Tuesday, August 22, 2017

Great Expectations

by Gary Fearon, Creative Director, Southern Writers Magazine

So where were you during the 2017 eclipse? If you're like an estimated tens of millions of Americans, you went outside (or at least looked out the window) to try to catch your local version of the highly-publicized event.

After it was over, reviews were mixed, with reactions covering the gamut from "Spectacular" to "Was that it?" This range of opinions often came from folks who had observed from the very same vantage point.

As fate would have it, I was traveling through Kentucky yesterday and managed to be in the path of totality as it crossed the Bluegrass State. I pulled into a Dollar General parking lot off the interstate at the right time and joined a small group of travelers who had the same idea. One couple had come equipped with pricey black plastic eclipse goggles and a picnic lunch, enjoying their own little tailgate party. Another couple of women who just happened to be at the store paused outside just long enough to watch it get almost dark and then went inside.

Being a people watcher anyway, I was as entertained by the divergent levels of interest shown by those around me as I was the solar show going on in the sky. Some people booked their hotel rooms months in advance to ensure their place in the path of totality, while others just stopped to get a Pepsi. Apparently not everyone is blinded by science. (And hopefully nobody was.)

What makes this total eclipse a little more notable to any of us in the publicity game, is that this was the first eclipse where social media is to thank for really getting the word out. In the past, only the astronomers and devoted stargazers "saved the date" so far in advance. This time around, the buzz started very early via the Internet, and millions timed their vacations to be somewhere in the eclipse path on August 21st.

Social media is free advertising that works, but we already knew that. The real takeaway from this is that 1) the Internet buzz reached many who otherwise might not have cared and caused them to go to considerable effort in order to experience the event, and 2) the buzz began early enough that marketers, hoteliers, t-shirt manufacturers and commercial opportunists of all kinds could plan ahead and capitalize on it.

Publicity experts tell authors to start promoting their books months before they're actually available. One author we work with has been promoting her new August release since Christmas, with excellent results. To her fans, the book is a familiar friend that is nearly selling itself.

Posting progress reports on Facebook ("Just finished chapter 20!") or posting small samples online are simple ways to attract early attention. Some authors do contests, offering to name a character after the winner. Others ask readers to vote for their favorite of several proposed titles or covers. Getting fans involved makes them feel personally invested.

Generating buzz well in advance of your book's release and positioning it as an "event" is an easy but powerful strategy for attracting new readers and building their anticipation. Like a good solar eclipse, a successful book launch doesn't just happen. You planet.

Monday, August 21, 2017


By Penny Warner 


That means “Help!” in Japanese. I figured it was the one word I’d need the most when I headed for Japan on a book tour. The truth is I was a little terrified. Even though I was born in Okinawa (a small island off Japan), I was worried about visiting a country where I don’t speak the language, recognize the alphabet, or know much about the culture. How was I supposed to connect with readers?

But when my Japanese publisher suggested I come meet my “fans,” how could I refuse? This would be a once in a lifetime adventure. All I had to do was brush up on the cultural dos and don’ts so I didn’t bring to shame to myself and my family. I quickly learned about taking off my shoes when entering a home (had to get a pedicure!), bowing instead of shaking hands (I can curtsey like a princess, but bow?) using chopsticks properly (no “chopping” or “sticking” the food), bringing gifts but belittling them (Oh, this old chocolate? It’s from Wal-Mart) and avoiding getting a tattoo (it’s a sign of the Japanese mafia.)

After leaving messages for my family to call the American Embassy if I wasn’t back in ten days, off I went.

I needn’t have worried. From the moment I stepped off the plane, I was taken care of by my wonderful editor, Yuka Hayashi. The highlight of the trip was meeting the students at bookstores and school events. The young fans treated me like a rock star (eat your heart out, Taylor Swift.) After signing hundreds of books and having my picture taken with each and every reader, I didn’t want to leave. The kids brought me cookies, cards, and crafts, and had me sign their notebooks, pencil cases, and origami creations. The bookstore made posters, set up a table in front of the store, and by the time I arrived, 80 kids had lined up, the last one waiting an hour and a half for a book and a signature. Yuka was there every minute to make sure everything went smoothly, and arranged for me to meet my translator, my illustrator, my book designer, my foreign agent, my sales reps and even the boss and the boss’s boss. The publisher made cute little notebooks for all the kids, while I passed out “top secret” code kids. The schools were just as accommodating, the students asked great questions—translated into English—and I even got to have lunch which I got to eat with the kids.

In the rare moments of free time, my editor took me to the electronic district (I got a toy drone for my ten-year-old grandson), the anime and manga shops (a Sailor Moon for the seven-year-old), the Pok√©mon store (the latest characters for the six-year-old,) and the Hello Kitty kiosk (yet another Hello Kitty for the five-year-old’s collection). I picked up a Mickey and Minnie dressed as a samurai and a geisha for me.

