Tag Archives: writing

Pure URLs

I’m fairly savvy in a lot of things to do with technology; I’m usually the one in our house who figures out how something works, from electronic gadgets to computer programs.  Having said that, I’m probably a complete novice when it comes to all things “webby” – web design, computer programming, SEOs, and their ilk.

I found out about something recently that I thought I’d share with you – especially those of you who are authors with e-book editions:  Pure URLs.

When you do a search, say, on Amazon, for your book, the URL will reflect the search phase.  If you use that URL as a hyperlink in your ebook, it won’t work for anyone else – which is hard for you to know as, when you test it, Amazon will recognize your computer and reinstate that search result.

Here’s an example:

If I do a search on Amazon for one of my books, the URL looks like this (with spaces added to prevent conversion):

https: // www. amazon .com / Cardinal-Part-One-Stephanie-Huesler-ebook/dp/B00PKS2EWO/ ref=sr_1_1?s=digital-text&ie=UTF8&qid=1501893862&sr=1-1 &keywords=Stephanie+Huesler+The+Cardinal+Part+One

the pure URL will be shorter, like this:

https:// www. amazon .com / Cardinal-Part-One-Stephanie-Huesler-ebook / dp/B00PKS2EWO

If I remove the spaces and paste the pure URL into this post, it will look like this:

 

I hope this helps you as you prepare your document for publication.  It’s something I am in the process of editing in my already-published books (in preparation for updates).  As always, honing skills means that there will be cringe-moments when looking back on writing results from years ago.  Bringing out a new book is good reason to go back and give the other documents (which need to be updated with new book information anyway) a good run-through!

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Pixar’s Rules of Storytelling

Recently I came across Pixar’s rule #19, quoted in James Scott Bell’s book, “How to Write Short Stories (and use them to further your writing career)”.  It’s an excellent book, and one of a few of his I’ve got in my Kindle collection.  But this rule reminded me of the whole list, full of good advice for storytellers whether their format is film or novel (from flash fiction to tome).  Most writing advice boils down to things like focus, self-discipline, detail work, and honing one’s craft to the best it can be – and that is an on-going process, a habit, an addiction.  It needs to be a passion.  Honing our craft means covering all the bases – grammar, syntax, plot, character, vocabulary, pacing, theme-building, and so, so, much more!  If you’ve got a weakness in your writing skills, the good news is that you can always improve it!  Make it a strength!  So be inspired, and keep writing!

Pixar's Writing Rules

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Google is a Verb

Recently I was chatting with a few friends, and the topic of finding information came up; I was surprised that it hadn’t even occurred to them that they could find such information online.  Time and again, I meet such people.  It is a modern phenomenon that we have the world’s knowledge at our fingertips; Google has become so ubiquitous with searches that it’s made it into dictionaries as a verb, and yet it seems that some people have still not realised its potential.

Granted, there is a lot of static out there:  Misinformation (whether intentional or unintentional), nonsense, and useless clutter (someone’s grandkid’s cousin’s uncle’s birthday party, or videos that need massive editing before they’re much use but they’re online nonetheless).  But if you know how to search, there’s a world of information out there to be had; you need to use discernment, and – especially if using the information as a basis for an article, or in writing a novel – you need to get cross-references and confirmation.  But I’ve found that the people I’ve talked to on this topic can’t seem to get past the static and therefore seem to have difficulty in viewing cyberspace as a serious information source.

The downside of so much ready knowledge with easy access is that people no longer need to memorise or learn information themselves – they can just grab their phone and look it up.  The upside of it is that, if people make proper use of it, they can learn so much more than previous generations ever even had access to.  The photo below, gone viral, is of a school class sitting in front of Rembrandt’s “The Night Watch”; while it appears that they are bored and inattentive to what is around them, they’re actually using the museum’s app to learn more about the photo and the painter as part of a school assignment.  Notice that they’re interacting with each other, and even helping each other.  Hopefully part of the assignment was also to study the painting with their eyes.

