Writer Wednesday: Life Awry

karmaSometimes, I wish I was the driver of the Karma truck. But, I suppose, being a writer is better. Still have the problem of sitting too long, but we get to exact revenge too. The best kind of revenge – in print.

Many years ago, sharing some big life altering event with a friend, she responded, “I guess these things happen to you because you’re a writer.”

Of course, life awry, I didn’t think this is the best response a friend could give – but, then again, maybe it was. Because it’s true.

What writer hasn’t written the demise of someone who’s wronged them? karma2

We writers have a way of writing life into our fiction. We work out our demons, our personal challenges, and by putting it out there in our fiction (or even in our creative nonfiction), we do one better than reap revenge, we are relieved and we are relatable to others who have gone through similar situations or similar emotional upheavals.

Recently, my life became vexed by a certain set of people and circumstances which caused great stress and loss (how’s that for vague?); and true to form, one of my writer friends said, “sounds like a great book!”

It damn well does.

karma4But, first, I had to roll my eyes and throw back my head. I just wanted some sympathy, some empathy. But she gave me more than that – she gave me purpose, building from ashes, and a way for me to transmit sympathy to another by relating to a scenario which many of us have experienced.  (I know, still too vague.)

However, the tragedy still fresh and the skin still tender, I’ve written on outline and will start on the book when the callous scars over and the sensitivity has dulled.

Friday Feature: Snowflakes in a Blizzard, Darrel Laurant’s Project to Assist Writers

Darrel Laurant contacted me some time ago about featuring my book, West End, on his project website. I’m only happy to now have him talk about that project here.

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Completing and publishing a book — any book — is a noble accomplishment. Unfortunately, it’s only half the battle.

Writing, publishing and marketing used to be co-joined triplets, or at least close cousins. Now, though, they have drifted apart into separate entities. As a consequence, the new mantra from publishers turning down a manuscript has become: “We really like your book, but we don’t think we can sell it.”

What you realize, as you skim over the Top 100 best-selling offerings on Amazon or even the hallowed New York Times list, is that “marketability” now has very little to do with what we used to perceive as “quality.” Not that a well-written book can’t be successful, but writing well is no longer a crucial requirement, writing not-so-well no longer a deal-breaker.

The good news is, thanks to current technology and increased self publishing options, almost anyone who really wants to get a book published can now do so. The bad news is, almost anyone who really wants to get a book published can now do so.

The fact that 30 million or so books are now listed on Amazon has drastically changed the rules of engagement. The issue is no longer getting published, but getting noticed.

Writers are obviously the losers in this not-so-brave new world, but so are readers. Books go surging past us like flotsam on a flood-swollen river, never to be seen again. If it was published in 2016, it has already become a relic.

The idea of Snowflakes in a Blizzard, which started three years ago, is to become just one small voice shouting: “Whoa!”

I spent more than 30 years as a newspaper reporter and columnist, wrote a lot for magazines and Websites on the side, published two books that sold over 3,000 copies each locally, and won a lot of writing awards from the Virginia Press Association.

In some occupations, all that would have helped ease my transition when I retired from journalism to write books full-time. In the publishing field, I had to check it all at the door.

When my first novel, “The Kudzu Kid,” went up on Amazon, I was excited. I now had my own little niche, exposed to the world. I had a publisher who, at least in theory, was prepared to spread the word. I had a distributor to transport my books to the far corners of the nation. Smiling contentedly, I sat back and waited for the orders to pour in.

And waited. And waited. Eventually, it dawned on me that since nobody outside of Central Virginia had ever heard of me, the odds of anyone randomly clicking on my Amazon page were infinitesimal. Why would they?

At some point during the mini-funk that followed, aggravated by the winter blahs, I was standing in front of my living room widow in Lake George, NY, watching it snow, when this thought occurred to me: “Getting noticed for a new writer these days is like a snowflake trying to stand out in a blizzard.”

A few months later, I started the Snowflakes in a Blizzard blog.

Each week, Snowflakes highlights three books. They could be novels, poetry, short stories, non-fiction, memoirs or a hybrid. What they have in common are that they are a) unique in some way and b) could use more attention. The “template” for every book is filled out by the author and goes individually to each of our 3,000-plus followers, complete with a few reviews and a sample chapter. It’s a way of getting one-on-one attention.

Also, it’s completely free. I like that for several reasons:

First, it takes the pressure off. Charging for a service is all about making a promise — in this case, pay me and I’ll sell books for you.  I can’t do that, because I have no way of tracking who might have purchased a book because of a Snowflakes post they received.

