The following are excerpts from my book of philosophical musings:
Science is a limited pursuit. It moves from stage to stage; waiting for a new idea to be accepted. The world stops when science takes a breath.
If there are two sides to a dispute, both have fault.
Life is a passing breath. In a hundred years, no one will remember your name. Do what you can for others while your breath lasts.
If a man will value his horse, his house or his wife beyond his dreams he will not achieve greatness. True greatness comes from absolute dedication to a vision.
You will fail many times. Each failure is a lesson towards achievement.
Any promise is a bond of honor. It must be redeemed.
If a man takes one step forward he is judged as progressive; if he takes two steps, he is looked upon with suspicion; if he takes three steps, he is seen as an enemy.
Treat a friend with caution; treat an enemy with praise.
There is no modern democracy. Those governments which claim to be democracies are, in fact, corpocracies. They are controlled by their financial supporters.
No democratic government has a lobby of the people.
People do not fear the known; they fear the unknown. If your ideas are new, prepare to be feared and despised.
Good luck in your work,
Roger W. Harrington.
Sunday, January 31, 2010
Saturday, January 30, 2010
Some more writing tips.
I believe the bottom line for good writers is observation; of life and of nature.
That woman on the bench over there; what do you see in her face and the way she moves her hands? Do you see fear, concern, preoccupation? Her behaviour could trigger a scene or a story for you.
Do you know that no two people recall events alike? Test your friends. In some cases they cannot remember an event that was significant to you. This situation was the focal point of one of my short stories. It calls into question the very heart of historical record.
There is a point! What truths does a writer address, if any?
In general, most artists have a purpose, beyond their work, in putting their art forward. This purpose ranges from a simple observation of truth or truths to an arrant didactic view. Sorry, I used long words! The didactic artists, like George Bernard Shaw, use their work to preach certain beliefs to an audience; beliefs they wish their audience to adopt.
We are back to the artist as visionary and prophet. I have no doubt that most artists want their audience to see a different world; a world that they see as the truth.
Let us keep in mind that truth is a relative quality. One person's truth is not the truth of another. Under such conditions, truth is an ambivalent quality and never absolute. We hold truth in reverence in our modern society, but it has so many guises, many of them false.
Essentially, you should work with your truth to bring it forward. For you to do so, your truth should be honest and without any stain of personal obsession or gain.
Good luck in your work,
Roger W. Harrington.
That woman on the bench over there; what do you see in her face and the way she moves her hands? Do you see fear, concern, preoccupation? Her behaviour could trigger a scene or a story for you.
Do you know that no two people recall events alike? Test your friends. In some cases they cannot remember an event that was significant to you. This situation was the focal point of one of my short stories. It calls into question the very heart of historical record.
There is a point! What truths does a writer address, if any?
In general, most artists have a purpose, beyond their work, in putting their art forward. This purpose ranges from a simple observation of truth or truths to an arrant didactic view. Sorry, I used long words! The didactic artists, like George Bernard Shaw, use their work to preach certain beliefs to an audience; beliefs they wish their audience to adopt.
We are back to the artist as visionary and prophet. I have no doubt that most artists want their audience to see a different world; a world that they see as the truth.
Let us keep in mind that truth is a relative quality. One person's truth is not the truth of another. Under such conditions, truth is an ambivalent quality and never absolute. We hold truth in reverence in our modern society, but it has so many guises, many of them false.
Essentially, you should work with your truth to bring it forward. For you to do so, your truth should be honest and without any stain of personal obsession or gain.
Good luck in your work,
Roger W. Harrington.
Friday, January 29, 2010
Some More Thoughts
In his perfect world, Plato excluded the poets and artists. Perhaps he felt that the philosophers would provide imaginative leadership for the population. The world has changed since his time. One wonders, today, who provides that leadership? We are beset, daily, by rapid advances in scientific discovery and cultural changes. If we cannot find and recognize the fundamental truth in nature provided by our artists who will lead us forward?
Good luck with your work.
Roger W. Harrington.
Good luck with your work.
Roger W. Harrington.
Wednesday, January 27, 2010
More Writing Tips
What is free? Generally, nothing, but once in a while you might get a break. My editing offer is free. There are no obligations or catches beyond the fact that you may learn that you have a long way to go to be an accomplished writer. For an edit, contact me using my email.
