When Perfect Isn't Good Enough

It's probably an odd thing to say on a blog from a writer, a blog that often deals with writing, and from someone who teaches creative writing, but I was a math person when I was a kid. Technically, I suppose I still am, but I loved math when I was a kid. I did math for fun when I was a kid. Seriously. I loved math and I loved to read; I suppose that was an odd combination. People seem to think so, anyway. At any rate, I gave up on math a long time ago. It all started with geometry.

Don't get me wrong, I was good at geometry, excellent, actually, but I'll get to that in a moment. I was good at it; I just hated it. To be fair to Geometry, it wasn't Geometry's fault that I hated it. No, that honor goes to the teacher who made us memorize all the theorems and postulates by chapter notation. So, on a test, if we had to do a proof (and you always had to do proofs, because that's what geometry is), and we needed to use a particular theorem, we had to know it as, for instance, Theorem 16.2 and, then, quote the theorem. But the 16.2 part was completely arbitrary based on the book we were using, and it kind of pissed me off that we had to know that when it was completely not useful once we were out of the class.

Also, I hated doing problems that could potentially take up an entire sheet of paper.

But I was good at it. As in, I had the highest grade in the class good at it, and I didn't even pay attention. Reading was strictly forbidden during my geometry class. The teacher routinely had a stack of books she'd taken away from students for reading during class, but she let me read. I suppose when you have a student whose carrying 106% that it might be safer just to let him read. Did I mention that this was honors geometry? Yeah, it was.

There are two things you need to know:
1. Every test had a couple of bonus problems on it. [Yes, I always did the bonus problems. Not because I wanted the points, but because I couldn't make myself leave the problems blank.]
2. Along with the grade for the specific test, when we got the tests back, our overall grade was also on the test. Actually, it was our grade before the test and after the test so that we could see how the test had affected our grades.

I say every test had bonus problems, but there was one that didn't. I didn't think it was significant at the time. Not while I was taking the test, at any rate. However, I didn't feel that way about it when I got the test back. See, the 100% I'd made on the test had lowered my grade in the class. Yeah, you heard me; the perfect score lowered my grade. I sat there and stared at that for a while being kind of weirded out by it. Then, I did the math. You know, just to be sure I was seeing what I was seeing even though I knew that I was. Yes, the 100% lowered my grade.

There's just something inherently not right about that. It didn't matter from any kind of practical standpoint, but my sense of justice was... It wasn't happy with the situation. My teacher thought it was funny. And it is funny, but, as you can see, it made an impression on me. And it's a bit of a life lesson: There are times when you can do everything right, do a perfect job, and it will hurt your score. So to speak. You did all you could do, and it was all the right stuff to do, but it still has a negative impact.

I suppose the way to look at that is this:
Suppose you had done nothing. Or that you had done the wrong thing. The negative impact would have been so much greater. So it becomes all about doing the most you can to keep the negative results at a minimum. I guess, in some situations, that's the best you can hope for.

The thing that has me thinking about this is that my daughter is going through the same sort of thing right now in Spanish. She has something like 110% in the class (or 112% (something ridiculous, at any rate)) and, recently, she turned something in on which she only got 105%. Yes, it brought her grade down. She was very upset. There were a lot of "It's not fair!"s thrown around. I did explain it to her and told her my geometry story (which made her feel slightly better since it had happened to someone else), but it didn't really keep her from seething about it for a while. It just made her more determined to get her grade back up to where it was.

She has a good attitude about those things. I mean, she has the right attitude in how to deal with them. Instead of getting depressed or saying "what's the point," she's using it as motivation. That's how you respond to the inequities in life, let them inspire you to rise higher.

The Hobbit: A Review (Part 1)

Disclaimer: The fact that I'm reviewing this right now has nothing to do with the release of the movie.

Note: Those of you who have read my "Of Significance..." page may remember that The Hobbit is listed there, so this is (by far) not my first reading of the book.