Second, it makes for a better vibe between me and other writers. They are colleagues, not customers.

Finally, I don’t feel competitive with any other writer-friendly blogs or Websites. In fact, I’d be delighted if a thousand other sites sprang up just like Snowflakes in a Blizzard, because that would still not take care of all the writers who need such a service.

You may have heard it said that the opposite of love is not hate, but indifference. In the case of the book-buying public, the enemy is our very human tendency to stick with what we know. Early in our lives, most of us have settled in on what food, music, movies and, yes, books we like.

This fact unquestionably drives the book publishing business. It has become a lot like politics — survey the public to find out what they think they want, then give it to them. It accounts for the focus on genres, the reliance on best-seller lists and the dicotomy of wealth between the top one percent of authors and everybody else.

I don’t like to point fingers at the publishing industry, because they need sales to survive. So do agents. I do, however, think that the current glut of books has contributed in many cases to tunnel vision and laziness. What used to be “Wow, this is a great book — we need to tell people about this talented new author,” has morphed into “Oh, too bad — it doesn’t have the right genre for our demographic.”

This genre fixation is one of my major gripes about the book business today. Instead of offering unique work that only they could produce, some authors are “writing to genre,” following a list of pre-prescribed rules in an effort to “fit.” Yet so many of the books that made a big impact upon arrival — think “In Cold Blood,” “The Color Purple,” “To Kill a Mockingbird,” “Roots” — probably would have flunked the genre test.

To their credit, a lot of small “indie” publishers do seek out and nurture talented new writers. Sometimes, they are richly rewarded for it.

My other gripe is the attitude held by some gatekeepers that they are doing writers a huge favor by publishing them. I growl, internally, every time I see this on a Website: “If you don’t hear from us in two months, it means we’re not interested.”

How much time and trouble would it take to type “Thanks, but not for us,” and hit “send”? Or maybe, “We’re thinking about it.”

This lack of communication shows a naked disrespect to authors who, after all, just want to enter into a business deal with them. Think of how you’d feel if you walked into a restaurant, sat down at a table, and were then ignored for an hour before you finally got up and left.

OK, so the creative universe is awash with other books. Publishers and agents can be uncaring, potential book buyers unlikely to try something new, both realities especially hard on new writers who haven’t yet accumulated prior publications, lots of good reviews or a book club fan base.

So what can we do? I make no claims of being an expert (I’ve never had a best selling book, so what do I know?), but I do have some suggestions.

  1. Look at the myriad niches that might be hidden beneath the main thrust of your book. These could include the setting, the occupation of main characters, a societal issue that is addressed, etc. Find some on-line clusters of people who reflect those nooks and crannies and send them a sample chapter. Do everything you can to show a publisher or agent that your book will, indeed, have a ready-made audience.
  2. Don’t forget the local connection. After your book is published (or even before), show up at your local newspaper office, meet the book editor, and suggest a review of your book. Don’t forget the little free papers than have mushroomed everywhere.
  3. Arrange similar meetings with small bookstore owners in your area.
  4. Set up as many book signings as you can handle, including businesses other than bookstores.

I invite you to check out the Snowflakes in a Blizzard site, and perhaps even follow it. Or, you may have a book you’d like to have featured, or know someone else who does.

My e-mail address is writersbridge@hotmail.com, and I love to talk about writing, any time.

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Much luck, Darrell. Thanks!
noreen

Writer Wednesday: Faux Deadlines

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My students, and other writers, often tell me that deadlines and time limits are the only things that inspire them. That last minute of the clock ticking down puts the pressure on enough to force them to write, and they swear better writing comes out of them.

Although I think there’s some truth to this, overall teachers and editors agree this isn’t the best form of writing.

However, what if we forced ourselves under faux deadlines?deadline1

I’m suggesting you create your own deadlines.  Some writers enforce rules for their writing, like they must produce five pages a day or a thousand words, etc. But if you feel you write best under deadlines, the pressure cooker ready to pop, then do that. Or do it for an experiment, for fun.

