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The Wolfcat Chronicles Book Seven Revisions Complete

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For those of you following the saga of the entire series revision for The Wolfcat Chronicles, Book 7 was submitted to my publisher this morning. Now I move on to Book 8 – after a brief break.

As I have said before, I’ve not worked on Books 8 through 10 for several years. Over that time my writing style has changed a bit. Also I completed and self published The Attributes and signed with Pandamoon Publishing to see Fried Windows released this past May. In other words, a lot has happened.

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I’ve always planned a substantial revision for the final three books that comprise The Last Wolfcat section of the series. As I have written several of the other tangential pieces that tie into The Last Wolfcat, I have some new ideas for the conclusion. I have never been happy with the way the original draft ended.Now that I know how everything connects to Fried Windows, The Attributes, One over X and The Power of X – along with some as yet untitled pieces – I will tackle the task of rewriting the last third of so of Book 10. I am also considering an 11th book that falls outside of the storyline of The Wolfcat Chronicles but would provide some backstory support. I’m thinking of calling the supplement, The Offspring – not to be confused with the musical group.

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So, although I’m happy to have completed the Spectre of Dammerwald and One Pack sections of The Wolfcat Chronicles, and would love to take the day off and celebrate, I have a lot left to do. I really need to have the entire series wrapped up before April to fit into my plans for other books that remain on the back burner – including sequels to Fried Windows and Becoming Thuperman.

As for Becoming Thurman’s release date, expect it sometime around summer. Since it has a baseball theme that is a better time of year for it to appear, I think.

I’ll be promoting Fried Windows locally in some bookstores with signing and personal appearances over the next few months as well as building interest in the first book of The Wolfcat Chronicles and having some launch parties. So if you live in Central Florida be looking for the announcements. My publicist and I are considering some other promotional events, perhaps in other states. Nothing has been officially scheduled yet but it’s in the works. Also, I’ll be offering personally autographed copies of Fried Windows online. I’m working out the logistics of that as well.

#FriedWindows #TheWolfcatChronicles #BecomingThuperman #ThePowerOfX #OneOverX #TheAttributes #Revisions #Publishing #PandamoonPublishing

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Realism in Character Development and Storytelling

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Way back somewhere and some-when I had a teacher named Kristin, though I didn’t call her by her first name until a few years later. We didn’t hit it off well, but after nearly four full school years of fairly close association, whether she was my English teacher or my faculty advisor for the school newspaper, we eventually reached a point of mutual respect. At some point I told her I wanted to be a writer when I grew up, not realizing that the whole point of becoming a writer is never needing to grow up. I asked for her advice and with pity in her eyes she told me if I develop characters that feel real to the reader then I might succeed.

A lot of time was spent in college pursuing secrets insights. In the process I worked on writing, attempting to find my author’s voice and toying around with methods of storytelling. You see – I figured out that it’s better to be a good storyteller than a good writer, especially if you plan to make a living as an author – not that I have arrived there quite yet. Still, all along the way I kept focusing on my characters and making them as realistic as possible. Basically, what makes them real for a reader is not the author’s narrative descriptions but how the character is portrayed through dialogue. If the spoken words sound right, more than half the battle of selling the character to the reader is won. And so, that has always been how I have approached characters. I start with a few the main characters, at least two, and have them converse. Pretty much they tell me the story while introducing me to the other characters that populate their fictional universe. They clue me in on what’s bothering them lately (the conflicts). From there the plot (the storytelling) takes care of itself.

It is not easily accomplished. Sometimes characters misbehave and their dialogue must be tweaked for it to sound real. Also driving plot through dialogue takes a good deal of practice. You also need to pay attention to real world conversations and how people talk – not stuff you hear on TV but exchanges between family members, friends and strangers. In this I benefitted from spending so many years in retail dealing with the general public and a number of fairly diverse employees. Over my nearly thirty-year career I probably have a few thousand stories to tell just from my associations.

For dialogue to be effective in helping to create a character’s realism the writer must sell it without drawing undue attention to the written words. What I mean is this: at some point within the first two exchanges of dialogue the reader must be immersed in the scene along with the characters. Suspension of disbelief takes place almost immediately if the reader fully embraces the characters as human beings (or in the case of my fantasies, just beings). The reader cannot be cognizant of the plot elements entering into the dialogue. A test to see if you’ve gone to far as a writer is to read what you have written and actually hear the voices of the characters as if they were talking. Would they say those things you wrote? There is an art to achieving this and it is why some writers succeed at capturing a reader’s imagination while others don’t. I call it being sneaky.