Teens using museum app

I do a LOT of research online; for some of my books, I’ve done odd searches which I’m certain mess with the algorithms of Google & co.  I’ve searched for the average size of a human corpse and the distinctions between a coffin, casket and cist (I started getting ads for funeral services after that); how to throw a kris dagger vs. a regular dagger; tide tables; sunrises, sunsets and moon phases in the 9th, 18th and 21st centuries; native flowers to Britain in the Georgian period; medicine at sea; the effects of various soil compositions on a corpse and artefacts, postmortem forensics, and dozens of other bizarre topics.  In my free time, I do a wide variety of crafts and cooking, and so my Pinterest pins multiply like rabbits in the dark!  Just click on my gravatar link to have a peek through my cupboards there.

If you put your mind to learning how to do anything, you can find instructions for it somewhere online.  A few weeks ago, I wanted to reupholster our office chairs (they are the kind that has a hard plastic frame at the back and underside of the seat).  I found a Youtube video that showed how to take them apart, and within an hour I had the first chair dismantled, reupholstered and reconstructed.  As Amelia Earhart said, “The most difficult thing is the decision to act; the rest is mere tenacity.”  I find that, in talking with friends, they often don’t know how to begin searching, and I think that’s the key:  They don’t try because they don’t know how to start, and so they can’t learn how to do it – learning by trial and error.  Failure is merely success in progress, but the point is that progress requires action… movement.

For writers, cyberspace is worth its weight in gold; no library could hold the amount of information available to us at our fingertips; no university could teach the wide range of topics available online; no video library could contain the staggering amount of documentaries, DIY instruction videos, and step-by-step how-tos.

What was the most recent thing you searched for online?  Was your search successful?  How much time did it take you to find what you were looking for?  Please describe it briefly in a comment below!

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POV

POV is shorthand in the film industry for “point of view” – in that context, it has to do with not only the narrative context but also the camera angles and editing process.  Changing the POV can affect the way the audience – or readers – perceive a character, an event, or the overall atmosphere of a scene.

Mark Twain - History's Ink is Fluid PrejudiceRecently I was watching a history documentary series from BBC called, “British History’s Biggest Fibs”, with Lucy Worsley.  The basic point of the series is that history is subjective; whoever wins gets to name the battles, and shape future generations’ perceptions about events; the victor gets to smooth over their own weak points and play up their heroism for posterity.  PR and spinning a good yarn helped to shape how reigning kings were perceived and toppled, or usurpers could style themselves as “successors”.

When writing a novel, the POV can drastically change a scene either from the inside, or the outside, or both; by that I mean that either the scene itself changes “camera angles” to tell the story from a slightly different perspective, or that something within the scene shifts slightly, affecting the reader’s perceptions of characters or events in the scene.  For example:  I was reading through a particular scene in my current manuscript that I knew I wasn’t happy with, but couldn’t put my finger on exactly what it was that bothered me aside from the outcome.  The scene involved an unjust flogging aboard a Royal Navy ship.  The officer on duty was forced by the captain to either flog the innocent man or be punished worse in his stead.  The original scene played out with the officer carrying out the punishment unwillingly but obediently.  The scene’s purpose is to show the gradually decaying grip on reality in a captain going insane; I wanted a stronger contrast, and so I tweaked the dialogue, which changed the outcome:  The officer refuses to punish the innocent man and takes the punishment on himself.  This outcome builds far more tension among the crew, gives grounds for retribution against the true instigator (a snivelling King John’s man of a junior officer), and contrasts the honourable dealings of the officer on duty against the captain’s failing sense of right and wrong.  By shifting the scene slightly, I take the reader and myself down a much steeper path.

POV - Screenshot Marvel's Avenger'sIn this illustration from Marvel’s Avengers film series, the camera angle chosen gives much more of an adrenaline rush than, say, if you were passively watching from off to the side; the fact that the arrow’s flying straight at you gives the scene that extra “kick”.

If you find yourself staring at one of your scenes – or even an entire premise of your story – that you’re not satisfied with, trying shifting the POV (sometimes it helps me to refer to it as the “camera angle”).  Put your inner eye’s camera in a different position in the scene, and see if that unlocks the key to improving that scene, the story arc or a character’s arc.  Keep writing!