To continue your writing tips: learn that long sentences and words appeal to the mind; short sentences appeal to the emotions. For the most part, try to balance the two with a careful use of triads, contrast and comparison. If you don't know what a triad is, I just used one; a three part construction of words or phrases. This structure is particularly effective in speeches, but use it sparingly.
On the subject of dialogue, it is to be understood that some writers have a natural ear for rhythm and others don't. The faculty of rhythm, essential in the use of dialogue and dialect, cannot be taught. It may be learned through a study of quality writing. When you use dialogue, to advance your plot or enhance character, try to keep to the bare essentials and don't use any character enhancement where it is not necessary. For example, if only two people are talking, identification is not required unless a point is to be made about attitude or character. Don't ever use words which are not common to normal speech.
I have mentioned dialect. This is a touchy subject. Very few writers can create effective dialect. Be very careful about using any phonetic translation of dialect; it looks phoney and is distracting. If you want to imply dialect, consider using certain words which label the dialect and certain broken sentence structure.
Good luck in your work.
Roger W. Harrington.
To continue your writing tips: learn that long sentences and words appeal to the mind; short sentences appeal to the emotions. For the most part, try to balance the two with a careful use of triads, contrast and comparison. If you don't know what a triad is, I just used one; a three part construction of words or phrases. This structure is particularly effective in speeches, but use it sparingly.
On the subject of dialogue, it is to be understood that some writers have a natural ear for rhythm and others don't. The faculty of rhythm, essential in the use of dialogue and dialect, cannot be taught. It may be learned through a study of quality writing. When you use dialogue, to advance your plot or enhance character, try to keep to the bare essentials and don't use any character enhancement where it is not necessary. For example, if only two people are talking, identification is not required unless a point is to be made about attitude or character. Don't ever use words which are not common to normal speech.
I have mentioned dialect. This is a touchy subject. Very few writers can create effective dialect. Be very careful about using any phonetic translation of dialect; it looks phoney and is distracting. If you want to imply dialect, consider using certain words which label the dialect and certain broken sentence structure.
Good luck in your work.
Roger W. Harrington.
Monday, January 25, 2010
OPEN OFFER
For my latest blog, I will offer any newbie writer a free edit of no more than five pages. Consider the following:
1) I do not know you, and so what I judge of your work bears
no prejudice.
2) The cost of a full edit is usually very high.
Good luck in your writing,
Roger W. Harrington.
1) I do not know you, and so what I judge of your work bears
no prejudice.
2) The cost of a full edit is usually very high.
Good luck in your writing,
Roger W. Harrington.
More writing tips
I don't want you to get the idea that you're not a good writer. It may well be that you're the next best-seller!
But there are things you need to know about writing and basic observation.
Considering the latter, how sharp are you? Do you know that most male strangers acknowledge each other and women don't? There is no prejudice here, it is just a fact, and I illustrate a truth of our society.
Let me give you some more hints about good writing.
Consider, above all, that you are creating a distinctive world for your reader. It is not a real world, so you will have to adopt some techniques to give it the sense of reality.
Long sentences and words appeal to the mind. Short sentences appeal to the emotions.
You would do far better to use blunt, Anglo-Saxon words than those borrowed from other languages.
Yes, there are distinctive structures that have the power to move an audience; specifically, the triad; a group of words or phrases arranged in threes. Now don't go overboard on this technique. I once gave a practise assignment on balance and triads to my students and came across a work which was full of triads from one end to the other! Quality techniques should be used sparingly!
They include: balance; contrast and short sentences for effect.
Do not use capital letters for impact. You can create a better efect by shortning your sentences.
Generally, you should use a balance of long and short sentences.
Dialogue and dialect.
There is no question that good writers have an ear for rhythm and dialect in their work. Let us presume that you do not have an ear for dialect. Trust me, you will do yourself no good to enter the world of dialect unless you have a perfect ear. However, there are ways that you can bypass the problem. Bottom line; use words to indicate dialect and not any tortured twisting of letters. If you can't handle dialect, and few writers can, just pepper your character's dialogue with suitable words that indicate the character's background.
These are my words.
Be well and do well.
Roger W. Harrington.
But there are things you need to know about writing and basic observation.
Considering the latter, how sharp are you? Do you know that most male strangers acknowledge each other and women don't? There is no prejudice here, it is just a fact, and I illustrate a truth of our society.
