Xlibris Novel Journeys into the Spiritual and Metaphysical World

Mystifying at the very least, the metaphysical continues to fascinate the human mind and will probably persist in eluding the common man’s way of thinking until some common, explainable ground will exist between the paranormal and the normal.

Waking Maya is an exploration of such a world where perplexing occurrences are driven by invisible forces that propel events to happen, causing a certain cycle to subsist in the already present cycle of our lives.

In this self-published book, author W.J. Goldie brings forward the story of Maya, a twenty-two-year-old woman who finds a connection with her father in the shape of a tattered journal. The artifact brings Maya on an adventure that transcends physical reality and impels her to search for meaning in her life while discovering her own psychic abilities.

Goldie classifies Waking Maya as a visionary fiction novel wherein “the underlying spiritual and metaphysical principles can be seen, observed, explored — even elevated to the status of characters in the story”.

Gripping, evocative and certainly illuminating, this Xlibris release will take readers on an excursion into a world where parapsychological incidents come alive. Written with hauntingly beautiful, almost poetic imagery, it is guaranteed that one’s literary appetite will not go deprived.

About the Author A Brooklyn native, W.J. Goldie earned his Bachelor of Science degree in Biology from Towson University. Having worked for Steven Spielberg and Edward Zwick, Goldie’s literary skills were only intensified. Featured Playwright in the Playwrights Showcase of the Western States in Denver and the Baltimore Playwrights Festival, Goldie currently works as a freelance writer in Boulder, Colorado.

Source: prlog.org

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How and (Why) to Take Criticism

*I came across this article and this helped me a lot. Hope it'll do the same for all writers out there.