I also learned a lot while I was in Japan. I can say “hello” (konichiwa), “thank you” (arigato), and “my bad” (warukatta), but had to do a lot of gesturing when I needed to communicate important concepts like, “I’m lost,” (shake your head and throw your arms up in the air), “How much does that cost?” (Raise your eyebrows and pull out your wallet), and “More wine, please.” (Point to your empty glass then add a thumbs-up.)

It was hard to leave such a beautiful, friendly country, filled with golden temples, grand shrines, and green valleys. But I’ll always have a little bit of Japan with me, thanks to the bazillion photos we took, chronicling nearly every minute, not to mention the many memories of enthusiastic young readers will be with me always.
Penny Warner has published over 60 books for both adults and children. Her middle-grade mystery, THE CODE BUSTERS CLUB #1: SECRET OF THE SKELETON KEY, was nominated for an Agatha Award for Best Children’s Mystery. It features four kids who solve a mystery by cracking codes in each chapter. The second book in the series, THE CODE BUSTERS #2: THE HAUNTED LIGHTHOUSE, is set on Alcatraz and won the Agatha Award for Best Children’s Mystery.  THE CODE BUSTERS CLUB #3: MYSTERY OF THE PIRATES’S TREASURE features the California Missions and the state’s lone pirate and was nominated for an Agatha Award and an Anthony Award. THE CODE BUSTERS CLUB #4: THE MUMMY’S CURSE, is set at an Egyptian Museum and offers puzzles about artifacts and mummies. THE CODE BUSTERS CLUB #5: HUNT FOR THE MISSING SPY is set at the International Spy Museum in Washington DC, and THE CODE BUSTRS CLUB #6: SECRET OF THE PUZZLE BOX, set on Angel Island. You can join the Code Busters Club at www.codebustersclub.com. In addition to her Code Buster series, her non-fiction book, THE OFFICIAL NANCY DREW HANDBOOK, was nominated for an Agatha Award.  Her first mystery featuring a deaf reporter, DEAD BODY LANGUAGE, won the Macavity Award for Best Mystery and was nominated for an Agatha and an Anthony Award. She also writes the HOW TO HOST A KILLER PARTY series, featuring a party planner, and DEATH OF A CRABBY COOK series, featuring food trucks. She writes a column for the local newspaper on family life in the Valley, creates fund-raising murder mystery events for libraries across the country, and teaches child development at Diablo Valley College. She can be reached at http://www.pennywarner.com or pennywarnerink@yahoo.com or www.codebustersclub.com

Friday, August 18, 2017

Fear, Passion and Alfred Hitchcock Mystery Magazine

By Debra H. Goldstein

Imagine my mother “accidentally” leaving a copy of the May/June 2017 issue of Alfred Hitchcock Mystery Magazine on the table, as if she had been reading it, when she set up for her weekly card game.  By strategically placing it, she guaranteed her friends saw her daughter’s name on the magazine’s cover. When they pointed to it, she waved a hand and said, “Oh, that.  Debra’s had several short stories, plus a book, published this year. It’s difficult to get published in Alfred Hitchcock, but they took her on her first try.” 

What she failed to share with them is that AHMM including The Night They Burned Ms. Dixie’s Place almost didn’t happen because of my own fears.

Although I enjoyed the challenges of being a litigator, judge, community volunteer, wife, and parent, fear kept me from following my passion of writing. I often talked about my desire to tell stories, but I wrote nothing except boring briefs, opinions, and legal articles until a friend challenged me to use her condo for a weekend to find my writing voice.  The unsaid part of the offer was if you don’t find a way to express yourself on paper, don’t talk about it anymore. 

During that weekend, I wrote eighty-five pages and realized I had the beginning, middle and end of a book in my head. Fear gave way to confidence. 2012 IPPY award winning Maze in Blue, a mystery set on the University of Michigan’s campus in the 1970’s, contains five of the eighty-five pages. Since then, I wrote another book, Should Have Played Poker (Five Star 2016) and had twenty-four short stories published in periodicals and anthologies, but the one in Alfred Hitchcock almost didn’t come to be.

I was afraid I couldn’t write anything good enough to meet its standards.  Thanks to reading craft books, dissecting the stories of great writers, and taking classes, I knew my technical skills were improving, but AHMM stories have heart and fire. My early tries lacked the sparks necessary to engage a reader. They had too much tell rather than show. Slowly, I learned to trust the reader to go on an imaginary journey with me instead of supplying every detail. 

Once I did that, my characters and settings became more realistic and enjoyable.  I started submitting to markets ranging from online periodicals to literary magazines to open anthology cattle calls.  Acceptances became more frequent.  If something was rejected, I edited and submitted it elsewhere. For some stories the process had to be repeated several times before it found a home (and being honest, a few will forever reside in my computer).

