Thursday, December 1, 2011

Waiting...And Another Anthology?

I’m still alive!


I finally wrapped up editing one of my novels for a competition.  I had to add 10,000 words and fill in a few holes, but I can honestly say that this is my best work to date.  Did I mention I’m mentally tired?  Especially after putting The Memory Eater through two rounds of edits.

I’ve been reading a lot lately—a few short stories from Fantasy and Science Fiction’s 60th Anniversary Anthology (wasn’t impressed at all), Rant: An Oral Biography of Buster Casey (simply a creative masterpiece, although the last third of the book goes off the deep end), and now I’m reading Diary, also by Chuck Palahniuk.  I also started Jodi Picoult’s The Tenth Circle and have Something Wicked This Way Comes waiting for me on the bookshelf.

Aside from reading, I’m waiting to hear back from some publishers/agents.  The good news is, three publishers have expressed interest, two of which are reading portions of the book.  The bad news is, the timeline is out of my hands.

But it feels good to have most of the workload done, at least for now.  It’s an early Christmas present.

Speaking of presents, I’d like to congratulate two authors (Laura and Alex) who made the short list with their Memory Eater submissions.  I ultimately decided to pass on these two stories (I’m not kidding when I say it was really, really hard to pass them up), but they have since been accepted for publication elsewhere.  Woot!

On a side note, I’m really, really, really excited for people to read The Memory Eater.  Everyone who contributed has blown my expectations away.  The stories are well-crafted works of art, and the illustrations are simply beautiful.  I’m working on a few teasers but don’t want to release anything prematurely, so we’ll see where things go.

In the meantime, I’ll be working on some posts the next few weeks and will update the blog with any news I may receive, so check back soon.

I'm also brainstorming ideas for the next anthology.  I have a few in mind that might be a lot of fun.  If you have any you'd like me to consider, either email me or post them in the comments below.

Casper, out!

Friday, November 11, 2011

All About The Memory Eater Anthology

I've gone ahead and published the page dedicated to The Memory Eater anthology.  It can be found here and at the tab near the top of this blog.  I will update the page as information comes in. 



Until then, thank you to everyone who has and continues to follow this project.

C. P.

Friday, October 28, 2011

Finding Humor in Writing

I'll be posting a new "All About The Memory Eater Anthology" page along with the details of where it can be purchased soon, but until then, I'm dedicating this lovely Friday (if frost and rain and gray are your thing) to a random assortment of writing-related humor.

Unrelated—there's a crying baby next to me.  What do I do?

Related—here's a funny picture my wife showed me the other day.  There's been this huge, ongoing debate about the Oxford comma—the comma used in a list of three or more right before and or or.  This pretty much sums it up:


I'm guilty of turning Hitler and Stalin into strippers, but isn't that a better alternate reality?  For more on the Oxford comma, see Eats, Shoots & Leaves: Why, Commas Really DO Make a Difference!  This is a humorous, nonfiction book about the declining use of proper punctuation.


Let's jump into another funny book…


A group of science fiction and fantasy authors working under the pen name Travis Tea (say it out loud) intentionally produced a horribly written book called Atlanta Nights.  Why? you may ask.  Well in 2004, PublishAmerica stated,

"…science-fiction and fantasy writers have it easier. It's unfair, but such is life. As a rule of thumb, the quality bar for sci-fi and fantasy is a lot lower than for all other fiction. Therefore, beware of published authors who are self-crowned writing experts. When they tell you what to do and not to do in getting your book published, always first ask them what genre they write. If it's sci-fi or fantasy, run. They have no clue about what it is to write real-life stories, and how to find them a home."

PublishAmerica also claimed,

"Each day, an average 78 new authors who are looking to find a book publishing company ask us to publish their book. We review not only the quality but also the genre of their work.... Like all serious book publishing companies we have to be picky as we can only accept the works that meet our requirements in both areas."


To prove PublishAmerica was full of it, the SF&F members submitted Atlanta Nights for publication.  Not long after, they received an acceptance letter stating, "I am happy to inform you that PublishAmerica has decided to give 'Atlanta Nights' the chance it deserves."