Let me give you some more hints about good writing.
Consider, above all, that you are creating a distinctive world for your reader. It is not a real world, so you will have to adopt some techniques to give it the sense of reality.
Long sentences and words appeal to the mind. Short sentences appeal to the emotions.
You would do far better to use blunt, Anglo-Saxon words than those borrowed from other languages.
Yes, there are distinctive structures that have the power to move an audience; specifically, the triad; a group of words or phrases arranged in threes. Now don't go overboard on this technique. I once gave a practise assignment on balance and triads to my students and came across a work which was full of triads from one end to the other! Quality techniques should be used sparingly!
They include: balance; contrast and short sentences for effect.
Do not use capital letters for impact. You can create a better efect by shortning your sentences.
Generally, you should use a balance of long and short sentences.
Dialogue and dialect.
There is no question that good writers have an ear for rhythm and dialect in their work. Let us presume that you do not have an ear for dialect. Trust me, you will do yourself no good to enter the world of dialect unless you have a perfect ear. However, there are ways that you can bypass the problem. Bottom line; use words to indicate dialect and not any tortured twisting of letters. If you can't handle dialect, and few writers can, just pepper your character's dialogue with suitable words that indicate the character's background.
These are my words.
Be well and do well.
Roger W. Harrington.
Saturday, January 23, 2010
Some techniques for writing
Here, I give some ideas on plot creation.
Basically,there are only two power points in writing; the first and the last.
When I write, I compose the final statement first and then I work on the introduction.
Have you been to a place where a speech has been given? Quite simply, you will remember only the first and the last statements. This situation is critical to writing; all the way down to the structure of a paragraph and even a sentence. The first and the last have power. Try to work your words into this structure.
Basically,there are only two power points in writing; the first and the last.
When I write, I compose the final statement first and then I work on the introduction.
Have you been to a place where a speech has been given? Quite simply, you will remember only the first and the last statements. This situation is critical to writing; all the way down to the structure of a paragraph and even a sentence. The first and the last have power. Try to work your words into this structure.
Monday, January 18, 2010
So You want to be a Published Writer
If you are new to the world of writing and want to publish, you have a hard road ahead of you. Nothing of value comes easily.
Firstly, you have to understand two things. The publishing business is very conservative. No publisher wants to lose money on an investment. Keep in mind that publishing is a gamble. Publishers and agents put money and time up front in the hope that they can get a positive return on a work. That is why publishers produce second and third books by published writers; the name sells! My second point is that, no matter how you feel about the artistic value of your work, publishing is a business. Publishers have little time for consideration of the literary value of your work. Their only concern is the saleable potential of the work.
What sells most of all? Basically, women’s romances,
“How to” books and books with a fresh perspective.
Over ninety percent of purchased novels are bought by women. You need to consider this fact; publishers do.
If you have a literary work of art, be prepared to receive a considerable number of rejections.
I give you the following advice, presuming, above all, that you write good work:
First of all, gather around you a group of intelligent readers who believe your work is good. I promise you, you will need their support after you read your first one hundred rejections.
Secondly, believe in your work and love what you do. If you do not love to write, you will never be a true writer. You have heard about writer’s block. Trust me, the writer who loves their work can never experience writer’s block. I, personally, have never known the experience.
Thirdly, learn the tools of your art: language, writing techniques and good grammar. I meet too many would-be writers who ignore basic values of grammar and language and presume, as writers, that they can produce what they please as creative artists. As far as they are concerned, the story they have to present tells itself. Don’t fall into this trap; writing, whether fiction or fact, is an intense, creative learned craft. When I create scenes in my novels, I think of at least four ways that I can approach a scene; then I choose the one I feel is most effective and suitable. The good writer learns techniques that enhance writing. Essentially, all good writers create an image of the subject they address and they know that writing involves both deception and manipulation of the reader. The goal of a good writer is to capture an audience and give their audience the impression that what is written is real. Of course, it cannot be real, but a good writer can make you feel that what you have read is very real.
Traps and snares. Yes, the Internet can help you find agents and publishers, but beware of the POD, (publish on demand), and vanity publishing companies. Basically, they will publish your work, either for a fee or for nothing, (like PublishAmerica), but they will not publicise your work and they will charge higher prices per book. Each book is sold on demand through the company’s website. Essentially, they will publish anything, so don’t feel good that you have been accepted for publication. If you only want to publish, with a pretty cover and the feeling that you are truly a published author, apply to PublishAmerica. Trust me – no matter how bad a writer you are, they will accept your work and give it limited editing.
