Spellbinding stories of mystic love and soulful hope . . .

11794466_10153495739099176_2740973581806587689_oWorkout:

I’ve taken up hitting the boxing bag. Not only is it an excellent cardio workout, but works/strengthens/tones the entire upper body—arms, chest, back, core. I “knee” it, too, thus adding some strengthening to my lower body. I often think of my father—he boxed while he was in the Air-Force, and while I’d never hop into the ring, it brings a connection all the same.  But what I want to talk about here today is perceived weakness that keeps us from realizing our potential, because we often don’t recognize potential when we give up too easily, especially when we feel weak and ineffective in an area.

While boxing a couple of days ago, I’d punch the hell out of the bag with my right, but the left was weak and puny. I flailed away a few times and when my left arm just wouldn’t cooperate, I gave in and punched only with my right, every so often smacking unremarkably with my left just to give the right a rest—and, because I figured I had to do it, even if it didn’t feel right.

It frustrated me, this weakness, but  the more I concentrated on the way my left fist felt when it connected to the bag— the weakness of that punch—the more I hated punching with that fist, and the weaker it felt. My workout wasn’t near as effective as it could have been, and I soon tired of it, finally moving on to something else. I came up with excuses as to why my left jab was pathetic: I’m right-hand dominate; I use my right hand much more often and it’s stronger; maybe there’s a pinched nerve on that side causing weakness, etc. and blah blah blah!

Two days later, I headed down to my workout room early, put in my earbuds to loud techno music, and slid on the gloves. Without thinking about what I was doing or how I was doing it, or why, or when, where, what, I just began punching the bejeebus out of that bag—right right right left left left right left right left right right left left left LEFT LEFT LEFT LEFT—POW BIFF BAM!

When I at last stopped, sweat pouring, I looked down in surprise at my left gloved fist, amazed at its strength and endurance. It was tingling and burning but it felt great! It felt powerful! I felt powerful and strong, and capable. I’d hit the hell out of that bag with what I thought was a useless left punch but instead was just as powerful as my right. I slid off my gloves and noted the redness and coming bruising of my knuckles and inside the soft portion between my pinky and “ring finger” and all that did was make me feel more powerful—it was visual tangible evidence of the power of my punch.

Did my arm/fist grow that much stronger over the two days since I’d last boxed? Nope. What I’d done was stepped up to the bag and without thinking about it I just began pummeling it. I didn’t think about weakness; I didn’t think about what I was doing at all. I allowed myself the freedom to find my inner strength. For whatever reason, I’d blocked myself from recognizing my potential by that perceived weakness.

Isn’t it fascinating what our minds can do? The tricks it can play on us? Sometimes, we must outsmart our own Self.

Writer:

This is often how it is with the writing. When we approach our work with our fears and wants and needs and with conditions and scads of willy nilly jumbled up over-thinking-it thoughts, we encounter perceived weakness—the words stall, the language comes stilted, the characters blink at us from the page with perplexed expressions. The writing day seems flaccid and weak—just like that perceived weak left appendage of mine. We want to give up and give in, and we at last grow frustrated and/or bored and move on to do something else.

Yet, for many of us, when we just sit down, put our fingers to the keyboard, and let fly whatever pours out of the black hole in our brain, something seemingly magical happens. We become stronger writers almost overnight—well, dang! Because imagine if we wrote without those conditions, without over-thinking, without all the “What if this isn’t right?” “What if it doesn’t sell?” “What if no one likes it?” “What if a meteor falls on top my stupid head and smushes me to kingdom come and I never finish this and someone sees it before it is finished and it sucks and that’s the legacy I leave behind—a stupid half-finished work that sucks so bad everyone laughs and taunts and points their fingers at it?” What if we instead allow our beautiful subconscious minds, those deep instinctual strengths, to rise up from a place we cannot mine by peeking in the opening—we instead sometimes must amble, explore, stumble upon. Go for it. There’s a reason the clichéd advertising phrase Just do it makes sense—because it does work.

Wrapping it up now, y'all

Wrapping it up now, y’all

So.

As I box, I will gain in confidence. I will become even stronger, yes, but I will also become better at the control of my body and what it can do. And as I grow stronger and better and more confident, I’ll start critiquing my form, how I’m hitting that bag, how my stance is—I’ll be “editing” my workout. So it is with the writing. I lift up my head and there will be a completed terrible (or not so terrible!) first draft—then the work of editing begins where I critique my form, check my stance, work on fine-tuning. I’ve done it with novels and other works that have gone on to be published—five, six, or more, times. What’s stopping me now? Perceived weakness, over-thinking, fear, conditions.

Stride into your writing room just as you will the workout room and instead of letting the world in, instead of telling yourself you are weak and can’t do it right, march in and just start punching (tippity tapping on the keys) away until you feel strong and confident and know nothing can stop you now.

—————

three set_edited-best_edited-11743500_553542498076585_1943216434_nIf you all haven’t gone on over and checked out kat magendie novels that are on Kindle sale, and haven’t read any or some of my books, I hope you’ll go on over and give them a try. I as always am appreciative and grateful for my readers—thank you all for your support. It’s all for you. The link above should take you to a page that should list all my books and stories, and you can see the ones on sale. As well, I’m going to soon have a promo on my 1461250_496657083765127_1387255473_nshort stories, offering a few for free—since I rarely mention them and often forget them, they kind of sit there like little lost waywards, and I’m so proud of the artwork!TG audio

Now get to work(out)!

———————————————————-

Touty mention of the day:

Head over to the Word Shark – Karen R. Sanderson’s Blog– Right now she has a guest there who does some amazing metal artkaren-sanderson-word-shark-blog-graphic

Karen R. Sanderson was raised by a mother who wanted to be an English teacher and who worked for Merriam-Webster as a proofreader and an aunt who could complete the Sunday New York Times crossword in a day. Their favorite expression was, “Look it up!” Karen reads punctuation and grammar manuals for fun.

Karen is an editor and proofreader, blogger, and writer. She edits fiction and non-fiction including: sci-fi, fantasy, children’s, mystery, paranormal, western, horror, historical, literary, and journalism. Karen completed her writing coursework through UCLA, the University of New Mexico, and Santa Fe Community College. She was the winner of the SouthWest Writers 2009 Writing Contest – The Best Hook. Her short stories have been featured in The Rose & Thorn Journal, Every Child is Entitled to Innocence anthology, Valley Living Magazine, BewilderingStories.com, and WritingRaw.com. She is currently working on collections of short stories and poetry.

photo

This came from a FB post from Elizabeth Gilbert’s page – I happened across it after another writer shared it. I don’t usually do two blog posts in one day, but this one so much goes with what I wrote below, and speaks to so many artists, that I must put it here in its entirety. 11377181_841444645937652_243275401139948379_n

 

“Dear Ones –

As many of you know by now, my new book BIG MAGIC: CREATIVE LIVING BEYOND FEAR is coming out on September 22, 2015. I’ve been sharing a quote from the book every Monday, just to give you all a chance to see what’s coming.