Even though writers I respected encouraged me to send a story to Alfred Hitchcock or Ellery Queen, I didn’t. I couldn’t.  I read both magazines and analyzed the different styles and voices each published, but fear paralyzed me from taking a chance. My rationalization was my stories were too simple, too comical, too one-dimensional, too crappy, but then I wrote a story with different layers and concepts entwined within it.  It was special. I knew someone would publish it, but who? There was only one way to know if AHMM or EQMM would take it. Submit it. The voice seemed more suited to AHMM, so I sent the story off aware turnaround time for acceptance or rejection might be nine months. I steeled myself to receive bad news, so you can imagine my surprise when I received an acceptance e-mail.

In retrospect, what is the worst that could have happened? A rejection. That wouldn’t have stopped me from improving the story and submitting it elsewhere. My writing has a long way to go, but I’ve learned that overcoming the obstacle of fear is perhaps the greatest gift I can give myself --- and it gave my mother something to brag about.
Judge Debra H. Goldstein is the author of Should Have Played Poker: a Carrie Martin and the Mah Jongg Players Mystery (Five Star - 2016) and 2012 IPPY Award winning Maze in Blue. She also writes short stories and non-fiction. Debra serves on numerous boards, including Sisters in Crime (national) and the Guppy Chapter, and is an MWA member. Her Social Media links:  http://www.debrahgoldstein.com           http://www.debrahgoldstein.com/blog   https://www.facebook.com/DebraHGoldsteinAuthor/          @DebraHGoldstein

Thursday, August 17, 2017

Novel Inspiration via a Job in a Haunted House in Scotland

By Annette Cole Mastron, Communications Director for Southern Writers Magazine

Have you ever wanted to write a science fiction or paranormal book? Are you an Outlander fan and want to write a time travel book in historic Scotland? How would you do the research? I've got an idea. How about a nanny job in Scotland at a reportedly haunted house for inspiration?

Scottish Borders' parents are willing to pay approximately $63,000 with 28 vacation days for a live-in nanny to their two children, five and seven years old. Their ad describes their "lovely, spacious" home. The potential nanny would need to perform routine tasks ("making breakfast, dropping off and picking up the kids, assisting with homework, etc)."

Ten years ago, when the family purchased the home, they were "told it was 'haunted,'" though they "kept [their] minds open and decided to buy the house regardless." However, according to the couple's employment ad: "5 nannies have left the role in the last year, each citing supernatural incidents as the reason, including strange noises, broken glass and furniture moving." The family says, "We haven't personally experienced any supernatural happenings, as they have been reported only while we've been out of the house, but we're happy to pay above the asking rate, and feel it's important to be as up-front as possible to find the right person."

Cue the Mission Impossible theme music..."Your mission, should you decide to accept it," is…to consider this job. You could gain unique research for writing your science fiction and or paranormal book through the nanny job in historic Scotland.

Wednesday, August 16, 2017

Planning Characters

By Lizzie T. Leaf

Over a year ago stuff happened that drained my passion for writing. I buried myself in other things, and pushed aside the stories whispering in my ear to the point they stopped.

I finally worked up the energy to look at some of the books I received my rights back on, which happens when publishers shut down, and discovered the need to have a number of them re-edited. 

That is when the whispers started again.

During the quiet period I had read articles on ways to write a book. A lot of them were a bit different than my original process, some a lot, but I decided to try a number of them. You know what happened? Not much. Most of them didn’t work for me. But, they did give me food for thought.

So now I’m back to my original working style with a few tweaks. I start with a story idea and building the characters. I love strong characters that carry a story, and yes, there have to be other parts to move the story along. But, if you don’t have characters that do get into situations, learn, and grow, then not much happens and some readers will have problems connecting to the story.

So here is my basic way to move forward.

After I come up with a character’s name, I start to build their profile. First, a good physical description of them is needed so I see them in my mine’s eye: height, weight, hair color and length, eye color, complexion.

Once I know what they look like it’s time to learn who they are? What do they do? Are they rich, middle class, or poor? Does trouble follow them or are they lucky. What are they like, introverted or outgoing? Are they a good person or someone who is self-centered, or enjoys evil for fun?

This is done for all my main characters, good and bad. Then I start to ask “What if?” There begins the plot for me and slowly, a story evolves. Some go quicker than others. And once the first draft is complete, then starts the fun of revisions. But, even there, I need to make sure my characters don’t do something foolish, like change their blue eyes to brown or their black hair to blond.

Once I’ve polished to the best I can, then off to the editor with fingers crossed they won’t find too many things wrong with the plot, and they connect with the characters.