How (and Why) To Take Criticism
By Monique van den Berg

"I am an artist. The critic is my nemesis."
Have you ever heard this internal dialogue? Well, you’re not alone. We writers exist within a paradox. Our egos tell us we’re brilliant, yet one word from a critic can convince us (at least temporarily) that we’re worthless. Criticism strikes at us where we’re most vulnerable: the place inside ourselves where our creativity lives. And as a result, even criticism designed to be constructive can be hard to take.
Yet there is a reason to take criticism. If you want to improve your writing, there’s few other ways to go about it. I will concede that you can improve by reading other writers, and writing tremendous amounts on a regular basis, but that still doesn’t give you what a good critique gives you: an objective opinion. A look through fresh eyes. The trick is in separating the grain from the chaff: realizing which criticisms are worthwhile, and which should be disregarded.
~
It is tempting to listen to the negative opinions of others, and discredit their positive opinions as mere "politeness." I used to do this all the time. In fact, one of the earliest pieces of criticism I got was in the form of a rejection letter for a poem called Above The Timber Line. The note on my manuscript read:
Above the Timber Line shows real genius. Why decorate genius with dimestore adjectives?
This stung. I ignored the part about the genius since obviously he was just being polite. How could he insult my precious adjectives? How could he attack words like "hollow" and "shiny" that I just liked the sound of? I threw the paper in a desk drawer and tried to ignore it. But it wasn’t that easy to forget the words. What if he was right?
It took me a while, but I started re-evaluating my own use of adjectives. I found that I had been making what I now think is the number one mistake of amateur poets: using adjectives that are weak, overused, or superfluous. Once I stripped away the dimestore adjectives, I did get a little closer to genius. My new attitude towards criticism had taken root.
~
It was years before I really became sanguine about the whole process. Eventually, I realized that the visceral, emotional reaction will always be there, but it can be mitigated… you can make criticism work for you. The following 10 guidelines will help.
1. Not everyone will like your writing. Not everyone shares your taste, your school of thought or your perspective. Your talent is not erased or diminished just because this person or that person doesn’t like the way you write. They may like you, but they can’t critique you, because they don’t share your vision. Just move on to someone who does.
2. Beware of ulterior motives. Most people will reflexively try to lead you away from your own style and into theirs. Be wary. Although some people are conceited enough to think that their way is the only way, for most people this is unconscious and subtle. It’s a side effect of trying to set aside bias and evaluate a work on its own merits. This is hard to do, and it’s common to slip up.
If you are considering someone’s suggestions for your writing, remember that they are ultimately subjective. Always make sure that what they are suggesting is true to the text and to your own style.
3. Nothing you write is all bad. You should never listen to a critique that doesn’t say at least one positive thing about your work. A review that is 100% negative is either unfair or offered by someone with their own agenda. There is at least positive element to any work of art, and if your critic doesn’t bother to seek it out, they aren’t worth your time.
4. There’s always one asshole. In any creative writing workshop, you’ll find this person. You will learn to see the signs. He or she has a lot of talent, a respectable number of publication credits and an ego the size of Delaware. You may be tempted to respect them; after all, they do have talent and attitude. They are accustomed to inspiring awe in unpublished newcomers like yourself. Don’t fall for it.
In my second poetry workshop, The Asshole was a supremely irritating graduate student who rarely had anything good to say. When he did dole out the occasional favorable remark, he acted like he was bestowing a royal favor. And he loved to say pretentious things like, "The penultimate line of your penultimate stanza requires a certain panache that is lacking in this piece’s current iteration." Blech.
5. Quid pro quo. Part of getting helpful criticism is dispensing it to others. Don’t be condescending (as I once was) of the people that you think have less talent, experience and skill than you do. We all start somewhere.
Yes, offering criticism is a skill, and the only way to develop this skill is through practice. Always start off by listing the good points of a piece, then list the weaker points. Offer concrete solutions to the problems you see. The more specific you are, the better. Figure out what you find the most helpful in a critique and offer the same kind of input to your peers. In the long run, this skill will serve you well.
6. Build up your defenses. Don’t seek out criticism until you are ready to hear it. At first, your writing will be extremely close to your heart. Nurture the writing that makes you feel like this, but don’t show it to anyone. If anyone suggests that you change it, you’ll probably feel like they are proposing plastic surgery on your newborn infant. This may well discourage you from giving birth to any more poems.
First, find friends who will lob (figurative) softballs at you. Once you can take their mild suggestions in stride, you may be ready to move on. Do you suspect that your writing has weaknesses that they are hesitant to point out? Time to move on to colleagues, acquaintances and workshops.
7. Value honesty. It is an increasingly rare commodity. People may be afraid to tell you the blunt truth for fear that you’ll become antagonistic towards them, dislike them or attack their work out of spite. Other people are simply too polite to tell you their negative opinions, no matter how much they sugar coat them.
One day, you will find someone who seems to "get" what you are trying to say and who genuinely appreciates your work, but isn’t afraid to tell you when you’re off your game. You will often agree with them, whether their comments are positive or negative. Hang on to this person. A good critic is worth their weight in gold.
8. Only submit early drafts. If you have a work that in your mind is "finished" or that you’re particularly attached to, it’s probably too late to have it critiqued. This applies especially to pieces you have put a lot of work into. If you’ve spent an hour fine tuning every word, you’re going to take criticism a lot harder. You will stubbornly resist changing a single syllable. On the other hand, if you’ve just casually tossed off a first draft, it’s quite easy to carve it up with impunity.
I know your inclination is to impress the people in your workshop. Trust me, if you tinker with you’re your writing too much before submitting it, you’ll reach a critical mass point where suggestions for change become utterly futile.
This also applies to older works. When I read some of my earliest poems, I fully recognize how I could improve them, but there’s no way I would even try. A lot of them made me the writer I am today. I can’t stand on the top floor of a building and dig the foundation out from under me, now can I?
9. Be as objective as possible. Don’t ever expect criticism to be easy. It will sting at times, no question about it. The trick is being to set aside your wounded pride and try and be objective anyway. Evaluate each suggestion carefully. Your responses will range from, "Oh, wow! Why didn’t I think of that before!" to "How come nobody gets my message… is it really that well hidden?" or "That bastard doesn’t know what he’s talking about."
Before implementing or discarding any suggestion, give it careful consideration. If you’re equally willing to accept or refute someone’s suggestion, you stand the best chance of getting all you can from the input of others.
10. The writing is yours. Never, never give other people’s opinions more weight than you do your own. No matter how much you respect someone, you should never give up ownership of your own words and ideas.
First of all, even the best critic can be wrong. Music teachers told Mozart he couldn’t play. English teachers told Stephen King he couldn’t write. Don’t take everything so much to heart that you ignore your own inner voice.
Also, don’t waste your time trying to convince critics that their opinions are wrong. Just thank them politely and don’t act on their words. If you feel that you have to get everyone "on your side" then you’re missing the point.
Secondly, even if the critic is right, so what? There’s no rule that says you must take X or Y piece of advice, even if you know intellectually that it is good advice. Even if everyone you know and everyone you ask hates something you’ve written, it doesn’t mean you can’t love it. Just don’t expect to get it published.
~

There’s no magic formula that will make criticism an easy medicine to take. But believe it or not, it is good for you. And with the right outlook, you can begin to see criticism as a welcome, desirable, and necessary part of the creative process. Good luck.