This quote is about creativity and money.

Please understand that I have NOTHING against people wanting to make money out of their art. I always wanted to make money out of my art, I always strived to make money out of my art, and now I do make money out of my art, and I am grateful as hell.

But for the first ten years of my creative journey, I did not make a single dime out of writing. And for the next ten years of my creative journey (which included the publication of three books) I always kept alternative day jobs — always made sure I had other streams of income to rely upon.

I did not quit all my other jobs until EAT PRAY LOVE became a crazy bestseller, you guys. And EAT PRAY LOVE was a freak of nature.

The reason I always maintained other streams of income was because I never wanted to burden my creativity with the task of providing for me in the material world.

I do not believe that Creativity comes to us from the material world, and therefore she has no concept of what it takes to survive in the material world. Creativity is a timeless little playful disembodied weird other-worldly goddess. She doesn’t need to eat, she doesn’t need a roof to sleep under, she doesn’t need to go the dentist. (WE DO, but she doesn’t.) Creativity just wants to engage with us (or not, sometimes!) in her own crazy and unpredictable ways, but she never promised to provide for us.

I adore Creativity. I love her. I have devoted my life to her, because she brings me joy. But I do not suggest relying upon her to pay the oil bill. She is not very reliable. Creativity has no idea what the words “oil bill” even mean. Creativity doesn’t give a damn about your auto insurance. She just wants to dance with you, and then sometimes dance away — on her own schedule, on her own strange rhythms.

This is why I made a promise to my writing life when I was about 15 years old. I said to writing: “I will never ask you to provide for me financially; I will always provide for YOU.”

I was willing to work hard, in other words, so that Creativity could play lightly.

I have seen so many beautiful creative souls murder their creative process because of this relentless insistence that they are not real artists unless their art pays the bills. When it doesn’t work out (and often it doesn’t, because, once more, Creativity is a FLAKEY AND WEIRD airhead goddess) these people become angry, bitter, stuck, bankrupted, and — worst of all — they often quit creating at all.

Let me tell you what makes you a “real artist”:

Are you making art?

Then you’re a real artist.

I met a women recently who’d quit her job in order to embark on a creative project that, in her words, “didn’t work out”. Now she was in both financial trouble and emotional trouble. She said to me, “I am angry at creativity. I took the leap. I gave it everything I had. And creativity let me down.”

Those of you who follow this page regularly have heard me say it before, but I will say it again now:

CREATIVITY OWES US NOTHING.

Creativity owes us NOTHING in exchange for our devotion to her — except the gorgeous experience of getting to work with her at all.

You know how they say, “Jump and the net will catch you?” Well, not always. Jump off the cliff on Creativity’s watch, and she might be polishing her nails at the moment of your leap, and she might forget to catch you. Because she’s a FLAKE.

Nothing is ever promised, nothing is ever certain.

Those are the terms; that’s the contract.

This does not mean that you should not take creative risks. But know that they are risks. Creative endeavors are always freaky casinos. You cannot go into any creative field expecting or demanding satisfying worldly rewards. (You can want it, and you can strive for it…but you cannot demand it. You do not get to set terms and conditions upon which Creativity delivers rewards.) The joy and strangeness of the creative process itself is your reward — MUST be your reward. Otherwise, you are doomed to be anxious and angry all the time.

You do not need to be a millionaire in order to fund your own creative explorations. You do not need a sugar daddy. You do not need a “studio wife”. You do not need a trust fund. You just need to say, “I am taking complete accountability for my own creative journey.”

I wrote my first book while I was a diner waitress. I wrote my second book while I was a diner waitress and a bartender. I wrote my third book while I was a bartender who also worked in a bookstore and who also worked as a journalist. When EAT PRAY LOVE (my fourth book) came out, I was still working at a flea market on weekends. If it wasn’t for the bananas success of EAT PRAY LOVE, I would still be doing other jobs.

Nobody has ever paid my bills but me. Not a parent, not a man, not an artistic patron.

I paid my own bills, and then — on the side — I was free to dance my own crazy dance with the beautiful, irresponsible, irresistible, unpredictable goddess of Creativity.

I have always been my own artistic patron; you can be yours, too.

OK?

ONWARD,
LG”

images (4)My posts lately have been rawly honest. Opening up my pea-head and displaying not just the cray-cray but the insecurities I have as a novelist is not easy. I’ve always displayed a more positive outlook because I recognize how lucky I am to do this. I’m extremely grateful for what success I’ve had, and for how I am able to write beautiful words and interesting unique characters—how easily the words (not plots) come to me. But sometimes I over-think things—it’s a character flaw. And I’ve been over-thinking this new book—and my entire career as a novelist.

At different points in a novelist’s career there are decisions to be made that affect the novelist. Consider that it takes months or more to complete a novel all the way through from first draft to final-ready-to-be-published. No one wants to spend that much time on any project only to have to scrap it, or to have it fail. Who would like those odds?  Not I, said the Kat.

There arrives the “what next?” question. What seems an innocuous query is fraught with complication. (Now, following here, excuse me for  mentioning my books and linking to them and their sales on Kindle – indulge me, since I don’t do it often but I should!).

tgraces1743500_553542498076585_1943216434_nsweetieLast night I picked up my copy of “Tender Graces” and began to read it as if I didn’t write it (I recently also read “Sweetie”, and such a warm and tender feeling overcame me. The words were rich and full and lush. The character apparent. The work isn’t perfect—in fact, I can see things I’d change about TG;  it was my very first novel, after all. But I felt the novelist’s love for her work, the language, the setting, place, tone, characters. It all came rushing back to me just how much I love what I do. And how lucky I am to be able to do it. The “Virginia Kate Sagas” (TG, Secret Graces & Family Graces – SG & FG are on sale for under $5 on Kindle, y’all, Sweetie for under $6) and Sweetie are examples of a writer who created out of nothing Secret%20Graces%202012%20-%20screenbut love for this writing life—it shows, and the readers felt it, too—I receive more mail on the Virginia Kate books & Sweetie than any other–I think they get the better reviews, too. Not perfection, but sincerity and truth. I believe in this author. I trust this author. The characters come alive and appear as apparitions in the room.1461250_496657083765127_1387255473_n

