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A Book Report on Peter Rabbit

Published October 7, 2016 by admin

I know, I know, it’s been forever.

I feel like I’ve needed time away to realign and figure out what works for me. Some days it feels like my whole life is about learning how to balance. I still have a huge to do list and a lot of things to get to, but the great news is I’m starting to write again.

Who knows if it’s any good, but they’re words and they’re mine, so that’s something.

The past year, whether it’s been blog posts or stories or longer works, I always feel like my timing is off, or if I just wait and get rested or eat something first, or tick off fifty things on the list so I’m really ready to concentrate, then I can write. Maybe. Of course you know how that goes.

Back in the bronze age of my childhood, I was obsessed with the Peanuts comic strip and characters. In the course of my life if I haven’t read every single strip, I’ve probably come close. Seriously, I’m a walking Wiki for Peanuts, it’s a little terrifying. What started out as a way to get close to my parents (they read the strip all the time) turned into a love of Snoopy and his antics and grew into an appreciation for the more intellectual humor as I grew older and understood all the nuances. Plus, it was an easy way for the folks to bribe me into doing my homework (our libraries had a ton of Peanuts collections at the time). This was back in the day when you didn’t need a holiday to have an animated special on network television, and Snoopy and the gang popped up pretty often (plus every Saturday on their own TV show).

Most people who know of You’re a Good Man, Charlie Brown know it as a stage musical. It’s not particularly hard to put on, so most groups do it (I helped do costumes for it in college, never knowing that everything I was learning about costumes and the Peanuts brand would help me out later on in life, ever proving that my goal list was written by my six-year-old self). It was also an animated special back in the day, which was my very first encounter with it. We taped it from TV so I could watch it all the time and annoy the adults by singing it any time I wasn’t in front of the television for like six months. At least. Random phrases still pop into my head and if you drop a line in front of me I can’t guarantee that I won’t go full on Snoopy on you. It happens.

There’s a song in the show called ‘Book Report,’ and I remember being impressed with it and being really irritated by it as a kid. It’s a cool concept and a great set-up. Admittedly the vocals can be a little grating in the animated version, but it was more that I was one of those people that was intent on being the best student ever and NONE of the characters were taking their assignment seriously! Lucy’s just hitting the word count, Schroeder isn’t even talking about the same book, Linus is going above and beyond, but he was too smart for me to relate to. Plus I viewed him as younger than me, so what did he know? And the song just always makes me feel sorry for Charlie Brown. Poor Charlie, the procrastinator, the worrier, the one who feels that if he can just get rested or start a little later because he works better under pressure or have a snack first, it’ll be okay. It made me so frustrated because if he’d just GET STARTED he’d see that he could do the report and it wouldn’t be so bad! Even his last line would just make me so irritated because he could’ve been done already!

Here, just see for yourself

Yeah, you know where I’m going with this. Just put a striped shirt on me, because that’s where I’ve been the past year or so. I’ve had to grit my teeth and be a little bit more Lucy, maybe curb my Linus researching tendencies a smidge, and stop thinking of every other thing I could be writing while trying to write something else, like Schroeder. Argh, it’s worse than I thought, the whole Peanuts gang resemble my bad habits when I really want to be Snoopy off having adventures and not even having to do menial stuff. Except that I love writing, and writing is my excuse to have adventures.

But I’ve especially had to step away from my inner Charlie Brown and Just. Start. Writing.

Sometimes that’s what it takes, for better or worse. Just start and see what you end up with and worry what becomes of it later. Not the easiest thing for me, but I’m getting there.

Or, if you rather:

A book report on Peter Rabbit…

 

 

 

 

It’s Imaginarium time!

Published October 4, 2016 by admin

I know I’ve been away a while, but I wanted to make sure to let people know that I am alive, and I’ll be in Louisville this weekend. It’s the annual get together of writer-type people, otherwise known as Imaginarium!

