D. J. Herda

If you've been thinking about collaborating with someone on writing a novel, think again. Here's why.

 

First, collaborating means coordinating, and that's a step you wouldn't need to take if writing solo. It's not easy to get two different people to work together on any project, let alone a conventionally solitary one such as writing a novel.

 

Second, collaborating can be a prolonged and tedious job. The chapter that you might have pounded out yourself in a day or two could take a week or more when working with someone else.

 

Third, what you may view as some of your best work won't end up in the book—not, at least, if your collaborator strongly disagrees with your judgment. That could lead to hurt feelings and disappointment.

 

Fourth, divergent egos often clash; strong divergent egos often clash dramatically.

 

Fifth, in the case of unresolved disagreements, who gets the final say? Every army has only one commander-in-chief.

 

Sixth, in the improbable event that the book takes off and becomes a best seller, who's going to take the credit? Do the interviews? Get his or her name out front?

 

Seventh, how will you split any advance money and royalties, not to mention income from subsidiary sales? Will it be a fifty-fifty division? Is that fair when one of you will be doing more work than the other, guaranteed? That, too, could lead to more bad feelings.

 

Now, if you can think of a reason that outweighs all the negatives I've found in collaborating over the years, go for it. Work out a schedule with your collaborator, and decide who's going to be responsible for doing what. Then agree on how you're going to work together (by phone, e-mails, messaging, in person, or all of the above), and get started. When you fall behind schedule, don't fret about it. Just pick up where you left off with a new timetable, and get back to work.

 

But, for your own good, before leaping into a collaboration, think about the drawbacks versus the advantages. It's tough enough to work with someone on a nonfiction book where you have only to settle on the facts to include and decide how to include them. It's twice as challenging—and even more frustrating—with something as subjective as fiction.

Globe Pequot Press, an imprint of Rowman & Littlefield, is looking for a few good men (and women!) to send complimentary review copies of the soon-to-be-released biography of mysterious and elusive Etta Place. She was one of two women gang members in the wild West's notorious The Wild Bunch. Riding with Butch Cassidy and the Sundance Kid, Etta burst onto the scene in her early twenties and disappeared again just as suddenly several years later. But, in between, oh, what a ride she had!

 

If you'd like a review copy, either as an eBook or a rough, comb-bound print book, just let me know and I'll have the editors send you a copy. They're especially anxious to receive blurbs to include on the book's dust jacket cover. You'll be doing me a favor while securing a little free publicity for yourself. Not to mention learning more about one of the most obscure and fascinating women in western lore.

 

To request your complimentary review copy, click HERE.

If you've ever wondered what it would be like to see your name on the big screen as a writer, here's your chance. Many writers would like to know what it takes to produce a successful screenplay—one that will sell! At its simplest, a script needs to tell a great story while making it easy for the director, actors, and production crew to bring it to life.

 

Simple? Well, not exactly. It takes a lot of skill and a working knowledge of how a story will translate to film. But if you take some time to practice, learn proper formatting, and develop the ability to look at your work with a constructive eye, you, too, could become a successful screenwriter.

 

Screenplays have changed a lot since the days of silent movies. Modern scripts need to include the spoken dialogue, descriptions of the scene and action, and shooting directions. They're more than just a script; they need to convey enough information to produce the movie in the way the writer intended while still leaving some creative freedom for the director and actors.

 

Getting this balance right is one of the most difficult aspects of screenwriting. From your first draft through refining the story, characters, and settings, it's a real balancing act that leaves many writers shaking their heads.

 

Now, an article on screenwriting from Maryville University can help you learn about common screenplay structures and effective dialogue, character development, and formatting. You'll get an overview of all the elements involved in bringing a screenplay from the blank page onto the big screen. You'll also get some examples of the greatest screenplays of all time and tips on breaking into the movie industry.

 

Sound too good to be true? Check it out before you start to work on that next Academy Award-winning production. And let us know what you think.

First of all, let's get our semantics straight. A novel is a book. But a book isn't necessarily a novel. It may be either a novel or a nonfiction work. The word, "book," simply refers to some form of literature that is "long form" rather than a short story or an article, for example. As for a play, that could be either a screenplay or a stage play—the former written for film and the latter for live theatrical performances. We won't even get into other types of scripts.