With the exception of one of my novels—The Lighting Charmer (and to some extent even that book), which is on sale for .99 cents on Kindle! and sorry for the touting — my published books were written in one way: I sat down and followed my character to see what she, or he, would do. I didn’t think about plots or outlines or “what I should do;” I just wrote. With abandon. Without fear. With love. With hope. These images of my book covers you see here?: I did this. I wrote these books. *Takes a moment to be filled with happy gratitude* family_graces_-_screen

Then the “novelist’s dilemma” smacked me stupid – should I write what I love; how it comes naturally to me? Or should I write what I hope will be more popular? Before you say “don’t fix what ain’t broke—write what you love!” Understand that the novelist profession is not only from the guts of us as artists, but it is also a business. This is not a hobby for me. I count on this as income. I count on this to help pay bills. And that’s where the rubber skids crazily on the road. Because what I love to write, what comes naturally to me, is not “Popular Fiction” that consistently time and again tears up Amazon rankings in the top 100 (though Tender Graces, Sweetie, and yes, even The Lightning Charmer were Amazon Best-Sellers. TG & Sweetie made it to top 100. TG was number 1 on Amazon paid list – The Help was number 2: haw! Yeah, I’ve had my moments!)

someone sent me this screenshot - wish I had one of TG & Sweetie!

someone sent me this screenshot – wish I had one of TG & Sweetie! So-Why am I whining? huh. Stop it, Kat

I fiercely love Virginia Kate and those cast of characters; I adore Sweetie & Melissa. I love Ayron & Laura in Lightning Charmer and I still think that’s my best attempt at a romancy-supernatural-mountain people kind of novel—I think that book would have been even better had I let myself “go” and wrote with the same abandon as I did with my previous novels, warts and all; imperfection and all. Those characters interested me, and still do. They captured my attention and my imagination. Still do.

I was in love. I was so very grateful. What happened to that? I can bet many novelists/authors out there can answer that question with a wry twist to their mouths.

So, the novelist’s dilemma: write what you love and let the money chips fall where they may, or, try to write something “Popular” and . . . and . . . be an unhappy novelist! One who isn’t writing very much. One who writes sad discombobulated blog posts about how she is not writing and feels uninspired.

If a novelist isn’t writing, then what’s the point? If the novelist is unhappy and discombobulated, then she must find out why and remedy it. If the novelist wants to be loved by the masses, then she best not be a novelist. And if Ego is involved—oh, Ego is a terrible snarling drool-faced monster! Kick Ego out the writing room door, y’all—kick it HARD until it never returns.

The answer is clearing the cobwebs in my wonky brain. The path I choose from the paths before me that fork off in fifty-galleven directions is—drum roll, please—the one that makes me happy. Duh. The one that may (or may not!) mean failure in my bank account, but always success in my heart account. As for some “popular” attention and sales? Well, there’s always a chance that will again come. Right? Yes! I’m still alive! I’m still a gifted writer! I can still write write write as much as and as long as I want to.

I’m a woman in her 50s. I’ve paid my life dues. I can bloody well do what the hell I want to. *Fist Pump*

When I am on my “deathbed,” believe me, I won’t be sorry that I didn’t write a huge spectacular best-seller, I will be sorry that I gave up the writing just because I couldn’t write a huge spectacular best seller. Huh. Well now.

Consider: when we are not true to ourselves. When we do not do what we know in our hearts and gizzards is the Right Thing (for us). When we look outward to other novelists’ successes. When we keep checking our bank account to see how much money we have. These things change us, changes the way we think about the writing.

I need an ass-whupin if I don't get back to work!

I need an ass-whoopin if I don’t get back to work!

And the writing will suffer right along with the novelist. The heart is not pierced with love. Something is missing—and it will be apparent to the reader. Oh yes, it will.

So what if I just take this new book and turn it over on its end and shake out its pockets and take a look at what falls out? The lint along with the pocket change and interesting rocks and bones and a leaf and something magical and a supernatural glowy thing and interesting odds and ends and whatnotalls. What if I followed the character around to see what she’s up to, and she’s up to something believe you me. What if I followed to see what her magic is? How it is affecting the town? Why some of the town is suspicious of her? What about that man in the shop: what’s he up to, or is he only in love with her? What are those “Memory Vases?” What is she doing with the vial of blood or the strand of hair—why is she mixing that into her magic paints? What’s she up to? What’s her story? Let me follow her around until I find out! “Black Moon Cove” . . . why is that bomping me upside my head as a “working title” . . . ?

What if I wrote how I did when I was happy with love and excitement?

What if the novelist’s dilemma is really not a dilemma at all? What if we are in control of our own writing lives? Well, dang me!

Yeah. What if?

——————————————————————————————

Touty shout out of the day (and in the future, I’ll be shouting out lots of people here—not just writers):

download71ebbf88305ed9b9af826593ca46d111Writer Unboxed. A place where writers, editors, agents, and all things writing and writing related are discussed. Go visit. See for yourself. They’re amazingly awesome.

writer's blodkaAt some strangeling point in an author’s career, she begins to be weary of her thoughts, and of the worries and stresses, and of the fears.  Of the whole self-indulgence of it all. The whining and boohoo’ing and self-doubting. The loneliness and sacrifice. The highs and lows and the lows-highs-lows-lower lows-high-low and the roller coaster that was once so much fun begins to jerk you around and toss you into the air and pulls your stomach out through your mouth—Blorf.

The author begins to avoid the writing. Sneakily so. She’s crafty. Cunning. There is no lacking of excuses. Why, that’s the easiest thing in the universe, an excuse. You breathe explanations into your nose and down your throat and then vomit them back up—they don’t taste so bad once you get used to the sweet rotten of them.

People say to you, “I hear you’re working on a new book!” And they are so sincerely excited that you say (and you mean it at the time; you do!), “Yes! I’m working on something new.” And you are—sort of kind of. You are sort of kind of going into the word document and sort of kind of pulling it up and sort of kind of staring at it and then sort of kind of pecking away at it and sort of kind of considering how you just don’t want to do this anymore.

Maybe there will be a free-fall feeling. You’ll stand on the precipice, open out your arms, and just Let Go. The air will rush against your face. You won’t notice how the ground is growing larger and more menacing—the air feels so good! The freedom! The exhilaration that you’ve jumped right off the cliff and left everything behind you.  “I was pushed!” you say, when people look at you strange—why, there you are flat and bloody where you and the ground met most undeliciously.