Seriously, if you haven’t been there and can get there, do it. There are so many panels and workshops available on not just how to get started writing, but the business of writing, marketing, plus a lot of genre subjects, as well. There’s a film festival, gaming, parties, and all the stuff that makes cons fun, but what really makes this one special is that it’s a one stop shop for learning about craft and networking with other like minds. This year’s GOH is Briane Keene. Elizabeth Bevarly, Jim C. Hines, and Jason Sizemore will be there, as well as loads of other talented people.

Plus, me. I’ll be there, talking about stuff, selling books and other fun things, and doing my annual duty as costume contest monarch. Or something.

Imaginarium is from October 7-9 at the Crowne Plaza in Louisville, KY. More information can be found at http://www.entertheimaginarium.com

 

 

 

Southern Haunts 3: An interview with Alexander S. Brown

Published May 8, 2016 by admin

SouthernHaunts3TourBadge

It’s blog tour time! Today I have an interview with not only a fantastic editor and author, but one of my favorite people and podcasting co-host. But first, ze book.

SouthernHaunts3Cover_1200X800

Amazon           B&N

Genres/Subgenres: Horror, Short Story, Paranormal, Occult, Folklore/Southern Regional

Deep within the South, read about the magickal folk who haunt the woods, the cemeteries, and the cities. Within this grim anthology, eighteen authors will spellbind you with tales of hoodoo, voodoo, and witchcraft.

From this cauldron mix, readers will explore the many dangers lurking upon the Natchez Trace and in the Mississippi Delta. They will encounter a bewitched doll named Robert from the Florida Keys, and a cursed trunk that is better left closed. In the backstreets of New Orleans, they will become acquainted with scorned persons who will stop at nothing to exact their revenge.

These hair raising tales and more await you in Southern Haunts 3: Magick Beneath the Moonlight. Read if you dare.

Authors:

Alexander S. Brown

Angela Lucius

  1. H. David Blalock

C G Bush

Della West

Diane Ward

Elizabeth Allen

Greg McWhorter

John Hesselberg

Jonnie Sorrow

Kalila Smith

Linda DeLeon

Louise Myers

Melissa Robinson

Melodie Romeo

J L Mulvihill

Robert McGough

Tom Lucas

***

SJ: Tell us about SH3.  What makes it unique compared to 1&2?

ASB: Actually, each vol. of Southern Haunts is unique, as the subjects vary with each book.  Vol 1. Spirits that Walk Among Us, focused on ghosts.  Vol 2. Devils in the Darkness, featured on demonic entities.  Vol 3. Magick Beneath the Moonlight, regards witchcraft and cursed objects.

SJ: Why witches?  What attracts you to the theme?

ASB: I have always been attracted to the occult.  I find the whole subject fascinating and since Spirits that Walk Among Us was published, it was only a matter of time before we released an anthology about magickal persons.  But for this to happen, I had to wait.

For vol. 3 to be about witches, there is a great significance to the vol. number and the subject matter.  In the occult, there is the belief that what one puts out into the world comes back to them in triple abundance.  Also, in paganism, the maiden, the mother and the crone are recognized and honored as a trinity. These reasons are specifically why this vol. could be none other than occult related.

SJ: What makes for a good southern horror story?

ASB: Multiple elements can make a good southern horror story, such as elaborating about the habitat, cultural development, history, verbiage, and so forth.  But personally for me, what makes a southern horror story great, is the way that it is told.

Many times during childhood, I had found myself at family gatherings and I would overhear elderly relatives speak of infamous legends from the region.  The richness of their slang and phrases, made their ghost stories all the more horrifying, because it seemed more personal.  It seemed like the story tellers weren’t utilizing proper words and phrases to identify something infamous, they were using an age old southern dialect that seemed even more tangible.

SJ: Why do you think readers gravitate to themed horror like this, especially in short form?

ASB: I think the majority of readers are under attack from having a short attention span.  Because of life being so hectic, short stories can allow readers to enjoy complete stories in minimal time.  With the subjects being themed, it lets the reader know immediately what they are in store for.  This can result in a quicker purchase.  For example: Southern Haunts 3 is about witches, the title and cover image are self-explanatory.  If the reader loves witches, they are more likely to purchase.  If that reader is not a fan of magickal themed stories, then perhaps Southern Haunts vol. 1 or 2 is more their preference.

