The Writing Dream

Much like the American Dream, the Writing Dream can be a bit tricky.

It begins somewhere before, during, or just after the first story, be it a short story, a blog, or a book. You realize it isn’t so hard after all (that first one seems like a mountain, the future like hills. It’s a misperception because they are all mountains but go with it for now). And you begin to dream.

A long time ago, I would have guessed that dream is to have J.K. Rowling’s sales, yet after talking with hundreds of writers, the dream goes all over the place. Some want to use writing to travel, others to burn their high school English teacher (figuratively, not literally).

Dream Big – Be Ready if it Changes Capes.

However, like the American Dream, what you think is the goal may just be a weigh station, or even a load stone that gets you moving so you can get to where you’re supposed to go.

After a while, once you perfect the craft of writing, things will pop up. Opportunity or distraction? Hard to know. William Goldman was happy being a novelist. He wrote half a doze books and then one got turned into a movie. Marathon Man, starring Dustin Hoffman and Sir Laurence Olivier, became his fork in the road. He just wanted to write novels, but the studios wanted him to write screenplays. So he did, and became one of the best at it. In fact, he worked on most Hollywood movies in the last 40 years doing rewriting, polishing, or mentoring of screenwriters before his death.

He said he wrote screenplays for money and novels to keep his sanity. Yet he wrote no more novels (too bad, because I love his novels). Was this a slap to his personal Writer’s Dream?

Not at all.

The better you get at writing, the more opportunities arise. Sometimes you have to say the second hardest word, “no.”  Sometimes the number 1 hardest word, “yes.”

How do you tell the difference between what should be yes and what should be no?

Ask yourself a couple questions:

  • Will this further my goal?
  • Will this give me a new, brighter goal?
  • Will this detract from my goal?
  • Is this a worthy philanthropic task? Because sometimes you need to do right without reward. It’s just a truism of life.

It also helps to be honest about how focused you are on your goal. If you say no to something, like writing Sunday School curriculum, for example, because you need to focus on your book, but instead eat bon-bons and watch TV, it’s time to honest with yourself. If you do, in fact, work on your book, happily say “no.”

Say “yes” when you can see the next step beyond the request. Is it moving you where you want to go? Are you gaining skill or finding a new application for your writing? Sometimes a detour is helpful. And sometimes the other parts of your life need attention. Turning down PTA meetings to write misses how important your kids are.

Ultimately, keep building the skill to be desired. And don’t be surprised if a new path springs up. Determine what’s important to you. For Goldman, it was money. For you it may be something different.

Your Writer’s Dream can be edited, just like a story.

Book Design

I’m currently designing my latest book. It’s non-fiction, and let me tell you, designing a non-fiction book takes days and often weeks to get right. Novels, fairly easy, but if there’s special formatting, that takes a long time too.

I’m not complaining, far from it. I’m making a point about using a publisher such as us rather than self-publishing. For a lot of writers, the written word is their strength, layout and design, not so much. Covers! Oh, my, there is so much that goes into that!

Don’t be a lonely wolf just howling at the moon.

It doesn’t matter what publisher you have, traditional, independent, or self, marketing and publicity is going to be on you. Publishers help, but platform building is a writer’s job. Layout and design? ISBN, registering, loading and categorizing to Amazon the most effective way… these are where 90% of writers need help.

If you’re a designer and writer, and you’re confident you can do it alone, good luck and best wishes. Not sure about all that? Want a little help and fellowship along the path? That’s what Prevail Press is about.

If you’re not a Lone Wolf, join our band of merry writers. We want to help.

Small Print: We don’t take everyone. You have to have a quality book that fits our profile. But I’ll talk to everyone.

when he tells a story… he TELLS a story!

I’m currently reading The Reckoning by John Grisham.

Image result for grisham

Clearly, no one has ever told him to Show not Tell. John Grisham is the master of telling, and I mean TELLING a story. He has a vast narrative distance, never walks us beside a character when he can just tell us, and rarely makes us feel for a character.

And yet it works.

Originally, I thought it was because his characters were nasty and lawyers and since everyone hates lawyers, he found his niche. Then he started writing about non-lawyers who were often nasty, and yet many who weren’t.

My favorite Grisham novel is still his first, A Time to Kill, which I think had more passion, but I’ve enjoyed all of them. Largely because he plots in the micro and macro very well.

This, however, is not a book review. It’s about how he tells a story his way and makes it work.