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Grammarly Musings

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Spell checker in action

I’ve been editing, tweaking, editing, and tweaking this week; not to mention editing.  Over the years I’ve used a wide variety of tools, such as Scrivener, but have found that, for me, the best combination is MS Word and my brain.

One of the tools I’ve also been using recently is a new one for me:  The Grammarly app in Word.  I’m of a mixed opinion about it.  Do any of you use this app with your manuscript?  If so, what is your experience/impression?

So far, the app is batting less than 1 out of 10; in other words, of 10 “critical errors” that it points out, only 1 of them is legitimate.  I’d say the average is more like 1 out of 15 or 18.  There is also a version of this app, which requires a monthly or yearly subscription, that will expand its range of editing suggestions; but before I go that route I want to know that the app actually works in the free version.  So far, it’s more static than editing aid.

Now to be fair, my manuscript is not the average; it’s got words like en queue (the hairstyle of men in the 18th century), and odd terminology to do with nautical actions or environments.  But some of the errors that it points out, such as those to do with commas, are actually correct (e.g. pointing out the second comma of a parenthetical phrase as out of place).  Most of the time the suggestions that it makes are just downright wrong in the context; it proves that language is a fluid concept, and nearly impossible to intelligently simulate in a computer program.  It also means that we are far better off becoming fluent in grammar rather than relying on ANY program to correct our writing!

Having said that, I still appreciate it because it forces me to think through a decision, whether that be sentence structure, punctuation, or phrasing.  Sometimes it sends me in search of confirmation for a grammatical assumption I’ve made; rarely am I surprised by what I find, but it nevertheless helps to solidify the right way of writing something in my mind.  For the most part, I have the app turned off (a great function – the only reason I still use it!), just running it through sections at a time as my other editing nears an end.

Are there any programs or apps that you use for editing?  If so, what is your experience?  Please share in the comments below!

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Interconnectivity

interconnectivity-internet

Interconnectivity

This weekend I led a singing workshop; at the time I was focused on the instrument as such, and the amazing, complex expressions the voice can produce.  I covered topics like anatomy, and the psychology of singing, as well as techniques and choices – the “paint palette” a singer can learn and use to produce a desired impact on the listener, painting an image before the mind’s eye through the choice of vocal colour and tone.  For me, the truest sense of interconnectivity in the context of vocals is that they are an expression not only of an individual’s anatomical uniqueness but also the personality, and even the spiritual condition.  I believe that we are created in the image of God – that is, a trinity:  We are body, soul, and spirit; and as such, when one area is facing challenges it will affect the other two areas, as well as the expression of the voice, tone, attitude and even the extent of the performer’s control over their vocals at any given moment.  [I also touch on this topic in my article about layering.]

Afterwards, the writer’s side of my brain kicked in and I began thinking of such things in terms of character development.  As I build a character’s profile, something must challenge that character or they’ll come across as flat and lifeless.  If a character had a traumatic experience with water as a child, they may have to face their fears through swimming across a lake, or getting into a rickety boat; if they’ve been abandoned by a parent, they may need to recognise a paralysing fear that keeps them from committing to relationships, and their arc may have primarily to do with overcoming that fear or not – it may be a side issue, but it will still add depth and humanity to the character.

Whatever weaknesses or challenges I decide on for a given character will guide the story to some extent; they will also influence their attitudes, responses and reactions in connecting with other characters.  These things will in turn influence the way they dress (rebellious, reserved, bold, fearful, quirky to keep people at a distance, etc.), the way they might walk or talk, or certain quirks like mannerisms or ways of speaking.  I might go through a list of a hundred related items (if they’re the main character, especially) to narrow down who the character is, even though most of it might not make it into the final cut.  The more I understand my character, the more consistent their responses, dialogues and actions will be throughout the story.

I just thought I’d share these thought processes with you, in the hopes that they can inspire you in your own characters’ developments.  Give them challenges, and find ways they can overcome (or be temporarily overwhelmed) in the midst of other more pressing issues, and (if you’ve chosen the path of hero-success over hero-failure) still find a way for them to triumph in the end.