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One of the best examples I can think of for realism in dialogue and character development is Steph Post’s A Tree Born Crooked. Her characters feel as real as the guy sitting down at the end of the bar or your aunt that no one in the family wants to invite to social gatherings. Her novel is filled with characters you can avoid noticing even though you probably wouldn’t go out of your way to talk to them. It is dialogue driven in a way that probably should be studied in school because it is done that well.

When properly written dialogue-driven plot enhances the quality of the story as well as the experience of reading. A good deal of narrative, which is inherently more boring than dialogue to a reader, can be eliminated. The story will take on a blocked format where narrative is used to frame interactions between characters, primarily setting a scene and directing a reader’s attention to characters’ actions. The result is that the author will invite the reader into the story instead of just showing or telling what happens.

In preparing to write, the more detail an author puts into a character profile the better. Think of it as writing a short biography of someone you, as the author, know extremely well. It should include the basics like date of birth, place of birth, where the character grew up, family, friends, schools and the like, but deviate from a traditional biography in giving a complete description of the character’s height, weight, skin tone, eye color, hair color, and interesting features like a mole or a proportionately large nose. You may or may not use all the information you put into the profile but you must know those details including backstories. What crushes did he or she have growing up? What became of those people – if the character knows? Such information creates depth of the character and lends realism to the person created on paper.

Some authors pattern characters after people they know. It is best to create composites of several real world people, though. You don’t want opinions of living persons to enter into a piece of fiction. However, taking four or five people and using them as a pattern to create a character that shares their attributes and background will often make for a realistic subject in a work of fiction. For The Wolfcat Chronicles I patterned many of the characters based on profiles from a role playing game in which I was involved for a time in early 2000. The character Ela’na is based on a real person with whom I became close friends. She served as a muse throughout the creative process for composing all ten books.

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For The Attributes, a science fiction environmental piece set in a colonial world in the future, the characters are based on musicians in a rock band whose work I follow. I composed the novel over the course of a summer as sort of a birthday gift for the lead singer. Although the book has not been promoted that much I consider the story one of the best science fiction pieces I’ve done. The dialogue flows very well and it was one of the first stories that I used dialogue extensively in driving the plot.

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Occasionally the main character of a book is an alter ego of the author. In my books, for example, Brent Woods, who appears in Fried Windows, serves that role to a large extent. Although he does things I would never do and is more outgoing than I ever was he shares a good deal of my background. We attended the same schools and, of course, knew some of the same people. Since Brent has some amazing abilities and visits other worlds some people have questioned just how much he is like me. I suppose that as a writer I do visit other worlds and I have special powers while there as the creator of the alternate universe.

Part of the process of making characters feel real is believing they are real. A fellow fiction writer once told me that in order to make a contrived world believable an author becomes a part of the fictional world he or she creates. While writers tend to live in the story while we write, it may seem to others that we have lost touch with reality from time to time. We may pop our heads in and out of the real world to carry on the business of being alive like eating, sleeping, paying bills, attending mandatory family things like birthdays and such, but mainly we are immersed in our creations while we are composing them.

Editing and revising the draft becomes a painful revisiting of the overall creative experience, much like reliving the events of real life – the good along with the bad. It is a necessary evil in the writing processes but much less fun that conjuring substance from nothingness. The objective of a revision is not creating as much modifying and sometimes deleting. If a writer spends too much time immersed in a story its hair grows too long,  shaggy and unkempt. Think of a good revision as basic personal grooming for the story. Professional editing is more like seeing a barber or going to a hair solon to fix a bad hair do before being seen in public.

#Writing #Realism #CharacterDevelopment #Storytelling #Fiction #Editing #Revising #FriedWindows #TheWolfcatChronicles #StephPost #ATreeBornCrooked #TheAttributes

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Update – The Wolfcat Chronicles and Writing a Series

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It’s been nine months or so since I last looked at Book One of The Wolfcat Chronicles. Since then I’ve read a lot of books from other authors and experienced the meticulous process of professional content editing for Fried Windows. I’ve learned a lot.

It isn’t like I haven’t read The Spectre’s Warning several times in it various iterations with it previous tentative titles. I’ve always felt it was a good story. But I wrote it about ten years ago while I was concurrently revising The Last Wolfcat – the final three books of the series. The impetus to write the book came from from two directions. First my publisher at the time had asked me to proof read a children’s book for a mutual friend. After I suggested adding two more chapters and changing the ending slightly he suggested I try writing a children’s book. I told him I don’t do children’s books but regardless of my mindset I gave it a go. Second, since I was working on the concluding part of a epic fantasy I had something int he back of my mind akin to how J R R Tolkien’s The Hobbit serves as a prequel to Lord Of The Rings. I recalled reading somewhere that he wrote that story intending it for his children.