YOU can relate a story your way and make it work.

Yet there are some non-negotiables. Accurate grammar and spelling and punctuation everywhere except in dialog and maybe if you’re first person narrating, but even then vernacular speech should be weighed carefully and in small measure. Struggling to understand what’s being said gets old fast.

Everything else is up for grabs. Linear or non-linear? Yes. Truthful narration or false narration? Yes. Flashbacks? Dream sequences? Sure, why not? Take a rule and break it? Yes if you know what the rule is.

Find your own unique angle. It may become your signature.

Write on!

What is Vanity Press and What is Not?

I’ve seen it over and over again on writer channels in social media. “If you have to pay for anything it’s a vanity press and avoid them.”  While I whole-heartedly agree you shouldn’t use vanity press, the definition is wrong, wrong, wrong.

Vanity Press prints anything. If you write a book with one eye closed, hopped up on stimulants, and only while running, a vanity press will publish it. They will try to upsell you to editing services, but a pig of a story can’t be edited to quality. They don’t care, though, because any money they make off sales is just gravy, because they make their money off the author.

Vanity Press uses different words, such as partner press, or co-publishing, but make no mistake, their money is from the writer. They often have good advice for positioning, and claim to market (some even do), but their money is made, both through up-front costs, and minimum order demands on the author.

If you submit to a publisher and they say you have to buy 100, or 1000 or 10000 copies, you’re probably at a vanity press. Read some of their books before signing. Are the books well written? Some may be, but most will not be.

Prevail Press, and our peer companies, are not vanity press. We have the same screening process as traditional publishers (and more rigid than some), taking only the best books who traditional publishers SHOULD have picked up. Here’s our process:

There is no charge to submit. See our website for submission guidelines.

We may:

  • Reject the book because it isn’t ready for publication, or it doesn’t meet our guidelines (we will tell you if it’s well-written or not).
  • Reject with conditions. If it needs work but has potential, I’ll tell you what needs to be done and if you follow through, we’ll consider it again.
  • Accept it.

If we accept it, we’re going to have a frank talk about what we can do for you and what we can’t. If you want to proceed, if book design is needed, there will be a small charge for that, typically $300. If you need a cover beyond what we can do, or if you need an editor, I have a few freelancers you can work with or you can use your own resources (I can help with some suggestions). If you have a good book cover, and if it’s already been designed as a book, I’m not going to charge anything. A Prevail Press logo and barcode will be added to the cover and ISBN to the front matter.

If you do pay us for design, the tiny percentage you’re charged (10%), will be deferred until all your costs are recovered (this doesn’t include outside editing or design work). After your costs are recovered, you’ll get 60% of the retail price and we’ll get 10%.  Contrast this with traditional publishers who give you a fraction of that, normally about 25 cents, as opposed to $2+ per book with us.

You have the benefit of a publisher’s brand, a quality assurance, no-hassle publishing, and a lot of extras. You’ll also be part of a network of writers who help promote one another.

You own your copyright, an ISBN is included for each form of the book (Kindle, audio book, paperback), and truthful, trustworthy partner. No hollow promises and no falsehoods.

Self-publishing is for some people, but it isn’t as simple a process as you might think. If you don’t know how to self-publish, come to us first.

Deeply Held Convictions

What constitutes story fodder? Or more importantly, what’s off limits? Anything?

That’s an odd question, but in our polarized society, some topics seem taboo. I would suggest that if it is a strongly held belief that you ache to reveal, then by all means, write it.

In fact, you probably SHOULD write it.

A story digs deeper into the brain than a debate or discussion (see my forthcoming book Creativity Wears Boots to see just how much further).

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Go ahead, you have it in you!

Let me share the wisdom of my daughters. The idea of “Feelings aren’t Facts” is a common conservative argument, and it’s 100% true, but that isn’t all there is to it. My girls informed me that “Feelings are Valid.” They may not be based in right beliefs, but feelings need to be acknowledged.

And they are right. Ben Shapiro may lecture, and Steven Crowder may mock, but they don’t dwell. Martin Luther King Jr. made amazing speeches, but Harper Lee’s To Kill a Mockingbird made me burn inside in ways King’s speeches didn’t. I got goosebumps when I heard I have a dream!  but I cried when Scout learned the truth about the world.

I think A Time to Kill was John Grisham’s best book. It was his first, written in long-hand and then transposed, it was raw and—goodness!—actually showed a story (Grisham is the foremost teller of Show don’t Tell stories). It made me angry in the right way.

