Until You Walk the Path, You Don’t Know Where it Goes will be hosting author and Spiritual publisher, Matthew Vossler at its new time 7 pm eastern as he talks about his work as an the publishing industry as both an author and publisher.
Encouraged by his grade-school teachers and then university professors, Matthew Vossler has been writing fiction and non-fiction from an early age. He has written for several e-zines, blogs and news publications, including Green Egg e-Zine, and has been involved in the writing and production of an award winning film and video.
Matthew’s new novel, Dream Crossing is a young adult fantasy set in the world of Lastra. It is the first in a planned series. Matthew is also the author of Jedi Manual Basic, Introduction to Jedi Knighthood., Astrology in Depth, and producer of the Astrology in Depth Video Lessons.
Says Mr. Vossler, “I love the creative process and writing of all kinds, poetry, prose, non-fiction; it’s what makes life good for me.”
Between his duties of running a non-profit corporation for fathers, founding and running the publishing company, Dreamz-Work Productions, and teaching cosmology at The Grey School of Wizardry, Matthew has earned an MBA and raises his two children.
Mr. Vossler lives in Maryland, USA with his family and their cat.
Tune into http://www.blogtalkradio.com/theresachaze on December 19 at 7 pm eastern to learn more about publishing and magic from Matthew Vossler. The phone lines and chat will be available for those who wish to participate. The phone number is (347) 324-3745. The interactive chat room is available on the show’s page.
Showing posts with label Writing Tip. Show all posts
Showing posts with label Writing Tip. Show all posts
Sunday, December 19, 2010
Saturday, January 17, 2009
Writers: Only One Creative Element in Successful Television
Writers: Only One Creative Element in Successful Television
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
Many writers see themselves as God-almighty when it comes to the projects they work on. They control the motivation, the actions and the outcome from the first page to the last. In novels, this is true, but only if there is a sole author. Every other venue is a collective effort of talents and voices who work together towards a common goal. As long as there is equality and balance, most projects work. When projects fail, it is usually due to a prima donna in the group who insists on singing a soliloquy instead of being part of the chorus.
Although there were will eventually be editors who contribute to the finally draft of a book, the author is the primary creative force. Whether fiction or non-fiction, the author sets both the pace and the direction of the piece. There is one vision, one voice and ultimately one person responsible for the completed project. It is a very self-contained process, with little or no outside creative input until it is offered to the public.
In both movies and television, the writer is the architect who creates the blueprint that others will make a reality. Producers provide the resources and hire the staff. The director organizes the technical staff and builds the structure. The actors and musicians are the interior decorators, who give it color and depth to make it livable. No one role is any more important than another for each contributes equally to the finished product. Like architect, once the writer turns over the script, they are relegated to a consultant role on this project, while moving to their next creative challenge.
In the same way that movies and television differ from books, so does television differ from movies. In most cases, a film is a self contained project that brings together the talent for a single closed-ended event. In television, the major goal is to keep it going indefinitely. Although some of staff may change, there is always a group who will remain from the moment the lights were turned on to they go dark. The longer the show runs the smaller the inner core comes. It is this group who are the ultimate experts on the show; they are living biographies of the characters and the show’s history.
In most cases, writers, directors and technical staff rotate in and out, but it is the on air talent that the viewers most closely identify with the show. The actor, who originated the character, has the consistency and a clearer understanding of the inner qualities that keeps it popular and growing. The initial writers may have created the characters, but it is the actors who take them off the page and make them real to the audience. Even if the originating writer remains with the show, there needs to be a cooperative effort between the writer and actor in order for the character to develop. Without this balance, the character will not be consistent or believable. The writer has to understand the character in order to make it convincing, just as the actor has to be comfortable living in the character’s skin to keep the characterization a good fit.
Writers who step into an existing show need to play catch up. No matter how much outside research she or he does, the actor who has lived in the role will be the best asset the writer can have. However, the reverse is also true. A new writer can breathe fresh air into a show, giving it new life and inspiration. By bringing in a new perspective, the writer can give new twists to old plots and help the actors develop additional depth to their characters by opening new challenges. There needs to be a balance between the past and the future in order for the show to stay imaginative and original from episode to episode--year to year. As long as a show remains balance by being inventive, while honoring its history, and keeping the egos in check, it will be able to keep its fan base happy; thereby continuing its success.
Sunday, October 05, 2008
Writing and Producing a Soap Opera
Writing and Producing Soap Operas
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Monday, August 25, 2008
Writing to Activate the Readers Imagination
Writing to Activate the Readers Imagination
By
Theresa Chaze
Although novels are written in two dimensional black and white, the story actually happens in the four dimensional realms of the reader‘s mind. Multi-sensory books are the ones that become the most successful. Capturing your reader's imagination, by helping them to be able to see, hear, smell and feel every aspect of your story draws them and helps them experience the story through the characters.
Sight involves more than what the characters see or don’t see. It involves the subtle shades of color, shape, dimension and distance. A writer could write about “a new green leaf” or just as easily write that the “slow unfurling of the heart shaped leaf, contrasted against the darker older foliage of the plant.” Giving details doesn’t necessarily mean a long string of adjectives or adverbs, but a creative use of description that shows instead of tells.
Hearing is the most versatile of the senses. Sound or the lack of sound can also add to the story’s dept. What the character hears can extend her or his awareness beyond the immediate environment. Sound’s ability to travel great distances, allows remote action to be brought into a scene without disrupting the point of view. A wolf howling from somewhere in the night will be heard both in and out of the cabin. The characters inside don’t have to see it to know that the wolf lurks some where outside their door.
Touch can be experienced as a caress or a punch along with everything in between. However, touch is more than skin on skin, but it also includes any contact that is important to the story. The soft fur of cat rubbing against the character’s leg feels different than a skunk brushing passed while trying to escape. In the same way, the rough scales of an alligator feel different than the bark of a tree, so are reactions the images elicit in the reader.
The sense of taste is the most personal and individual. What one person finds appealing, another could just as easily find repulsive. How the character reacts will further define her or him. Most people are aware of the more common foods and drinks. If an author introduces something out of the ordinary, it is simple to you use comparisons to give the reader a sense of the taste and texture.
The sense of smells is the most effective way to activate memories and emotions. The two areas of the brain are closely related in location and synaptic connection. Using odors, either pleasant or unpleasant, is the fastest way to get a response out of the character in such a way that the reader will be able to relate.
Perception or intuition is the sixth sense that is frequently over looked by writers. This is not a reference to ESP or psychic gifts, but how a character sees or judges her or his world and everything in it. By showing how the character perceives her/himself and others, you define her or him without long descriptive sentences. The best example is a character that is afraid of other people; she or he may be paranoid or someone might actually be out to get her or him. By contrasting the perceptions with the reactions of the other characters, the writer reveals more about the personality and the inner motivation of the character.
In addition, similes, allegories and contrasting comparisons can add texture and set the mood. Sarah was as graceful as a bird is an example of simile. Like Amazon warriors of old, she marched into the room would be an allegory. While looking dapper and smart in his new suit, Dan smelled like down wind of a pig farm would be a contrasting comparison. All three examples give added information about the character in a pro-active way that allows the reader to visualize the character.
It is unusual for one sense to be used alone. More often than not, they are combined to give layers of images and sensations. Sight and hearing are frequently combined. A character hears a noise and starts looking for the source or a character smells something wonderful and decides to taste what is in the pot. By coalescing the senses, the author creates a four dimensional world on a two dimensional medium. It makes the characters and their environment more real and relatable for the reader, which in turn makes the novel more popular.
From Blank Page to Book Shelves contains more writing tips as well as publishing and marketing strategies. To buy this informative ebook go to www.theresachaze.com
Saturday, May 31, 2008
Authors: A New Ebook on Writing and Marketing Your Book
Authors: A New Ebook on Writing and Marketing Your Book
From Blank Page to Book Shelves--How to Successfully Create and Market Your Book is a new ebook, which shares writing tips, and marketing strategies, which will make your publishing experience more successful. The marketing information includes how to effectively use SEO keywords in press releases, chose a publisher and low cost to free promotional options, while sharing writing tips.
The first part of the ebook gives basic writing tips. From plot organization to creating conflicts, this ebook help authors understand the basic structure of both short stories and novels. In addition, there are chapters on characterization and sensory writing, which help the authors draw in their readers into a multi-dimensional reading experience.
The second part of the book includes the importance of protecting the rights of the author, not only by copyrighting the work, but choosing the proper publishing venue. Safeguarding a work can be done easily and inexpensively; if done properly it insures that it will be legally protected. Choosing the correct publishing format and publisher can also make or break a book’s opportunities to reach the reading public.
Marketing and Promotions is explained in the third part of the ebook. It describes how the publishing venue affects how a book can be best advertised not only to readers, but also to bookstore owners. In addition, it lists low cost or free promotional ideas that can be used both on and offline. Search Engine Optimization makes press releases more effective; using the correct key words in the proper format will efficiently attract the attention of the search engines, thereby raising the article or site higher in the rankings and drawing more traffic to it.
From Blank Page to Book Shelves--How to Successfully Create and Market Your Book can’t guarantee to place an authors on the New York Times best seller‘s list; however, it will help improve their writing skills and understanding of the business end of the industry. Currently, this ebook is available at www.theresachaze.com for $7.00.
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Friday, May 16, 2008
Book Marketing Strategies
Book Marketing Strategies
By
Theresa Chaze
Whether self, subsidy or traditional, the author's work just begins when the book is finished and is sent off the printer. Promotions and marketing starts shortly before the book is released and continues until it is no longer available. Frankly, the writing is the fun, easy part of the process. Unless the author is a world leader, a world renown expert or has does something really naughty, she or he will have to work hard to draw attention to her or his book, which means the work truly begins when it goes to the printer. Even when the author hires a PR person, it doesn't absolve her or him from promoting their book at every opportunity.
Every month thousands of new books become available to the reading public with each one of them fighting for shelf space and the reader’s dollar. If the author doesn’t create a brand name for her or himself, the book will have little chance of becoming successful. Creating a brand name involves defining who your target market is and how to reach them. In many ways, marketing is like a dartboard. The inner circle is your target group and each outer ring is an expansion into the general reading population. J. K. Rowling started writing for children. Although she started out branded as a children’s writer, she rapidly spiraled out into the general reading public. Her writing was not only suitable for children, but it was also entertaining for adults. However, books that are more specific rarely go beyond their target audience. Sam is not the only one who doesn’t like green eggs and ham; Dr. Seuss wrote creative and unique books for children, but very few adults pick them up other than to read it to a child.
Placing ads in the media are costly and if not done correctly will produce the opposite effect. A bad ad is worse than no ad at all. A good graphic designer can create an effective ad, but most are very costly. A good publishing and graphics program will help the author create her or his own ad; however, the old phase from the 1970's is the best advice--KISS--keep it simple stupid. The more that is crammed into the ad, the more it will look amateurish and be counter productive. Smaller ads especially should be sleek with the graphics held to a minimum if used at all. Text should contain enough information to tease the reader into looking for the book and tell how it can be found--nothing more.
Marketing doesn't have to be grand or expensive if the author is creative and clever. The internet provides a multitude of opportunities for an author to promote her or his book. Most email services provide for a signature at the bottom of out going emails; if used properly this is a great opportunity to announce a new book or to direct potential readers to blogs or sites. Internet groups, websites, messages boards, chat rooms, and blogs are also excellent ways to not only market the book but also promote the author. The key is to create a balance between creating interest without telling to much of the story or becoming a spammer.
From Blank Page to Book Shelves--How to Successfully Write and Market Your Book has several articles on marketing and promotion, including how to correctly use SEO keywords. It is available as an Amazon Kindle book and on the Theresa Chaze’s website at www.theresachaze.com. Those that buy the ebook from the Chaze will also receive a copy of her 345 page PDF listing of over 2000 independent bookstores for free.
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Wednesday, February 27, 2008
Choosing the Best SEO Key Words
Choosing the Best Keywords
There are many sites, including Yahoo and Google, that have listing of the current popular key words. However, adding a phrase that has nothing to do with your topic will only annoy people and discount your credibility. If the key words have nothing to do with your site or subject matter, do not use them. Instead, be creative in the way you combine terms and topics to create your own niche market.
The following are three suggestions how effectively use key words for your project.
1. Include the most descriptive and accurate keywords on your topic even if they are not the most popular. By doing so you not only build a good foundation, but also cast a wider net for your customers to find you. Although your ranking might not spike, you will have a consistent rise in the rankings.
2. Use qualifiers to be more specific such as: romantic fantasy, occult horror, Michigan mystery, etc. It is way to catch the attention of a reader who might be looking for something more specific than just a fantasy or mystery book.
3. Create your own niche keywords or markets that haven't been made popular yet. By creating your own combination, you create a brand name that is all your own, thereby creating a market place that has little competition.
Using the previously listed sites, can also find you suggestions on which key word options will be the most beneficial to your project. By typing in the word “publishing”, the site came up with the following keywords list ranked by popularity.
412 desktop publishing
373 publishing
252 publishing companies
225 self publishing
171 southwestern publishing
158 book publishing
133 book publishing companies
130 rock publishing
117 music publishing
114 concordia publishing
These are only the first ten of the 100 possible listings. However, it is sufficient sampling to demonstrate the different combinations available for just the one key word.
Correct usage and placement of key words not only increases your search engine rankings, but can also create a personalized niche market for your product.
Valkyrie Publishing is a consulting service, which helps authors create their dream without risking their royalties or answering to another. It is their job to make the publishing experience as simple and inexpensive as possible. For authors who are not technologically savvy or would just like help with the process, they are an excellent resource and beneficial asset. Valkyrie Publishing is available to help authors successfully and easily publish and market their book by going to www.theresachaze.com
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Saturday, February 02, 2008
Writing Tip: Know Your Characters
Writing Tip: Know Your Characters
by
Theresa Chaze
As simplistic as it may sound, it is also a basic fact of writing--the author needs to know their characters from the inside out. They have to know not only what they look like, but also what motivates them. You need to know their past in order to know how they will react in the present and future. If the author doesn't know the inner fears and passions of the character, there is no way she or he can credibly represent the character; it is like trying to introduce someone you have never met.
Physical appearance is important in creating visual reference points for the reader. But it reality, physical description is the skeleton that supports the personality of the character and how it interacts to with the other characters and the environment. The typical human parameters are:
Age
Height
Weight
Sex
Hair color
Eye color
Distinguishing marks such as scars or birth marks
However, in science fiction and fantasy, if the author is dealing with species that are new to the rest of the world more details are needed. In a sci-fi piece, I created an animal called a liger. It is a large aggressive predator with a single horn in the middle of its forehead, sharp claws and it is nocturnal. In addition, it is highly intelligent and travels in groups called prides. Being nocturnal, would give it sensitive eyes sight, which could be a disadvantage in daylight making it vulnerable. I wanted it to be equally dangerous during the day, so I gave it an additional set of eyelids to act as a filter. Anytime you create something new, you need to be more creative in the way you introduce it. Exposition will only bore the reader if it is given in big doses. However, the information is revealed in a pro-active way in the form of action, the description become part of the story. In the case of the liger: The liger’s talons scraped the rock bed, leaving long slashes in the marble like rock. In frustration, it lowered its head and again lunged forward; the tip of its horn screeched along the ground it until it found its mark in the corner of the shuttle door, denting but not yet penetrating the titanium outer wall. These few sentences give most of the information about the liger while showing some of its temperament as well.
As much as the physical gives the reader a visual picture, the inner motivation explains why the character acts and reacts. It is what fleshes the character out and makes it real. Whether in a novel or a short story, the character has a past and unless it is killed off, a future. Knowing the past influences will help the author and reader predict how she or he will confront challenges and influence the other characters. Once a character has been set there has to be reason for any changes. If a character is quiet and withdrawn, she or he won’t suddenly start attacking another unless there is a basis for it. If the character was restrained with others, it could be from fear or just being shy. The motivating change would be different depending on the reason for the fear or shyness.
In order for the author to fully develop the character, she or he must understand the cultural, familial, and educational background. What was the circumstance surrounding the birth? What was the childhood like? Are there siblings? What kind of education did she or he receive? Why? What were the special events that gave the character joy? What caused fear? What are the hopes and dreams? What does she or he love? On the opposite site, what does she or he hate? Why? I am afraid of dentists, but not for the reason most people are; I grew up hearing how my great aunt came home and bleed to death after having three teeth pulled. Even I know my aunt had other issues, that seed was still planted in my subconscious.
Creating a full character study is the best way to give birth to a character. By formally writing out the details, not only will it be easier for the author to be consistent, but to solidify the character in her or his own mind. The format of the character study depends on the length of the work and how important the character is to the story. A minor character will not be as well developed as a primary. A secondary benefit is that by keeping character studies, the author could put the characters into new situation and in different combinations to create new stories It is also a way to work through a creative blocks. Reusing a character that an author knows well, she or he could recombine them and give them new challenges. Since the author is already knows how they will react and why, the story will more easily flow to the natural conclusion.
The following is the character study I did for a character in my novel Dragon Domain--Book Two of the Dragon Clan Trilogy.
Cheyenne
Age late twenties/early thirties
Height 5’ 5”
Weight 145-does manual farm labor making her muscular and fit
Sex female
Hair color long blond hair-straight
Eye color-hazel with gold specks
Distinguishing marks such as scars or birth marks
healed scars over torso from abuse in childhood. She was beaten and left for dead.
Education
Celeste taught her the way of the Hopi and home schooled her as they continued to travel across the county. At first, Celeste solely supported them using her psychic gifts. However, by the age of eight, Cheyenne's were nearly as equal to her.
--expert in herbal medicine
--empath
--intuitive
--clairvoyant
--affinity with the earth spirits but had a disconnect with humans; between early childhood trauma and the continual movement she never learned how to make emotional ties
--no formal education: learned from Shamans, teachers, and healers around the world as Celeste kept them moving not only find work but staying to long in one place made her nervous
Cheyenne is afraid of:
being vulnerable
that she is a coward and weak
remembering her past; if she knew what happened, she would have to do something about it.
that she will loose her honor by over stepping the bounds of justice
to loose Mercury and Aries
closeness with other people--they confuse her
that she has set so much pain aside in her life that she will never be able to heal it all
Cheyenne hopes to
create a spiritual learning place where the wounded can come to heal
she wants to make peace within herself by healing her old wound without having to revisit them; she knows it is an unreasonable expectation but it is her goal
to understand others
to be wise
to leave the world a better place
regain the knowledge and wisdom from her past lives so that she may return it to the world
Cheyenne sees herself:
as sometimes wise
practical
sometimes cold to others when they try to get to close
spiritual
direct and honest
impatient with others
At age 5, Cheyenne was found in the desert by Celeste, who nursed her back to health before taking her from the mesa. The memories from the time before she woke up have been deeply buried. She doesn't want to dig them up.
--learned Celeste’s grandmother died; Celeste refused to go back to mesa; Cheyenne didn’t understand why; asked questions. Celeste became angry
--age 13 Mother Dragon called her and she started down the dragon path (Celeste was furious; she reluctantly accepted what she couldn’t change)
--age 18 she confirmed her commitment and became a member of the Dragon Air clan
--Celeste’s mother died; again, Celeste refused to go back to her family; Cheyenne started obsessing about what it was like for Celeste to grow up having a home and family. She started dreaming of a valley in the past, where there was love and security. She saw faces that her soul knew but she had no memory of.
--she wanted to find a home and settle down. She began perceiving of a place that she needed to find. The need increased daily until she heard of the missing child in Coyote Springs; Cheyenne insisted they offer their services; The Mother Dragon told her that she would find her answers there
--age 24 came to Coyote Spring to find a missing child; they found the child, but Cheyenne found an abandoned farm and knew it was home; new friend Jane helped buy it
--Celeste pushed them to quickly move on; Cheyenne refused and Celeste reluctantly agreed to stay
--Cheyenne met Lilith, Selene and others in the sacred field.
--Selene joined farm and help build Dragon Eye Herbs and arranged to cottage rentals
--Jane moves on farm
--Cheyenne adopts Shepard and wolf pups Mercury and Aries; opens life to others
--spiritual classes start being taught on farm; spiritual family formed a close knit group
--farm becomes prosperous healing center
--Dominic and followers arrive
--Selene takes children and leaves farm; Celeste takes over management of farm
--animal sacrifices start happening; tension created on farm; Cheyenne suspects Dominic; relationship with Celeste and Jane becomes strained; Cheyenne returns to old emotional patterns and starts to pull away
--Rachael moves to Coyote Springs; another dragon in area creates conflicts; Cheyenne suspicious of Celeste and Jane; believe they did something to bring another dragon; becomes angry and paranoid
--Rachael shows power of the dragon and exposes murderer
--people stop coming to farm; no one attending classes; lost income; Dragon Eye Herbs and cabin rental sole source of income
--Dominic manipulates Celeste into turning against those she loves and back to the dark path
--Cheyenne breaks ties with Celeste
As the Dragon Domain unfolded not only did I add to the profile, but I was able tot change it as character matured. By the end of the first draft, the full profile was about ten pages long. In the third in the trilogy, Cheyenne will be developed further as she grows in that novel as well.
The more an author knows her or his character, the more real they can be presented to the reading public. By making them three dimensional, the more likely the readers will be able to identify with the character and be able to suspend their disbelief.
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by
Theresa Chaze
As simplistic as it may sound, it is also a basic fact of writing--the author needs to know their characters from the inside out. They have to know not only what they look like, but also what motivates them. You need to know their past in order to know how they will react in the present and future. If the author doesn't know the inner fears and passions of the character, there is no way she or he can credibly represent the character; it is like trying to introduce someone you have never met.
Physical appearance is important in creating visual reference points for the reader. But it reality, physical description is the skeleton that supports the personality of the character and how it interacts to with the other characters and the environment. The typical human parameters are:
Age
Height
Weight
Sex
Hair color
Eye color
Distinguishing marks such as scars or birth marks
However, in science fiction and fantasy, if the author is dealing with species that are new to the rest of the world more details are needed. In a sci-fi piece, I created an animal called a liger. It is a large aggressive predator with a single horn in the middle of its forehead, sharp claws and it is nocturnal. In addition, it is highly intelligent and travels in groups called prides. Being nocturnal, would give it sensitive eyes sight, which could be a disadvantage in daylight making it vulnerable. I wanted it to be equally dangerous during the day, so I gave it an additional set of eyelids to act as a filter. Anytime you create something new, you need to be more creative in the way you introduce it. Exposition will only bore the reader if it is given in big doses. However, the information is revealed in a pro-active way in the form of action, the description become part of the story. In the case of the liger: The liger’s talons scraped the rock bed, leaving long slashes in the marble like rock. In frustration, it lowered its head and again lunged forward; the tip of its horn screeched along the ground it until it found its mark in the corner of the shuttle door, denting but not yet penetrating the titanium outer wall. These few sentences give most of the information about the liger while showing some of its temperament as well.
As much as the physical gives the reader a visual picture, the inner motivation explains why the character acts and reacts. It is what fleshes the character out and makes it real. Whether in a novel or a short story, the character has a past and unless it is killed off, a future. Knowing the past influences will help the author and reader predict how she or he will confront challenges and influence the other characters. Once a character has been set there has to be reason for any changes. If a character is quiet and withdrawn, she or he won’t suddenly start attacking another unless there is a basis for it. If the character was restrained with others, it could be from fear or just being shy. The motivating change would be different depending on the reason for the fear or shyness.
In order for the author to fully develop the character, she or he must understand the cultural, familial, and educational background. What was the circumstance surrounding the birth? What was the childhood like? Are there siblings? What kind of education did she or he receive? Why? What were the special events that gave the character joy? What caused fear? What are the hopes and dreams? What does she or he love? On the opposite site, what does she or he hate? Why? I am afraid of dentists, but not for the reason most people are; I grew up hearing how my great aunt came home and bleed to death after having three teeth pulled. Even I know my aunt had other issues, that seed was still planted in my subconscious.
Creating a full character study is the best way to give birth to a character. By formally writing out the details, not only will it be easier for the author to be consistent, but to solidify the character in her or his own mind. The format of the character study depends on the length of the work and how important the character is to the story. A minor character will not be as well developed as a primary. A secondary benefit is that by keeping character studies, the author could put the characters into new situation and in different combinations to create new stories It is also a way to work through a creative blocks. Reusing a character that an author knows well, she or he could recombine them and give them new challenges. Since the author is already knows how they will react and why, the story will more easily flow to the natural conclusion.
The following is the character study I did for a character in my novel Dragon Domain--Book Two of the Dragon Clan Trilogy.
Cheyenne
Age late twenties/early thirties
Height 5’ 5”
Weight 145-does manual farm labor making her muscular and fit
Sex female
Hair color long blond hair-straight
Eye color-hazel with gold specks
Distinguishing marks such as scars or birth marks
healed scars over torso from abuse in childhood. She was beaten and left for dead.
Education
Celeste taught her the way of the Hopi and home schooled her as they continued to travel across the county. At first, Celeste solely supported them using her psychic gifts. However, by the age of eight, Cheyenne's were nearly as equal to her.
--expert in herbal medicine
--empath
--intuitive
--clairvoyant
--affinity with the earth spirits but had a disconnect with humans; between early childhood trauma and the continual movement she never learned how to make emotional ties
--no formal education: learned from Shamans, teachers, and healers around the world as Celeste kept them moving not only find work but staying to long in one place made her nervous
Cheyenne is afraid of:
being vulnerable
that she is a coward and weak
remembering her past; if she knew what happened, she would have to do something about it.
that she will loose her honor by over stepping the bounds of justice
to loose Mercury and Aries
closeness with other people--they confuse her
that she has set so much pain aside in her life that she will never be able to heal it all
Cheyenne hopes to
create a spiritual learning place where the wounded can come to heal
she wants to make peace within herself by healing her old wound without having to revisit them; she knows it is an unreasonable expectation but it is her goal
to understand others
to be wise
to leave the world a better place
regain the knowledge and wisdom from her past lives so that she may return it to the world
Cheyenne sees herself:
as sometimes wise
practical
sometimes cold to others when they try to get to close
spiritual
direct and honest
impatient with others
At age 5, Cheyenne was found in the desert by Celeste, who nursed her back to health before taking her from the mesa. The memories from the time before she woke up have been deeply buried. She doesn't want to dig them up.
--learned Celeste’s grandmother died; Celeste refused to go back to mesa; Cheyenne didn’t understand why; asked questions. Celeste became angry
--age 13 Mother Dragon called her and she started down the dragon path (Celeste was furious; she reluctantly accepted what she couldn’t change)
--age 18 she confirmed her commitment and became a member of the Dragon Air clan
--Celeste’s mother died; again, Celeste refused to go back to her family; Cheyenne started obsessing about what it was like for Celeste to grow up having a home and family. She started dreaming of a valley in the past, where there was love and security. She saw faces that her soul knew but she had no memory of.
--she wanted to find a home and settle down. She began perceiving of a place that she needed to find. The need increased daily until she heard of the missing child in Coyote Springs; Cheyenne insisted they offer their services; The Mother Dragon told her that she would find her answers there
--age 24 came to Coyote Spring to find a missing child; they found the child, but Cheyenne found an abandoned farm and knew it was home; new friend Jane helped buy it
--Celeste pushed them to quickly move on; Cheyenne refused and Celeste reluctantly agreed to stay
--Cheyenne met Lilith, Selene and others in the sacred field.
--Selene joined farm and help build Dragon Eye Herbs and arranged to cottage rentals
--Jane moves on farm
--Cheyenne adopts Shepard and wolf pups Mercury and Aries; opens life to others
--spiritual classes start being taught on farm; spiritual family formed a close knit group
--farm becomes prosperous healing center
--Dominic and followers arrive
--Selene takes children and leaves farm; Celeste takes over management of farm
--animal sacrifices start happening; tension created on farm; Cheyenne suspects Dominic; relationship with Celeste and Jane becomes strained; Cheyenne returns to old emotional patterns and starts to pull away
--Rachael moves to Coyote Springs; another dragon in area creates conflicts; Cheyenne suspicious of Celeste and Jane; believe they did something to bring another dragon; becomes angry and paranoid
--Rachael shows power of the dragon and exposes murderer
--people stop coming to farm; no one attending classes; lost income; Dragon Eye Herbs and cabin rental sole source of income
--Dominic manipulates Celeste into turning against those she loves and back to the dark path
--Cheyenne breaks ties with Celeste
As the Dragon Domain unfolded not only did I add to the profile, but I was able tot change it as character matured. By the end of the first draft, the full profile was about ten pages long. In the third in the trilogy, Cheyenne will be developed further as she grows in that novel as well.
The more an author knows her or his character, the more real they can be presented to the reading public. By making them three dimensional, the more likely the readers will be able to identify with the character and be able to suspend their disbelief.
Technorati Tags:
writing tip, author, theresa chaze, publishing, best selling, novel, fantasy, science fiction, character study
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