There are programs you can download (or are on your computer, so I discovered on mine) which will shut your wifi off for a certain amount of time. While I don’t think many of us could comfortably go wireless for an hour or hours at a time, I suggest you do fifteen minutes. Give yourself a challenge and free write for 15 minutes. After that fifteen minutes, if you want to keep going do so, but I’ll suggest another challenge – stop, read over what you wrote and pick out a really good idea or line, and then start another freewrite – maybe turn your wifi off or turn a timer on…  for whatever amount of time..

deadlineSet a timer or an alarm on your watch or cell phone for five or six minutes and write whatever comes to mind. If you can’t think of anything, then use one work to start. The word I use in my classes is “movies.” Perhaps you could use “love”, “news”, “dog.” Any word will actually do. Don’t worry about what you’re writing or where it’s actually going – just write and if at the end of five minutes all you have is a freewrite about rover doing his business on the neighbor’s lawn, then you haven’t wasted that much time. Do it again.

Speaking of wasted time, consider all the time we stand in lines doing nothing except checking email or social media. Next time you’re in line at starbucks or waiting at the doctor’s office, use your phone to brainstorm an idea. If you’re stuck, take an idea from whatever’s around you.

No excuses. Give yourself a deadline. Write ANYTHING in order to shake something loose.

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Friday Feature: Just a Bit O’ Dialect by Expert Story Teller David Francis Curran

Just A Bit O’ Dialect

Dialect can make anything from a Sci-fi novel to a western story come alive with unique and realistic voices. But if your English fiction contains text as obtuse as:

Da grill da bik rude

it is unlikely that your work will be published.

To master the mystery of writing good dialect it helps to have a little insight into the difference between the rules of English, and effective communication. Some years ago a communications researcher at the University of Colorado, Dr. Sally Planalp, did a study on transitions. She took articles featuring various types of transitional links between paragraphs, broke them up into individual paragraphs, and then scored each transition on how well students could put the paragraphs back in the proper order using transitions as the key.

Most of us are to used to the idea that there are rules in the English language and students get graded on how well they know them. What Planalp did was grade the rules on how well they helped people understand what was going on. When we write in dialect we are breaking the rules. What we need to know is how to break them in such a way that people will still know what is going on.

There are three basic rules that pretty much sum up how we understand what we do understand in our language.

Semantic rules govern the meaning assigned to words. For example in the obtuse example above I substituted “da” for “the.” Semantic rules are arbitrary. There is no reason, for example, why a cat couldn’t have been named a “Meow.”

Syntactic rules govern the way in which sentences are put together in a language. In English we would say “The girl rode the bike.” Other languages have different syntactic rules. A German, would say, for example, “The girl the bike rode.”

The final rule, is Regulative. These govern the meaning of a communication based on the context. For example, the difference in a mother saying, “Johnny!” when her son gets a good report card, and “Johnny!” when the boy has just emptied the entire laundry detergent box into the washer. There is much more to regulative rules. They are the reason that, even though we somethings mispronounce words, or use the wrong words when speaking, our friends still understand us. If you make the context clear your dialect will always be understandable.

Now that you know the rules you can write effective dialect. To write effective dialect, that is dialect your reader will be able to understand, break either the semantic or syntactic rules but never more than one of these rules at any given time.

To prove this, in my fiction writing classes I give students one long paragraph to translate in which I’ve broken only the semantic rules. I’ve included a shorter example below. (It will probably be more fun to try solving this by reading it out loud with a friend.) See if you can figure it out.

Hum pieity Dun pieity at onta wrull. Hum pieity Dun pieity wrad o grit brawl. Sol ta binks borsis wrend sol ta binks ben, wroudn’t but Hum pieity agrather awren.

Similar things have successfully appeared in popular fiction. In Larry Shue’scomic play The Foreigner the main character is presented as someone who does not speak English. When asked to tell a story, he tells Little Red Riding Hood, substituting made up words for the English equivalent. The audience always gets it, the characters on the set think it sounds familiar and the result is hilarious.

Did you solve the example above yet? As in Shue’s play I used regulative trick to help you. In both the story in Shue’s play and the nursery rhyme I used in my example above,the words sound a bit like the original English words. The sound helps, but when understanding comes it is more than just the sound of the words, it is that the syntax is English and words themselves sound familiar. The sound helps remind you of a context that you should remember from your childhood.

Let’s go back to the obtuse example at the beginning of this article. “Da grill da bik rude” hard to understand is that two rules have been broken, syntactic and semantic. You probably guessed by now that this is an attempt at a German accent, saying, “The girl the bike rode.” Two far simpler ways to hint at the German accent and still get the color of the speakers voice across would be:

(1) To use the german syntax with only words that can be found in an English dictionary, “The frÑulein the bike rode.”

(2) Or to use some German, or made up German words but with English syntax. “Da frÑulein rode da bike.” If you use another languages syntactic rules(1) your writing will be far harder for English readers to understand.