What’s your story? The horrors of abortion? The refutation of LGBT? The affirmation of them? Are you a Flat Earther? Do you struggle with evolution? Do you think Starbuck’s is of the devil (YES!)?

Write your story.

Yes, you might give thought to who within your immediate family would be offended. I have topics I won’t broach for that reason. For now.

The truest way to power through the expanse of the second act is to believe in your story. To be passionate about your topic and themes.

A quick story: Many years ago, I wrote and mounted a play set during WWII. We almost cancelled a week before production because America had just gone to war and we didn’t want anyone to adversely affected. We decided to go ahead with it nonetheless and deal with any consequences. After opening night, a woman came up to me crying. I thought, “Uh-oh” but instead she told me her husband had been deployed and she couldn’t sleep for fear, and that our play had made her see that God was in control and she wanted to thank me. Let me tell you, there is no greater feeling. For every person you hear from, there are many more who say nothing to you but are changed for reading your story.

You were given your deeply held convictions to share. Sometimes, as Frances Assisi said, “you might use words.”

Write your story, be true to yourself.

Who knows? You might change the world.

No One knows what works

In William Goldman’s (may he rest in piece) great book, Adventures in the ScreenTrade, he makes the most true statement ever:

No one knows what works.

He was talking about movies, but it’s true for any story. Twilight made the author rich (why? Who knows?). 50 Shades of Grey, a bad story about bad bondage IN THIS DAY IN AGE, was phenomenally successful. Why?

In the movie trade, thousands of things can go wrong that makes a bad script good or a good script bad.

You may have a crazy concept. You may think it isn’t salable, but if 50 Shades of Grey can be successful in the Me Too era, there isn’t any crazy idea that can work.

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If this guy can go outside with a straight face, you can write your crazy story!

When you begin writing, don’t think about “is it publishable?” Think instead, “how do I make this crazy idea work?”

If you need permission to write that wacky concept, consider it given. Get writing.

In Your Head and Talking Heads

Let’s look at two pace-killers; A character bogging down in his/her own head, and just two people talking.

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Talking Heads… Not the Band

It’s so tempting to get inside the head of your beleaguered character to let us hear what she’s thinking, but therein is the problem: That’s telling, not showing. Consider:

“Tara desperately wanted his masculine arms around her, encompassing her, but what about her fiancé? What would people think? But I want him, I need him, he makes me feel…”

Yuck on two levels:

  1. Telling us isn’t visceral; we don’t feel what Tara is telling us she feels.
  2. People don’t think like that. We only form thought into words when we are formulating thought to tell someone, or when we are constructing an argument (in essence, what we might write down if we were so inclined). Rather, we feel, we imagine. So, to the reader, it doesn’t feel real.

So much better to show Tara’s inner turmoil through her interactions with her fiancé, and whoever “he” is. Does she start arguments? Stay away from her fiancé? Shudder at his touch? All of these are infinitely more interesting than being told what she feels. It also forces action, since there must be two or more people in the scene, and conflict because she herself is conflicted.

Stay out of your character’s heads as much as possible and play out scenes that show us the anguish.

When you do, though, beware the talking heads.

In playwrighting, talking heads refers to scenes where people are just… talking. How boring. Worse when they’re talking about their feelings. Think about the Avengers scene, when Steve and Tony are talking… while they split wood. They take their frustrations out on the logs, culminating with Steve ripping apart a giant log with his bare hands. Best scene in the movie. Of two guys talking. Followed by Tony and Nick Fury just talking while repairing a tractor.

Non-examples are in Star Trek Discovery (if you have seen the last episode but plan to **SPOILER ALERT*** don’t read any further (for my personal opinion of Star Trek Discovery, and more spoilers, see here).

Hundreds if not thousands of drones are ripping apart starships, whittling down shields, and like so many times before, Michael and Spock are just standing there talking… for a long time… about their feelings!  Every second they dither, people are dying, ships are exploding but they keep talking. Now, if something weren’t working and they were talking while fixing it, working their frustration and feelings into the task at hand, I wouldn’t have been yelling at the screen so much (something I do regularly).

This is a particular problem in visual media, but it informs prose, as well. Great dialog that is fast and clever can cover inaction but still, add the element of action to show us what they’re feeling! Go through your story and find scenes of talking heads and lengthy inner monolog and set them in action!

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