From the Wikipedia page, here's a short list of obvious errors in the book:

The distinctive flaws of Atlanta Nights include nonidentical chapters written by two different authors from the same segment of outline (13 and 15), a missing chapter (21), two chapters that are word-for-word identical to each other (4 and 17), two different chapters with the same chapter number (12 and 12), and a chapter "written" by a computer program that generated random text based on patterns found in the previous chapters (34). Characters change gender and race; they die and reappear without explanation. Spelling and grammar are nonstandard and the formatting is inconsistent. The initials of characters who were named in the book spelled out the phrase "PublishAmerica is a vanity press."

If you'd like to read the book for free, which I highly recommend!, either visit Travis Tea's main site or go directly to the full PDF version of the manuscript.


And now we go from intentionally bad to just bad…



And here's a special message from Stewie:



Moving onto book reviews.  Most of the ones I've seen take themselves too seriously, so here's one called Black Metal Book Review that uses a different approach:



And here are some miscellaneous things:


You know how I always condemn clichés?  That's because it's really, really important to avoid them.  Want an easier way to do so?  Introducing Cliché Finder!  Check the site out here.  You can plug any word into their form, and their database of over 3,300 clichés will return any cliché phrases its used in.


Mixer Publishing is holding a Sex, Violence and Satire competition where the winner gets $1,000 along with their story published.  Enter here.


Defenestration is a legit literary magazine dedicated to humor.  They are open for submissions.


Here are some famous authors accompanied by comments pulled from the rejection letters their work received:

Dr. Seuss
"…too different from other juveniles on the market to warrant its selling."

J. G. Ballard
"The author of this book is beyond psychiatric help."

H. G. Wells (War of the Worlds)
"An endless nightmare.  I do not believe it would 'take'.  I think the verdict would be 'Oh don't read that horrid book'."

Jacqueline Susann (Valley of the Dolls)
"...she is a painfully dull, inept, clumsy, undisciplined, rambling and thoroughly amateurish writer whose every sentence, paragraph and scene cries for the hand of a pro.  She wastes endless pages on utter trivia, writes wide-eyed romantic scenes...hauls out every terrible show biz cliché in all the books, lets every good scene fall apart in endless talk and allows her book to ramble aimlessly..."

Samuel Johnson
"Your manuscript is both good and original; but the part that is good is not original, and the part that is original is not good."

William Faulkner
"Good God, I can't publish this!"

Norman Mailer (The Deer Park)
"This will set publishing back 25 years."

Stephen King (Carrie)
"We are not interested in science fiction which deals with negative utopias.  They do not sell."


Joseph Heller (Catch 22)
"I haven’t really the foggiest idea about what the man is trying to say…Apparently the author intends it to be funny–possibly even satire–but it is really not funny on any intellectual level…From your long publishing experience you will know that it is less disastrous to turn down a work of genius than to turn down talented mediocrities."

Vladimir Nabokov (Lolita)
"...overwhelmingly nauseating, even to an enlightened Freudian…the whole thing is an unsure cross between hideous reality and improbable fantasy.  It often becomes a wild neurotic daydream…I recommend that it be buried under a stone for a thousand years."

Rudyard Kipling
"I’m sorry Mr. Kipling, but you just don’t know how to use the English language."

D. H. Lawrence (Lady Chatterley's Lover)
"For your own sake do not publish this book."

William Golding (Lord of the Flies)
"…and absurd and uninteresting fantasy which was rubbish and dull."

The Diary of Anne Frank
"The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the 'curiosity' level."

Tony Hillerman
"Get rid of the Indian stuff."


And here's a bunch of self-explanatory pictures:




Have a wonderful weekend!

Monday, October 24, 2011

9 Tips to Ease Your Editing Pain

Most people cringe when it comes time to edit their work.  Since I'm close to completing the second round of edits on the 27 selected stories, I thought it would be helpful to share some tips I picked up along the road to Mordor (The Lord of the Rings reference)…I mean becoming published. 


Be Consistent
Sure, there are universal rules out there for grammar and sentence structure, but the rules are constantly being broken.  I’ve seen bestselling authors who don’t use quotation marks for dialogue.  Who purposely misspell words.  Who don’t capitalize proper nouns. 