Secondarily, beware of Internet publishers who solicit poetry and promise you a published place in their special edition. After you have paid an exorbitant price for your special book, you will see your work in print, alongside other suckers!
If you are serious about writing, you will need a website of your own, to advertise your work. You will need, too, to contact local media and press to gain recognition. You will find information on the Internet how to compose a press release. If you are desperate to publish your book, then apply to PublishAmerica, but be warned; no legitimate publishing agency or company will recognize such a company and PublishAmerica holds your copyright for seven years. Secondly, bookstores do not want to stock POD books as they cannot be returned. How do POD companies make their money when they don’t charge for publication? Quite simply; the newbie writer is so enthused with publishing their work that they order over a hundred books at “half-price” with the view that they will sell them all and make a tidy profit. It doesn’t happen. More than fifteen thousand new books are published in North America every year! You should consider, too, that the reading public has no guidelines beyond those put out by major companies. People buy books, because the publisher, through advertising, and the views of certain critics, tell them the book is good. If you go with a POD publisher, the marketing is all up to you.
Bottom line? If you publish with a POD publisher you are on your own as far as marketing is concerned.
If you are lucky enough to publish with a major company, you do not need to worry about publicity – their aim is to sell your book so they can make a profit.
It is also true that books that are published by non-Canadian publishers cannot be considered for major awards; such as the Giller or the Governor General’s award.
The Canadian writing scene is bleak for new writers. Publishers stick, for the most part, with the tried and true authors they have in their stable. The Canadian Writers Union claims to help Canadian writers, but it does very little for new writers.
I give you one further warning: the Canadian relationship with the United States vis-à-vis published books is completely lopsided. If you receive a number of books to sell from your American POD publisher, don’t ever try to take them across the border, even though they are published in the United States. American law dictates that only American citizens can sell books in the United States.
If you can afford it, attend writer conferences. You can build a name with these organizations and meet the right people. Send in and take samples of your work with you and prepare a pitch of your work for an agent or publisher interview. It will have to be good. Most interviews are restricted to five minutes.
Initially, try to publish short works with magazines or with Internet sites like Orchard Press.
Understand this, no reputable book publisher or agent is going to show a great deal of initial interest in an unpublished writer, no matter what they say to the contrary.
Enter every competition you can. Prizes look good on the query letter.
Now I have said it.
The query letter. Your contact with agents or publishing companies, is the query letter. This is a letter that introduces your work and asks the company to read your work. Yes, they want a letter and not your work! I know it sounds crazy, but that’s the way it is. Your publishing hopes depend on the power of this letter to convince the company to ask for a sample of your work. Spend a lot of time on your letter and revise, revise, revise.
The letter will introduce your work, with a short synopsis, and then document your published status in a brief bio; all in one page. No more. One point, here; make sure your work is complete and fully edited before you approach an agent or publisher with a query letter.
Without going overboard or describing your work in flowery and dramatic phrases, make your query letter a unique grabber. Force your reader to ask for more. This is your only chance to get a reading.
For the most part, you will not get a hearing. With your SASE, (required), you will find mostly negative returns. Make sure you slip a blank piece of paper in the SASE, or you will get your own letter back with something scribbled on it. If you need foreign stamps for the SASE, check the Internet for mail services. Many countries, like the USA, have facilities for you to order stamps. For publishing, your best bet is small presses, but be careful to write to a specific person and make sure that the press you write to will accept your type of writing. Check their book lists. Don’t send a sci-fi query to an agent or editor who does not deal with that kind of work.
One of the problems with the general publishing companies is the fact that many of them use inexperienced interns to read initial submissions. These interns are instructed not to recommend more than one work in two hundred!
If you are trying to find an agent, look for agents who are building their own list of clients. But make sure that they have credentials. If they ask for reading fees or money up front, they are not legitimate agents. Most Internet lists of agents or publishers make it clear which type of work is acceptable to them.
Having told you this, I can tell you that, although I have sent query letters to more than a hundred and fifty publishing companies in Canada, no editor of any publishing company in Canada has ever read a single sentence of my work!