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Imagination vs Knowledge

Some say that imagination is more important than knowledge; to a certain extent, that may be true because imagination leads to new discoveries, inventions, and revelations.  But knowledge is often the basis for such discoveries; that which has been passed down by others who’ve researched, discovered, identified and recorded are the foundational stones upon which things are often built, whether in science, technology, or life in general.

beware-of-the-half-truth-wrong-halfIn this day and age, however, sometimes imagination overtakes knowledge (or simply ignores it).  An informed mind is a powerful tool; an uninformed mind can be a dangerous weapon.  This is true whether writing non-fiction, fiction, or passing on something on social media.  We should beware of the half truths – we may have gotten hold of the wrong half.

It’s now more important than ever to test the veracity of reports and even images; anyone can make an ass out of an angel, so to speak, with photoshop, et al.  How much misinformation is spread by simple carelessness or wilful misdirection (that includes, unfortunately, mainstream news media)?  Or by assuming that since something is from a trusted friend it must be true?  How often have you gotten upset by an article you’ve seen and commented on it, or passed it on, allowing it to form an opinion in your subconscious at the very least, and in your active thoughts at worst, only to find out later that it was a false report, a hoax, or sloppy journalism?

abraham-lincoln-internet-quote

As you probably know, I love to learn; I have a steel trap of a mind for little bits of trivia, like the fact that certain microbes concentrate and disperse (read “poop”) gold, or that all living creatures, including you and I, emit visible light (probably a byproduct of biochemical reactions).  As a writer of fiction that comes in handy; I can extrapolate knowledge and use it as a plot detail or a character quirk; but when I’m writing a blog, e.g. about a historical detail, I want to make sure I get it right.  A case in point was an article I wrote in 2014 about post-mortem photography in the Victorian period; it was by far the most popular post to date on that blog and continues to generate interest.  In particular, two points from the article were addressed, researched, and edited/corrected either in the article itself or in the comments and discussion that ensued.  Mistakes happen, but when I catch them, I will do my best to correct them!

For writers, it is important to cross-reference anything you find online, especially if you’re basing something significant on it such as character development, location, or plot.  Assumptions can also get you into trouble; I know that Geneva is part of Switzerland, but in writing 18th-century fiction, I need to be aware of the fact that it was merely an ally of the Swiss Confederacy from the 16th century, but only became part of Switzerland in 1814.  Any reference I have to it in my trilogy needs to reflect that fact.

I recently read a collection of short stories on Kindle, and on nearly every single Kindle page there were mistakes (that adds up to a lot of mistakes per manuscript page!):  Missing words that the authors assumed were there, typos, commas 2 or 3 words off-position, stray quotation marks, and countless words they assumed were the correct ones but obviously were not (e.g. catwalk instead of rampart for a castle).  This is where imagination overtook the writer, and knowledge gave way to ignorance…  I have understanding for one or two such errors in a manuscript of that length, but none whatsoever for several per page; that simply smacks of laziness and poor-to-no editing, and it boils down to an unintentional slap in the face to any reader who’s taken the time to read their story.

Knowledge without imagination is like a rusted hinge; imagination is the oil that makes the knowledge come to life, and the writer is the door handle that opens the door to new worlds, new ideas, new discoveries, and inventions. It sounds noble, doesn’t it?  But did you realize that many of the electronic gadgets we take for granted today were at one time birthed in the imaginations of men like Gene Roddenberry, creator of Star Trek?  It inspired countless children who went on to become astronauts, scientists, and engineers, who made those science-fiction inventions become reality and discovered distant worlds (now known as exoplanets).  I’m waiting with bated breath for the transporter to replace airline security queues…

Those hinges are necessary, as is the oil, so that the door handle can do its job and get out of the way, allowing the world beyond to unfold.