Fact is, readers don’t care if you break the rules.  As long as you’re consistent, whatever you do will come across as intentional.  But if you leave off the quotations marks for only a few lines of dialogue, misspell only one word or capitalize half of your proper nouns, then your work comes across as an error-filled mess.



Read Your Work Aloud
The problem with reading work inside your head is that’s where you originally forged the idea.  You won’t catch certain errors unless you present them to yourself in a different light.  Like your voice.  Ears are especially good at catching awkward dialogue and problems with pacing.


First Things First
I know it’s tempting to dive right into editing a story, but if you don’t approach editing in steps, you’ll most likely double your tacks.  My process consists of three steps:

My first step is developmental editing.  This is where I focus mainly on shaping the plot, pacing issues, characterization and narrative structure.  These are like our vital organs—if we let them fail, our exterior appearance won’t matter much, now will it?

My second step is line editing.  This is the exterior—the makeup—the eye-candy.  With line editing, we’re trying to make the text readable, effective and interesting.  This includes grammar, punctuation and sentence structure.

To finish off my sundae of edits, I go through the story again but specifically look for consistency issues.  You see, if you focus on the biggest problem first and handle editing in steps, attention is dealt with in cascading fashion, and the little energy you have left is saved for the easiest tasks.


Simplify What You're Saying
Stories are exactly like directions—the reader has no idea what’s coming, so your words need to be exact and easy to follow.  That means it's time to put the thesaurus down and cut to the chase. 

I've seen it too many times before—authors trying to create mazes within their text.  As a reader, I didn’t sign up for a difficult Sudoku.  I’m here to be wowed.

To convey your point as smooth as Keith Stone, just say what you mean in the simplest way possible.  You have an unlimited amount of periods available at your disposal, so use them.  There’s no need to have sentences the size of paragraphs. 

Avoid decorating the story with unnecessary description.  Wild scenes, elaborate devices and absurd characters typically don’t drive the action forward.  And if you’re relying on these sorts of things, then your central story is lacking.  That or you don’t believe your plot is interesting enough to stand alone.

You should only be describing things that either set the tone or will have an actual impact on the plots/characters/settings.  For example, a recent story I read spent several paragraphs detailing the main character's profession.  The problem is, it didn't have any effect on the resolution.  Those paragraphs threw the entire story off for me, not because it was wasted space, but because every sentence in a story is a clue.  Readers are constantly anticipating this.  They're trying to put your clues together and figure out the resolution before it's revealed.  So in the example I provided, since the author took the time to detail the profession, I kept that clue open in my mind as I continued reading.  Not only did this detail leave me with a question at the end, but it also stole part of my attention from important parts of the story. 

As authors, we want to suck readers into the important details of our stories, not a laundry list of descriptions.  Give readers the need-to-knows of your story and let them fill in the rest.  Think of it as a doctor's visit—if the doctor says you have a life-threatening disease, do you really care about the shape, color or nickname of it?


I can't remember the last time I detailed one of my main characters.  But I do remember other people's, and not in a good way.  I have the mirror-description scene burned into my mind, and every time I come across a character with stunning, unique, dreamy, bright, blue eyes, it comes across like a Tara Reid movie to me.  Come on now—do you really want to be a Tara Reid movie?

Truth is, authors should be showing readers the story opposed to telling.  Say the MC huffs and puffs as he walks up a flight up stairs.  I’ll assume the MC is overweight or out-of-shape.


Avoid Clichés
Reading an action or description or saying a few times is fine, but seeing the same thing over and over again in story after story is like having to watch the same commercial during each break.  Like this commercial:


At first this commercial was cute, but then I started to see it several times every week.  Then several times a day.  Now I hate it.  It annoys me when I’m trying to enjoy a show.  The same thing applies to stories.  Go through and pluck these things out.  If you're creative enough to come up with a unique plot, don't drop the ball when it comes to little things like this which can easily make you look like an amateur.