The thing I learned from my experience is to glean from the information out there, but focus on what works for you. Then do it! Or, you’ll be me the past year plus…accomplishing nothing.
Lizzie T. Leaf writes spicy Fantasy/Paranormal with a bit of humor set in contemporary times. Her alter ego will release books later this year in new genres. One will focus on life in the modern world, and she is researching for a WWII Historical. When not writing and researching, she is consumed with family, cooking and traveling. You can learn more on her website:  http://lizzietleaf.com/ Follow her on Twitter: https://twitter.com/lizzietleaf And her Facebook author page: https://www.facebook.com/AuthorLizzieT.Leaf/

Tuesday, August 15, 2017

What Does Your Ear Hear?

By Susan Reichert, Editor-in-Chief for Southern Writers Magazine 

We as writers know there are rules we are to follow in writing.  But, did you know there are times you can break those rules of writing?

You can, and you aren’t being rebellious, difficult or even childish. Aren’t you glad? I know I am.
When you write thrillers, for instance, you’re concerned about getting the atmosphere of the story down on paper. What is your ear hearing? Does it hear tension, danger, and trouble?

When we are writing dialogue, there are times you just can’t follow the rules, not if you are writing the dialogue the person would be speaking.

Now, don’t get the idea I am trying to get you to stop following the rules. I believe you need to know the rules, and if you do, then you know when you are breaking them, and if it is in a place they need to be broken.

When you read a sentence on paper, your ear tells you, “right on target––or off target”.

Winston S. Churchill said, “Broadly speaking, the short words are the best, and the old words best of all.” He could have also said the shorter sentences are the better ones too, however, he didn’t say that. But they are. Short words have more punch.  I think short sentences also have more punch. Try reading a long sentence with say 40-50 words in it. Does your ear get tired? Does your brain start wandering? Mine always does.

One of the things a writer needs to be is a good communicator. Every time I write something I need to turn around and read it. What does my ear hear? Does it make sense? What can I take out? What do I need to add? These are some of the questions I ask myself. What I find sometimes is a couple of sentences are not making sense or they’re rambling. Clarity is important in our writing. We don’t want people confused trying to read what we’ve written. Listening to what we are reading helps us be better writers.

In high school, one of my teachers, (won’t mention a name) was always trying to impress upon us the importance of being organized. She would say, “Only then, can your words have clarity.” She was right. We do need to be organized. It especially helps when we are talking to be organized in our thoughts so there will be clarity in what we say. I can hear her asking us, “Did you hear what you just read?”

The answer she got was, “Of course we did.” But she meant did we hear with our ears and did we understand what it said.

The other subject she stressed, repeatedly, was writing outlines. Let me say to this day, I hate writing outlines. We are talking over fifty years here, I still hate writing them. But she was right again; outlines are wonderful tools for writers. Thank you Mrs.… (No names remember?)

Monday, August 14, 2017

Reality in your Fiction

By Marina Landry

Could accuracy in futuristic settings be as important as in historical settings? The shrieks of snubfighters speeding toward the Death Star add to a moviegoer's experience, but novelists must respect immutable laws of science. Most readers know the human ear does not hear sound in a vacuum.

You have the opportunity -- and the challenge -- of engaging readers with more senses than the sight and sound of movies, creating your setting by having your characters experience it in interesting ways. Writing vividly about interactions and sensations within a setting is much more likely to engage your readers than descriptions about the setting or, worse, having one character give details to another character who already knows them.

The setting of your science fiction novel might exist only in your mind, but your fantastic creations must be plausible in the minds of your readers. If you are writing about creatures on Earth's moon, be sure these creatures can function in the actual gravity and rotation of our moon. Even if detailed explanations never wind up in your stories, answers to important questions should be clearly formed in your mind.

How can your hero's projectile-repelling skin regulate body temperature, perspiration, and respiration? Why does the entire planet in your story have the same climate, rather than extremes at the poles and equator? Why isn't your giant creature leaving a crater with each step?

As long as you are consistent and include some familiar aspects to anchor your readers, a few brief, significant details are enough to add credence to your imagined world, especially if readers wish those details could be true. Wouldn't we all like to be beamed up with a teleporter instead of sitting in traffic, or to breathe under water using gillyweed or a device that can fit in our palm?

There is nothing wrong with creating environments beyond the science we know, as long as science is not ignored. Computer tablets with touchscreens or motion sensors, devices that translate the spoken word into other languages, and self-driving vehicles once existed only in science fiction stories, though they are now available in our real world. Star Trek's communicators essentially became available to the average person in 1980's America, and flip-phones are now in our history instead of our future. Yet, the bane of futuristic writers is, if we're not mindful of science, our clever inventions are often proven either too outrageous (jets on your back that don't burn your derriere) or not outrageous enough (room-sized computers controlled by turning knobs).