SJ: What are the benefits of anthologies?  Any downside?

The biggest benefit for an anthology is that it presents readers with a diversity of authors who they may not have read before.  This works well for the author because it can help them gain new fans.

The downside to anthologies is that no one really makes money, as book royalties are normally split between 15 to 20 creators.

SJ: Was it different wearing the editor hat compared to being an author?

ASB: It was quite different.  After finishing Southern Haunts vol. 1, I had a new respect for editors.  To me, writing is simple and relaxing, editing is time consuming and feels like work.  Although I prefer writing more than editing, editing the Southern Haunts series has improved my writing skills.

SJ:What is the best thing about putting a book like this together?  The most difficult?

ASB: The best thing about constructing an anthology is seeing likeminded authors come together and submit their creativity.  It is a good feeling to know that other names in the profession want to work with you and contribute stories that might have been stuck in their head for quite some time.

The downside is when I have to reject stories.  I can understand how an author might think that it’s so easy for an editor to dismiss a story, and this isn’t the case.  For me, sending a rejection email, hurts me just as much as it does the author.

SJ: Any advice to authors who are interested in submitting to anthologies?

ASB: First, research the publisher before you submit.

SJ: Second, follow the guidelines.  Sometimes guidelines are overly specific with their requirements, even down to spacing, font, and letter size.  Obey all of these rules.  A lot of times, editors will use these demands as ways to see if the author payed attention, or cares about their work.

SJ: What’s next for Southern Haunts? For you as an author?

ASB: For Southern Haunts vol. 4, we are anticipating creature stories.  We haven’t decided on a title yet, but it will follow the theme of its predecessors, but with monsters.

I have a few books that are in the works.  One of which is in the final edit stage, and is being published by Pro Se Press, this will be a collection of Halloween stories called The Night the Jack O’ Lantern Went Out.  I have one story left to write before Traumatized pt 2 is complete, and The Looking Glass Creatures is currently undergoing a massive edit.

AlexanderSBrown

Alexander S. Brown is a Mississippi author who was published in 2008 with his first book Traumatized. Reviews for this short story collection were so favorable that it has been released as a special edition by Pro Se Press. Brown is currently one of the co-editors/coordinators with the Southern Haunts Anthologies published by Seventh Star Press. His horror novel Syrenthia Falls is represented by Dark Oak Press.

He is also the author of multiple young adult steampunk stories found in the Dreams of Steam Anthologies, Capes and Clockwork Anthologies, and the anthology Clockwork Spells and Magical Bells. His more extreme works can be found in the anthologies Luna’s Children published by Dark Oak Press and State of Horror: Louisiana Vol 1 published by Charon Coin Press.

Visit Smashwords.com, Amazon.com, and Barnesandnoble.com to download his monthly short stories known as Single Shots. These are represented by Pro Se Press and they are known as stories that will be featured in the upcoming book The Night the Jack O’Lantern Went Out.

 

On Markets and Getting Started

Published April 13, 2016 by admin

One of the things I get asked about as a writer is where to submit when you’re ready. My first response is to write out a pile of stuff before you start submitting, because it’s way easier to get a rhythm going that way and rejection doesn’t suck as bad when you’ve got a lot of other things to think about.

The thing is, you have options. I get the worry about wanting to pick the right place and wanting to pick a legit place. Any place that requires you to pay, no. You also need to really review any sort of contract your given in terms of what rights you’re giving – be wary of perpetual rights because you will never get those suckers back. Be leery of giving up any sort of tax info until it’s obviously needed.

In terms of for the love/exposure markets – everyone has a different view of them and you have to decide if that’s for you. I’ve done a few to get a few credits to my name, I’m not really into that sort of thing anymore. The problem is these days not a whole lot of people want to reprint things unless you’re a big name, so you have to decide what a non-pay market is worth to you.