Oh, and here’s another funny commercial:



Trust the Reader
There's a difference between giving the reader clues and trying to hammer home the point.  I've seen replica sentences used countless times in stories.  Once you decide to give away an important piece of information, trust that the reader will remember it for the remainder of the story.  There's no need to constantly repeat the same thing, especially since there's a point where it becomes distracting.  Plus stories should be multidimensional.  You want to distract your reader with the different layers of your story and then throw them a curve ball at the end which makes them remember the breadcrumb clues from earlier.


Be Hard on Yourself
Don't debate on whether a sentence of yours should stay or go because it's your favorite.  Ask yourself if it adds anything to the plots/characters/settings.  If it doesn't, well, get rid of it.  This isn't A&E's Hoarders.



Make Sure There's a Point to Your Story
At the end of a story, even if you're rewriting "Why'd the chicken cross the road?", make sure there's a reason to back up the action.  Readers always want to know why.  Why'd the MC kill his sister?  Why'd the aliens attack our world?  Why'd the hacker open up his own daycare?  Think of readers as homicide detectives on a case—they want answers even if they don’t understand them.  They want the point.  That's what separates stories from observations and opinions and descriptions.


Nothing is Untouchable
If something doesn't work, it doesn't work.  Duh, right?  What I'm saying is don't get married to anything in your story.  I've scrapped entire novels because they were either too complex or didn't come across as I intended. 

It helps when creating a character to basically say to him/her right off the bat, "If you don't get the job done, or if you're too one-dimensional, I'm putting you in the recycle bin."  Same thing applies to the rest of your story.  Hold plots/characters/settings accountable.  Make them pay if they don't pay off!

I know that I'm not always going to get it right.  I'll produce stories that don't go anywhere.  I'll dream up stale characters.  I'll rush to get done, and I'll rush to get started.  At the end of the day, no matter how good I think a work of mine is, I know anything written is subjective to change.

Thursday, October 6, 2011

Back From the Hospital

Just wanted to post a quick update—Eli Thomas joined us at 12:06pm on Tuesday, October 4th.  He weighs 8 lbs. 1 oz. and is 21" long.  We're all feeling great, and my wife and I appreciate all of your support.

My son Ethan holding baby Eli.


I'll be diving back into the anthology within the next couple of days.  Until then, take care!

C. P.

Monday, October 3, 2011

The Baby Countdown

Tomorrow (October 4th, 2011), if everything goes smoothly, my wife and I will welcome our second child into the worldJ

A picture of happiness.

This is probably obvious, but for the next two weeks, my replies to emails/tweets/posts will be lagging. 

Before I shift gears here, I just wanted to post a quick update on the progress of the anthology:

·         I’ve selected 26 stories. 

·         I’m awaiting one rewrite, so there will either be 26 or 27 stories in the final book. 

·         Out of the 26 selected stories totaling 75,000 words, I’ve edited 16 (or 42,000 words) so far.

·         Out of the 42,000 words I put through a first edit, I probably cut out about 2,000 to 3,000 words.

Now off I go on a quest to decide on a name!  My first pick was Slaughterthousands, as it’s a strong name and rolls right off the tongue, but apparently it’s a bit too much.  I’ll post an update whenever I can.  Until then, stay thirsty my friends!

C. P.

Friday, September 23, 2011

Magon the Dragon

My four-year-old son loves stories, and lately he’s been asking me to come up with them out of nowhere.  No books.  No cheat sheets.  Just pure, hardcore freestyling.  So one night last week I ended up telling him a story about a dragon named Magon.  The cool thing is, I also linked it to the Memory Eater.

It also turns out that last week at preschool my son learned about authors and illustrators.  He was really excited about illustrations, especially since he loves art, so I decided to turn Magon the Dragon into an actual story and let him illustrate it.

Without further ado, since it is Friday and I haven’t come up with something funny in awhile, here's our creation:


Magon the Dragon

Magon, a purple dragon taller than the tallest keep in the land, stands before a bookshelf in his cave.  His viper eyes are sunken in, but they jump from painting to painting.  One in particular makes him yearn for the days of old.  He picks the painting up and stares with envy.  His former self, a fat dragon resembling a blowfish, reclines in a field of multicolored flowers while dangling a wagon above his open mouth.  A dozen peasants fall inside.  Such a pleasant afternoon snack.