As I've mentioned, I'm teaching a creative writing class at my kids' school. When it was discussed, back at the beginning of the school year, about assigning them a book to read to go along with the class, I immediately suggested The Hobbit. It was not on the "short list;" it was the list. I really can't think of a better book from which to teach writing form. Also, there is the part about introducing the kids to great literature.

My choice of The Hobbit as a book I think everyone should read has nothing to do with it being a great book. I do think it's a great book, but, mostly, I think it's a simple book. And, when I say "simple," I mean "straightforward." It is not a book with a complicated and convoluted plot. It doesn't have hidden meanings and subtleties. It is what it says it is, a fantastical adventure story. That's why I wanted to use it for the creative writing class assignment.

If you want to look at plot arc, you can. The story follows only one protagonist, and there aren't any twining branches or confusing twists. It's just "hero gets into trouble"/"hero gets out of trouble." It's easy to look at and map out and, most importantly, it's easy for them to understand.

If you want to look at character development, you can. Bilbo is not the same person at the end of the story as he is going in, and you can see the changes as they happen, and that's good for these young writers to see. Especially, it is good for them to see in a literary world where so few characters do any real changing these days other than becoming awesome fighters through some brief training montage. Actually, as I'm typing this, I think The Hobbit should be required reading for anyone hoping to be an author. These days, it's all about "voice," but I really don't care how good your voice is if your protagonist doesn't grow within the story. If the protagonist doesn't change, your story falls flat. [And, now, I'm thinking of a ton of books that I have been less than pleased with, and I think this is the reason: no character growth.]

If you want to look at how to deliver a message within a story, The Hobbit has that, too. Not hidden or veiled messages but messages told through the repercussions of the actions of the characters. I mean, you can't get more clear than when someone tells you to stay on the trail, you need to do it. And, no, that's not really what I'm talking about, but I don't want to get into the specifics until I actually get into the review. The book does, though, have strong messages about greed and war in particular.

The Hobbit, in many ways, is the perfect introduction to reading. It's a clear story that most of us can actually relate to in some way. It has humor and sorrow. It's fast and it's fun. It's simple enough for a child yet full of things only an adult can understand. It's the story that you would beg your grandfather to tell on a cold night in front of the fireplace, and Tolkien tells it that way. Right down to the hypothetical question, "What is a hobbit?" right in the middle of the narration. In short, the story is delightful. And scary. And exciting. And sad. It is full of life and what life is, and, yes, I think everyone should read it. Earlier is better than later, but, if you missed it when you were 10 or 12, there is always time to go back and make up for it.

Having said that, no, I don't think everyone will love it or, even, like it, but it's one of those things -- like chocolate or cheese -- that you just need to taste. Skipping it entirely is too much of a risk.

The Plot Line of Your Life (an IWSG post)

We talk a lot about plot and plot arc in the creative writing class I teach. If there's just one thing I want them to come away with it's what a plot is. Not just that the plot is the story but what a plot actually is and how it works and develops within a story. We look at this a lot:

Well, not this, because this is not actually how I draw it. I draw it more like a simple roller coaster -- gradually up and, then, steeply down, returning to the same level upon which it started (because that makes more sense in my mind, I guess) -- in its basic form and, then, add in extra hills to show plot complications, and, well, this is where a drawing would come in handy, but I don't know how to draw that stuff and post it here for you to see. [Well, without actually drawing it and... oh never mind. I'm not doing that right now, but, maybe, at some point, I will.]

Anyway, as a writer, I can see my plot from the outside. I know where and how the story starts; I know where the plot gets tangled; I know where and how things go bad for my characters and how those things get resolved. I know where the climax is. The climax being the most important part. Well, the most important part other than the exposition and the rising action and the stuff at the end, which, sometimes, is just the climax since authors frequently lump their falling action/denouement into a "they lived happily ever after" sort of ending.

The thing to note here is that the characters, of course, can't "see" the climax. For one thing, they're only characters, but, if they weren't, they're within the story, and they can't see what's going on beyond what's actually happening in the moment. Authors, then, have to make sure that the characters are as true to the moment as possible. That means when bad things are happening, the characters have to behave as if those bad moments are all the moments, because they can't see the happy ending that's coming. Assuming that there is a happy ending coming, but most stories do have happy endings, so we're just going to assume that that's what's happening.

