cover Carolyn - A Most Remarkable Lady by Buddy Clark

Molding the Memoir

With each project we undertake, Amelia Indie Authors’ goal is always to enhance things where we can; to apply our experience and collective skills, knowing that even the smallest changes can help create an improved end product. We try to give you exactly what you want, only better. 

To produce a memoir, we recently had the privilege of working with a fine writer, Buddy Clark of Beaufort, SC, and his editor, Emily Carmain of Fernandina Beach. Buddy had lost his wife Carolyn to Alzheimer’s disease two years before and wanted to share memories of her and her many talents with his family as well as a broader audience. 

Author Buddy Clark had lost his wife Carolyn to Alzheimer’s disease two years before and wanted to share memories of her and her many talents. Click To Tweet

Working with an Editor

Emily helped him to frame the narrative brilliantly, allowing the natural flow of memories from daily life events that triggered them. The memories are told in scenes of dialogue, action, and description. At the end of the book, when Buddy discovers Carolyn’s collection of mementos, drawings, short stories, and diaries, he shares them in the “Reflections” appendix with delightful color images.

From among those images, one stood out as irresistible: a classic black-and-white portrait of Carolyn looking over her shoulder, revealing her bright, engaging smile. We all knew this had to be the cover image for the book.

Interior Design 

My pleasurable task was to design that cover, as well as the interior of the book. This is always a team effort, with each of us reviewing several iterations to make sure any errors are corrected and no new ones introduced. At this point, the details are critical. I refined and retouched Carolyn’s image down to the tiniest fleck of dust, knowing she deserved nothing less. 

I refined and retouched Carolyn’s image down to the tiniest fleck of dust, knowing she deserved nothing less. Click To Tweet

During the process Buddy’s memories made me laugh and cry. In the end, I wished I had known Carolyn, for I’m sure we would have been friends. I think you’ll like her, too.

The book, Carolyn: A Most Remarkable Lady, is now available in hardcover, softcover and e-book on amazon.com, and is featured here on Our Books page.

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Voice Affects Content; Content Isn’t Voice

Sometimes well-loved sections must be cut from your manuscript because they do not serve the story. Many of us have heard that we must “kill your darlings” to improve, advice that has been attributed to Faulkner, but apparently goes back even further than that.

You may have written a wonderful bit of prose that captures a feeling or belief that is close to your heart and soul. You may have a deep feeling about an aspect of lifestyle, let’s use running as an example. You’re a runner, so you make one of your characters a runner. And, you write an entire section about your philosophy for running. This is content. Because running is important to you, you feel it is part of your voice. But in storytelling, that is not necessarily so.

Go from Point A to Point B

Pulitzer Prize Winner David Mamet, in his master class for writers, says your job as a storyteller is to get Jack or Jill, your protagonist, from Point A in your story, to Point B, the transformation of the character at the end of the book. The story is paramount, and every aspect of your telling must have to do with that direct trajectory the protagonist must travel. If there are brief side trips from that trajectory, they must have a specific and meaningful purpose.

The classic 1976 movie Marathon Man is a great example in which running, a seemingly insignificant aspect of a character, later becomes integral to the story.

So, if Jack or Jill’s philosophy about running does not have a direct impact on the story, does not inform that trajectory in an important way, it must go. Write it for your own satisfaction, but be prepared to cut it from the story. Doing so tightens the story; it does NOT change your voice.

Your voice as a writer comes from the way you tell a story. In your choice of words, in your phrasing, in the “tint” that you bring to your language. It is unique and natural to you. It is in your character development, your description, and your dialog. It seeps into your prose through the life experiences that have molded you, and the emotions you feel while writing a story. 

Just as how the same piece of music sounds quite different if played on a violin versus a flute (or sung by a choir or a rapper), a story that involves that same plot, characters, world, etc., can still change a lot depending on the voice used to tell it.~ Kat Zhang

Where is my Voice?

What, then, is the best way to develop your own unique writing voice? The truth is, it won’t come overnight. You can study other authors you like and practice using some of their techniques. You may hear the voices of friends or co-workers and incorporate them somehow, or let them inform your characters. Your mind is already at work, filing these details away until you’re ready to use them.