Source: absolutewrite.com
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The Writer Test

Are You a Writer?
By: Caro Clarke

Most famous writers claim that they always knew they would be a writer when they grew up. Despite set-backs and struggle, they had confidence in their own innate talent and creative instincts.
But not all writers have that rock-solid confidence (or, as it's known in the writing business, "arrogance"). How do you know if you're truly cut out for the life of a novelist or if you're actually some sad wannabe who's pitied by friends and family?

Just take the Clarke Patented "Am I Really a Writer?" multiple-choice test below and find out once and for all if you've got what it takes!
THE CLARKE PATENTED "AM I REALLY A WRITER?" TEST(Asking your writing group, tutor, or best friend to help you fill out this test is cheating. So is asking a writer to do it for you, such as Margaret Atwood.)
A. I think I'm a writer because:
1. I enjoy writing
2. I enjoy reading
3. I enjoy typing
4. I enjoy knowing that I am a creative being

B. I tend to get my ideas from:
1. the world around me
2. the fantasies within me
3. the TV in front of me
4. the concept of "idea" is so, you know, anal retentive

C. I try to write:
1. one sustained period a day
2. one sustained period whenever inspiration strikes me
3. you mean I actually have to write something all the time?
4. only when it won't violate my imaginative flow

D. I believe that adjectives and adverbs:
1. should be used sparingly
2. should be used vigorously, fulsomely, and without stint
3. are what, exactly?
4. are pathetic attempts to limit my creative energy

E. I structure my novel-in-progress by:
1. writing to a prepared plot outline
2. writing according to how the story seems to be telling itself
3. writing whatever comes into my head from moment to moment
4. how mundane actually to have a "novel-in-progress"; I have a concept

F. I achieve the self-discipline to write by:
1. forcing myself to work whether I'm in the mood or not
2. letting guilt finally force me to do something, anything
3. jotting down half a page now and again and rewarding myself with ice cream
4. self-discipline is the enemy of creativity

G. I deal with difficult, blocked or "dry" periods by:
1. working on something else to retain good writing habits
2. panicking and bingeing
3. wondering if I shouldn't take up decoy carving instead
4. only real writers are really blocked

H. I strive to make my work:
1. as good as it can be by rewriting and polishing
2. as good as that first true inspiration will allow it to be
3. as unembarrassing as I can before going to my writing group; they're really mean
4. as unintrusive in my creative life as possible

I. I approach the task of finding an agent or publisher by:
1. researching the market thoroughly and learning how to make a professional submission
2. sending my manuscript and a very nice letter to my writing tutor's publisher
3. sending my manuscript to the publishers of the latest best-seller
4. they'll be knocking on my door begging me for my manuscript

J. I accept rejection slips:
1. with a pang, then move to the next submission
2. with a little sigh: I secretly knew it was no good
3. with a howl of unbelieving rage: ignorant jackasses, don't they know true talent when...
4. I'm too sensitive to put myself through such a negative experience

K. I see myself in the future:
1. finding satisfaction in writing novels my readers enjoy
2. becoming a rich and famous best-seller and appearing on TV
3. winning the Pulitzer, the Booker, and the Nobel Prize for Literature
4. being the most famous person on the planet. Hey, in the universe.

L. I want to write because:
1. I have characters and stories bursting to come to life
2. I like the idea of having a book published
3. I like the idea of being a writer
4. I didn't say I wanted to write, just that I know I'm a writer, and this is a dumb test, anyway

How to score this test:Count up the numbers of the answers you have selected. If you have a total of:
12-16: You seem to have what it takes. I'll see you in print one day.
7-25: Time to get serious. Take one giant step into a professional attitude.
26-35: What a dweeb. Quit dreaming and get a life.
36-48: Jerk extraordinaire! Out of my sight, thou posturing ninny!

Having taken the Clarke's Patented "Am I Really a Writer?" Test, you know if you are a real writer or not. If you are, congratulations! If you aren't, contact me for some useful websites on needlework, photography or windsurfing.
But seriously, folks: the basic test of whether someone is a real writer or not is if they really write. There's no magic to it. Either you write or you don't. It's that simple.

*This was a fun test and it made me feel better that I'm not that good a writer.

Source: caroclarke.com

Indeed, who cares if you're a writer or not, you choose your own destiny! Be a published author.
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Poetry: Exploration and Experience

By Mary Diane Hausman



Are you ready to abandon your poems? Before you toss your newest poem away, revisit it using some exercises that have proven helpful to poets who are feeling “stuck.” If you explore some of these ideas, you may be steps closer to placing your poetry in a well-known literary journal.