It can be kind of like this:

As the author, though, we have to push the characters along and keep them from actually getting stuck. Even when it looks like there is no hope left, that they have descended to the very depths and there is no way out, we have to find the motivation for them that will send them on their way, keep the story going, take them to their climax. Remember, we know what's coming.

And here's where things get a little backwards from how I usually do them. Usually, I will give some life example and turn it into a writing analogy, but I'm going the other direction this time. This is a writing example leading to a life analogy.

So here's the thing:
In our lives, we are like the characters in a book: we can't see our own climax. We don't know what's coming. Sometimes, people decide they hit their climax during high school and everything after that is just denouement. They don't try to achieve anything else, because they make the assumption that there's nothing that will ever be better in their future. Or, maybe, it's a wedding. Or, like Orson Welles, your very first completed project.

After Welles finished Citizen Kane, he said he would never make another movie as good, and he didn't. He was only 26. I have to wonder, now, if it was because he had decided that Kane was his climax. Maybe not, but our attitudes play such a huge role in what we do and how do it that it's really hard to know. Maybe, if he'd believed Kane was just the beginning of the great things he would accomplish, he would have made even greater movies. But this isn't really about Welles.

Sometimes, we end up in  those same kinds of depths that authors drop their characters into. Like it is with those characters, we can't see what's coming. We don't know what lies ahead. All we can see is the moment. It's important to realize that our climax is still on the way. Even if it's not, it's important to act as if it is, because acting as if we're still in our rising action can propel us higher. It can make a Citizen Kane moment merely a part of the rising action rather than sending us on a slow descent of falling action for the rest of our lives.

We don't know where our own climaxes are in the stories of our lives. We can't see it from the outside, and, until we die, that story isn't over yet. There is always the chance to achieve something greater, go farther, rise higher. It's only when we decide that we've got nothing left on the horizon that that becomes true. So, no matter how bad things get or how bad they seem, remember that there's still more to come. More rising action. More complications. But, somewhere ahead, a climax. A great moment, the great moment, of your life. Don't give up before you get there.

This post has been brought to you in part by the IWSG.

A Little Bit of Flash

As I've mentioned before, I'm not a fan of flash fiction, at least, not in its current iteration. It's tricksy and false and, usually, leaves too much out. The reason for that is that it's being crafted to be short, and, generally speaking, authors are too busy trying to be clever when they write flash fiction.

And, too frequently, the author has a 3000 word story he's trying to cut down to 1000 words, and it just doesn't work. I suppose what I'm saying is that if authors would let the story dictate the word length, some of these flash pieces, although they would quit being flash, would be better stories.

I do not, however, have an issue with timed writing exercises. These will, due to their nature, lead to what amounts to flash fiction or, possibly, vignettes.

All of that to say that last week I gave one of my creative writing classes a timed writing assignment. We're dealing with setting in that class, at the moment, so their assignment was to take 30 minutes and describe a setting for me. Characters were optional but there was to be no action unless the action contributed to the description of the scene. "For instance," I said, "if you want to describe how a cliff face is crumbly and dangerous, you could do that by giving me a climber and talk about the rocks sliding under his (or her) feet or a handhold giving way or something." Basically, any action had to be about the setting.

It's amazing just how difficult that idea was for the kids. So difficult that one of the kids gave me a total action scene which involved a kidnapping. One of them gave me what amounted to a list of items in a location. One of them wrote up the example I gave, which, actually, was fine. My (younger) son is in that class, and he knew what I meant and wrote up a very vivid description, if short, of a tidal pool (which I'd share with you if I had it available at this moment (but he's at school and I don't know where it is (probably with him in all actuality), so, maybe, I'll share it some other time)). Rendering settings, I can see, will be something we'll be working on at greater length.