One other thing; some countries, like Canada, allow you to incorporate yourself as a writer and permit you to deduct some of your expenses as a writer from your income tax for a couple of years, or until you make a profit. If you wish to try this option, get in touch with a good tax person and keep all receipts. However, after two or three years of declaring no profit, the revenue service will cut you off.
In conclusion, I wish you luck with your work. Like many other endeavours, the road to publishing is a hard road with many traps and obstacles. Above all, stay the course. Publishers and agents are very specific about what they like. I promise you that somewhere out there is a person in the trade who wants to read your work. Your job is to find that person.
Canadian writers should be warned. No matter how many query letters you send, they will all be rejected. The Canadian Writer’s Union claims to help new writers. Don’t be fooled. Check their site if you don’t believe me. They give very little help to new writers. They know, full well, that Canadian publishers have their established set of writers and are not ready to consider new writers. It is for this reason that most major awards for Canadian writers are required to be published by a Canadian publisher. Given this situation, your best bet for publishing is in the United States. However, you must be careful to choose the right publisher.
Before you give up, after writing many query letters, consider this true story.
I happened to be in a mall, in a city some fifty miles distant from my home town, carrying one of my books; The Journey of Marie-Jeanne.
All of a sudden, I was accosted by a middle-aged woman.
“Are you the author of that book?”She enquired.
I told her I was.
“Oh, I’ve so wanted to meet you!” She enthused. “I’ve read your book over and over and it’s so true to life!”
We talked for at least thirty minutes and discussed the book and the life of the main character. Finally, as we parted, she begged me to give her regards to Marie-Jeanne. Of course, although the book is based on fact, the Marie-Jeanne she knew was the one I had created.
I will admit that I was ambivalent, at first, about her parting comment, until a fellow-author pointed out to me that I had created a completely believable character! The dream of most writers! Not only that, I had written the novel in the first person, as if I were the main female character!
You too can experience such praise, and, in the long run, that is what you should seek.
Believe me, it’s not about fame or money. The true author is the one who looks for recognition, response and acceptance from a common audience.
Roger W. Harrington.
If you are new to the world of writing and want to publish, you have a hard road ahead of you. Nothing of value comes easily.
Firstly, you have to understand two things. The publishing business is very conservative. No publisher wants to lose money on an investment. Keep in mind that publishing is a gamble. Publishers and agents put money and time up front in the hope that they can get a positive return on a work. That is why publishers produce second and third books by published writers; the name sells! My second point is that, no matter how you feel about the artistic value of your work, publishing is a business. Publishers have little time for consideration of the literary value of your work. Their only concern is the saleable potential of the work.
What sells most of all? Basically, women’s romances,
“How to” books and books with a fresh perspective.
Over ninety percent of purchased novels are bought by women. You need to consider this fact; publishers do.
If you have a literary work of art, be prepared to receive a considerable number of rejections.
I give you the following advice, presuming, above all, that you write good work:
First of all, gather around you a group of intelligent readers who believe your work is good. I promise you, you will need their support after you read your first one hundred rejections.
Secondly, believe in your work and love what you do. If you do not love to write, you will never be a true writer. You have heard about writer’s block. Trust me, the writer who loves their work can never experience writer’s block. I, personally, have never known the experience.
Thirdly, learn the tools of your art: language, writing techniques and good grammar. I meet too many would-be writers who ignore basic values of grammar and language and presume, as writers, that they can produce what they please as creative artists. As far as they are concerned, the story they have to present tells itself. Don’t fall into this trap; writing, whether fiction or fact, is an intense, creative learned craft. When I create scenes in my novels, I think of at least four ways that I can approach a scene; then I choose the one I feel is most effective and suitable. The good writer learns techniques that enhance writing. Essentially, all good writers create an image of the subject they address and they know that writing involves both deception and manipulation of the reader. The goal of a good writer is to capture an audience and give their audience the impression that what is written is real. Of course, it cannot be real, but a good writer can make you feel that what you have read is very real.
Traps and snares. Yes, the Internet can help you find agents and publishers, but beware of the POD, (publish on demand), and vanity publishing companies. Basically, they will publish your work, either for a fee or for nothing, (like PublishAmerica), but they will not publicise your work and they will charge higher prices per book. Each book is sold on demand through the company’s website. Essentially, they will publish anything, so don’t feel good that you have been accepted for publication. If you only want to publish, with a pretty cover and the feeling that you are truly a published author, apply to PublishAmerica. Trust me – no matter how bad a writer you are, they will accept your work and give it limited editing.