Stories come from the subconscious. What drives you to write, to some extent, are your own unresolved inner conflicts. Have you noticed your favorite authors have character types that recur? Plot turns that feel familiar? Descriptive details that you would swear you have read before (a yellow bowl, a slant of light, an inch of cigarette ash)? That is the subconscious at work.~ Cris Freese

Your writer’s voice is truly an inside job. You already have it, you just have to reveal it. All of those experiences go into the melting pot of your psyche. The more you write, the more you relax into the process of it. When you relax, clear away the clutter of daily life, and open your mind to your own creativity, your unique voice will find its way from your mind and your heart through your fingers, onto the keyboard — and into your content! 

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Patience, Tender Writer

As a journalism student in college, I learned several lessons about patience, deadlines, and editors. First of all, editors have no patience with late or sloppy writers. And deadlines are everything.

Often within the span of hours, a newspaper reporter has to come up with a story idea, pitch it to the news desk, research it, conduct interviews, write and deliver a compelling story, allowing enough time for the editor to do his/her thing. In this case, there is no time at all for them to mollycoddle. They might read the first sentence and toss it back at you. “This sucks. Rewrite it.”

Or, things like “It’s wordy.” “You buried the lead.” “Move paragraph three to the top and start over.” Or just, “Nope.” And don’t even think about a clever ending, because it very likely will get cut to make space for a last-minute ad placement.

Growing a Thicker Skin

Such treatment definitely helps tender writers grow thicker skins. But for those whose path to writing has bypassed this rewarding experience, the first time their precious work is edited can be a painful experience. And here’s where patience comes in.

If the editor returns your work quickly, you can suffer the quick rip of the bandage and get back to work much more easily than if they sit on it for weeks and months. Take their suggestions seriously. We all need an objective viewpoint, and what we think does not always come across clearly in what we write. One day you will love your editor.

We all need an objective viewpoint. Click To Tweet

If they take a few weeks or longer to return your work, you can feel stuck in the mud, no place to turn. You’ll manufacture scenarios. They must hate it. They can’t bear to read it. They never made it past the first page and threw it down. Why else would it take so long? Or, maybe they love it, they can’t think of anything constructive to say? What if it’s so good, they are already showing it to an agent, or a movie producer? What if someone gets hold of it and is sending you a contract right now?

Oh, the creative mind does wander. Click To Tweet

Oh, the creative mind does wander.

An editor may do all sorts of things, like add your work to the bottom an already impossible pile. Read it in small bits between trips to the grocery store and childcare. Read it once, set it aside for a week or so, and then read it again to see if their impressions have changed. Fill in the blank with any number of scenarios. Editors are humans after all and have their own priorities.

Feedback is necessary. Suffering is optional. Click To Tweet

But whether well-seasoned or new, a writer is not required to suffer.

Some tips to help the impatient

Patience, for me, is almost an offensive swear word, but I know it’s my challenge to conquer. Here’s what has worked for me so far.

Expect the best, but prepare for the worst

If you’re new to writing and haven’t been edited before, your best course of action is the same as preparing for a hurricane. You’ve done your best; now let it go. Feedback will come quickly or slowly according to wind speed, but come it will. When it does, stand up and take it. Repair after.

Distract yourself

I always have several other projects that need my attention. Right now there are eleven items on my desk, not including this post and the stacks of family photos I’m supposed to scan. Immersion in any one of them will take my mind off the waiting, and hopefully reduce the number of projects staring back at me. I get frustrated and sometimes overwhelmed, but I am never bored.

Get physical

My absolute favorite is to go outside and weed the flowerbeds. I mean weed them, rip those suckers out with brute force. It’s a form of editing and can be immensely satisfying. Plus, you can see your accomplishment before you; what you managed to uncover is more beautiful than when you started. Immediate gratification. Um, you could also just go for a swim.

Pleasure and relaxation

My go-to for this is chocolate and a walk on the beach, maybe some shopping, and if I am really brain-frazzled, just an old movie and a blanket. I don’t recommend alcohol; it’s depressing and highly detrimental to brain cells, especially the creative ones. Ice cream or a magnificent espresso concoction will do the trick much better. As will a massage.

When the feedback arrives — whether you like it or not — put on your big kid pants and deal. Be grateful someone took the time to read your work and pay careful attention to it. You worked very hard on it. You want it to shine. Editors do too.