Anyway, I started writing the prequel to One Pack, the initial story I wrote about The Wolfcats. It didn’t take more than a few thousand words to realize that despite my intent what I was writing was not children’s story.

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As happened with writing each of the volumes of The Wolfcat Chronicles, the story flowed mostly of its own accord. The difference was that, having written One Pack an about half of The Last Wolfcat, I knew where the story was headed, so there was some guidance to the development of characters that would populate the story. So it was more like filling int he gaps and writing a backstory. Still I didn’t know how all the pieces – the various backstory  elements mentioned in the subsequent books – could possibly fit together. Yet, in the course of writing about Ela’na and Rotor as pups growing into maturity those storylines fell into place. And pretty much, the tale told itself.

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I’ve always liked the story. Having completed the draft in 2005, I have revised it and tweaked it several times. And, having drafted the entire story across the ten books of The Wolfcat Chronicles I had the rare ability as an author to revise them as a collective whole ensuring continuity and concurrence between the books.

In 2010, as a member of Fanstory, I posted the entire series in draft, one chapter at a time. A dozen or so fellow authors read and critiqued the story. I took notes. Some parts needed to be amended. Other parts were repetitive and needed to be removed altogether. But the feedback was essential to improving the story. Most of the authors liked the story. Some had favorite characters and offered me suggestions about how they would like to see the events resolved. A couple of authors have become my cheerleaders and can’t wait for me to get around to publishing the books.

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Following that experience I revised the entire series of books. And last year I revised everything again up to book 9, which is the second book of The Last Wolfcat. You see, over the years I have written other stories that have threads that tie into these books. And yes, there is a connection to Fried Windows. There are several other threads connected to One Over X and The Attributes. Many character’s stories interrelate and they appear in one another’s lives outside of the immediate context of the stories written specifically about them.

I guess there are different reasons for writing a series. Sometimes its just that the ending does come about after 100,000 words. Maybe, as an author, you become too attached tot he characters to let go of them. Perhaps the author is not the creator of a world at all but serves as a conduit for a story from somewhere else to be told. The truth is that I’m not sure why it was necessary for all the books to connect one to another. That’s how it turned out, though. And at some point it occurred to me that I had not written a series of stories so much as was describing an alternate universe in which the characters reside.

I’ve made it to Chapter 8 in The Spectre’s Warning. I’ve removed about three pages of text so far and amplified this and that. But mainly I’m reading it again. This time I intend to see it through publication and distribution. I think the time has come for everyone to have the change to read about the wolfcats.

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#TheWolfcatChronicles #FriedWindows #OneOverX #TheAttributes #Writing #Series

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Success And Failure In Writing

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Over the course of my working life I’ve acquired a pretty thick skin with regard to being rejected. That’s a good thing to acquire if you’re going to write – a thick skin. And you need to get used to being rejected. It happens a lot. As anyone who has worked in sales learns not to take ‘no’ personally, you have to understand that ‘no’ often means ‘not yet’. Some might state that as ‘no’ doesn’t really mean ‘no’ as they refuse to ever take it for an answer. It’s part of the mindset of countering rejection. Like a persistent, pestering five-year-old they refuse to give up on their heart’s desire. Like a hungry bulldog on a piece of raw meat they…well, you get the idea.

I was never all that excessive as a salesperson and that is probably why I was only moderately successful at it.

I had no trouble selling something I believed in or liked, though. Those things usually sell themselves. Just explain the features and benefits but have a sales ticket handy to close the deal. Things like that, the easy sells, don’t pay top commissions because less effort is required. Selling some unnecessary something to someone who doesn’t want it is what pays the most. And something someone doesn’t want pretty much defines that book you just wrote, especially if you’re an obscure first timer.

I know you don’t want to accept that, but it is the truth. And despite knowing that greed is one of the seven deadly sins, some of us are greedy. So you want to become rich and famous as a best seller author. Otherwise, why go through the agonizing experience of spending years writing a book and another year or two getting it published just to have no one want to buy it? We’re taught from an early age that this is a material world and one’s success or failure is often measured in terms of possessions and accumulated wealth. We sell our souls, at least figuratively, to the idea that more is always better when it comes to having ‘things’. The weight of those things and maintaining status becomes our fervent obsession. But is that really why you wrote that book? I mean, be realistic. There much more immediately lucrative endeavors and your time should have been spent pursuing those if, in fact, your overall objective was to become a rich and famous best selling author.