028You stare at the bookcase, and there they are! Your books. You wrote them. They were published, and people read them—still do. They aren’t mocking you there but you turn your head away. Because it hurts to look at them, as if your published books are the morning sun and you are still sleepy and in the dark.

“Sometimes it just hurts too much,” a well-known author you admire once said to you. You didn’t understand that at all. You said, “Oh. Well.” And then you went back to work, smug with smugnitude. You think to contact that author and say, “Hey, remember that time you said that? Guess what! Me, too!” But you do not.

Why, it’s all about letting everyone think you are writing fully and happily, and the money is pouring in, and you are on the verge of greatness and successfulness and awesomeness and authorial queendomness! It’s about big smiles and posting pictures on Facebook with zippity do dah day quotes on them about writing. You are living the dream! You author you! You chuck yourself on the chin—aw now you!

You once looked forward to your royalty checks. How fat they seemed to you! How healthy and plump! You signed the back of them and skipped off to the bank, pride and love and luck filling your marrow. As time went on, you began to cringe, just a little, when you’d see the envelope from your publishers in the mailbox. You tell yourself that some authors would give up the fifth toenail on their left foot and then offer up the toe as well just to make any money at all. Still, you can’t stop the flutters in your stomach when you know the check will be arriving any day.

DSC09985“Money doesn’t measure our worth as a writer,” you say, and you mean it. You really do. Still. You begin to worry about money. Who doesn’t? But somehow money received for writing books becomes entangled in how you feel about yourself and your talent and gifts and love of this profession. It makes the love tainted. You hate that. A lot.

All you wanted to do was to write. That’s all. All you wanted to do is to write. And write. And write and write and write write write write. “Please let me write,” you say to the only one stopping you—well, you, of course.

You don’t want to, but you wonder how much money other authors are making. You wonder how they feel when their royalty checks come to the mailbox. You wonder if one day yours won’t come anymore at all and you can’t breathe for ten whole seconds, plus five. It’s madness.

So, one fine day that has really been about three hundred and two fine days, you consider giving it all up. You will always have your books that were published. You don’t have anything to prove at all. You can pretend for as long as you can, and then one day no one will ask anymore. No one will think about you and your books. You will be forgotten by most. Your books will end up at garage sales, dusty with faded covers and torn pages. Or deep inside e-readers in a file marked “Old shit from authors no one remembers” that is rarely opened.

You can take up art or cooking. You can pick up your camera and see where its lens takes you.

There comes a time in every writer’s life when she will consider giving up the writing.

What magic sprung from the works of those before us, and how can we create our own magic? How can we cast a spell upon our readers?

A day will pass. Two. Fifty. One-hundred. Three hundred twenty days will pass. It feels as if a ghost is following you, but when you turn around, it disappears behind a dreamlike tree that only you can climb, only you can see. The apparition follows you every second, every minute, every hour, every day, week, month.

It winks at you—it knows the joke is all on you. It knows you better than you know you.

It knows. When you are ready again.

You will write again.

When you are ready again. You will write again.

When you are ready again; you will write again.

You will write again.

photoAuthor writes book. Book is published. Book is read. Book is reviewed. Author reads reviews. Author is happy to see some great reviews. Author is devastated to see the bad reviews. Author begins to stew on those bad reviews. Author cannot think of anything but those bad reviews.

In the extreme, the author may comment back to the reader, telling her just how wrong she is to feel the way she feels about the book. Another author quietly sits, reading and re-reading the bad review—looking for a message, a theme, something-anything- that will tell them just where they went wrong and how they can fix it so they never have to feel this way again. And there is the author who laments on social networking how much a review has hurt him, made him feel small, made him question what he is doing and why, and will everyone hurry over and write a good review, and maybe even tell the bad reviewer how they suck for their opinion?–>(Oh, please do not do this, author!)

Author begins to lose sight of just how much it is really none of the author’s business what someone writes about their personal experiences of reading a book.

51dZqZYheqL._BO2,204,203,200_PIsitb-sticker-v3-big,TopRight,0,-55_SX278_SY278_PIkin4,BottomRight,1,22_AA300_SH20_OU01_I stopped reading reviews a long time ago—right after my first book (Tender Graces) came out. Oh, I was reveling in the great 5-star reviews! I was feeling on top of the world when suddenly there amongst those 5-star reviews appeared a 2-star. Oomph! Kicked in the stomach feeling, a sickening crash—dark clouds amass, the world is coming to an end! Or wait a minute. Why would I not expect that to happen? Of course it must happen! I made a decision right there not to read that review or any other future reviews, good or bad, hightailed it out of Amazon, and never looked back.

Because it’s none of my business what a reader writes in a review of my book.

I went back to work. With each new book, I kept my promise to myself not to read reviews, and it has served me well. Kept my sanity—well, most of it. Being an author isn’t the easiest thing as it is—we worry about a lot of Stuff. A whole lot of Stuff. Massive amounts of not so crazy along with really stunningly crazy Stuff. Any Stuff that I can toss out of my worry barrel (I started to write “jar” but we all know it’s a gigantic barrel) is one fewer thing to obsess over. Right? Right! Especially if it is not in my control.

If it is not in our control, why are we still trying to control the uncontrollable?

Some will say we authors must read reviews to learn something about ourselves and our books, but I personally disagree. The review is not for the writer, bmarm bakeryut instead for the reader. If a book is good it will have good reviews, and it will have bad reviews. It will be hated by some readers and it will be loved by others. But guess what? If a book is badly written it will have good reviews and it will have bad reviews. It will be loved and it will be hated. One reader’s filet mignon is another reader’s can of dog food. We cannot all have the same tastes and likes and dislikes. Opinions are what make this world so interesting. Opinions and variations of character and thought and being sparks discussion and lively debate. It’s why there are so many books out there in so many different genres or even the same genre but with different stories and characters and thought and action and place and time and circumstance–so many people with so many different brains to stimulate to please or not to please, whatever the case may be.

We authors need to get out of the way of the readers’ opinions.

Really, an author who cannot handle the really bad review should never go look. It’s personal, but not Personal in the way some authors may experience it. It’s personal to the reader and how the book makes her feel, or how the book makes him experience what is happening in that created world.

The review has nothing to do with Me The Author.