You can make submissions on your own, or hire some help. Every poem, on average, must be submitted to 100 markets before it is accepted. For poets, these numbers are sad, but true. Even the best poems must cover a lot of territory before they appear on the printed page. A reputable author’s submission service may offer you more time to write while they take care of the submissions. Remember that a good submission service screens potential writers for quality work. They don’t take everyone.


When writing poetry, a poet considers language. They also consider form, and may even consider audience. But that is not all. Though form serves as a vehicle or container, and audience can help drive a poem; and while it is language that gives voice to poetry, it is basically the root of the poet—the poet’s experience—that gives voice to the voice. Even when poetry does not reflect the poet’s direct experience, it is still filtered through her or his eyes. Both poem and poet are inextricably connected; one cannot exist without the other. The material from which the poet culls the poem is that which has been sown, tilled, pulled, dumped, dredged, fermented, stored, and often kept hidden all the poet’s life. If the poet feels brave enough, or even if she is terrified beyond belief, she will excavate this treasure and use it to lay a foundation. Foundation laid, the poet then uses language to form the structure, build the ramparts which hold the poem together. Having built the poem with the blood and bone and truth of her, the poet thus offers a monument that withstands even the critic’s wind. Or, at least the storm of self-doubt.


Following are some simple ideas for exploring poetry and using your own experience to create a poem. If you’d like in-depth technical information on form and poetry structure, there is a brief list of recommended books at the end of this article.


Practice using your voice by writing a poem about a life experience, a memory, a desire, or a belief.


Write a poem about your name. You may do this in either a positive or negative light—whatever is meaningful to you. You may even pick a name you like and write a poem about that name, making it your own.


Select a poem written by someone else; write your version of the poem. Select two poems by different poets which contain the same theme. Write a couple of paragraphs comparing the poems.
In your own words explain what you think makes a “good” poem. Pick a topic you dislike and write a poem about it. Try writing song lyrics. Compare your lyrics to a poem you’ve written.
Read some material on different structures of poetry (iambic pentameter, rhyme, sonnet, etc.). Write a poem with the same theme in each specific structure. Pick at least three different structures. Write a poem explaining poetic rhythm. Explore and write examples of lyric and narrative poetry.



Some books on poetry worth owning:
A Poetry Handbook by Mary Oliver In the Palm of Your Hand by Steve Kowit How to Interpret Poetry by Laurie E. Rozakis The Poetry Dictionary by John Drury


Exploring the ideas listed above may help open new doors for your writing. In addition to your poems being well crafted, they must be submitted regularly and extensively. Beat the odds with strong writing COMBINED with a powerful and tenacious submission strategy.



Source: creativity-portal.com

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Interview with Barbara Roberts, Author of The Vineyard on Mulberry Street

Barbara Marolla Roberts, born in New York City, is a graduate of Skidmore College where she majored in art. She taught elementary school and was an executive recruiter before working for Pace University in Westchester, New York, first as the Assistant Director of Graduate Admission and currently as the Graduate Program Coordinator of the Master’s in Counseling Program. She resides in Putnam County, New York, with her husband. Click here to purchase her book.

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Six Questions for Barbara Roberts

Why and how did you go about publishing your first novel, The Vineyard on Mulberry Street?

My first novel was a story I felt needed telling for many reasons. I almost felt it was a mission and once I started writing it seriously and consistently, I didn’t stop; making many sacrifices until it was finished. But I loved every moment of it.

Was self-publishing your first option?

Self-publishing was not my first option, but after reviewing other options, self-publishing proved to be the most expedient way to go and less complicated than the others.


As an established author, what are the hardships you still encounter as a writer?

The biggest hardship as a writer is finding the time to write. I can only write in the mornings when it’s quiet and I have no distractions. It is very solitary but immensely fulfilling.

Can you say that the character, Catherine, reflects who you personally are: strong independent and enigmatic?

The character, Catherine, is based on my mother – strong, independent and enigmatic. I, too, am strong and independent, but not enigmatic. I am not as compelling or interesting a person as Catherine is.

What does your book have that will give readers a different turn from the usual forbidden love stories?
The moral code in America was stricter in the 1940’s and 1950’s. To deviate from the established norm, “Backstreet” love was not viewed at kindly. There was a great deal of stigma attached to non-conventional lives. I want the readers to know Catherine as a person, understand her dilemma and have compassion for her.