Since I had 30 minutes on my hands, I sat down and did the assignment along with them. It's fun, upon occasion, to sit down and see what you can whip out in a short time. And I don't mean how much you can do from a larger work when you only have, say, an hour to write. I mean just pumping out something completely new in a short space of time. So I'm going to share what I wrote. Under 25 minutes. No changes. You're getting it exactly as I wrote it in class. Don't be surprised, though, if this pops up somewhere in the future, because I already have an idea for where this is going, because, yes, what I ended up with was a piece of flash fiction done in the way the name implies: It was written in a flash.

My currently untitled piece:

Leaves rustled and blew down the hard-packed dirt of the trail in the fading Autumn light. Light that was even more dim due to the arching branches of the trees. There were no shadows; it was all shadow with a few scattered patches of light here and there down the path, speckles of light scattered from the hand of some passing giant. Or, maybe, God. Little pieces He didn't need for the unseen sunset.

Up ahead, the path curved to the left and all was dark, the scant light feeding the darkness. Another gust of wind pushed more of the leaves toward me down the path, the rustling and tumbling of the small forms giving them the illusion of spiders scurrying along the trail, brushing my legs as they went by.

Something blew at my face, a leaf caught on the wind, and, ducking, I brushed it aside with the back of my hand, snagging it on my sweater. Although I couldn't feel it, the wind must have been picking up. The limbs of the trees creaked with it and more and more leaves swirled at me down the path. One caught in my hair; I felt it, and I reached up to comb it out with my fingers...

But it wasn't a leaf. It was a spider. A spider as big as my hand. They were all spiders...

The Rewards of Failure (an Indie Life post)

As I've mentioned before, I had a non-standard educational experience. At least, it was non-standard for when I was in school. Much of the experimental stuff they did with us when I was in school is standard now. We were part of what they called a "pilot program" to see if what they did with us would work on a broader scale. Yes, I was a guinea pig, me and my friends.

The specific thing I want to talk about right now is algebra. When I was a kid, the belief was that algebra was a high school specific class. Kids younger than about 15 just could not understand it or retain it, so it wasn't taught below the high school level. My friend "Parker" and I presented them with some amount of difficulty, though. Here's a rundown:

1. Sometime after Christmas during the fourth grade, our teacher took the two of us aside and told us that she had nothing she could teach us; it wouldn't be fair to the rest of the class. Therefore, she gave us our math books and told us to just do whatever. We finished that math book almost immediately. She gave us the fifth grade math book. We worked through that one, turning in the assignments (all of them) as we went. We finished that one. She gave us the sixth grade math book, and we did the same to it. She dug up some alternate sixth grade text book, and we started to work on  that one, but, alas, school ended. We did all of that within a few months.
2. We were moved to a different school for fifth grade, one with a brand new special program for kids like us from all over the Parish (this was in Louisiana, not a Catholic thing). However, they still didn't know what to do with the two of us in regards to math because we were so much more advanced than any of the other kids. So they, um, just stuck us in the sixth grade math class, which didn't win us any friends, because we had to be singled out of the class, a couple of fifth graders, and given special work that none of the other kids could do. Mostly, though, we were just left to ourselves, because, again, the teacher didn't have time to spend on just two kids with special needs (it sounds bad when I say it like that, doesn't it?).
3. For sixth grade, they brought in a special teacher for us and grouped us with the other sixth graders in the special program we were in. They, also, were too advanced for the regular sixth grade math class. We worked through a couple of seventh grade math books but, still, no algebra.
4. Things changed, again, for seventh grade. There was a restructuring of the entire education system in Caddo Parish (maybe all of Louisiana, but I don't know about that). Sixth grade was moved from elementary school to middle school (in fact, it was that year that they switched from calling them "junior highs" to "middle schools") and a new middle school was opened, a Magnet school (following a couple of years behind the opening of the Magnet high school (the first one in the state and one of the first in the country)). The program we were in was going to be located at the Magnet school, and they were going to try us (all of us in the Gateway program) in pre-algebra.
5. Eighth grade. They were going to try for the very first time (at least, in Louisiana; I don't know about anywhere else) teaching algebra to middle schoolers. One special class of eighth grade algebra students in the whole of Louisiana. And this is where it gets interesting and is the point of all of this.