Me The Author is not important. We may think we are, but we are not important at all. When a reader reads our words, they should not be thinking of the author. When they put down the book, then perhaps we come to their mind, we hope fondly; yet, even then, we are an amalgam of the words and characters and language and world we created, along with what the reader imagines us to be. We are not who we think we are to the reader, and that can be a beautiful thing to consider, no matter the outcome. We have reached out and touched another living being, even if they skewer us and grill us to a crusted crisp.

DSC09985My readers can do no wrong.

Readers do not recognize their power—they don’t realize how much we authors really do want to hear from them when they are touched by or enjoy our work. However, if a reader does not like one (or more) of my books, or maybe even hates hates HATES my work, why would I be angry with that reader? They have a right to love or not to love or even to detest my work. They have a right to kiss my book and lovingly set it in a place of honor on their bookshelf, or beside their bed where they can read it again and maybe again.  And, yes,  they have a right to throw my book across the room and scream that it is the biggest pile of dogshit they’ve ever read in their entire lives and they’ll never pick up another of my books again!

When I write a book, my thoughts are on my reader—will she enjoy it? Will he love my words? Will they be swept away by my characters’ stories? I want to please my reader. I want to make them happy. I want them to love me, because I love them. But I can’t write to please everyone—you do know that is impossible, right? To please everyone? Sure, some books are written that go on to make a gazillion bucks, but go to Amazon and look up a very popular book that’s making millions and there you will find readers who think that book sucks, and sucks so bad that they poured gasoline on it and set it on fire then pee’d on it to stop the flames and then stomped on it with dog-crap covered boots then swept up the nasty pile and buried it fifty feet underground where they never have to be reminded how they’ll never get the time back they wasted on that book!

I will always write with all my heart, everything I have, give readers all I got. I will send out my words and hope for the best. It is my gift to my readers. It is a hope to reach other readers. And no matter how they receive that gift, it is their right to express themselves however they want to without my interference.

It is wrong wrong wrong to make readers feel bad for their opinion.

It is not cool at all to correct them for their “wrongness.” It is uncool to try to sway the reader to change their mind and thus change their review. It super uncool to make them feel guilty enough to take down the review. It is super duper uncool and demeaning to the author profession to tell other readers to go defend that author and their work and make sure to tell that bad reviewer how they mightily suck–ATTACK!—-> (No no no do not do this, Author, please do not).

Our characters and words are no longer all ours once we send them out into the world—they are then everyone else’s. And that means sometimes the characters and words will be cherished and loved, and sometimes they will not and will not so bad that there are scorch marks left on the pages.

Welp, suck it up, Author, or get out of the way. 

DSC_0174I get out of the way. I’ve never had readers send me “bad” mail. I’ve never had any reader treat me terribly. I’ve never been attacked by readers. I’ve had very positive experiences. Perhaps there are some reviews on my books that spit in my eye, but why would I care to know about it? That reader will likely not read me again and will find someone else who more fits them. I cannot capture everyone in my literary net and force them or guilt them into loving me. And I should not morph myself into some kind of Every Reader Pleaser.

So you readers out there—I adore you. No matter what. You can do no wrong. Even if you throw my book out the window and vow never to read my words again, you are still required–you are needed–you are wanted. And for those of you who have loved and then hated and then loved me again—thanks for sticking around! For those of you, dear readers, who love all of my work: Why, thank you! I love you, too, and I’m sure I’ll disappoint you at some point—ha! But it won’t be because I give up–I promise to do my very very honest honorable hard-working sincerest best, and that’s all I can do.

So, readers—go on out there and write your reviews! Write your best; write your worst! Just keep reading us. Just keep trying us out. Just keep us alive with your attention. Without you, readers, we are Nothing. N-o-t-h-i-n-g. That’s the truth. You will never do any wrong. The power is in your hands. I hope you will use it wisely and well. Meanwhile, I’ll get back to work and stay out of your way.

galaxy nexus wallpaper-WmOIYou were in love with the writing once. A kind of love that churns the belly. The kind of love that wraps around you warm and alive and pulsing. Trusting kind of love. And you think that love will never leave you, nor would you ever leave it.  You think it will be as strong and lively as it is in the beginning of all that began all the way to the what should never ever end because it’s too beautiful to die. Too perfect.

But things begin to change. Subtly at first. Insidiously. Oh, it’s little things here and there that don’t mean much—at least that’s what you tell yourself. But all those tiny things begin to pack together, sticky and mean, tightly, balling up hard and fast, until there before you is what you tell yourself is only a sweet marble you think isn’t so bad—it’ll still fit into your pocket! You can carry it around and won’t feel the weight of it at all. But it grows. And you can’t carry it around anymore. It first settles in the room you always wrote in, but it soon pushes out into the hallway, and into the bedroom, and the kitchen, and the living room, and the entire house becomes filled with it—it pushes against you, insistent to be noticed. It is a Moon,  a Neptune, an entire galaxy right outside your mind’s window. It groans with its own weight.

DSC09985Still, you think you can live with it. You think you can soldier on. You think that everything will be okay if only This Thing would happen, or That Thing will occur. “If Only” becomes raggedy with your use of it, what with your rolling the If Onlies around in your head until they are barely recognizable. Still. You loved! It all had meaning! Didn’t you? Didn’t it? Doubt sets in. Were you loved back? Maybe it was only an altered state of being that led you down into the most pleasurable of senses. Why, before the Galaxy of Disappointed Disillusionment, you’d even allowed yourself to become a little arrogant. Held your head a little higher—after all, you were in The Club. That Club with those heavy heavy gates—the ones that swing open randomly and without sentimentality. You often imagined the gates closing behind you, yet this time you are pushed back to the outside.

You want out anyway, you say. You want out and you don’t know when, or if, you’ll return. You want your space. You want time to think. You want to do other things. Find yourself, you say, wincing at the cliche. You’ll do: Fun things. Other necessary things. Things that don’t require pushing through that galaxy of hard knotted failings and failures and fails.

You soon forget (you say emphatically) what drew you to that love. You don’t remember (you think most apparently) the feeling of joy you had just by opening your laptop and your mind—flutter flutter went the beautiful creation butterflies—how lovely they were! Oh how you hate them now! Hate them!

The heart of you is crushing under the weight of the groaning Galaxy.

Who cares?, you say. I don’t!, you say. And you trippity trip about, laughing gaily on the outside, while on the inside you are slowly terribly dying. The Galaxy suffocates.

imagesOne day, you are alone. Perhaps walking in the woods, or down an aisle at the grocery store, or driving your car aimlessly, or most obviously of course staring at the darkened night ceiling. And a blinding light explodes while millions of hard knotted disappointments and disillusions Supernova. You are blinded for seventy-two hours; burned down to the bone for seventy-two more.