When Kirkus referred to her as “brave and loyal” it warmed my heart. That is exactly what I wanted to portray.

What is your view on writers who are afraid to take the self-publishing route?

I would recommend writers to take the self-publishing route, especially with Xlibris. My first contact at Xlibris was Cheryl Gratz, who was professional and helpful. She made the first step easy, and the following steps easier than one would think. The transition from one phase to another was not complicated.

Source: xlibris.com

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Who is Mr. Darcy?

I have never read the actual book, but I am confident that many will agree when I say that Jane Austen's Pride and Prejudice, is one of the most romantic stories ever told.



Keira Knightly's portrayal of Elizabeth Bennet was flawlessly alluring while Matthew McFayden remained charmingly aloof in his take of the famous Mr. Darcy.



The first time I ever saw this film, I slept right through the second half (granted, I was sorely lacking sleep from having cared for my sick dog the night before) probably because of the way the dialogue went around in the movie, since it required the artists to speak in the way people spoke during the late 1700's; which was slow, refined and almost emotionless---almost. I watched it again at the urging of a close friend and surprise, surprise; the conversations which I missed were actually bursting with emotions of love, passion, regret, sorrow, indignation...you get the picture.



Don't get me wrong, I really wanted to read the book but I just haven't found the time to scout for a copy of it. Luckily, a friend lent me a self-published book entitled "Darcy's Passions" by Regina Jeffers, which is still Pride and Prejudice, but told in the perspective of Mr. Darcy.



As I was reading the book, I couldn't help but mentally picture Knightly and McFayden in their respective roles because Jeffers managed to consistently keep up with the actual events in the story, but again, as seen only in Mr.Darcy's eyes.



Jeffers' also remained faithful to the personality of Mr.Darcy in the first parts of story; Darcy being the perfect epitome of an upper class individual--- reserved, unapproachable and an ultimate snob. We see in Darcy's Passions, the workings inside Darcy's head as he tries to restrain himself from falling in love with the charming Elizabeth Bennett. Naturally, he fails in the internal battle between his heart and his mind, but wins the fight for Ms. Bennet's heart. *sigh*


Because of the many good reviews of Darcy's Passions, Jeffers self-published a sequel to it entitled Darcy's Dreams. In the sequel, Darcy and Bennet are happily married and expecting their first child when Darcy accidentally loses his memory. Benet encounters struggles in the running of the estate, caring of their child and finding affection in the arms of her now (once again) obnoxious husband.

Also, two characters are introduced in the book, Elizabeth Donelly and Cecilia McFarland; two women who will direly test the love Darcy has for Elizabeth.

I am looking forward to getting a copy of this book for sure. Jeffers has certainly stepped out of her bounds and created a compelling story that matches up to the incredible story that was Pride and Prejudice.

Source: xlibris.com, teachwithmovies.org

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Optimize your Online Book Marketing

While my previous post about book marketing remains true and unchallenged, because of the Internet hype, internet marketing has been one of the strongest avenues for those wanting to gain recognition for their products.

Search engine marketing (SEM) particularly, is a popular form of Internet marketing which aims to advertise websites by increasing their availability in search engine result pages. The paid placement/ pay per click (PPC) method of SEM, among others like paid inclusion and search engine optimization (SEO) is one of the newest ways of Internet marketing.

With PPC, the advertiser must bid on certain keywords or phrases that they think their target market will most likely use when entering a query in a search engine. Costs per click vary on the type of search engine and the intensity of competition on a certain keyword or phrase.

Google Search is the no.1 used search engine on the Web and gets over several hundred million queries a day. Because of this, companies bid thousands of dollars a day to bid on certain keywords just to get the top ranks in a search.

If you are marketing your own book, you don't have to be a million dollar company in order to be able to utilize this marketing tool. Xlibris now has Google Search Marketing Services which will allow you to pick your own keywords and actually urge visits to your website so that interested parties may purchase your book or just browse through what you have to offer.

Moreover, if you have no idea how to go about designing a website, Xlibris also offers Optimized Search Marketing Services where one can get the whole sweet deal. From designing a website complete with a landing page, a guaranteed placement of your ad within the duration of your campaign to having real experts advise you on the best keywords for your site, you just can't go wrong with this offer.



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Source: wikipedia.org, xlibris.com

Unconventional but Sensible Marketing of your Book

The following article seems far off, but when you take time to read and absorb all that's in it, you'll find (quite surprisingly) that bookshelves may not be the only place where you can sell your book.