If you must break syntactic rules keep your writing to short sentences. The second version(2) gives a sense of a foreign language but is much easier for an English readers to follow, and is the most often recommended way to include dialect in a story.

We’ve talked about semantic and syntactic rules, but not regulative rules. Regulative rules are the most important of all. Regulative rules govern the meaning of what is written in the context of how you tell the story. Regulative rules are so important that, If you make the context clear enough you can go beyond dialect and even write in a foreign language. If you set up the context so well, that when a character speaks in a foreign tongue we know from the context ( that has been given in English ) the basic gist of what the character must say. Randy Wayne White in his Doc Ford mystery series does this exceptionally well in books like North of Havana. However, again, you want to keep the foreign language sections as short as possible.

One thing you should keep in mind when using dialect is that there is a paradox in the “translation” of foreign languages. Look at these examples of translations of Ihara Saikaku’s book The story of Seijuro in Himeji.

Here is a short section of the translation by Wm. Theodore De Bary:

1. Darkness is the time for Love; Love makes night of day In spring the treasure ships lay, with waves their pillows, on a quiet sea before the bustling harbor of Murotsu. . . .

Here is the exact same work translated by Ivan Morris:

1. Love Is Darkness, But in the Land of Love the Darkest Night Is Bright as Noon. The town of Murotsu is a great bustling harbour and here, in the peaceful springtime waves, rest the ships with their heavy cargos of treasure. . . .

I ask my students, how can two men, translating the exact same text come up with such different translations. The paradox is that in languages with far different grammatical rules, words and metaphors, the writer’s tools, may not be directly “translatable” into English and vice versa. Which means you should concentrate on capturing your story and not worry too much about the language. Dialect should be used only to give your writing flavor, like spice in cooking. If you put too much in and try to capture the foreign language itself you’ll ruin your soup.

To used dialect effectively break either syntactic or semantic rules, but break only one of these rules. Then use dialect sparingly, and your fiction will come alive.

David Francis Curran

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Many Thanks, David!

noreen

Writer Wednesday: Writer Dreams

We all get those ideas that occur to us in the middle of the night as we’re rolling over, sleepwe reach for a pillow and poof – a story occurs to us.  Some of us continue to snuggle tight to that pillow and tell ourselves we’ll remember it in the morning …zzzzz… and it’s gone; others of us roll back over, grab that notebook and make notes.

Some of those notes are not going to make a darn bit of sense in the morning, some will. My idea for “Of Strays and Exes” came to me in the middle of the night in the form of a strange first line…  “when I ran over my neighbor’s dog…”  I grabbed that notebook and started scribbling. I put it down, only to take it up again and again until I finally got out of bed and wrote nearly the whole story before climbing back into bed for an hour’s sleep before work.

sleep1There’s something magical happening in our brains at certain moments during the night. We’re transitioning from deep rem sleep back to stage one, nrem sleep, where we are most likely to be awakened; this is also about the time, along with other times, that hypnagogic sleep is taking place. This is a transitional state for our minds and bodies, and the best time for “stories” to happen.

During that hypnagogic stage. We’re barely asleep, barely awake and sparks are happening between neurons that give us bright ideas, great lines, interesting themes.

Most of us are working people who have to get up in the morning and go to work or raise our children or help our parents, so we don’t grab those moments as we might if say – we were independently wealthy and didn’t have to do a 9 to 5er. charlie

If you can’t write at night, try to capture that hypnagogic state during your disciplined writing time or  other random moments.

I had to have an MRI recently. Have you ever been in one of those machines, clicking, burring, whirring, and it sounds like you’re trapped in a jet engine of sorts?  I put myself in one of those states and by the time the technician was pulling me out, I wanted to stay in longer.

It’s meditation and breathing – you knew I was going to say that. But for this meditation, lay down, think about your breathing while blocking everything out except the images of your story.

If you’re using this to create stories, think blue sky, blue sky, blue sky while breathing in and out. Let whatever happens in that sky occur. When you come up on an image that works for you – and you will – follow that image like a cloud in the sky, see where it takes you.

Or – of course – if you can, get up in the middle of the night and follow those half-wakeful/half hypnagogic dreams…

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Writer Wednesday: Critique Partners – a little bit of heaven!

Some years ago, I belonged to a critique group. critique-3-300x225Of the four writers, none had been published and I became the only one who expressed specific goals. In one session, a women writer spent the whole time helping another writer without responding to the rest of us. It sometimes happened, so we weren’t offended; but the following week, the same woman spent two minutes on mine and said something to the effect, “I don’t even know what to tell you with this…” before moving to another person. I realized I was wasting my time there.