See, there was a catch to this special, trial algebra class. Not only did we have to pass the class for it to count for high school credit, we had to pass an algebra proficiency test at the end of the year to show that we had retained enough of the information for it to count as high school credit. Otherwise? Well, otherwise, for anyone not passing the test, algebra would have to be retaken. No one thought much of that test during the school year. Standardized tests were easy, right? I mean, we were a group of about 30 high achieving students and standardized tests were... snacks.

The test took place on a Saturday after school had ended for the year. Yes, we had to go take a test during summer break. [But, then, my creative writing class was horrified recently to learn that I had assigned summer reading, too, so taking a test during the summer wasn't that big a deal, I guess.] A couple or few weeks later, I got the results in the mail. I had passed. But, not only had I passed, I had aced the test. Not a single incorrect answer. "Parker" was the same.

Then we got the call. I know about the call, because I was the one that answered the phone, and my parents weren't home, so they just talked to me about it. In retrospect, I'm not sure how wise it was for them to talk to a 14-year-old about all of this, but it is what they did. As it turned out, not only were "Parker" and I the only two students to get 100% on the test, we were the only two students that passed the test. Which is not what they called to tell me, not exactly, anyway. No, what they called to tell me, so that I would not be upset about it, is that they had decided that they were going to throw out the test and just go off of the class grades to determine who would get algebra credit and go on to geometry. They were worried that I would find out that other people had not passed the test and, yet, were in geometry with me, and they didn't want me (or "Parker") making an issue of it. They didn't want us to talk about it.

Fortunately for them, at the time, I didn't much care and just shrugged it off with a "sure, I won't talk about it or tell anyone my test scores" (except for "Parker," because he and I had already communicated about it, so, when they told me I was one of only two kids to pass the test, I knew the other one was "Parker" without them having to tell me anything else). Since then, though, I've developed quite a bit of ambivalence over the whole situation.

On the one hand, I understand the "everyone failed; our standards must have been too high" mentality. We just dealt with a similar kind of thing with my oldest son in his history class. There was an essay assignment with a fairly specific instruction set. If any particular student did not follow the instructions, s/he received a 0 on the assignment. That's pretty hardcore, but I understand that. So my son's classmates started getting their papers back, and everyone was getting a 0. Everyone. That went on until everyone had gotten their papers back... everyone except my son. All 0s. My son was kind of freaking out, especially since it took nearly two months for him to get his paper back. I can only assume it was because the teacher actually had to read and grade my son's essay, because he was the only one in the classroom to follow the instructions. He got a 95. Not just the only "A" in the class, but the only grade that wasn't a 0. So, on the one hand, I have to think the teacher wasn't quite doing his job if more than 95% of the class failed at the task. On the other hand, if my son can follow the instructions, a boy who can't remember from week to week where to put the trash cans when he moves them down to the curb for pick up, any of those students should have been able to follow the instructions. So, you know, I get the board (or whoever it was making the decision about the algebra class) deciding to do away with the test and just going with the class grades.

But, on the other hand, I have an issue with lowering the bar to meet the standards of failure. It was made clear to us going in that we had to both pass the class and pass the test to get credit, so it seems wrong on some fundamental level to shrug and say, "oh, well" and allow in everyone that only passed the class. Which is not to say that I know what they should have done instead. Maybe, the test was too hard; I don't know.

All of this does remind me of the current state of independent publishing, though. Which is not to say that I think we should go back to the artificial gatekeepers of traditional publishing; I certainly don't. I do think that we've adopted an attitude of accepting failure as normal, though. As a community of independently published authors, I think that is totally what we've done. Part of it is because we've, basically, decided that no one should fail because, if people were to fail, nearly everyone would fail. We've lowered the bar to meet the standards of failure. We've lowered it so far that in many cases it not even okay to say, "Hey, this doesn't measure up. You need to learn to spell and punctuate or you need to hire a (good) editor."