10 Unique Places to Market Your Book

by Candidate #1

Whether you choose to self-publish your book or publish through traditional publishing, you’ll always play a part in the marketing process. Yes, many of the big publishing houses lend a hand with getting the word out about your book, but when you help market your book using your own techniques, you’ll see much bigger royalty checks.
Over the course of eight years as a published author, I’ve discovered unique places to market my books — places you may not have thought of. With that said, I’d like to share my top 10 list of unique places to market your book.

1. Carnivals

If you’ve ever went to carnivals in your local area you know there’s usually a variety of vendors selling items such as fireworks, knives, food, crafts and more. Why not add your books to the mix. Get in touch with your local city hall to find out how you can set up a booth at an upcoming carnival in your area. You’ll have to invest in your books and possibly pay a fee for the booth space, but the final result could be profitable!

2. Flea Markets
Each time I visit flea markets, I see many vendors selling SMC products, and after a while it gets boring. Why? Because each booth with SMC products sell the same things. As an avid reader, I’d love to come across a few flea market booths selling books, but I’ve not discovered too many of those. Honestly, I get tired of seeing SMC product after SMC product, so if I ran across you selling your book at a flea market, I’d probably run to your booth! A change of scenery will attract attention.

3. Local Festivals
Build your local brand and get recognized by your community by selling your book at local festivals. Contact festival organizers in your area and ask them how you can set up a booth at the next festival. It may surprise you just how much traffic your booth could attract.

4. Hospital gift shops
Visit hospitals in your area and speak with them about stocking your book in the hospital’s gift shop. Even if you have to arrange to stock them on consignment, it could be worth your time and investment. After all, visitors and patients need something to occupy their time at the hospital, right?

5. Theme parks
Each year theme parks attract thousands of people, but the rides aren’t the only thing they enjoy. Many visitors also enjoy shopping in the gift shops scattered throughout the theme parks. Next time you visit a gift shop at a theme park, speak with the manager or owner about stocking a few of your books in their gift shop. Take along your brochure, a sell sheet and ordering information to leave with them. If the theme park is nearby, you could arrange to place your books in the gifts shops on consignment as well.

6. Mail order catalogs
Find catalogs related to your book and contact the person who distributes the catalog. Ask the person how you can go by having your book placed in their catalog. You may have to pay a fee, but it could be worth the investment. Another option would be to make a deal with the person distributing the catalog and offer him or her a percentage of all sales. Making this deal could save you from having to pay a large advertising fee.

7. Yard sale
Next time you have a yard sale place a few autographed copies of your book on a table of its own. Discount the book to where you’ll still make a profit. Include a free bookmark with each sale.

8. Billboard signs
Although billboard advertising is expensive, they say it’s effective. Think about it for a minute. How many billboards do you read when you’re the passenger in a car? Personally, when I see an ad on a billboard for something that interests me, I write down the information I need to find out more. Then, once the driver and I reach our destination, I refer back to the information about each product or service I wanted to find out more about.
If you believe you can work billboard advertising into your marketing budget, visit Outdoor Billboard (http://www.outdoorbillboard.com/) for a listing of billboards for rent and sale.

9. Public benches
Marketing your book on a public bench is also costly, but effective. You’ll usually see benches with advertising on them at intersections, parks, bus stops, golf courses and in front of stores. To learn more about bench advertising, Google public bench advertising, include quotes around the phrase.

10. Local mall
Phone the mall in your area and ask to speak with the person in charge of leasing. Once you have that person on the line, ask them how much it costs to lease a space in the mall, as well as the best locations to sell books.
When paying for booth space, team up with another author in your area and share the cost.
Have you discovered a unique place to market your book? Then by all means help add to this list by sharing in the comments area below. If you know of more than one unique place not already mentioned above, feel free to share your list on your writing-related blog, and mention this post as your inspiration. But don’t forget to return here and leave a link to your post in the comments area, so we writers can add to our list.

Source : freelancewritinggigs.com

Image Source: allposters.com, impactpublishers.com, creativemarketingandwebsites.com

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Xlibris Author Wins National Federation of Press Women Novel Competition

Mary Katherine Arensberg wins second place in the National Federation of Press Women Communications Competition for her fiction novel entitled Willa.




NFPW is an organization composed of women and men geared towards developing careers in communications. Their Communications Contest aims to select the best of the best in the different categories in print, authorship, photography and many more categories. Such is Mary Katherine Arensberg's Willa.