Founder Chat: Screenplays — Part 2

 Nancy: Books rely heavily on description and dialogue to reveal character. How does that differ in a screenplay?

Wren: This is one of the greatest challenges when it comes to screenwriting. You not only have to rely on the actor’s intuition to convey the emotion but also on the director’s overall vision for the film. This is why it’s so important to write the best screenplay you can because you’re really creating a blueprint for the production team and the cast. On the screen, visual elements are really what’s telling your story. Yes, exposition comes through dialogue, but the audience is responding to what they’re seeing on the screen.

Nancy: How long do you think it normally takes to write a screenplay from a novel? Is it common for an author writing a novel to create the screenplay simultaneously?

Wren: The length of time really depends on the complexities of the novel. One of mine went through 32 rewrites while going from stage play to film. In the end, only 10 pages remained from my original script. Many of the changes were required based on production limitations and budget issues. Yes, many writers write both a novel and a screenplay simultaneously. They really inform one another during the creative process.

Nancy: When you write a screenplay, how do you know when you are done? Do you hear fireworks or are the angels singing?

Wren: I would love a choir of angels to announce the end of a screenplay. That would be wonderful. I feel like the screenplay is done when I’ve told the best version of the story I can — when I feel I’ve done the characters justice. It’s tough to know when you’ve reached that point because it’s hard to be objective about our own work. At some point, you have to force yourself to get up and walk away.

Nancy: From horror to romance, what differences does genre make in an effective screenplay?

Wren: Genre is everything in a screenplay because each genre comes with their own set of rules, their own set of audience expectations. For this reason, I think some of the best screenplays are genre hybrids. Kelly Fremon Craig’s screenplay for Edge of Seventeen is a great example of this. That movie successfully fit into multiple genres.

Nancy: How important is the format?

Wren: The format in screenwriting is critical because it’s industry standard. It’s one of the biggest challenges for a new screenwriter.

Nancy: Can a screenplay be reviewed and edited in the same way a book is edited, or should you find people who specialize in screenplays?

Wren: I recommend that screenwriters have their work critiqued by other screenwriters, or someone in the entertainment industry that is familiar with the format, such as a producer.

Nancy: I have been a fan of Blake Snyder’s Save the Cat for several years. Are there other screenwriting books you would recommend?

Wren: Yes, I really recommend The Screenwriter’s Bible. I use this book each time I teach a screenwriting course. It’s a terrific resource for many reasons, including learning the rules about formatting a screenplay. I also recommend Syd Field’s classic book, Screenplay: The Foundations of Screenwriting. Both of these books are resources for most screenwriters. I also recommend checking out a wonderful program called The Script Lab. They offer a low-cost online program called Screenwriting Summit that is fantastic. They have a tremendous library of videos that are conversations with executives, agents, producers, and screenwriters. Each is filled with very valuable information about the industry and your life as a professional screenwriter.

Nancy: Once completed, polished, and ready for publication, my guess is that a screenplay requires an entirely different approach for marketing, compared to books. Is that true? What should the author be focusing on at this point?

Wren: Once your screenplay is finished, the next step is getting it into the hands of someone who can get the project to the screen, whether that’s a producer or an agent, or even an actor. It’s almost impossible to sell a screenplay without having an agent. If a screenwriter has finished a script that they feel has potential, I would recommend securing an agent. The Writer’s Guild of America publishes a list of reputable agents for screenwriters.

Nancy: For me, I think the real work of writing a novel is perseverance coupled with humility. I have to work on it every day and be willing to recognize where I am wrong. You are such a prolific writer of books, plays, and screenplays. What would you say is the ‘real work’ of it for you?

Wren: Disciplining myself to write every day has been a challenge for me over the years. I love the end result, of having written something, but the actual writing process is tough for me. Any writer can talk about the many sacrifices required to be a writer in this world but the finished result makes each of them worth it. Before I became a professional writer, I didn’t realize how much work each step of the writing process required. The writing itself is hard work, but so is the planning, marketing, and business side of what we do. Writing takes more stamina, dedication, and discipline than most people realize. It’s a demanding career, but it’s also incredibly fulfilling.

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Founder Chat: Screenplays — Part 1

The manner in which our small group of friends helps one another with thorny writing problems is one of the roots of Amelia Indie Authors. From time to time we’ll share a Founder Chat — one of the founders interviewing another author about an area of particular interest or expertise. Enjoy!