 

Regarding the differences between a novel and a script (or play), the most obvious is length. If you take an average-length book of 300 pages and adapt it into a screenplay or stage play (there is very little difference between the two except in the directions and a sense of the audience which is either watching live or watching on film), you cut, shorten, and tighten the novel down to roughly 90 pages. If you take a script and adopt it into a book, you have a MUCH tougher job. That's because you have to add not only words and pages to reach typical novel length but also effective descriptive passages, expanded dialogue, additional action, numerous subplots, and (most importantly of all) IMAGERY!

 

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Anyone can put a few words between two quotations marks; but not everyone knows how to make those words sing. If that's your problem, here's a tip you can take to the bank. Describing your character's dialogue to your reader means you're writing ineffective dialogue.

Sad but true, and it's all too common a shortcoming in writers of all calibers.

Now, admittedly, different writers handle dialogue differently. That's one of the things that helps to establish a writer's literary voice. It's one of the things that defines his style. But there are effective ways of handling dialogue, and there are ineffective ways. Take a look at this example:

"I hate you," she screamed shrilly.

What's wrong with that, you ask? The writer tells us that she screamed and that her voice was shrill. Isn't that merely an example of good descriptive dialogue, of being specific?

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We’ve all heard the stories: first-time author inks multi-million-dollar contract with major publisher. Well, it does happen...except that it happens so rarely, it actually is news. Even when that does occur, the multi-million-dollar contract is usually for a multi-book deal (one advance for several books yet to be written). Of course, most news stories miss that tiny detail.

The sad reality of it is that, while better known and proven authors often pull in enough money from which to make a comfortable living, first-time authors more often than not are relegated to what publishers call Midlist, which is the rough equivalent of taking a vacation in hell in the middle of August.

Here’s the breakdown of various publisher’s categories and how newly acquired books are prioritized, from lowest to highest.

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Reports of dialogue’s death, to misquote Mark Twain, have been greatly exaggerated. We’ve seen a swing away from effective dialogue and toward more ineffective narrative recently. Why? Because narrative is easier to write, even good narrative, than dialogue. So why dwell on the spoken word?

Because it's desirable and even necessary to most stories. Yet, setting dialogue up in the wrong way can take a devastating toll on the reader. Take this example:

"I wanted to tell him that I needed him," Mary told John's mother. "I wanted him to know that I still cared.” She had to break the news to her. “He's the father of my child." She stifled the urge to cry. "And even if I can't be with him for the rest of my life, I wanted to tell him that, for my sake and for the sake of little Max, he would always be welcomed in our home.” She paused before continuing. “But when he began running around with that other woman, when he began using drugs and staying away for days and sometimes weeks on end ..." Mary felt the anger welling within her. "I felt I had to draw the line. So I did." Read More 

When I was a kid going to college to learn to become a rich and famous novelist, I was stunned to learn that one of the pre-enrollment requirements for "Novel Writing 101" was "Journalism 101, 102, and 103." Not just one semester of learning to write what I had no intentions of using ever, but three!

I tried everything I could to bypass that requirement, including begging the head of the fiction department to give me a pass. Thank God he turned me down. Learning to write like a journalist (and think and talk and interview like one) was exactly the kind of iron-fisted self-discipline I needed to learn to apply to my fiction writing. And the single most essential thing I learned from those courses was how to write under deadline.

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I was reading an article the other day about the importance of authors self-editing their work before sending it out for publication, and I ran into this gem: “An author [singular noun] should always aim to make their [plural pronoun] book the best it can be. Unless we [third person] are literary geniuses, you [second person] can’t get away from some element of human feedback.”

Is he kidding? Fortunately, he got one thing right. He nailed the importance of self-editing on the head! Unfortunately, he failed to heed his own advice.

This is a good example of how easy it is to miss little things in our work. Sometimes, authors believe that a publisher’s editors will clean up the book, so why spend any more time than necessary on that boring, unglamorous chore?

The answer: Because you’re a professional who wants a professional-looking product before it ever leaves your desk. Professional-looking products take time and energy to produce. Here are a few tips to help you self-edit your book. Read More 

Unilever has threatened to pull its advertising from digital platforms that have become a "swamp" of fake news, racism, sexism and extremism. The terse warning to digital platforms such as Google and Facebook was issued at an advertising conference in California Monday, Feb. 2, 2018.

"We cannot continue to prop up a digital supply chain ... which at times is little better than a swamp in terms of its transparency," Unilever marketing boss Keith Weed said.

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