So, where do you even look to submit to stuff?

Writer’s Market is the basic thing that everyone turns to. They put out a new book every year and they do a site with a fee, as well. I’ve used them, I’ve had a little luck with them but not a huge amount. If you write very specific genre work, this can be a frustrating lead unless you’re looking for an agent. It’s not good or bad, but it also depends on who’s listing with them that year.

Ralan – This is one of the best websites I’ve ever found for genre-specific submissions. It breaks things down in terms of pro, semi-pro, pay, for the love, anthology, and book markets. It does a fairly good job of keeping things up to date and has links to all listings. Also free to use.

Duotrope – A site that charges a small fee, it’s also pretty good for genre-specific work. I used it before it went pay with mixed results, but it’s a great way to keep an eye on all the markets out there. I also like how they do their listings, as well.

With anything, read each listing. Read each site on the listing. If they offer a free or reduced sample copy or online examples of what they’re for, look at it. Look them up on writer’s beware or preditors and editors. Follow your gut if it doesn’t seem to be for you. Ask those around you if they’ve heard of them, submitted with them, etc. What people seem to forget is authors talk to each other, online and in person. I have healthy relationships with truck-loads of people and I definitely have asked their opinions on different places and vice versa. If you go to conventions, definitely pitch to publishers there (or at least talk to them), but also talk to any authors there with them and any authors there not with them. Talk to people. Talk some more. Don’t be afraid to get the skivvy.

This is also where writing groups are nice. If you have a group, a mentor, or are in writing groups on social media, ask around about places. I think sometimes we get so desperate to submit our stuff to places, we forget that we also have to keep some sort of control. You don’t want your dogs to destroy other people’s lawns, but you also don’t want other people stealing them when you think they’re just going out to do their business, either.

Or something.

There are also a lot of market listing groups on Facebook, and I’m sure there are other places on various social media sites, as well. Twitter is becoming known for agent submissions, and there’s always something new out there.

There are always places to submit your fiction to, so no worries.

It is, however, up to you to decide if every place is worth your time and will be good to you as an author, be it a magazine, e-zine, publisher, agent, whatever. This is why you read about contracts, rights, typical processes, and all the rest, and then decide what your threshold is. Take a deep breath and do your homework. I know, there’s unfun stuff in the creative world too, believe me I know, but you’ll be better off knowing what you’re looking for.

Other than that, pay attention to what submission guidelines are, whether it’s the format they want things submitted in or the type of story they’re looking for. And, as always…

Just keep writing.

 

 

 

Permission Granted

Published April 6, 2016 by admin

I want to get back to talking about writing and creation specifics off and on. I get that I may not have as much credentials as Stephen King or JK Rowling, but at the same time, sometimes I think it helps to hear what people are dealing with and their take on different parts of the process. Like anything else, I hope you know that your journey is just that: Yours. It is specific to you and things will change as the world and businesses in them change. There’s no way to draw a direct map from A to B, no elusive magic that will suddenly zap you in the butt if you want it bad enough or happen onto the right place at the right time. It’s work and a little luck and paying attention.

Beyond that, though, I think there is an ingredient that we don’t talk enough about.

Ten million years ago, I was writing original fiction in secret while still keeping an eye on fanfic lists. This will probably forever be a guilty pleasure of mine off and on, but at the time it was a way to have friends with similar interests when being a girl with geek interests wasn’t a great thing. It still isn’t looked at as a great thing to be, but that’s another post, entirely.

A long-time friend was a sounding board to a lot of off the wall ideas I was flinging at her, a lot of which involved a lot of intricate mythos and legends that I’d either need to warp or reinvent or whatever. These days, that’s my life, but back then? It felt like I was staring up at a million foot cliff with no rope. She was able to help me fill in a lot of the blanks with obscure Celtic legends, but suggested I hit up a friend of hers who was doing some amazeballs work at the time. Not only was he behind some of fandom’s up and coming events, but he was working at a graphic novel company, as well. I knew better than to outright hit anyone up for an opportunity, and this was long before I even had enough of a concept to pitch anything or would dare to do that anyway. These days, that’s a lunch conversation. I emailed him explaining how I got his address,  our mutual friend, and the big fat impossible wall I was facing.