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Upon completion of a recent blog post, I realized I had the core for a new book set in the 17th century. I began blocking the content right away and began the first chapter. Starting a new project like this is an exciting time full of outrageous dreams and marvelous promise. As I watch historical programming on BBC, Netflix, Amazon and elsewhere, I think my story could be a movie at least, if not a series like Poldark, Outlander or Versailles.

But I have never tried writing for the screen before. Am I crazy? Should I just go wash the dishes and get a hold of myself?

Fortunately, a dear friend introduced me to someone who has some answers. Wren Valentino is the award-winning author of several novels and collections of stage plays and poetry. He has written over 50 stage plays that have been performed in three languages in nine countries. His work has appeared in over 100 publications.

And so, I am deeply honored that he has agreed to answer some questions about writing screenplays, which I share today with Amelia Indie Authors. Thank you, Wren, for sharing your knowledge and experience. Here goes:

Nancy: First of all, how do you know if a story idea has potential as a screenplay?

Wren: Screenwriting is really a form of visual storytelling. When I start working on a project, one of the first things I do is determine what form suits the story the best. When a strong visual component is there, that’s a big indicator that the story needs to be told on a screen, instead of on a stage or page.

Nancy: Some film or series productions are based on novels, while others are developed directly for the screen. Either way, there has to be a screenplay. Other than length, what are the main differences between a book and a screenplay?

Wren: There are many differences between books and screenplays, all of which can make the adaptation process difficult. In most cases, when audiences reject a film version of their favorite book, it’s related to the difficulties the screenwriter had in adapting from one form to another. Novels and screenplays are written so differently, that they’re not always compatible when it comes to adaptation. One of the biggest challenges is adapting a novel written in first person narrative into a cinematic story. In a book, we have insight into the characters internal thoughts and emotions, but translating that onto the screen can be tough.

Nancy: When would it make sense to start with the screenplay, instead of a book?


Wren: I recommend writing any story in multiple forms and then deciding, as the writer, which form is the strongest choice. Some stories will only work in one form, so then the decision is made for you. I often know immediately that a story is a screenplay when I visualize the story more than I hear it.

Nancy: What if I already have a novel that has potential for the screen? What is the best starting place for an author to adapt a book into a screenplay?

Wren: This can be a really helpful exercise for any writer who thinks their novels has cinematic potential. By adapting your novel into a screenplay, they will inform each other. For example, whenever I adapt a novel or play of mine into a screenplay, I always end up going back to the original story with new discoveries I’ve made by writing the same story in a different form. Writing a screenplay is a challenge, especially because the format is so specific. I really recommend that if a writer is considering a screenplay, they should take a screenwriting course. If anything, this will help with learning and understanding the complexities of the format, the rules and why they’re necessary.

Nancy: Is it common for authors of novels to do their own screenplays or is it better if done by another writer?

Wren: I highly recommend that if a novelist has an indication that there’s interest in adapting their book into a screenplay, that they write the screenplay. I know many writers who will write the screenplay version while they’re writing the novel simultaneously. Emma Donoghue did this very thing with her novel Room. When producers came to her wanting to adapt the film for the screen, she already had a screenplay ready for them. Who knows the story better than the person who created it?

Nancy: It is my understanding that all good screenplays follow the same basic structure. Is that true in your opinion? Have you tended to follow any particular guideline or does the idea that ‘rules are made to be broken’ apply in this case?

Wren: Screenplays for most American made films do follow a fairly similar three-act structure, with significant plot points happening at prescribed times in the film. This has a lot more to do with the attention span of an audience, rather than storytelling. For this reason, I tend to watch and admire foreign films and foreign TV shows more, as they tend to not only break these rules but demonstrate a greater devotion to true storytelling, especially where character development is concerned. I’m all for breaking rules, but it’s important to learn the rules first so you know how and when to cross those lines.

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What is a Brand Persona?

What is a Brand Persona?

Your brand persona is a valuable thing that will help you build trust with customers. If you were to weave together all of your values, activities, and interests, they would create a multifaceted gem that defines you as a person.

But suppose you meet a potential customer in an elevator, and you want to shine? You want them to remember you. They will probably only remember one or two things about you. What would you want those things to be?

This is what brand persona is all about. If you want people to remember you, by all means, capture everything that defines you. Then, go the next step.