Here's the thing: While it's true that some of those kids that were passed up into geometry did just fine and went on successfully through their math classes, many of those kids also failed the geometry course and, because of that, failed out of the school completely (about half of the freshman class each year failed to maintain the requisite GPA to stay in the school). If those kids had been required to re-take the algebra class, not only may they have been successful in geometry when they got to it, but they may have also been able to keep a GPA that would have allowed them to continue on at the Magnet school.

In the same way, if we would have the strength or courage or whatever it is we are generally lacking in the self publishing world to say to some of these authors who are throwing their... efforts... out into the world via the Kindle (and I say Kindle, because that's where most of them go, but, you know, whatever platform), "Hey, this piece of work fails the grammar test; you need to go back to work on it," or "Your story structure in this piece is really rather flat; maybe, you should spend some time study the way a plot works," or, just in general, pointing out where work needs to be done, well, maybe, more of these people would start putting out stories that "pass the test."

Really, this world of independent publishing is not like the algebra class thing in that, if you failed the class, it only affected you. However, pumping the indie world with works that don't pass reflect badly on all indie authors. In that, we should stand up and say, "Hey, we want people to respect indie publishing, so take this back until it's ready."

And, sure, I hear a lot of you getting ready to tell me how subjective it all is, but, when it comes to grammar and punctuation, it's not subjective, and, as a writer, if you can't learn to actually do the math, so to speak, you need to go back and take that algebra class again. Or get someone that can do it to help you out. That's all there is to it, really, because it doesn't matter how good your story is if people can't find it due to the piss poor writing.

So... I know it seems somehow kinder when we just cheer everyone on and tell each other what an amazing job we're all doing, but that kind of thing just brings us all down in the end. It lowers the bar until failure is success, at least to us. All those other people looking in from the outside just see a pile of steaming crap. Raising that bar up above the fumes helps us all. It lets other people know that there is something valuable in indie publishing. There is good to be found there. And helps those beneath the bar to become stronger writers as they strive to "pass the test."

This post has been brought to you by Indie Life.

The Charter Shorts Project

Some of this will be a repeat in history, but it's probably better than linking to previous posts. Generally speaking, I've found that people don't go back and read linked posts no matter how relevant they are, so let me just start at the beginning. If you know this part... well, that's just too bad.

Last (school) year (the 2011/2012 school year), I started teaching a creative writing class at my kids' school for the middle school portion of it (they run K-8). Don't get all excited; it's not a paid thing, just a worthwhile thing. I didn't really expect much out of it; after all, they were middle schoolers. I didn't have a lot of kids last year, just about half a dozen over the course of the whole year, but I had all but one of those for the entire three quarters of the year. The really neat thing about that class is that I had writers. What I mean by that is that (most of) the kids I had already spent time writing. For fun! Another of them really wanted to write and to get better at it even though she hadn't spent much time doing it. It was a good group, and we worked on some ongoing projects. [In fact, it was because of that group that I ever started writing Shadow Spinner. The book will be dedicated to them.] At any rate, it wasn't long before I realized that their work, their writing, deserved some form of recognition and thus was born Charter Shorts.

The only real problem with that idea was that I had it too late in the year to develop it the way I wanted to. In an effort to have more material for this year's Charter Shorts, I went from teaching the class from one day a week to two days a week, thinking that would give more students a chance to participate, and to start working on the collection earlier in the year. Well, I certainly had a lot more students. Lots more. But it didn't really turn into having more material, because I didn't have any of them, this time, for the full year because of the way the elective classes work and the days I chose to offer the class. By the time most of the kids were finally beginning to get something down on paper, the quarter was over. Or someone would turn something in, and I'd say, "Let's work on this," but the next quarter would start, and it's hard to keep them working on stuff when they're not actually presently in the class.