Then the quiet talks to you. You rise, walk through the house, glowing embers dying and ashes flying. Something gives way. A loosening.

You run then, opening windows and doors until every window and every door is wide, and out and out and out on a brilliant wind goes the ashes, and all that is left is You and You.

Something stirs. Something old and ancient. Something you recognize.

Fingers to keys. A letter appears. Another. Another. A word. A sentence. A paragraph. A page. Five pages, sixty pages, one hundred pages plus three.

Love.

Sometimes, you say, all else must be burned away so your new skin can feel anew.

Screen+Shot+2014-02-25+at+12.17.37+PMYour fingertips are alive. Push push push on the keys. It is like music.

You recognize, you say, that you never loved fully before but only with conditions. Love must Be, you say. It is its own and no other.

You say: each hard knot of disappointment must be kneaded and chewed and swallowed and digested and then shat out and flushed away.

A grand love. A passionate love. A true and honest love.

It finds you, grabs you by the beating heart and squeezes the life into you.

Fingers on the keys. Push. Push. Letter by word by paragraph by page.  Five, six, seven, eight, open up the heavy gates.

(. . . and still, as you push the keys, the if onlies and the what ifs and the why can’ts ind the little nooks and crannies of you and settle in. You push the keys and try not to notice the hard knot you couldn’t swallow as it falls to the ground and quivers.)

Who typed on this? What words did they create, and who loved or hated or felt indifferent to them.

Who long ago typed on this? What words did they create, and who loved or hated or felt indifferent to them.

I was thinking about Rules, and about the creative endeavor, about where we’ve been and where we are and where we will go. I thought about those who came before, and those who are always remembered, and those who will be remembered only for their fifteen minutes. I wondered, who of those of us who live in this moment, the here and the now, will be most remembered twenty, thirty, forty, one-hundred, two-hundred years from now? Do we have the ability to create Classics in literature, music, art? Or have the molds been made and then placed behind thick glass to preserve them and we can only hope to find some tiny spare spot in an ever-expanding crowd of creativity?

There was a time before Rules. There was a time when writers, artists, architects, dancers, musicians, etc, made the rules, because they trod where no one else had ever been before. It’s difficult now to find the places where no one has been, which is why there are “The Classics,” and why we have those literary (and other creative) giants/icons who are held up as larger than life, their images on cups and t-shirts and postage stamps, their works examples for those who follow. One glance at an image and most know who and/or what that image represents–if not their complete works, then some part of those works or of them. One mention of a phrase and one knows who said it, and it is deemed brilliant, never to be touched again by another – right? Are we able to create our own new paths? Swathing the way through literary (or otherwise) forests? Are brilliant works and new paths simply swallowed by the glut of All That Out There Everywhere? This is BRILL–oh, wait, what’s this new thing it’s BRI–oh, wait! What’s that shiny thing over there, it’s BR–oh wait! Oh Wait! WHAT’S THAT OVER THERE?

Just as civilizations have been built and then built upon and built upon again and again, so it is with language and music and art. There was the creating of new ways. And now, we build upon those “ways” – we have rules we follow because they were established before us, and we build on those, and sometimes we throw them out, and sometimes we morph them, and sometimes we break them gently and ungently. Language, art, the creative endeavor, is a living breathing thing, a malleable thing. A gorgeous beautiful lush thing. A frustrating gut-wrenching terrible thing. A kick in the gut and head and ass thing. A straining towards thing. A falling back thing. An all or nothing and then all again thing. An I give up, oh wait no I do not thing.

What magic sprung from the works of those before us, and how can we create our own magic? How can we cast a spell upon our readers?

What magic sprung from the works of those before us, and how can we create our own magic? How can we cast a spell upon our readers?

Who will find their face on a cup? Who will be caricatured on a t-shirt? Who will be our icons and giants? Or will we hold onto our iconic giants from before, those who cleared a path for all the rest of us? Forever and ever, ah-men.

I don’t need a cup with my name on it. Do I? Of course not, she says adamantly and hesitantly. My books are my tombstone—my legacy; my mark even if small and one day forgotten. She says most emphatically and discombobulatingly. But what if in some magical world of long from now my words, your words, our words, were held up as examples of iconic splendor? We’d never know it. After all, we’d be dead, short or long dead, but dead. So what’s the point of striving for all that iconic splendor when I can beat myself silly striving just for a bit of attention in the right here and now. Well, when you put it that way, Kathryn.

Just let me love and appreciate every moment of it. Each little bitty moment. And let me always want more. More. More. More. More words. More books. More readers. MORE!

I put a spell on you–because you’re mine . . . .

(repost)

misc dale and kat etc 147So, my friends. I have been gone from here a while. Other things and people and places grabbed hold of me, of my attention, of my time. But it has all been for the most wonderful beautiful of reasons: I have returned to my Cove at Killian Knob. Home. I am Home. I came back almost a year to the day I drove away from my Cove–thinking I may never be able to return. But my Cove was not about to let me go. My mountains knew I’d return. The creek shouts out to me–Welcome Home, Wild Wolf Woman Kathryn.

misc dale and kat etc 223I had to pinch myself every day for the first few weeks, and then, now a little over a month since my return, I at last do not fear I will awaken from some gorgeously warm dream. It is real. It is tangible. As real as my Crow cawing outside my window–he, Big Boy, tells me all the secrets to the cove; all the things I missed while I was gone from here. Each morning, and evening, I toss over the rail to the ground below some tidbits for him to eat, whistle for him, and there he comes, sailing on stretched wing, oily black and handsome. He now will, as he used to do, sit on the branch of the Tulip Poplar and watch me as I sit on the porch drinking my coffee, or maybe later my wine–at first, he did not trust that I would be here to stay and he was shy. Now? Now he knows. Just as other critters know I am here to stay: the coon, the squirrel, the bird, the rabbit, the turkey–all of them. Even the ones who hide and watch: the bobcat, the coyote, the bear, the deer.

misc dale and kat etc 170As always before, I turn my head slightly to the left and what fills my eyes is wild beauty. I glance down at my hands as they type upon my old trusty laptop, turn my head back slightly to the left, then gaze around my writing room, my library, my study, where someone special turned it into a warm and beautiful sanctuary with which to write and read and dream. I am filling my little log house back up with my Things–yes the knickknacks and doo-dads and furry throws and rugs and lamps that golden glow the rooms, but also bone and rock and bark and stump and twig and feather. It is as if I am in some mystical movie where the character steps from one realm of noise and confusion and crowds and discombobulation into an enchanted world: she closes the door behind her and doesn’t look back, for that near-year she spent away from her Cove was only an enterlude, only a miniscule slice of a luscious pie–she ate a tiny bite of that miniscule slice of pie and it did not taste of anything at all–now, here, the rest of the pie coats her tongue, slides down her throat with a slight tang and burn, and fills her belly–she is satiated now. That is how it is. And more.