Also consider the impact a futuristic invention might have on the futuristic culture you are creating. Asimov's Three Laws of Robotics do not tell us about the technological marvel of artificial intelligence, but how robots are integrated into our human ethical, legal, and cultural structures.

So, science fiction storytellers, fill your minds and pages with awesome gadgets, societies, vehicles, planets, spacecraft, biospheres, energy sources, and creatures. Show us the mischief and wonders they cause. But be prepared to do your research.

To download one of my short stories FREE you can email me at MarinaLandry5432@yahoo.com.

Marina Landry has gained attention in both the romance and science fiction communities for her heart-warming, emotionally intense, character-driven stories.  Her debut novel A Star Called Home (Desert Breeze Publishing) has consistently received five out of five stars on multiple online book review sites. Marina has taught language arts and mathematics in south Louisiana for 18 years. She speaks on the craft of writing and teaches all levels of writers online. Her next SciFi Romance novel Bridges Burning will be released by Desert Breeze Publishing, February 2018. Though her education has not followed a typical path nor timeline, she has Masters Degrees in Education of the Academically Gifted, Secondary Mathematics Education, and Adult Education.  Author Website (and blog):  MarinaLandry.com Facebook link: https://www.facebook.com/MarinaLandryAuthor/

Friday, August 11, 2017

The Great Chattanooga Bicycle Race

By Mike Mizrahi

The Congo, Field Research, and Mary Helms

It’s pretty cool how sometimes in the moment, you wonder why something unexpected is happening, and in hindsight, you get why the tapestry was woven that way. I’m learning to accept such mysteries in my life.

I really thought we were meant to be serving in the Democratic Republic of Congo two summers ago. But after six months of prepping the team, I had some heart issues, and the doc said not this time around. Not to Africa, anyway.

My brilliant wife, Karen, came up with the perfect plan to console me.

As the rest of our mission team headed for Congo, we boarded a plane for Chattanooga, Tennessee. Yep . . . the Choo-Choo city nestled between Lookout Mountain and Missionary Ridge, along the banks of the winding Tennessee River. The “Gateway to the South,” and the location of some bloody battles in the War Between the States. Right up my alley.

As it turned out, we were supposed to spend several days in the Chattanooga Public Library with Mary Helms. I know what you’re thinking. Not your idea of a good time, right?

Well . . . Mary owns the third floor, the Local History and Genealogy Department. At least, in my mind she does. My wife’s brilliant idea, that we take this unexpected free time and do some field research for my historical novel, led us right into Mary’s den of treasures. They were shiny gems to me: books, photos, personal writings, newspaper articles, city directories . . . all about Chattanooga in 1895, the setting and year for my story. And Mary pulled these sleeping beauties out of their resting places, one at a time, to tell their stories once again, this time to an aspiring writer.

As Mary understood my storyline better, she dared to imagine how the historical elements of her beloved city–the people, the places, the culture, and actual events–might have played a part. The Internet is an amazing tool for research, and I used it for two months to put the bones of my book together into a skeleton. But Mary, and the power of her files–built through years of painstaking collection, cataloguing, and maintenance–put muscle in all the right places.

I’ve been down many rabbit holes trying to find certain tidbits of information online. If you’re a novelist or write non-fiction—whatever the genre—research can be the bane of your existence. Or, for the historical fiction writer like me, it can be an amazing adventure, a romp through time and space where make-believe characters take shape within the backdrop of real events. There are people out there who quietly do what they do, with excellence and expertise, and people like me are blessed to spend time with them. We just have to find them.

Remember Marion, the librarian, from The Music Man: the shushing spinster with horn-rimmed glasses, her hair up in a bun. Well, there’s a new-style librarian named Mary Helms. She lives in Chattanooga, and I’d guess in a library near you. She’s gracious, kind, and really good at what she does. She might even come to share your dream. Among the many treasures in that library, Mary is the most precious.

Some of those gems brought real life to the pages of my recently published novel about female cyclists and life in 1890s Chattanooga. Thanks Mary.
Mike Mizrahi has a master’s degree in public relations, advertising and applied communication from Boston University. After a career in corporate public affairs, he retired to pursue a deep passion: writing. Mizrahi and his wife, Karen, led a mission trip to the Democratic Republic of Congo four years ago and were so moved by the experience, Mizrahi wrote his first novel, which he hopes will one day be published. The Great Chattanooga Bicycle Race is his debut published work. Mizrahi loves reading and writing stories about “sozo,” which means to be rescued in Greek. He and Karen are very active in their church and community and love to hike, travel and go the movies together. The Mizrahis live in Woodland Hills, California, where they raised their children who are now adults. Learn more about The Great Chattanooga Bicycle Race and Mike H. Mizrahi at www.mikehmizrahi.com or on Facebook (AuthorMikeMizrahi) and Twitter (@MikeHMiz).