Years after that, at a meeting, I sat next to a colleague I barely knew. She mentioned she was a writer, and we soon struck up a friendship and critique partnership.

critiqueWe’d meet once a week or once every other week to read and review each other’s work. Timing and responses began bumpy but smoothed out rather quickly. We were near the same writing level, although I give her credit for being better than I. As we got to know one another, we understood what the other was attempting to accomplish in their own fiction. This helped us read one another’s work more productively.

The most important elements in a critique partnership is respecting the other, giving honest opinions without being brutal, and accepting criticism. As professionals, we didn’t experience issues in offering or receiving the feedback. At some points, we may have disagreed, but we didn’t let it interrupt what had (and has) become a successful venture.

My writing has vastly improved because of this partnership. I benefited from the critique1authentic and detailed critiques with increased confidence, which lead me to more submissions, and ultimately more publications.

 

How you might form a successful alliance:

  • A mutual understanding of writing goals and aesthetics.
  • Similar level of writing experience (or someone who has more than you. You want to grow from this experience and you’ll have a chance to give back.)
  • Trust & honesty – go hand in hand.
  • Time and availability to meet or exchange work.
  • Although it may help if you write in the same genre, it’s not required.

 

For those of you who have partners or experiences, did I miss anything?

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Friday Feature: Submissions

This week for the friday feature, I thought I’d offer tips on Submitting.

Last year, I had 17 or 18 publications. This year so far, I’ve had maybe 9 or 10 acceptances. I must be doing something right.  submissions-photo-01

I think it should go without saying your work should be free of grammar and punctuation errors. I heard from one writer who was offended by an editor; her response: “I know I had errors, but they weren’t that bad.” – No excuses. Edit that work before you send it out.

First: Make a regular time to sit down to submit. This takes HOURS. It’s not going to be just a fifteen minute or thirty minute venture. You must read what the lit mags are looking for as well as how they want it submitted. Then compare it to what you might have already written, or what you’re willing to write.

Second: Keep track of your submissions. submissions1

Third: Accept rejection. (It tells me that I’m doing my job by submitting.)

Fourth: Accept criticism. You are going to get opinions. Just today, I received a rejection that said I repeated a word. That was the whole of their rejection. The word in question was repeated twice in the whole story, but I guess they didn’t like it. I moved on.

Fifth: If they ask for changes – agree (maybe). I’ve met many writers who take issue withsubmission this. They wonder if I don’t care about my work. They think I’m mad for even considering it. There are some things I won’t change. But, so far, the editors who have asked for changes have asked for simple things like rewrite this sentence, change this punctuation. No one has asked me to make major changes to any piece I love.

And Finally: Be considerate to writers, editors, and publishers in emails, on public sites, and anywhere you may meet them. When you act inappropriately, word can get around.

Publications Page

Amazon Page

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What Do Published Authors Know?

Recently, I read a mini article posted on a blog of sorts, wherein the writer called out Stephen King’s book On Writing, concluding that “famous writers don’t know Jack.”

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WOW! Really?

 

I was shocked and offended. And I assume that is the reaction she wanted to elicit in order to bring traffic to her article or her own website.

Let me clarify that I am not an avid Stephen King reader. I’m not much into science fiction, but I have been reintroduced to his work upon reading Doctor Sleep, the continuation, in some sense, of The Shining. I have read On Writing some years ago. I’m pretty certain it’s still on my bookshelf as it’s required reading for anyone who wants to write – whether you like it or not. And my favorite essay of his, which I sometimes share with students is “Why We Crave Horror Movies.”

Therefore, I’m not defending a writer I love with a passion but an author I admire with sincerity. And I am taking issue with the blogger’s lack of professionalism in her disrespectful and disingenuous response to a successful and prolific author.

Stephen King

In Academia, occasionally members of the community in praising literary fiction take issue with popular literature. In one such class, when someone asked about King, the instructor responded – “In 100 years, no one will remember him.”

Yeah, I’m guessing someone who has written over 50 novels as well as over 200 short stories, among others projects will be remembered.

Again, my issues with her article is that she comes across as disingenuous. I don’t believe she really believes King is wrong, I think she wants to make a name for herself and create a controversial reaction and bring traffic to her website, so she can look at the numbers and get a little thrill when it pops up instead of actually presenting sound and original ideas. I say this because she didn’t actually say much of value.