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Filed under Articles, History, History Undusted, Musings, Nuts & Bolts, Plot Thots & Profiles, Research, Science & Technology

Wordless Wednesday no. 16: Book Nook Inspirations

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February 16, 2017 · 12:19 AM

Buying Credit

No, the title is not referring to money or cash cards, but writing.  Stick with me.  If you’ve made yourself at home here and nosed through my cupboards, you’ll know that I do a LOT of research.  I love it.  It adds spice to my character’s meals, salty spray that blackens the redcoats of marines aboard a royal navy ship, tells me that heated arsenic smells like garlic, and makes the ship creak so loudly you’ll swear you’re going down to Davy Jones’ locker.  But there are times when, as an author, I’m required to blur the lines between fact and fiction.

There are certain things that people erroneously assume (such as Viking helmets) that I may need to adapt in order not to lose a reader’s trust (though trust me, I will never add horns!):  The sentence structures of bygone days were far more complex, with vestiges of Germanic linguistic influences – for my current manuscript (set in 18th century England and mostly aboard a Royal Navy ship of the line) I need to modernize the syntax without losing the High English flavour, and without compromising on the linguistic purity of my story’s time-setting; modern sensibilities (in social ladders, issues such as slavery, war, etc.); laxer standards (in, say, relationships or politics or social ranks), and so on.  A modern reader will most likely not appreciate the complex social mores of a time when men and women were never alone in a room – even when the man wanted to propose to the woman, and the parents wanted it to take place; and so, such things need to be adapted at times, to a certain extent, to reach a modern audience without alienating the audience that revels in bygone literature.

If I, as an author, want my reader (who is perhaps a stickler for all things historical) to give me the permission to bend a few social rules of the 18th century, I must first buy credit with them – prove to them that I’ve done my homework – so that they won’t get ripped out of the story in disbelief when I contrive to leave a man and a woman alone in the same room without a chaperone.  In my current manuscript, the husband and wife come from opposite ends of the social ladder, and the husband becomes a captain in the royal navy at the tender age of 20 or 21.  Both of these situations have many historical precedents; I know that from countless hours of research.  But most people who read historical novels might think, “But Viking helmets always have horns” – or something to that effect.  If written well, these disparities in understanding can be smoothed over, so that when I really DO break historical moulds, I am allowed to do so without offending the reader “in the know”.

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1761, Lady Elizabeth Keppel, by Sir Joshua Reynolds

This portrait illustrates an important point:  Many people, when thinking of the British rule of India, perceive it through postmodern lenses; we see it from the hindsight of Gandhi and the independence of the country from the imperialistic rule of British paramountcy.  But the other aspects were the children and wives of British soldiers, diplomats, and tradesmen, and the loneliness faced, the friendships struck with Indian men and women… these are important aspects to weave into a story, too, and thus require research.  Notice the pearls adorning the Indian woman below?  The researcher in me wants to know her story far more than the story of Lady Keppel (who died of a broken heart at the age of 29, just months after her husband had died of injuries from a riding accident).  Some readers may get jolted out of the world you create by the pearls, though it is historically accurate – so you’d still need to buy credit by setting up that aspect well.

These same credit-buying rules apply to any genre, even science fiction:  If you create a world set on another planet, that world will have laws – physics laws, indigenous social mores, etc. – and you as a writer must know what they are, and if or how they can be broken if need be.  You can’t claim that all liquid on the planet is frozen, and then have your character drinking from a fountain or stream, unless you explain how that’s possible.  If you do, you’ve taxed your believability credits and pulled the reader out of the world they’ve agreed to follow you into.  The manuscript that I’ll work on next (after the current one is published!) is science fiction; the air of the planet is toxic to humans, so I need to create a way for facial expressions, dialogue, etc. to come through even when the characters are outside in their suits.  I have done a lot of preliminary research into geology (that told me about heated arsenic, among other things); I also need to explain how a planet with multiple suns can have a stable enough orbit not to be drawn into one of the stars and burn up – i.e. I need to follow known physics laws, or explain how they are suspended for my planet.  I think you get the idea!

So if, as a writer, you want readers to believe what you write about a fictional character set in British India, you first need to buy credit with your readers by doing your historical homework and sculpting the landscape and characters in the rich tapestry they deserve.  If you are writing science fiction, establish your world and stick to your rules so that, if you need to bend them for a plot development, the readers will be willing to follow you on the adventure.  Whatever you do, keep writing!

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