Thursday, August 10, 2017

Friendship and Age

By Doyne Phillips, Managing Editor for Southern Writers Magazine

Amy Silverstein was a 24 year old law student at NYU when she learned she had a weak heart. A transplant was scheduled and was successful. The event led Amy to write her first book Sick Girl. A book that is unforgettable. It is a keen and humorous observation of a life threatening challenge.  The book won a “Books for a Better Life Award” and was a finalist for the Border’s Original Voice Award.

Now some 26 years later Silverstein found once again needing a heart transplant and is now on her third heart. Due to her age and the seriousness of the situation this was a different experience than the first. She was now 50.   Her friends were now 50 and the friendship shown was intense, much more than the first transplant. She mentioned during her first transplant she had only one friend come around and did so with her date on their way to a party. This time friends that were older, wiser and experienced caretakers of their parents, spouses and children were there for her as well. 

Silverstein made this observation, We were grown daughters all, some mothers of high school or college kids, a few of us seasoned career women. We had become our middle-aged selves. Our wisest, steadiest, most powerful selves yet. And we discovered a new best in ourselves together because I was dying, really dying this time, and we weren’t twenty-five anymore. This time her friends came from across the country and stayed with her at length as she was waiting for the transplant and surgery. This experience led to Silverstein’s current best seller My Glory is I Had Such FriendsSilverstein has been on many talk shows and interviewed about her health challenges as well as her book. She is now an attorney, author and speaker. You may want to visit her website.
Over the years I have noticed how friendships change. It seems to me the more friends we lose the closer those remaining become. The petty things of youth, the competiveness, the jealousy and the pains from all these have faded or completely gone away. What seems to be noticed more than anything is we all are older and age has various physical effects on each of us. I remember encountering a friend I had not seen in some 40 years. I observed him as he approached. I noticed his broken gate, his silver hair, additional pounds and a face recognized only by his eyes. I was taken back when he reached out, shook my hand and said I really looked old. Later I found he had been stricken with seizures and had fallen many times. I wondered if that had also had an effect on his judgment.  

Some of us have experienced near death health issues and understand what Amy Silverstein has faced. It seems to have a way of showing us things for what they really are. We can appreciate what is important. Wouldn’t it be wonderful to receive such a gift without the threatening ailments? Maybe if we think on these things it will happen. And if it does we should write about them. Thankfully Amy Silverstein did just that and we are better for it.      


Wednesday, August 9, 2017

Tools of the (Marketing) Trade

By Susan Cushman

When I realized that I would have three books releasing within a six-month period in 2017, I put on my multiple-book-marketing hat and went to work. I didn’t plan for it to happen this way, but since I was working with three (and now four—more on that later) separate presses, the right hand didn’t know what the left hand was doing. Without an agent or publicist, I worked with each publisher individually.

My first book, Tangles and Plaques: A Mother and Daughter Face Alzheimer’s, (a memoir) released early in February. It was followed a month later by an anthology I edited, A Second Blooming: Becoming the Women We Are Meant to Be. Since these were such different books, I found venues and audiences to fit each, and between March and June I had eighteen events at bookstores and other venues in six states, eleven for Tangles and Plaques and seven for A Second Blooming. Marketing the memoir involved communicating with Alzheimer’s caregivers’ support groups in several cities, and many of those folks showed up at readings and became an important part of the discussion. One group invited me to their meeting, where several of them purchased both books!

For A Second Blooming, I traveled to seven bookstores in five states to join contributors at readings in their hometowns. On a couple of occasions I was able to sell both books—when I was invited to speak on my “late life career” as an author at a women’s conference at a community college, and even at a bookstore that hosted me for one book but loved the other and promoted both in one night. The turnout at these events has averaged around twenty-five to thirty folks, but one event had close to eighty.

One way I used these first two books to complement one another was by creating marketing materials that featured both of them. Bookmarks and business cards show book covers and author blurbs for both books, and now for my novel, Cherry Bomb. I created fliers for each venue, sent them to the bookstores or event hosts, and posted them on Facebook and Twitter. Afterwards, I blogged about each event and again posted photos on social media. It’s been a busy but fun spring!