If you are an author, artist or businessperson, your work defines you to a great extent, but also the realm in which you work or the subject matter on which you focus. Add to that your activities. For instance, are you a runner? An equestrian? A motocross enthusiast? Do you love to cook, read, dance? And then there are societal interests like improving literacy, reducing poverty, protecting the environment, and so on. Take the time to write it all down. You’ll be surprised how illuminating it can be, and how few people actually do it.

Next, narrow down your list to a handful of things. Consider the top 10 that you might converse about with your new acquaintance. In other words, which things do you think others can most easily relate to?

In most cases, people relate to values. They may not care much about what you do or how you do it, but if you talk about why you do it, what drives you, you’re likely to pique their interest. People are attracted to passion. If you only have 30 seconds before the two of you shake hands and say goodbye, wouldn’t you like to tell them about your greatest passion?

That’s how a defined persona can help, by making your most memorable facets easier to communicate and, therefore, easier to remember. Once your persona is defined, what’s next?

 

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Writing Tips from Robert Dugoni

Writing Tips from Robert Dugoni

Not long ago I had an opportunity to attend a creative writing seminar series on getting your novel started, and it happened to be led by Seattle author Robert Dugoni.

He is the best-selling author of 13 novels and legal thrillers including the Tracy Crosswhite series and David Sloane series (both set in Seattle).

Dugoni offered a number of suggestions to budding authors. First, start with the action. This is recommended by many authors of thrillers, suspense and mystery, and you’ll hear it at every writers’ conference you attend. You’ve got to hook your reader right away.

Another of Dugoni’s recommendations was to make sure you create a question in the reader’s mind with the first paragraph, and really with every paragraph. That’s how you create a page-turner. Keep the reader eager to find out what happens next.

When telling your story, Dugoni said it’s best to avoid the use of flashback. If you need to go back in time, you’ve got to put the reader right in that time. Flashbacks stop the story.

And, a famous quote from Dugoni:

“Whether you’re an unpublished novelist or a sixteen-time New York Times bestselling author, you can always improve your craft. You can always become a better writer.”

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Do I Need a Copyright?

This is a question most writers ask, whether for a short story, a poem, screen play, blog or novel. What if someone tries to use as their own the product you have just poured your skill, heart and soul into? Do you need copyright protection?

At a recent Writers by the Sea meeting in Fernandina Beach, visual artist and attorney Deborah Reid provided an overview of things writers commonly need to know about copyright. From the moment you create the work, it is your intellectual property, she said. You own it. Should someone try to claim it, you have rights. Infringement on copyright is the same as theft.

If you need to take legal measures, however, you will have extra protection if you have gone through the registration process via the U.S. Copyright Office, part of the Library of Congress. You can do it online, but Reid warns there are many copycats out there who will gladly take your money for nothing in return. Be sure you are on the right website, ending in “dot gov” as in https://www.copyright.gov. Use form TX for written works. Your date of registration is the date you register, but your submission also will include the date of creation for the work.

Copyright for your work continues for your lifetime plus 75 years, and then the work becomes available in the public domain. U.S. Government documents are almost always public domain, because they are created using tax dollars. For most other items, anything created prior to 1923 is in public domain and free to use. However, be sure to do your homework before using artwork, photography or other items, particularly on commercial items, those things you are intending to sell.

Joint projects. If you have two or more contributors to a project, there would be joint ownership of copyright. In other words, you can do whatever you want to with the work, but so can the other owners. If you want more control over who can do what with the work and under what circumstances, and who gets paid, etc., each person will need to sign a written agreement in advance of the copyright date.

A compilation, such as a poetry anthology, requires the publisher of the work to secure a license from each person who contributes a copyrightable work. Each story or poem would be considered a distinct original creation.

Works for hire relates to a person who contributes work that is within the defined scope of his or her employment. The person is paid for his/her time, but the business owns copyright. Still, you should get a signed agreement, and those employees have an “assignment” to do for your project that you copyright.

A few more notes of interest:

You can’t copyright

  • Titles, slogans or mottos; these must be registered as trademarks
  • Methods, procedures, systems (patent)
  • Utilitarian objects like a chair, or clothing
  • Plots, themes
  • Public domain items (works created prior to 1923)
  • Fonts, facts

 

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