I don’t have the email anymore, but the sentiment still very much rings true. His reply was incredibly nice and he said it sounded like an intriguing idea, an intriguing world, and he agreed I still had some work to go.

I don’t know what I had been asking for or what I was expecting, but the womp-womp sound effect would perfectly describe my mood upon reading that.

He went on, though. He said something like I obviously knew where I wanted things to go and had a huge drive to do it, and it actually seemed to him that the problem was that I hadn’t given myself permission to do that…just do it. He went onto say something that I’ll never forget: that if I couldn’t give myself that permission, he would give it to me, right here, right now. I had his permission to go work on this project or whatever else I wanted to write.

Huh.

That still can be a hang-up of mine. I put the cart twenty miles before where the horse is stabled, I’m worried about things that don’t need to be addressed immediately. Now I recognize it, because it definitely gets in the way of what I want to be doing at any given time. Then, his reply was a distinct revelation, and it’s one I go back to in my mind when I get ideas but immediate jump the gun and start getting anxious about everything except actually just getting started.

A lot of people I talk to talk of someday: someday they’ll write the book or make that outfit or take that class. Or, a lot of people use the c-word. ‘Oh, I can’t do that, I’m no good at this, I don’t know how…’

I hate that mindset. I  hate it about myself and I hate that the world in general cultivates it. That is one of my biggest pet peeves and if I ever meet you at a convention and you say something akin to that and I vault a table to yell at you, I’m sorry. I do it out of love, I swear. Here’s the thing:

1. You are alive, right?

2. Then there is time because you aren’t dead.

3. Learn. or try. or do. If it makes you happy, do it.

4. Didn’t work and you still want to? Repeat.

That’s all it is, folks. Seriously, whether you’re wanting to do something for a hobby or a profession, there you go. I think we scare ourselves into thinking we can’t write a book unless it’s a best seller. We can’t make an outfit unless it’s on a runway. We can’t act unless Joss Whedon is going to be directing us or Oscars are involved.

If you want to do something, please take away the end result and just do it. Give yourself that permission. It may lead to nothing it may lead to material results it may lead to soul results. But if you feel like you have that hot fire under foot feeling and are staring up at the wall and freaking out, then ask yourself what you need, why are you freaking out? Do you not know something and are scared to go look for those elements? Are you just feeling intimidated? Are you afraid of what people say? Are you scared of putting in that work and having nothing come of it?

Now, more than ever, it’s easy to find information and missing pieces of puzzles. It is very easy to feel intimidated, but think of what you’re starving your soul out of by not at least trying. People say a lot of things and they usually don’t remember them a month down the road. I’ve had a lot of projects happen that came into nothing. You’ll live, trust me. Beyond that, though, I still care about them, and as long as I care, they can always be reborn, transformed, or reused. There’s life after death for ideas, I swear.

And if you’re just flat-out in denial of your gifts or scared, I am telling you it’s going to be okay. Okay comes in many forms. It will be fine. Please, please, give yourself permission to do that thing that you really, really want to try.

And if you can’t do that? Then I’ll do it for you. I give you permission to go create. Go write. Go make something. Go paint. Do it for you, do it because you have to, do it to see what other people say, do it for whatever reason, but do it. Slam out those words and ideas, sing that song, put your spark into the mass bonfire and watch it catch and sparkle.

It will be okay.

Permission granted.

 

Prose: Thoughts of a Girl with Mousy Hair

Published March 26, 2016 by admin

I don’t journal like a normal person. I’ll do a few entries in a book, but a lot is on random sheets of paper, random thoughts on random things, nothing that really provides a decent, day-by-day narrative of my life, because who needs that. Consequentially, there are sheaths of paper in my files that would probably paint me as a crazy person if someone didn’t know the circumstances or if it was some sort of exercise or automatic writing or something.