With the release of Cherry Bomb this summer, I moved forward with another marketing push, starting with the launch on August 8 in my hometown, Jackson, Mississippi, at Lemuria Bookstore, and followed quickly with my appearance as moderator of one panel and speaker on a second panel at the Mississippi Book Festival on August 19. More events are scheduled for the coming months and into 2018, when my fourth book will be published. Another anthology I’m editing, Southern Writers on Writing is coming in spring of 2018 from the University Press of Mississippi. Featuring essays by twenty-six southern authors—thirteen women and thirteen men—I’m sure some fun book tours will be in the works. Stay tuned!
Susan Cushman was Co-Director of the 2013 and 2010 Creative Nonfiction Conferences (Oxford, Mississippi). She was also the Director of the 2011 Memphis Creative Nonfiction Workshop. Her memoir, Tangles and Plaques: A Mother and Daughter Face Alzheimer’s is about the decade she spent long-distance caregiving for her mother, who died from Alzheimer’s in May of 2016. Cushman is editor of a collection of essays by 20 women authors, A Second Blooming:Becoming the Women We Are Meant To Be, (Mercer University Press, March 2017). Her novel, Cherry Bomb, will be published in July 2017 by Dogwood Press of Brandon, Mississippi. She is editing another anthology, Southern Writers on Writing, to be released in 2018 by University Press of Mississippi. Cushman also has ten published essays in various journals and magazines and four anthologies. Susan’s web site is www.susancushman.com (which also contains her blog, Pen and Palette). Follow Susan on Facebook and Twitter. Her Amazon author page is here. A native of Jackson, Mississippi, Susan has lived in Memphis since 1988.

Tuesday, August 8, 2017

Writing Like a View-Master

by Gary Fearon, Creative Director, Southern Writers Magazine

It's been a long time since I hung out in the toy department, but on a recent visit I was surprised to see that one of my childhood favorites was still around. Perhaps at some point you also owned a View-Master. I can still hear the voice of actor Henry Fonda hawking "the G.A.F. View-Master" on TV spots.

This plastic viewer, held up to the eyes like a pair of binoculars, let you experience genuine 3D images. Depending on which disc you inserted, you could see stereoscopic views of everything from the Grand Canyon to popular TV shows. Grimm's Fairy Tales and stories from the Disney archive were among the more popular titles.

As you manually advanced to each of the seven scenes on a disc, a tiny window displayed a few words describing what you were seeing.  Which meant that an entire story had to be told in seven scenes.

Does that tell you something?  What it suggests to me is that a good story can be broken down and told in as few as seven simple plot points.

Apparently the View-Master isn't alone in thinking this way.  Numerous writing resources spell out classic seven-point outlines.  There are variations, but here's a common breakdown:

1. The Beginning
A setup that establishes the character in his/her current circumstances.

2.  Plot Point 1
An inciting event, a catalyst that changes the status quo.

3.  Pinch Point 1
A personal challenge that requires the hero to take action.

4.  Mid-Point
At this point of no return, the hero is fully committed and proactively tries to fix things.

5.  Pinch Point 2
The hero fails. At this low point an additional crisis makes it appear that all is lost.

6.  Plot Point 2
The final confrontation with the antagonist.  Most of the time, the hero will prevail.

7. Ending
This satisfying epilogue reveals how things are in the new normal.

In an 80,000-word novel, that translates to roughly 11,400 words for each point.  But if you break your story down to its key elements, you could convey it in a one-minute summary suitable for an elevator pitch or a workable outline for whatever novel you're working on.

Granted, a picture is worth a thousand words  and the View-Master showed seven of them  but the brief text that accompanied each slide told the same story in the sparsest words possible.  When plotting your next story or pitching to an agent, think like a View-Master and you can stir your reader's imagination in vivid 3D.

Monday, August 7, 2017

The Battle Against Distractions

By Jennifer Bean Bower

Several days a week I have the opportunity to work at home. On those days, I rise early as I am eager to work on an article, chapter, or pitch. Yet, at the end of most days—no matter how hard I try—my cursor sits blinking on an empty screen of white.

Where does the time go? And, more importantly, why can I not write? The answer is easy.

Home is a hard place from which to write. For it is there that distractions consume my time and steal my thoughts.  

Early on, I took my distractions in stride and would cease writing for anything. If the phone rang, I answered it. If I was invited to a three-hour lunch, I accepted. If the laundry basket was full, I emptied it. No matter the interruption, it received my full attention; writing, however, did not. After all, there would be other days to write, and if need be, I could stay up all night. But that way of thinking proved detrimental to my writing. As a result of not prioritizing my writing, I submitted a poorly composed article to a publisher I had longed to write for. Needless to say, I was not asked to write for them again. At that point, I knew something had to change. I needed a strategy if I was going to write and write well.

First, I compiled a list of distractions. Then, I came up with a plan to defeat them. But, the battle was not easy. I turned off the phone to prevent it from ringing, but someone knocked at my door. I said no to a lunch invitation, but worried that I had offended a friend or family member. I hid the laundry in a closet, but could not get the sight of unfolded clothes out of my mind. For every distraction conquered, a new one took its place. The struggle was endless.

Finally, I had an epiphany. Distractions were not the enemy. The problem was my perception of writing. When I worked full-time, outside of the home, I was not hindered by any of the distractions on my list. I went to work, completed my duties and went home. After work, and on my days off, I completed housework, talked on the phone, and enjoyed time with family and friends.