misc dale and kat etc 094I did not come alone. Who knew? Who knew what life takes from us and gives to us. Even when we do not want it. Even when we fight with claws sharpened by what we think is best for us, never knowing that we do not always know what is best for us. Sometimes people come back into your life after many many years and you think, “Why, where have you been all these years?” and they say, “I was going to ask you the same thing.” And then you both laugh at the absurdity of it all. At the luck and timing of it all. At the luscious luscious wonder of it all. And there curled beside you is a little bitty dog. All your proclamations of “Never again! Never! I cannot bear to take into my life another sweet creature and have it die. No! NO!” and the little dog curled warm beside you huffs in his sleep, and if awakened would look up at you with his wonky teeth and you would Know. You’d just Know that he knows what he has done with you and to you and for you. And what his man has done to you and with you and for you. What both of these Living Beings have pulled you kicking and screaming into what you never ever believed in; what you scoffed at; what you considered ellusive and illusive and never ever for you.

We often proclaim not to believe in the very things we most want.

Love is the greatest of things. Love is your granndaughter. Love is your son. Love is your family. Love is your friends. Love is what comes into your life when you do not want it or need it or expect it. Love sneaks up and smacks you upside your head and then laughs at the amazed fearing wonderment that makes you slack-jawed with surprise. It is not to be ignored. Who knew? Who knew?

misc dale and kat etc 066So I sit here, my good friends–those of you still here; those of you who have always been here; those of you who drop by; those of you who wonder by accident or fate if you believe in those things and I do not and I do; those of you who read everything I write and I am amazed by you–I sit here and I am humbled by everything. Everything. EVERYTHING. I am humbled and grateful and beside myself.

I am not lonely anymore.

I am not an island.

I am writing again.

I am here. I am Home. I am back to my little log house at Killian Knob in Western North Carolina Smoky Mountains.

Life is a circle that we either complete or we do not. Or we go round and round it faster and faster until we are so dizzy we do not See anymore. What do you want? How do you want to travel your circle? Ends meeting and then begin again.

(well, look below at the previous post they link to – it was when I had to leave here — ha! what a coincidence)

ipod photos 081I remember days when I felt I had no voice. When what I thought and what I did were separate entities. I could write a very long blog post about the instances where I felt I had no power, but I do not need specifics here–and most are my own private life-stuff. Most all of us at one time or another has felt powerless against some force that has pushed its will upon us. I also know there were times I felt powerless when I really was not. I either was too afraid, or too naïve, or so used to how things were rather than how they could be that I did not make a change; I did not find my Voice, or my Power.

I so very often gave away my power to someone else. I don’t mean physical power, though I like being muscular and strong and able to take physical care of myself. I mean standing up tall and strong in how you live your life, how you expect others to treat you, and how you treat others. Power does not mean bullying or aggression or mean-spirited natures. Power means standing up for your beliefs; standing up for what you know is right for you despite when someone or some situation may be forcing their/its will upon you for their/its own good and not yours–however, Power is also compromise: you must find the difference between compromise and giving away your power by tapping into your gut and your heart, by having conversations with those involved, by listening just as much as you want to be heard.

Power is not letting past experiences define your Now Reality. Power is not forgetting what someone has done to you, but letting go of what they have done to you and saying, “This person no longer has control over my thoughts. I will not give this person one more minute of my time. They no longer deserve my time. It is no longer any of my business what they think or do or be.” Power is sometimes doing the difficult thing or saying the difficult thing because doing or saying that thing will take you places you never thought you could go–whether metaphorically or spiritually or physically or metaphysically. Power may mean Big Change, and that’s scary. Once we decide to take back our power, it often means we have to make a change, and that can hold us back. I so know this, and so do you.

ipod photos 213Power is when you feel strong and capable and in control of your life instead of the chaos of life and situations and people having “control” of you. It doesn’t mean you aren’t afraid. It doesn’t mean you don’t have anxiety. It doesn’t mean you don’t feel sad or grief or loss. It means you step forward even though you are afraid of the dark space ahead–what if there’s a cliff there? What if I free-fall? Then maybe you sprout some wings and fly. Or maybe you fall on your face and it hurts like hell. There’s risks in taking back your power, your life. I won’t lie. There will be stumbles and mistakes. But how do you know until you try what takes you somewhere you always needed to go?

The more power you take back the more control you feel, and the less anxiety and chaos reigns. I’m all about Chaos–my peaheaded brain flippity flops and zippity zaps all over creation. I’m jittery and wild. I can be impulsive. But don’t let all that fool you–I am strong. I am capable. I know my power. Do I sometimes falter? Yeah, you better believe it–because I’m also human. And so are you. Find the quiet places and figure out just where you need to take back your power and why and how, and just where you need to step back and let things “be” for a while. Your gut will know. You know.

One day, I had a conversation with someone, who said, “I really want to say something, but I’m afraid of the consequences.” I looked at her: this woman who is smart, capable, beautiful, and I wanted to tell her, “You have more power than you think.” But I hesitated. What if I convinced her to speak up and the consequences she was afraid of happened? What good would her power be to her then? Of course, if the situation she is in warrants such care, such fear of reprisal, wouldn’t she be better off out of the situation? So I told her, “You have more power than you think.” And then I shut up. It’s not for me to decide what she must do or say. That is her journey.

10274015_10152437219614176_2351572946895967498_nIf I speak up or if I leave a situation I am unhappy in or if I decide to do this or not to do that or if I do not put up with bullshit or if I do put up with bullshit because at the end of that bullshit is something worth the effort, and as a result negative consequences rain down on my peahead, my power will feel intact because I’m facing my fears; I’m doing what’s best for me or for mine. I’m taking my lumps, too. This does not mean I go about callously disregarding feelings and tossing people and situations to the curb at every turn. It means I dig deep and figure out what I need to do to keep my power so I feel less helpless and choatic. So that I feel strong and sure I am doing or saying the right thing even if my knees are quaking and I’m scared witless. People confuse “courage” with someone doing something they are not afraid to do—courage is taking action even though one is afraid.