Case in point, I have no idea why I wrote this or when, other than it was pre-2011, most likely. I go through my files every now and again, and this one has special meaning for me lately. Not only does it obviously speak to my Bowie fixation, but I’ve got to work on a piece that let’s just say takes inspiration from a certain song. So yeah, these are the things that ramble through my head at two am sometimes.

Lord, I talk way more formally in my ramblings than I do in daily life. Just sayin’, never expect me to be this insightful in real time in real life.

***

           Is there life on Mars? It’s something I’ve randomly discussed with everyone from my best friends to my grandmother. It’s fun to think about, or it was for a long time. Maybe that’s why the song first appealed to me.

The first time I heard ‘Life on Mars?’ was when I was a freshman in college and no more than a baby in the scheme of life. It was on a reissue of David Bowie’s hits, and being the new fan I was it seemed reasonable to run into Wal-Mart at six in the morning before my first class of the day. I still have the CD somewhere, still remember the blue and purple coolness of the Ziggy-era face that graced the icy cream cover. I had no motive other than to learn what I was missing, to add to my growing collection.

I have absolutely no idea what drew me to that song. My guesses were endless. It was by my favorite artist, an artist I wanted to imagine I could grow up to be in a female form. It was a ballad of extraordinary depth and skill, which appealed to my classically- trained elitist nature that was yet to be stomped on by my growing love of rock. Every note from the intro on coalesced with the imagery of the lyrics to provide a certain, elusive something that I couldn’t quite catch no matter how many times I hit the repeat button on my stereo. I went for years falling in and out of love with it, hearing it on soundtracks, comparing the original to cover versions that ranged from decent to atrocious. When I finally saw Bowie perform live I nearly lost my mind when he opened with that song. He somehow put life back into  a song that I almost had shoved away with the equally elitist thought that it was something everyone liked but wasn’t up to par with the Berlin-era songs, every stupid excuse that kept me from simply enjoying the music.

It was only after years of triumphs that were really small little victories that got me no closer to my grandiose dreams than when I started, of speed bumps and tooth and nail fights for what I wanted, of time spent in and out of the abyss and then nursing myself back with what-if’s, if-only’s, and fantasies that numbed instead of nurtured, that I realized why I felt so deeply during the opening chords. I suddenly knew why I’d always felt a pang of soul-sickness in the first verse, knew too well why it was all too easy to picture the scenes in the chorus.

All those years I’d been listening to a song somehow inadvertently written about me and I hadn’t even realized it.

I don’t like to think or harp on the times in my personal life the melody conjures in my head. The association and cold realization at the time was almost too easy to ignore. My hair has been many colors over the years: red, auburn, blonde, green, but somehow it kept returning to an unassuming mousy brown. Sure there were tensions at home, but nothing worse than most middle-America families. Sure, at times the folks didn’t understand and had their own opinions about me, but that was how parents were, wasn’t it? Sure I had bouts of loneliness, trouble explaining my inner workings. I’d been accused of escapism and pop-culture referencing and association, but I’d been out in the world! I was living life. It didn’t matter that I wasn’t “there” yet, that I couldn’t rub my prowess in the face of those I went to high school with. That really didn’t bother me.

I wasn’t ashamed of myself. It wasn’t like I was hiding. It wasn’t my fault the economy made it hard. Not my fault if I kept trying to climb the ladder to no avail. Not any big deal that I had ideas but couldn’t get anyone to listen because they were so different. Not a huge issue if I was shy beyond what I liked to admit and covered it up with bravado and a cultured crassness. And besides, didn’t everyone find it easier to sit in front of a DVD and proclaim “I could do that!” instead of being kicked down repeatedly for not having the right connections, for not knowing how to get C from A plus B no matter what their schooling and experience?

Then why was I so scared? Why so dejected? Why couldn’t I ease up on myself even when making progress? Why, despite compliments and sincere good intentions did I feel so completely tired of it all, a burned-up match stick of creative fire, mousy inside and out?