A fiction story set in 1860's rural Ohio, Chicago, southern battlefields of William Sheridan, the Eastern Theater of war and Washington City, Willa is about her involvement with the Civil War and her search for true love despite the tumultuous happenings around her farm, which happens to be located just miles from a military camp. Natural to all feel-good stories, Willa finds a way to exist in the environment which was forced upon her and her family and ultimately, finds her heart's content.


If you are looking for a good read, Willa comes highly recommended!


Other books by Mary Katherine Arensberg include Naomi of the Arizona Territory and Woman of the Wind.


Source: nfpw.org, xlibris.com
Image source: xlibris.com


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Basics to Writing a Fantasy Novel

Becoming the next Piers Anthony is no easy feat. Here's an article that will guide aspiring fantasy writers out there who dream of writing the next fantasy best seller.

*This is no laughing matter. Brace yourself for this is the uncovering of the fundamentals of a great fantasy novel!

Rules for Writing a Fantasy Novel

1. The heroes will lose every battle, but win the war.

2. It will only rain when the heroes are exhausted and running out of food.

3. The heroes will only have horses if they are going to climb a mountain, where they won't be able to ride the horses anyway.

4. The enemies will be killed by the slightest mishap, but the heroes will live through anything.

5. The hero and heroine will fall in love on the last three pages.

6. Magic (if available) will be used intelligently by the heroes, but will be wasted by the enemies.

7. You will annoy the reader by placing numerous re-hashings of prior events in the first four chapters of the second and following books of a series.

8. Start off occasional chapters with a description of one of the main characters engaged in some activity, without using their name. The reader will feel exceptionally smart when they figure out who it is before you reveal it.

9. Racial prejudices will be ignored by the heroes, but will be a factor in the downfall of the enemy.

10. The enemy will be able to predict all of the heroes actions, but will be powerless to stop them; the heroes will foil all of the enemies plans through sheer dumb luck.

11. The heroes will be able to survive for weeks without feeling the call of nature, unless they are in a cell.

12. Should the heroes be captured, the enemy will gloat and reveal all of their plans.

13. Should the heroes be captured, they will be kept in a small cell with a bit of straw but no windows, and will only be fed bread and water at irregular intervals. Despite this, they will be able to tell how much time has passed.

14. Magic swords do not glow except when the heroes have no other source of light, or if it is dark, and they need to be captured for the plot to advance properly.

15. The heroes, after making a noise when trying to remain silent, will stand perfectly still for several minutes. The enemy will not, however, have heard it. (Alternate scenario: the enemy will hear it and search the area immediately (rather than guessing the action of the heroes, and waiting for them to move again, thereby giving themselves away). The heroes will quickly hide, their sounds masked by the noise of the enemy's search.)

16. Only describe a monster you have created once; call it by name any other time it appears, even if the character it is spotted by did not see it the first time or have it described since.

17. At least one of the heroes will be the second best in the world at something. The only person better will be one of the enemy, but they will nonetheless be defeated by the hero at the climax.

18. Everyone in a position of power is corrupt, and is subject to bribes.

19. Rulers of any large territory (eg. Kings, Emporers, etc.) are either terminally stupid or insane, and could not suppress a rebellion if their life depended on it (which it usually does).

Additional Rules for TSR Writers

1. Only under exceptional circumstances will you be allowed to write the sequel to any novel you write.

2. Use the name of the spell the character casts, rather than describing its effects. Everyone who might read the book has played AD&D, and will understand this much better.

3. Whenever possible, arrange your plot so that it fits a work of art we have already used, so that new art will not have to be commissioned.

4. You will not create any new locations; instead, use the Atlas of The Forgotten Realms or Krynn as a source (Douglas Niles excepted).

5. Be prepared to translate your novel into an adventure module, complete with rule modifications so that what you describe can actually happen. (Douglas Niles: this means you.)

6. Ignore all of the rules for creating a new character found in the Players Handbook. You can hardly expect a new character to survive anything exciting. All characters will be of at least 12th level, even if they are only 16 years old.

7. All books will be between 300 and 320 pages.

Source: kaila.pl

Image Source: mundania.com

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Make Your Writing Earn for You

I came across this article and I have to agree with Suzanne Harrison wholeheartedly. I took out some parts and highlighted some lines to make it "reader friendly".