So I ended up not being able to start the collection early because I didn't have anything to work with until close to the end of the third quarter. A lot of good stuff got left out because the student never went back and worked on a turned in story or turned it in too late to get ready it in time. Which is how I got my first taste of having to send out rejections, so to speak. One boy in particular was crushed when I told him his story wouldn't make it into the book, and I felt horrible, but there was nothing I could do. He turned it in too late, and it needed a lot of work, especially since it was very similar to another story in the book. Basically, I was left with the choice of working with this one kid on getting this one story ready in time or getting the other 10 stories I had that needed only minor editing work ready to go. Hopefully, he will hold onto to the story for next year's edition (because, yes, we are already working on plans for next year's creative writing program and how we can blend the experience from my first year teaching it and the second year teaching it).

All of that to say that Charter Shorts, Too is now available. I encourage you guys to check it out if for no other reason than to support the creative writing program for these kids and to help develop the next generation of writers. Yes, the funds from these books, such as they are, do go to supporting the program.

One other thing I will add:
Last year, because of how few students I had, I purchased copies of the book for each of the students published and gave them to them. I wanted them to have a copy since they were in it, you know. But, last year, I had only four students published that weren't my own; this year, there are more than a dozen, and I just can't afford to buy a copy for every student. So I put out order forms thinking that surely the parents of the kids would, at least, buy them a copy. I mean, I know that each of the kids with something in the book want a copy. They've all told me so. But... I only had orders come in from two parents, which means that about 10 kids will not get a copy. And here's where you can help: any copy of the physical book purchased, will enable me to purchase a copy of the book for one of the kids (I think it works out to 3 of the Kindle editions to purchase a physical copy (or 2.5)). If you'd like to help out, buy a copy of the book and email me or leave a comment letting me know that you've purchased a copy, and I will mark a copy to go to one of the students that isn't getting one. Hopefully, I can make sure that each student gets a copy, because, for most of them, this is their first time (and maybe only time) being published, and it would just suck to never have a copy of that. You know?

On another note, in comparing the two editions, I think the first Charter Shorts is probably better overall, but I think that the highs of this new edition are much higher than the highs of the first edition. I'd tell you which are my favorites, but, just in case any of my students read this, I'm going to choose to keep that information to myself. I will say that I have some talented kids. And, as I related recently, more talented than some adults I've read. I hope you'll give it a look.

I'd Rather Be Writing

If you've been following along, you'll know that I finished the actual writing of Shadow Spinner back during January. ["Part Sixteen: The Dark Tree" is still available as a FREE! download today!] That means that since then what I've been doing is editing. Have I mentioned before how much I hate editing? I'm pretty sure I have, but it may have been awhile.

Now, don't get me wrong, I don't hate editing in general so much. For instance, lately, I've been doing editing for Rusty, which is good. For one thing, I get to see his work before everyone else, but, also, I get to help him get it out to everyone else, because he has some stories that people need to read. I've also been editing various works of my creative writing students, which is not quite so likable as editing for Rusty, but that's frequently because I'll get to the end of something to find it not finished. Which is not to say that it wasn't turned in as finished, but it's quite apparent that the student, after writing 1000 words (which is a lot for many of them), just decided to be finished rather than actually finishing the story, and, then, I have to go take it back to the student and say, "Hey, you need to add an ending to your story." This can often result in me never seeing that particular story again as the student has lost interest in it and moved on to something else (which is less a middle school problem and more a pre-published writer problem), but it certainly means that I will have to edit the same story a second time when I get it back (sometimes still not finished, so repeat), which is a waste of time. [Remember, these are middle school kids. The only issue here is that we're getting close to the end of the school year, and I'm trying to get their completed stories in so that I can get them ready for the second Charter Shorts collection.]

However, when it comes to my own work, I hate editing. Once I've finished writing it, I just want to be finished writing it. If you get what I mean. I'm not one of those speed writers that can whip out a 40,000 word novel every two months and, then, spend the next four months revising, rewriting, editing. I hate all of that stuff, so I spend a long time with my work when I'm doing it the first time. It does, at least, cut out the revising and rewriting. It doesn't matter how careful I am, though, I can't make the editing part disappear. Spell check is great, and I'm able to catch an awful lot doing my initial draft, but it doesn't catch things like left out words (my bane!), homophones, or things with an "s" tagged onto the end for no apparent reason (Seriously, I have no idea where they come from or how they get there. Why does my brain want to make so many things into plurals? If you know, please tell me).