When it came to writing, however, I failed to recognize it as a job—a career. Yet, the definition of career is “an occupation undertaken for a significant period of a person’s life and with opportunities for progress.” I have been writing for many years and have no plans to stop. And, in regard to “opportunities for progress,” who knows what the future holds.

Once I started putting value on my time and writing, others did too. Now, when I am officially on the clock; phone calls, visits, requests for time, and thoughts of laundry, are less frequent. If you are in a current battle with distractions, think about how you—and others—perceive your writing. Perhaps all you need is a new perspective.
Jennifer Bean Bower is a native Tar Heel and graduate of the University of North Carolina at Greensboro. Bower has written numerous articles and is the author of four books: North Carolina Aviatrix Viola Gentry: The Flying Cashier; Animal Adventures in North Carolina;Winston & Salem: Tales of Murder,Mystery and Mayhem; and Moravians in North Carolina. She lives in Winston-Salem, North Carolina, with her husband Larry and their pet rabbit Isabelle. To learn more about Bower and her writing projects, please visit: www.JenniferBeanBower.com

Friday, August 4, 2017

Past Mysteries and Present Day Conundrums – The Art and Science of Working In Dual Timeframes

By Lisa Wingate

Looking at the bestseller lists today, it’s evident that dual timeframe, or time-slip, novels are a hot trend. So, why the popularity of this genre and is it for you? I’ve written a dozen or so novels in this category so far and enjoyed reading dozens more. Here are a few of my thoughts on the time-slip genre in general.

My latest novel, Before We Were Yours takes place in two time frames––1939 and present day. As Avery, a modern-day senator’s daughter, digs into her family’s hidden ties with the Tennessee Children’s Home Society and a Depression era child-brokering ring, the audience begins discovering the story of twelve-year-old Rill Foss, stolen from her family’s Mississippi River shantyboat in 1939 and placed in an orphan house with her four young siblings.

Why not just write Rill’s story as a historical novel? Interweaving Rill’s narrative and Avery’s offers the opportunity to follow Avery as she ferrets out the truth, bit-by-bit. There’s an added element of suspense. The audience can share Avery’s thrill of discovery. There’s also an added element of relevance. The audience can see how Avery’s intense need to know and her eventual discoveries might affect, alter, and even threaten her family’s future.

The biggest trick to making dual time frames work is in weaving the stories together in a way that effectively moves the plot along. Even though the novel is telling two stories, one narrator’s arc will typically control the pace and drive of the story. That could be the historical arc or the present-day. The higher the stakes for the modern-day character(s), the greater the overall tension. Either way, it’s important to show how the discovery of the historical story will change present-day lives. What lessons will be learned? What habits, self-perceptions, future plans might be changed?  What secrets might be revealed? Does the fate for the free world hang in the balance? Could relationships be destroyed? Reputations ruined? Family harmony upended?

They’re intriguing questions and very natural ones. I think most of us wonder about the rumors, tall tales and oft-repeated anecdotes in our families and communities. Stories in dual time frames are all about discovering connections and unearthing the hidden past. In solidifying the connection, it’s helpful to employ some sort of physical link between past and present—an object, a place, a photo, a written record such as a packet of letters or a journal.

It’s a challenge balancing multiple timeframes within one novel. It falls in the category of double-the-work and double-the-risk, but also double-the-fascination and double-the-reward. There’s twice as much research, but with doubling the research comes the potential for twice as many interesting details, unanswered questions, and nearly-forgotten bits of history. Those elements weave new threads into the story loom. New threads add texture and color and dimension and life.

Ultimately, that’s what we all want from our stories—that they come to life, both inside our minds and, ultimately, on the page.
Lisa Wingate is a former journalist, inspirational speaker, and bestselling author of more than twenty novels. Her work has won or been nominated for many awards, including the Pat Conroy Southern Book Prize, the Oklahoma Book Award, the Utah Library Award, The Carol Award, the Christy Award, and the RT Booklovers Reviewer’s Choice Award. The group Americans for More Civility, a kindness watchdog organization, selected Lisa along with six others as recipients of the National Civics Award, which celebrates public figures who work to promote greater kindness and civility in American life. Booklist summed up her work by saying, “Lisa Wingate is, quite simply, a master storyteller.”Lisa was inspired to become a writer by a first-grade teacher who said she expected to see Lisa’s name in a magazine one day. Lisa also entertained childhood dreams of being an Olympic gymnast and winning the National Finals Rodeo but was stalled by a mental block against backflips on the balance beam and by parents who stubbornly refused to finance a rodeo career. She was lucky enough to marry into a big family of Southern tall tale tellers who would inspire any lover of story. Of all the things she treasures about being a writer, she enjoys connecting with people, both real and imaginary, the most. More information about her novels can be found at www.lisawingate.com.