Write And Grow Rich
by: Suzanne Harrison


Are there any writers out there who don’t want to make money from writing? Who don’t want to earn a living from their writing? Who don’t want to become rich from their writing? Well, there probably are. And that’s fine. But this article isn’t for them. This article is for you. You who knows that you can’t wake up in the morning without the itch in your fingers, can’t get through the day without putting pen to paper or fingers to keyboard, you who can’t listen to a conversation on a train, a bus or at a coffee shop without thinking, “I’ve got to write that down and use it in my next story”, and you who sees many things in life as great story ideas. Write and grow rich is for you. Now, this is not entirely about getting financially rich from writing. But apply the following advice and you stand a great chance of making that happen. Riches do come in many forms, one of which is money. But the many other forms of riches life has to offer are also yours for the taking when you follow the lead of the greats of writing, storytelling and inspirational thinking. So let’s have a look at the 7 essential elements that will help you to write and grow rich.

1. Desire
This is absolutely the most important step in achieving success in any endeavour, and ignoring it will mean almost certain failure. Putting it simply, you have to want it! Whatever your writing goal is – whether it’s to be a bestselling novelist, a successful screenwriter, to win a short story competition, to write for a national newspaper or magazine, or simply to finish something you’ve started, you must want it so much that the thought of it inspires a physical reaction in you, and the lack of it causes you both emotional and physical pain. Does this sound extreme? Maybe. But you must have a deep, intense desire to make your writing dreams come true. So let’s put first things first – what is your magnificent obsession? What do you want more than anything else? Got it? Write it down and let’s move on.

2. Faith
It is imperative that you believe you can achieve your goal. It is also imperative that you believe in what you are writing, and why. So your second step is to examine your own commitment to what you are writing. Do you believe in the story you are telling? Does it mean anything to you personally, or to the world in general? And if you are writing non-fiction, do you believe in your topic, your point of view, and the value of what you are bringing to the world? Faith in yourself, and in your work is the one thing that has been known to work miracles.

3. Imagination
This may seem obvious, and yet it needs to be said. It is imagination that sets great writers and storytellers apart, just as it sets great artists, businessmen and movie-makers apart. Imagination falls into two categories – the creative and synthetic imaginations. And both are equally important to you as a writer. So if you’re a fiction writer, don’t fall into the trap of thinking you have to dream up something that has never ever been seen before. Simply look at what you like to read and write about, and put a new angle, or twist on it, and then go for it. For non-fiction writers, it’s open slather here. Simply pick your topic, take a fresh look at it, create a new angle and get into it. Your expertise and opinion matter certainly, but use your imagination to create a new way for your readers to see your topic, and you will have a ready-made audience.

4. Specialised knowledge
Many fiction writers have woven their own interests and areas of expertise into their novels. The upshot is, that one way or the other, you need to acquire some specialised knowledge if you are to write in a way that captures your audience. Whether you parlay your own knowledge into your work, or acquire what you need through research, it’s important to remember, that we are first and foremost scribes, reporting stories to the people around us.

5. Organised Planning
For the fiction writer, having a story plan, whether for a short story, novel or screenplay, ensures you keep yourself on track, not winding off down dead ends and blind alleys. For the non-fiction writer, it’s a matter of doing your research, gathering your notes, and writing an outline before you set about the main task of writing your article or book. But organised planning for the writer means much more than planning the story, book or article you are writing right now. It also means planning for your own success as a writer. So putting together an organised, step-by-step plan to get you from where you are now, to where you want to be, and adding a timeframe for your goal’s achievement will be an important step to getting you where you want to go. A great way to do this is to work backwards from your goal, imagining what came immediately before the goal, and then before that, and then right before that, until you have the step that you need to take RIGHT NOW to move you forward.



6. Persistence
It has been said that persistence outstrips all other virtues, and when it comes to achieving success as a writer, I truly believe that, other than being ready when your opportunity comes, persistence is the one quality that will absolutely guarantee your success. Matthew Reilly began his career as a self-publisher and is now one of Australia’s most popular authors. His persistence, and self-belief paid off. So whatever you are writing, stick with it. Persistence is the one thing, along with a thick skin, that you’ll need in abundance to crack it in the competitive world of publishing. And remember, the so-called “experts” don’t always know it all.



7. The Sixth Sense
This may seem like an unusual thing to suggest, but I truly believe that those who achieve great success as writers have an intuitive sense about which stories are the ones that are worth pursuing and which ones are better off left behind. I advocate that you should pursue the ideas that “scare you a little, and excite you a lot”. This is a simpler way of describing the ‘sixth sense’ idea and also may be easier for many of you to measure.


So those are the 7 steps to Writing and Growing Rich. Type them out, paste them up near where you write and refer to them often. And as you advance confidently in the direction of your dreams, may you experience success unexpected in common hours.


Source: articlecity.com
Image source: nymag.com





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