Looking into this woman’s eyes, I could see that she was not ready to perceive her power in that way. She will see the outcome as disastrous. One learns that there is always something else. There is always another. There is always the next thing. There are some situations that are just not worth the anxiety, or the discomfort, or the sad, or the anger, or the fear, or the stress. For too many years of my life I waited—waited for the right time, the right place, the right mindset. I don’t want to say I “wasted” my time, but I wasted my power!

I wanted to pass my power on to this woman, to tell her to stand up for herself, to give her the eyes to see inward to the power she possesses, but I could not. She must find it for herself.

We have a choice to say in some instances where we feel strongly enough, “Sorry you don’t see it my way. But, I’m standing firm.” And then, if we have to, we walk away, and in some instances, we will walk away with a big fat grin, swinging our arms to the tune of some powerful anthem we once heard.

WHUPOW, y’all!

DSC_0174In my Monday Classroom Series, I rarely explain “grammar stuff” by explaining it too technically—you know why? Because I cannot be too technical since for me it’s mostly become the instinctual. Oh, I had horrid grammar for many years, and the comma drove me to distraction. But when I became an editor for Rose & Thorn years ago, I learned on the job what it meant to be a better editor. I not only noticed things in the structure and tone and cadence of the story, but also by how grammar was used as a tool either to ignore the rule or to enhance by breaking the rule. In the process, the story shone brighter. It’s all about CONTROL. Know what is right, apply it where necessary, and then break those rules when creativity asks for it: with CONTROL.

Grammar may be one of those things you “get” or one of those things that makes you want to pull out your hair and run screaming into the streets. For me, things began to click when I related them to my writing (or the writer’s story I edited) in a tangible way. What I will try to do here is to explain things in a way with the hope my explanations will make it easier for you to apply the rules, or break them effectively, in your writing, even if you don’t exactly know the whys or deep grammatical explanations.

If you want a more technical explanation, there’s always Grammar Girl

We know what Dangling means; that’s easy. But what in tarnation is a Dangling Participle? A Dangling Participle will have an “ING” word in a phrase that usually precedes a sentence, which modifies the wrong noun/subject.

ING words are sneaky! I often do a “find/search” of my first draft for ING words just to see how I’ve slipped up. First off, many times I find that instead of an ING word, I could/should use ED (or some sister/brother of ED)—go into your manuscript/story and look at some ING words. Now, change ING to ED (and you may or may not need to fiddle-dee-dee with the sentence a bit) and then read it aloud. Huh? Huh? Yeah? See? The more I am instinctually aware, the less I worry I’ll miss something; however, when I do a search, I’m always surprised at what I miss.

Today, let’s look at those ING words as Dangling Participles—dangling ING words in phrases.

Dangling Participles “attach themselves” to the wrong subject, and make the sentence, the scene, sound a bit ridiculous or implausible.

Example:

10305604_10152463711914176_2993508658427162551_n Drinking her coffee, Mary told John to stop drumming his fingers on the table.

Now, imagine that scene above—don’t just nod your head about it, really picture that scene as if it’s a movie scene or happening right in front of you:

Mary is drinking her coffee, so how can she talk to John with a mouthful of coffee?

Sure, we all know what the sentence means; but if you picture that scene, it does not work. I could explain things in a “Grammarish” kind of way about modifiers and nouns and who or what is carrying out the action and blah blah blah, but if the whys confuse you, I want you to see the results to strengthen your scene and not necessarily the grammar whys.

And in the case of the Dangling Participle, I am not so much worried about you remembering the Term, but instead remembering that ING word there in the beginning phrase that knocks the scene all wonkity.  And you can do that by imagining the scene you are writing as if it is happening in front of you or in a movie scene—yeah, I stuck lots-o ING words right there in this paragraph, didn’t I? Ha! But they ain’t a-danglin.

So, in my example: Mary can’t talk and drink her coffee at the same time. Something doesn’t jive here. Let Mary finish her gulp of coffee and then she can tell John to stop his drumming before she goes mad mad MAD with it! (For me, it’s whistling – dang if I don’t hate whistling!)

Running to her car, Debbie revved the motor and raced away.

I’m still imagining Debbie in a full-out run to the car, and then whammalammadingdong I have to adjust my thinking. No, wait! She’s in the car and driving away! This scene is awkward.

Because grammar is so AWESOME in this way, sometimes those ING words can work as beginning phrases.

well, sheee'it

well, sheee’it

Standing in the doorway, George was knocked to the floor by a large angry ape.

Do you see the difference? George is standing in the doorway when BA-BAM! A big ole ape slams into him. George is the focus here—George standing in the doorway is the focus. The ape comes out of nowhere and knocks George down. I can see the scene even if it could be rewritten to be more efficient.

I’m being simplistic here, and my examples aren’t meant to be perfect. What I want here is for you to picture the scene and in picturing the scene understand the effect on your manuscript/scene.

Typing her examples, Kathryn hoped everyone would understand.

Works for me! Kathryn is typing her examples with the hope that you all will understand. Is the sentence strong and lovely? I dunno. But I can picture the scene just fine. Kathryn typed examples. Kathryn hoped everyone understood. She did and can do both at the same time. Now if Kathryn did this:

Typing her examples, Kathryn ate her scone.

Nope, I’m typing so it would be hard to eat my delicious cranberry orange scone (dang! Wish I had one right now!). Unless I jammed my face on my plate and ate like a dawg—and I probably have done just that, haw!

There are great beautiful perfect grammatical explanations for all this, and any google of “dangling participles” and “participles” will give you clear instruction (like Grammar Girl link above).

Find a way to internalize the explanations so that they become clear to you in a tangible way. If you can relate something to your own experience, it’s easier to understand. If you can imagine your scenes as if watching a movie or as if it is happening right in front of you, then perhaps applying correct grammar, or breaking the rule, will give you much more control. So think about your scenes in another way, and in the process, gain an understanding of sentence structure and how it can make your work weaker or stronger.

Now, go WRITE!

 

——————

Touty Plug of the day: I don’t feel like being touty. I will only say that if you want a new book to read, then perhaps consider one of mine. You can pick out all my grammatical mistakes–particularly in the first books–and sneeringly sneerificate at me *laugh!* I have a website kathrynmagendie.com and an Amazon Page and my books are available wherever books are sold–and if they aren’t there, then they can be ordered. As always, your support is needed and appreciated and never forgotten. It’s all for you, this crazy writing life: You–dear Readers.

Tag Cloud

Follow

Get every new post delivered to your Inbox.

Join 3,829 other followers

%d bloggers like this: