*There was a line here, but it's gone now*

For a writer, nothing should be more important than getting your point across. Even while writing this, I find myself hesitating at the beginning and end of every sentence, always anxious of the fact if what I have written (and what I could have written) will have any weight. This is one of the many dilemmas of writing effectively: extracting the ideas from within your head, getting them down on paper, and hopefully injecting these ideas into a different person’s head often feels impossible.  

This is a significant issue because it is likely that someone will not only fail to understand the intention behind your words, but also may even misinterpret them and come to a conclusion that is entirely different to what you had in mind – to what you had in your mind.

The solution to this OCD psyche of a writer is a simple, yet harrowing one: constantly cut out your words. If you ever want to get your point across, it is necessary to mercilessly edit your work, even if the final product is completely unrecognizable from your initial vision. Do you personally have an idea that is dear to you? Do you expect this idea to be absolutely sublime once it is on paper? Well chances are that this "idea" will only hold you back. Get rid of it. Mutilate it.

If we take a look at the editing skills in Samuel Taylor Coleridge’s Biographia Literaria (I know, the title isn’t a good sign), the familiar expression "less is more" makes a lot of sense. By the way, I don't blame you if your cerebellum shuts off after reading the first sentence:

      "In this idea originated the plan of the LYRICAL BALLADS; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Mr. Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention to the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude, we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand."

No, no, no, no, no. Stop. Just stop it, Coleridge. My head is reeling from your Romantic rhetoric bullshit. Seriously, couldn’t you have made it a little more compact?

Imagination is nifty kthxbye

If your writing even closely resembles the superfluous diction of Coleridge, you not only need to think about how you edit, but also consider the attention and patience of your audience. Then again, I'm really not one to talk. The second paragraph of this post was originally five lines longer.

       

getting started

“Hi!” You say nervously.

Mr. Publisherification looks down from his newspaper for a moment, then resumes his read.

“Um… I’m still standing here.” You begin to get irritated.

“Yes.” He replies. “Now go away.”

“But I’m important.” You blurt out. “And… and interesting, and funny and whatnot.”

The man yawns and sniffles as he rotates his desk-chair away from you.

“I can be scary and romantic too!” You desperately yell. “Is it fantasy you want?”

He spins his chair around and looks you in the eyes. “Read my lips, kid… go away. We ain’t got time to deal with you.”

Just at that moment, a twenty foot tall, god-like figure drops from the heavens. “Are you having a hard time getting your name out?” The God like being asks you. “Do you need to get something published, but nobody pays any attention to you?” He points at you. “Well look no further friend!” He says loudly before you can answer. “Before going straight to Mr. Publisherification, you need to publish smaller things! Like short stories about your type of genera. The Elder God Queens, Dr. Kathleen McConnell and Amanda Jardine have blessed me with the knowledge to bless you with the knowledge of publishing short stories.” He gives a thumbs-up. “You need to venture far, to the land of internet and find literary magazines and journals about whatever genera you’re trying to write.” He frowns. “But they’re a slippery bunch. They will hide behind walls of distractions. If you decide to go search for these elusive magazines and journals through Google, you need to look for the active ones. By that I mean, look for the ones who post things regularly and publish issues of their magazine on a regular basis.” He nods with satisfaction. “After you find one, just look at their requirements, do as they ask and follow their guidelines.”

“Whoa, thank you!” You say with a fat smile.

“I’M NOT DONE HELPING YOU!” He hells loudly with rage. “There is one more thing.” He says calmly with a smile. “Here are some examples to get you started. If you want to write romance for example, you can check out a place like Cobblestone Press.” He gives a thumbs-up. “But if your into something like fantasy and sci-fi, look into magazines like Riptide Publishing.” He stares at you for a long awkward moment. “I’m done helping… now is the time to thank me!”

“Oh, um…” You start. “Thank you!”

“No need to thank me.” He places his fists on his hips and brings his head up before ascending into the sky.

Then, you set forth to the land of internet to begin your journey.

Combining Poetry and Prose Effectively

As a writer, I'm constantly being torn between different genres. Sometimes I feel inclined to write poetry and other times I'm ready to throw myself into the chaos of writing a novel. Up until a few years ago, I had always believed I needed to keep these two forms very separate. It was reading White Oleander by Janet Fitch that really changed that perspective. 

What White Oleander does beautifully is capture the complexity of plot and characters that fiction focuses on and ties it with the imagery and smart use of language that good poetry is known for. I've read other novels in the past that try and accomplish the same thing but come across as trying too hard. How Fitch makes her novel work is by including a character whose entire identity is wrapped into being a poet. The character’s daughter grows up knowing little more than the world her mother presents to her and so the telling of her story is told in the poetic language of her mother. How the novel is written becomes a symbol of the struggle Astrid goes through trying to find her own way in the world after mother betrays her because she’s still greatly influenced by her.

There are many reasons I would recommend this novel, not just on the basis of its language. It brings to life two dynamic female characters as well the battle for power between them. It also presents a plot that twists and turns with surprises and emotion. I don’t know if it’s a novel I could’ve written myself but it’s one I’m greatly inspired by. It’s taught me how to tie poetry into a great novel but also not to be reliant on language because when you strip White Oleander down to its bones, you’re still left with a great story.

Form and Content in (dis)Harmony

Now a days most things don't remain in a single form once they become something 'big'.  Movies get made out of every book that sells more then six copies and from there a horde of video games, comics and other assorted types of media can spawn.  The question is, does the original content remain once it's been translated into a half dozen other forms?

Probably not, but it might.

One example is the Harry Potter books, written by J. K. Rowling.  The book series has sold over 450 million copies as of June 2011 and is the best selling series in history.  And it's been translated into 67 languages.  The movies hold a similar record as the highest grossing film series in history.  So, apparently they did something right until the sixth movie, if you ask me.

Reception wise, the books are loved by children around the world though not without their share of controversies.  Opinions on the films however, vary.  Due to a change in directors some fans believe they feel disjointed.  The first two movies are very strict to the books though the later ones take on a more character driven and stylized form that some fans were not impressed with.

J. K. Rowling defended the movies saying, “It is simply impossible to incorporate every one of my story lines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations.”

Does the content remain the same in the later movies as it did in the books?  The same characters fall in love, the same ones die and the plot remains more or less the same.  But does it still feel like the Harry Potter books?

I don't think so.

Numbers and quote stole shamelessly from Harry Potter (Wikipedia) and Harry Potter Films (Wikipedia) like a lame ass.

Religion in Medieval Fantasy

Religion in Medieval Fantasy

The medieval era was a time of piety, plague and war – usually one leading to another.  Religion and the church played a role in politics, culture and social economics.  It started wars, took sides, and gave a reason to invade and conquer.  Christianity ruled across Europe for much of the period, with saints and heretics.  Modern medieval fantasy fiction uses religion as a plot device, a back ground and some times the driving force behind a quest.  But why?

Worlds such as Forgotten Realms are full of deities, pantheons for each race guiding and controlling them.  Elminster has a plot based almost solely around the pantheon of Gods and Goddesses.  An ally and lover of Mystra, a servant who even goes into the Nine Hells on her quest in the aptly named “Elminster in Hell” by Ed Greenwood.  While the Dark Elves, under demand by the Goddess of Spiders, continuously hurt the hero of R. A. Salvatore's main series.

Why does George R. R. Martin include not only the “old Gods” but also a set of “new ones” and even a third who's all but unheard of on the main continent of Westeros?  (Hell, there might even be more but I haven't read the books yet!)

Tolkien... Actually, I'm not even going to pretend I understand Tolkiens' religion.

Over all, religion in medieval fantasy has a role, a purpose – driving characters forward, forcing them to realize past mistakes, creating in the hero a new god or goddess.  Despite trying I could not find any medieval fantasy series where the God(s) played no role or didn't exist.

PLR

Libraries are great...except if you're an author. It's not something we as readers think about, but as an author, lost sales through public sharing could result in you eating Ramen despite having a fairly popular novel. Luckily, Canada’s Public Lending Right program ensures that you will still make money despite your book not actually being sold. 

Public Lending Right, or PLR, simply compensates for works available in public libraries or through governmental support of the arts. While it’s a little bit of work - you need to register for it yourself, and that’s if you meet the eligibility. But you only need to do it once, and each year you gain more. Illustrators, photographers, even translators can benefit from PLR - essentially, as long as your name is on the work, you can be compensated for your lost sales. 

Just how would you make? In Canada, an author receives $38.30 for each book in the library, with a maximum of $2 681. It’s not a lot, granted, but it’s better than nothing. The only real pitfall is that PLR does not apply to ebooks. Also, you can’t apply on behalf of someone that has died, not even by their estate - so if your great-great-grandfather was Mark Twain, you’re out of luck when it comes to PLR.

Still confused about this whole ordeal? The Canadian PLR website has a great FAQ section.

PLR is a great way to ensure that everyone wins when it comes to lending books. While it doesn't compensate penny for penny (er...make that dollar for dollar), it makes it a little more 'fair' for writers to have their books in libraries or shared through the government. Authors are still making money despite losing sales, and who doesn’t like getting free books at the library?