This blogger’s premise is that writing is a gift and it is done intuitively, so authors don’t necessarily know how to explain writing. Understood. As well, she takes issues with some basic rules that I’ve learned since third grade. She says, “we’d all end up sounding like Stephen King.” Not necessarily so.

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Her final claim: “You can do anything, provided that you can pull it off.”

 

Well, duh! You can break every damn rule of writing if you’ve got a story so great that Hollywood will buy it and the publishers are going to make bank from it.  Dare I talk about The Hunger Games?  As an English teacher, it hurt my eyes to read the numerous punctuation errors. But, as one of my editors said, Story is King. It’s the story that matters, not the comma splices that most non academics won’t even notice.

However, every good writer should know the “rules.” And I’m using that term loosely here. A writer should be familiar with what has come before, what others are doing, as well and what others believe the rules should be.  How many people have commented on Picasso’s blue period, ignorant of his background, and said “I could do that!” Picasso learned and practiced the rules. Then he chose to break them. When I break a rule of writing, I ask myself: “Is it for effect, and is it resulting in the desired effect?

I say: “Break that damn rule if you want. Just know why you’re doing it and if it’s working.” If Stephen King breaks a rule, even his “own” rule, I imagine he knows it and knows why he’s doing it. I don’t think On Writing is prescriptive; I believe it’s meant to be descriptive.

So, I suppose I don’t even have that much issue with what she said, but it’s how she said it. Stephen King is an award winning, multi-best-selling author, show some respect. That’s called Professionalism. You can disagree with someone, you just want to do it respectfully.  She says she leaves the “writing instruction” to the “less qualified people -“.

king3.gifREALLY?  The author of over 200 short stories is less qualified than who – YOU?  How many books have you published?  I looked her up. A few “middle grade readers,” a nonfiction book, a few short stories. She says she prefers to tell people how to get published.

I go back to her line, “famous writers don’t know Jack.” How unprofessional can you be?

I teach a business writing class (among others); I run the class like a course in professionalism. And this is something I would say is an absolute NO! We can disagree with anyone – I tell my students – but we should know how to respectfully disagree.

As a writer, I see a lot of unprofessional behavior. (I in no way claim to be perfect myself).  I belong to writers’ groups and read (more than I post) in these online writers’ groups. And it can be things like this – open to the public – that can get a person in trouble. You never know who you are dealing with on the other end of that computer. Random arguments, stupid comments, and radical, unqualified statements can hinder one’s success.

I was asked recently by a publishing company for my CV. This is not a problem; I sent it right over. Why would I not?  I posted asking for advice about the CV, for future reference. Some people seemed beside themselves, as if a publishing company asking for my CV was out of line. The publishing company is my potential employer. They are entitled to my CV and, as a professional writer, I want to show it to them!

Now, what if I had written a blog such as that – disrespectfully and disingenuously criticizing one of their best authors? It might cause the publishing company to think twice about even looking at my work, let alone looking at my CV. The cold, hard fact in this world is most companies are not going to hire or work with people who are unprofessional. While they may want people to speak their minds, they don’t want people publicly running off at the mouth. Charlie Sheen and any number of actors learned this the hard way.

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I am not at all saying that we shouldn’t voice our opinions! If you disagree with anyone, you should be able to, and have the absolute right to speak your opinion. I’m suggesting it be done with polite professionalism.

Who is this author of a few middle-grade books to be criticizing King? She is never going to convince ME or many writers that King is wrong. However, had she respectfully disagreed with his views on the certain aspects of writing, clearly stated her reasoning – it would have been far more professional and more believable! I would have read it, taken her opinion into consideration, and possibly even agreed with her. However, by her announcing that he is “less qualified” and doesn’t “know Jack,” not only do I question her intelligence and her integrity, she’s possibly offended people she’d rather have as friends or colleagues. (You’ll notice I didn’t link her article here. I’d prefer not to give attention-seekers more attention).

I, personally, would rather respectfully disagree with people than announcing contrary opinions for the sake of readership. I guess being boisterous will get you noticed. But, it will also get you noticed, if you know what I mean.

I’ll take her words, “You can do anything, provided that you can pull it off.” – Yes, yes, you can. You’ve seen numerous examples of people running off at the mouth about others and nothing happened to them or their career. However, are you sure you can do it and not experience consequences? Have yking5ou built up enough credit, have enough backing, or whatever else you need, to make certain you will not face consequences. OR – have you done this, seen it done, heard it done, and the person hasn’t gone very far in their career. Hmmmm.  Might be a reason.

Say what you will. I suggest you say it with respect.