Secondarily, beware of Internet publishers who solicit poetry and promise you a published place in their special edition. After you have paid an exorbitant price for your special book, you will see your work in print, alongside other suckers!
If you are serious about writing, you will need a website of your own, to advertise your work. You will need, too, to contact local media and press to gain recognition. You will find information on the Internet how to compose a press release. If you are desperate to publish your book, then apply to PublishAmerica, but be warned; no legitimate publishing agency or company will recognize such a company and PublishAmerica holds your copyright for seven years. Secondly, bookstores do not want to stock POD books as they cannot be returned. How do POD companies make their money when they don’t charge for publication? Quite simply; the newbie writer is so enthused with publishing their work that they order over a hundred books at “half-price” with the view that they will sell them all and make a tidy profit. It doesn’t happen. More than fifteen thousand new books are published in North America every year! You should consider, too, that the reading public has no guidelines beyond those put out by major companies. People buy books, because the publisher, through advertising, and the views of certain critics, tell them the book is good. If you go with a POD publisher, the marketing is all up to you.
Bottom line? If you publish with a POD publisher you are on your own as far as marketing is concerned.
If you are lucky enough to publish with a major company, you do not need to worry about publicity – their aim is to sell your book so they can make a profit.
It is also true that books that are published by non-Canadian publishers cannot be considered for major awards; such as the Giller or the Governor General’s award.
The Canadian writing scene is bleak for new writers. Publishers stick, for the most part, with the tried and true authors they have in their stable. The Canadian Writers Union claims to help Canadian writers, but it does very little for new writers.
I give you one further warning: the Canadian relationship with the United States vis-à-vis published books is completely lopsided. If you receive a number of books to sell from your American POD publisher, don’t ever try to take them across the border, even though they are published in the United States. American law dictates that only American citizens can sell books in the United States.
If you can afford it, attend writer conferences. You can build a name with these organizations and meet the right people. Send in and take samples of your work with you and prepare a pitch of your work for an agent or publisher interview. It will have to be good. Most interviews are restricted to five minutes.
Initially, try to publish short works with magazines or with Internet sites like Orchard Press.
Understand this, no reputable book publisher or agent is going to show a great deal of initial interest in an unpublished writer, no matter what they say to the contrary.
Enter every competition you can. Prizes look good on the query letter.
Now I have said it.
The query letter. Your contact with agents or publishing companies, is the query letter. This is a letter that introduces your work and asks the company to read your work. Yes, they want a letter and not your work! I know it sounds crazy, but that’s the way it is. Your publishing hopes depend on the power of this letter to convince the company to ask for a sample of your work. Spend a lot of time on your letter and revise, revise, revise.
The letter will introduce your work, with a short synopsis, and then document your published status in a brief bio; all in one page. No more. One point, here; make sure your work is complete and fully edited before you approach an agent or publisher with a query letter.
Without going overboard or describing your work in flowery and dramatic phrases, make your query letter a unique grabber. Force your reader to ask for more. This is your only chance to get a reading.
For the most part, you will not get a hearing. With your SASE, (required), you will find mostly negative returns. Make sure you slip a blank piece of paper in the SASE, or you will get your own letter back with something scribbled on it. If you need foreign stamps for the SASE, check the Internet for mail services. Many countries, like the USA, have facilities for you to order stamps. For publishing, your best bet is small presses, but be careful to write to a specific person and make sure that the press you write to will accept your type of writing. Check their book lists. Don’t send a sci-fi query to an agent or editor who does not deal with that kind of work.
One of the problems with the general publishing companies is the fact that many of them use inexperienced interns to read initial submissions. These interns are instructed not to recommend more than one work in two hundred!
If you are trying to find an agent, look for agents who are building their own list of clients. But make sure that they have credentials. If they ask for reading fees or money up front, they are not legitimate agents. Most Internet lists of agents or publishers make it clear which type of work is acceptable to them.
Having told you this, I can tell you that, although I have sent query letters to more than a hundred and fifty publishing companies in Canada, no editor of any publishing company in Canada has ever read a single sentence of my work!