Not everyone makes it. You know that. We all play the game to some extent but usually we give up somewhere short of becoming rich and famous because we realize that we aren’t all that good at playing. A few of us gain some perspective and enlightenment from observing others and witnessing the results. It is almost a bromide that it is better to be unhappy and rich than it is to be unhappy and poor, so we opt out of the system at a point where we find a way of living comfortably between the two. But we are unjust as unhappy as we ever were because whether we are writing or not determined if we, as writers, are happy.

After years of playing the game, succeeding and failing like everyone else who doesn’t write, accumulating stuff that made it difficult to choose leaving high-paying, bad jobs with abusive working conditions, I gave up nearly everything I have in order to pursue writing. In retrospect I should have done it long before. I couldn’t have ended up any worse off. Perhaps it was wrong to do what I did for so many years, opting to be practical instead of pursuing my dreams. But the past couple of years I have learned how very little a human being truly needs in order to survive.

Yeah, I’m not rich. I don’t really need to be rich nor do I want to be. I’m pretty content having just enough. In the rankings of the rat race I’m poor. But as I refuse to participate in that competition what difference does it make. I’m not out to impress anyone with a flashy car, a big house, expensive clothes, watches and gadgets. Everything I have, except for my bicycle, will fit in the truck of a car. Imagine that! I have little stress in my life other than what I determine is necessary. I have goals that I set for myself but they are attainable and I am responsible to very few others. I have a couple of part time jobs to help cover expenses. Otherwise, what I do is write. That’s important knowledge and pretty radical in this material world, right?

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Thirteen years ago when my first book was published I wanted it to be best seller. I promoted it amongst my friends, coworkers, relatives, people I had known in the past, neighbors and even total strangers. I personally handed it to book critics who didn’t want to read it just because it wasn’t validated by some major publisher’s seal of approval. Although I’d signed on with a small publisher that won’t good enough. They equated that with using a vanity press even though I had not paid to be published.

I drove miles from where I lived to pitch my novel at bookstores. I donated copies ot local libraries. I attended fairs and conferences to pitch my wares. I sold a few copies. Moreover I learned something very valuable from the experience. Other than me and maybe my immediate family, no one cared about the book I’d just published. It was immaterial that I’d spend years writing it, that I’d spent countless hours revising, editing, and everything else involved in just getting it to a publisher. It was inconsecquential that I’d spent another two years working the book through the production process just to finally hold a copy of it in my hands. I signed a few autographs – on the off chance I ever became famous – and some people read it and gave me their feedback. The book was a first in more ways than one. It was enlightening to learn that hardest part of publishing a book was actually getting anyone to buy it.

As crazy as it may sound, part of the realization in my situation back then was that the true objective of a writer is to be read. If people decide to purchase a book the writer might earn at living at it. But truly, that is not the objective or writing. I also understood that success for a writer is measured in how many strangers read his or her book and like it, not how many friends, family and acquaintances feel obligated to buy it just because of a level of familiarity.

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So, as much or as little as I have promoted my books over the years, posting things in social media of late, and having scores of people I have known over the years congratulate me on my achievements, I have not sold all that many books to people from my past. That’s fine with me because I completely understand the process now. It’s just weird, isn’t it, having someone you knew when you both had pimples tell you that he or she has written a book. If you happen to read the book do you hear the squeaky voice of that kid you grew up with – that nerdy dude who used to sit off to himself or that shy girl who never spoke much. Why would anyone want to read a book he or she wrote?

My youngest daughter best expressed the sensation of reading one of my books. “It’s kinda creepy hearing your voice in my head as I read.” Okay, enough said. I get it.

When I write, what I compose is intended to be enjoyed, not the source of creepiness. Someone who feels forced to read it out of some obligation borne of friendship or shared genetics probably shouldn’t buy the book. Writers want to make happy readers not tormented souls. When I write I imagine it is for a person I haven’t yet met because I no longer expect anyone I know to read my books. For those of you who know me personally, if you ever read one of my books, I think you may be surprised at what you’ll find. Anyone who knew me way back when I was that weird kid was largely ignored actually had no idea I could string a few words together into something half-way coherent. Now there’s a book or, actually, several. Who would have thought it possible, right?

For all writers whether published or yet aspiring, I offer some advice suitable for having carved into something you could hang above the workspace where you write:

1) Most people you know won’t read your book.
2) Most people you don’t know won’t read your book.
3) Most people won’t care about your book whether or not they know you.
4) Until your book hits the New York Times Best Seller List, most people won’t know or care that you write.
5) After you make it as a writer, some people who buy your book won’t actually bother reading it.
6) But, because you don’t write for any of those people who won’t read your book, why should you care?

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#Writing #ElgonWilliams #FromTheInside #ToTheCloser #OneOverX #ColonialAuthority #TheResurrection #TheAttributes #FriedWindows #Success #Failure #Publishing