Magon incinerates the painting with his fiery breath the same way he incinerated the peasant who painted the portrait of him during that wonderful time.  A time when humans were in season.  Now there are only a few hundred left, and they’ve all banded together inside a single castle in the east.  The defenses are too strong for Magon, and as the all skin and bones dragon stares at a painting of him surfing down a grassy knoll with a board made of humans, he realizes that the top shelf may remain empty for the rest of time.

But there is a painting of Magon holding a wand over an open fire, and at the end of that wand is a roasted wizard.  In the background, behind an army of trees, are dozens of sad humans.  And it hits Magon.

“Humans must really like wizards.”

Magon pulls an old wand and book out of a troll skull container.  After doing some boring reading, he aims the wand at himself and says,

“Make me old and frail,
with one hangnail.
Give me gray hair and glasses,
but a hat that will rock the masses.
I’ll wear a robe and carry a wooden staff,
but may my thirst remain to tear humans in half!”

And with the flick of his wrist, Magon the dragon becomes Magon the wizard.

*

“Ye shall halt!” hollers one of two fully-clad knights guarding the main entrance to the castle.  The knight cocks his battle axe behind his head.  “I am about to decapitate you!”

Magon quickly waves his hands around—one holding a staff—the other holding a wand.

The other knight says, “Why do ye hold both a wand and staff?  Tis overkill, is it not?”

“I couldn’t decide on which one to bring,” mumbles Magon.  “When I left my tent and all.  Over in another land.”

“Wizards are dead,” says the knight ready to chop.  “Magon the dragon roasted and ate all of them.”

Cowering from the blade, Magon says, “But I come forth to entertain the king!  Tis a gift from the last wizard in the land—me, of course.”

The knight with the axe sniffs the air once.  Twice.  Thrice.  He sniffs some more and says, “I smell a dragon.”

Magon snorts as he laughs and says, “You’re silly.”

“No,” the knight says, “I’ve slain many a dragon, and I tell ye, I smell the vile creature’s barf odor lingering in the air.”

Some ridiculously fast pageboy took that information and relayed it to the king and is now back at the main entrance blowing his horn and shouting, “Hear ye!  Hear ye!  King Lumpers desires entertainment, so bring forth ye wizard!”

The knight holsters his axe but not his nose.  “Right this way, you lucky wizard bastard,” he says.  “But heed thy warning—I shall keep my eyeballs ball and chained to ye every move.”

“Even when I’m in the shower?” says Magon.

The knight kicks over a cart full of fruit, and nobody can see it, but behind Magon’s shield-sized beard is the biggest smile never captured in any of his paintings.  The angry knight may desire truth, and King Lumpers may desire entertainment, but Magon the dragon desires a midnight feast of human kabobs.

*

It’s night time, and everyone is seated in the bleachers of the jousting field.  King Lumpers doesn’t stand from his throne because he weighs over 400 pounds and doing so would take too much effort, so he hollers, “Oh wizard man!  Oh wizard man!”

Magon looks up from the field.  Magon smells the blood of the men who died on the soil.  Magon is so close to fulfilling his dream.  To filling the empty shelf with paintings of him tearing this castle apart.

“Woo me!” the king hollers.  “Woo me right in the face!”

Magon knows a lot about wooing.  Case in point, three years ago, to obtain maximum terror, Magon stuck thirty peasants to the roof of a stable by using spears.  For each day of the month, Magon would eat one of the peasants, then use the spear to clean his teeth.  By the time he got to peasant number thirty, Magon had another brilliant portrait painted of the most horrified human expression.

“Watch this,” says Magon as he takes his staff and catapults it through the air.  The uneven piece of wood wobbles in an arc and ends up clothes lining nine humans in the face.  The lute players play a fail song.  The remaining human audience goes, “You stink!”  And the king begins to eat a pig’s leg.

Magon looks down at his curled, stinky, bare feet and says, “Didn’t expect my opening act to bomb.”  When Magon looks up, the angry knight is holding a decapitated head an iron trowel away from his face.