One other thing; some countries, like Canada, allow you to incorporate yourself as a writer and permit you to deduct some of your expenses as a writer from your income tax for a couple of years, or until you make a profit. If you wish to try this option, get in touch with a good tax person and keep all receipts. However, after two or three years of declaring no profit, the revenue service will cut you off.
In conclusion, I wish you luck with your work. Like many other endeavours, the road to publishing is a hard road with many traps and obstacles. Above all, stay the course. Publishers and agents are very specific about what they like. I promise you that somewhere out there is a person in the trade who wants to read your work. Your job is to find that person.
Canadian writers should be warned. No matter how many query letters you send, they will all be rejected. The Canadian Writer’s Union claims to help new writers. Don’t be fooled. Check their site if you don’t believe me. They give very little help to new writers. They know, full well, that Canadian publishers have their established set of writers and are not ready to consider new writers. It is for this reason that most major awards for Canadian writers are required to be published by a Canadian publisher. Given this situation, your best bet for publishing is in the United States. However, you must be careful to choose the right publisher.
Before you give up, after writing many query letters, consider this true story.
I happened to be in a mall, in a city some fifty miles distant from my home town, carrying one of my books; The Journey of Marie-Jeanne.
All of a sudden, I was accosted by a middle-aged woman.
“Are you the author of that book?”She enquired.
I told her I was.
“Oh, I’ve so wanted to meet you!” She enthused. “I’ve read your book over and over and it’s so true to life!”
We talked for at least thirty minutes and discussed the book and the life of the main character. Finally, as we parted, she begged me to give her regards to Marie-Jeanne. Of course, although the book is based on fact, the Marie-Jeanne she knew was the one I had created.
I will admit that I was ambivalent, at first, about her parting comment, until a fellow-author pointed out to me that I had created a completely believable character! The dream of most writers! Not only that, I had written the novel in the first person, as if I were the main female character!
You too can experience such praise, and, in the long run, that is what you should seek.
Believe me, it’s not about fame or money. The true author is the one who looks for recognition, response and acceptance from a common audience.
Roger W. Harrington.
Friday, January 1, 2010
Notes On My Writing
Before I start, I’d like to make some comment on the type of verse and prose I write.
We all know that there are two types of English verse; the qualitative and the quantitative. The qualitative, with its iamb, anapest and trochee, does not appeal to me; it is too strict, although, like any writer of worth, I will often try it for experiment and discipline training. Generally, I choose to use the more ancient quantitative verse which relies on a basic number of beats within a line. This kind of verse occurs in ancient ballads and Old Anglo-Saxon.
Once in a while, I’ll use free verse, but the demands of the form, in syllable patterning, imagery and theme continuity by line length and emphasis can also be restrictive.
As for prose, I am tired of reading endless description in novels and short stories. I do not fault the classical writers; Dickens is my favorite. Their purpose was to create scenes their readers had never experienced.
In modern times, there is no need for boring, drawn-out description. For my own part, I use a very minimal style in both my novels and my short stories. I feel that the action is invariably more important than the setting and I like to allow my reader the right to develop their own image of the characters I create. I will use description for mood, but only where it is clearly necessary.
In future posts, I will discuss numerous subjects including format, style and grammatical structure. Feel free to respond with your own views. Please sign up to follow my blog.
Good Luck in your own writing,
Roger W. Harrington
We all know that there are two types of English verse; the qualitative and the quantitative. The qualitative, with its iamb, anapest and trochee, does not appeal to me; it is too strict, although, like any writer of worth, I will often try it for experiment and discipline training. Generally, I choose to use the more ancient quantitative verse which relies on a basic number of beats within a line. This kind of verse occurs in ancient ballads and Old Anglo-Saxon.
Once in a while, I’ll use free verse, but the demands of the form, in syllable patterning, imagery and theme continuity by line length and emphasis can also be restrictive.
As for prose, I am tired of reading endless description in novels and short stories. I do not fault the classical writers; Dickens is my favorite. Their purpose was to create scenes their readers had never experienced.
In modern times, there is no need for boring, drawn-out description. For my own part, I use a very minimal style in both my novels and my short stories. I feel that the action is invariably more important than the setting and I like to allow my reader the right to develop their own image of the characters I create. I will use description for mood, but only where it is clearly necessary.
In future posts, I will discuss numerous subjects including format, style and grammatical structure. Feel free to respond with your own views. Please sign up to follow my blog.
Good Luck in your own writing,
Roger W. Harrington
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