons I've decided to keep the current URL, is that there may be food-related posts from time to time. I might be tempted to include recipes or meals that help bring the family together in a meaningful way. (See very first blog post as an example.)