The knight bellows.  The knight licks his lips.  The knight curtseys and says, “Good day.”  He pauses, then says, “Ye yearns to eat this head, do you not?”

Magon tries to swat the knight away and says, “No thanks.  I’m sort of in the middle of a show here.”

“Well my bad,” says the knight.  He shoves the decapitated head into his pocket and starts to walk backwards.  “I shall take myself into the shadows.”  As he retreats, he points at his eyes, then at Magon.  “Remember—my eyeballs—ye moves.”

“Haven’t forgotten—thanks.” 

In the time that passed, someone in the stands made a sign that reads, “Tis it time to do labor yet?, cause this guy is the privies!” and is pumping it into the sky.  Now people are laughing.

Just blow all of them up with a fireball, Magon thinks.  When they land, they’ll be cooked and ready to eat.  It’s that simple.

Magon shakes his head and everyone thinks he’s loony.  Then I’ll get owned by the guards.  He pulls his wizard hat tightly over his furry face.  There must be a better way to do this, but if I get booed out of here, I’ll lose my chance to slaughter the kingdom. 

Then it hits him, so he plucks his head from the hat and shouts, “Boy!  Boy near my staff!  Would ye be so kind as to toss it back to me?”

The boy does so, and everyone watches with great anticipation.  The king nods to one of his jesters and says, “Thee second time tis a charm.”  He waves another pig’s leg around.

Magon clenches the staff in one hand and cocks it all the way behind his head.  The audience holds their collective breath.  It’s so quiet, the only things that can be heard are insects and farts.

Magon suddenly yells at the top of his lungs, “ARGHHHHHH!” and launches the staff into the air.  The uneven piece of wood wobbles in an arc and ends up clothes lining nine more humans in the face.  The lute players don’t have a song for this fail.  The audience starts throwing tomatoes and battle axes.  And the king is in a food coma.  Someone offers him a piece of candy, but he says the only remedy is a good show.  He also says, “Off with ye wizard’s head.”

The angry knight is on the field rushing toward Magon with his battle axe raised.  He shouts, “Battle on!”  He shouts, “War cry!”  He goes to shout a third time, but Magon aims the wand at him and shouts back, “Unleash an explosion!”  A glowing ball shoots out.  It goes right through the knight.  Right through the crowd.  Right through the king.  Then up into the air and BOOM!

Everyone eats popcorn as the explosion reveals a sparkling butterfly ten times larger than Magon in dragon form.  As the knight is three ticks away from slicing Magon’s head off, King Lumpers yells, “Heed thy attack!”  The king steals some popcorn from his jester and says, “I love butterflies,” and then the crowd goes wild.

*

After such a wonderful show, the king grants Magon stay in the keep.  It’s the perfect spot in the castle.  Eat all the guards as they sleep, then pose for a picture.  But as Magon tosses and turns in his log bed, he can’t shake the excitement the crowd brought him.  In fact, it’s during this time that Magon leaps out of his bed and then leaps outside his bedroom to come yet again face to face with the angry knight.

The angry knight yawns and holds up yet another severed head.  “Ye know ye want to eat it.”

Magon takes the head and tosses it over his shoulder.  He grabs the knight by the shoulders and shakes him excitedly.  “I really don’t!” he shouts.

The knight yawns again, and Magon and the angry knight become best friends.

Magon skips around the castle, and instead of eating people, he greets them.  He says, “Hi, I’m Magon the wizard!” and they say, “Righteous,” before falling back asleep.  See, Magon always felt he needed to fill his empty shelf with killing, but never did he think of a reusable resource such as happiness. 

The king asks him to stay forever, to which Magon accepts.  He eventually goes on to meet everyone in the kingdom, even a man who says he has a device which can erase memories.  Magon is so happy that he erases the fact that he’s really a dragon.  In the end, Magon lives out his remaining years as a wizard.  He meets an elf babe and has the angry knight as the best man in his wedding.  And he has three kids.  And everyone is happy because Magon the dragon disappeared.  And they spread throughout the land.  And that’s how humans inhabited the entire earth.