Oh, God, it was about me. It didn’t matter if it was more archetype than exact, didn’t matter if it was written before I was born.  Didn’t matter at all.  The lyrics were my entire life being belt out in time to a piano that seemed to display everything I felt but couldn’t express.

So then what? How does one convince the lawman he’s got the wrong guy? How do you stop the sailors from wrecking the dance hall or put the cavemen back into their proper times? Is it a matter of something drastic? Should I go to another country, secede from the shouting? Should I do the reverse, admit defeat and cram everything back within the confines of myself? Could I even do that?

No. As suddenly as I recognized myself and was horrified at the recognition, the solution hit and hit was much, much more difficult in the scheme of things — for my personality, anyway.

There would be no spitting in fool’s eyes or even the foolishly well-meaning, no waiting around for those that won’t show, and no sticking around hypnotized by the flashing colors on the silver screen until the end credits. I had to wipe away the tears, the frustration, everything that gained me only perverse sympathy that was well-meant but not useful.  I had to sit up, get up, and walk a step at time out of the cinema to untangle myself from the enchanting what-ifs and start  to discover the magic in the is, the unpredictable, the real.

It’s not easy, especially when the whole world seems to be fixated on the Mouse selling out and Lennon is for sale everywhere there’s a Wal-Mart. A step at a time. A word at a time. I don’t pretend like I won’t find myself back there at times; it’s bound to be writ again and again and again.

But it helps to know that that fear isn’t all I am. I can leave the dark cinema of frozen, bewitching dreams at any time and go see what’s hidden in the street, the sun, the dirt, and other people.

And I’ve also realized that if I look close enough, my hair’s not mousy at all, but a plethora of little colors making up the whole. Life is far more complex than a bold assumption or a lofty statement. Is there life on Mars? Who knows?  All I know is that mine is right here and right now, wherever I’m at.

 

SJ Reads: Creative Edition

Published March 22, 2016 by admin

So I’ve been reading a ton lately, and figured that it would be good to go back to these posts. I’m trying to group by theme, and feature the ones that I think are the most beneficial/best examples of the genre – or if I’m not all about them, then use them as an example of their high and not-so-high points.

Today, we’ll be looking at books on being creative: whether that means marketing, writing, or whatever, that’s up to whatever I’m connecting with at the moment.

Steal like an Artist by Austin Kleon – I love this book. This makes me excited to do things, and it’s a really fast read. It will get you motivated, whether through his advice or unique poetry. There’s a lot of practical advice, and although it’s a short, fast read, the author isn’t just giving out sound bites. I felt altogether better after I read it, which is a big plus.

Show your Work by Austin Kleon – I bought this after I had done a store signing,and I’m actually still reading it. Maybe it’s because this is where I have a harder time, but it’s a more slow-going book for me. However, I still love his positive vibe and that this book reads more like talking to an actual person than someone touting around a bunch of titles or whatever. I value the words in the book because the author comes across as so normal and group-oriented.

The Author’s Guide to Marketing With Teeth edited by Michael Knost – This is a Stoker nominee for a reason. The draw is that it combines a lot of essays and interviews by famous/well-to-do authors about promotion, but don’t ignore Michael’s intros and interludes, because not only does he know his stuff, but he’s articulate and puts it in an approachable form. This goes over a lot of basic things that people tend to forget about, and it’s great to have in one volume.

Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert – I love Liz Gilbert’s stuff anyway, but this was the book I’ve been waiting for. I’m still reading it, but her upbeat, loving nature shines through every page. She uses a lot of her personal experience or experience of those around her, and addresses a lot of personal moments, like how to handle fear, what role creativity actually has in your life, and on and on. It’s one of those that I know I’m going to read repeatedly, because I can feel myself emotionally plugging in the moment I open it.

The Art of Asking by Amanda Palmer – Another one I’m still in process with, because a lot of it strikes a chord with me. Written after her TED talk on the same subject matter, Palmer goes through her career and talks a lot about her own artistic journey, her relationship with her fans, and leaning on others in different forms. Powerful stuff.