What it all really comes down to is that I would rather be writing. And, now, after over a month away from any serious work on any project, I'm starting to feel it. I get... all antsy. Kind of irritable. When I don't feel like I'm getting enough writing time in, I get... well, my wife says I get cranky. I don't think I've been cranky yet, probably because I am having time to work even if it is editing, but I'm starting to feel that way on the inside. It's like... I don't know... It's like being dissatisfied with everything all of the time. I mean, geez, Brother's Keeper is calling to me! Yelling at me, actually. "Finish me! Finish me!" And, to make matters worse, my side project, The Destiny Murders, is also poking at me and saying things like, "Finish him!" It's kind of a Mortal Kombat kind of thing. I say that because it reminds me of how my kids are when one of them is waiting for another of them to get off the computer.

"You've been on for an hour; it's my turn!"
"Just give me a moment!"
"How long is that gonna take?"
"Just a moment!"
"But it's my turn!"
"Just let me finish this!"

That can go one for 20 minutes, sometimes. And that's what the inside of my head feels like right now. Yeah, it's not really a lot of fun.

Of course, you can add to that the mounting pressure of A-to-Z which I had intended to be finished with by now (the writing of the posts) but which I haven't even started researching yet.

Thinking about it, I think the inside of my head feels like the inside of a bag with a couple or few cats in it.

I often see where people are talking about how they've taken a break from writing for a while and how good it was, but, really, I just can't take it. Seriously. Last summer when we were off on vacation (the first vacation in more years than it's worth adding up), my favorite part of it was sitting out on the deck in the mornings with my mocha and writing. And, when we went to Disneyland, I wrote a whole short story (which will be available as soon as I have a cover for it (unless I feel compelled to do another editing pass ("don't do it!" (that was one of those other projects objecting)))). All of that to say, I don't want a break. I'm no good with those. They make me all itchy on the inside.

Basically, I'd rather be writing.

The Big 30-0! and the Great Chocolate Contest!

So... something happened yesterday that I wasn't paying attention to. The problem with this is that I was paying attention to paying attention to it, because I wanted to do something special for it. BUT I thought had more drafts in my draft folder than I actually did, so I didn't realize until after the fact that I had posted my 300th post! In less than two years, which is much better than I thought I would be doing. But there it is! 300 published posts (301 with this one) and a handful of drafts of things in progress (not to mention my handwritten notes for post ideas that got packed away when we moved that I still haven't located). I'm not really sure why 300 seems to be a significant number to me, but it does. I'm think I won't do another one of these until I get to 501, and if anyone gets the reference, please let me know. The 501 is significant.
[Yes, I know that's not much to go on, but it will separate the men from the boys, metaphorically speaking.]

Stepping to the side for a moment, I mentioned recently that I had discovered the best chocolate ever. And I have! This stuff is the BEST chocolate in the world! At least, it's the best chocolate that I've ever tasted, and that's saying something. No, I don't know what it's saying, but I'm sure it is. Look, I like to taste things (be nice!)... I like to try new foods (is that better?), so, when I get the chance, chocolate is one of the things I like to sample. I've tried lots of different types of chocolates over the years, and this stuff is by far the best ever. It's all hand made right here in a store not all that far from my house. The stuff is divine.

Back when I mentioned that I'd discovered this chocolate, I also said that I would try to think of a contest for which the chocolate could be the prize, well, I've done that. Yep, in honor of 300 posts, and in honor of my birthday, which is coming up, and in honor of the birthday of the first edition of The House on the Corner,

which, quite by accident, turns two on my birthday (the one pictured is the 2nd edition, but that's the one that's available), I have a contest!

To some extent, this contest is a little not fair, but it's my contest, and I AM going to be giving away the best chocolate in the ENTIRE world, so, oh, well, you will just have to deal with it.

So here's the deal:
I have been thinking for a while that it would be fun to do a collection of short stories based on The House on the Corner and the Imagination Room. Those of you that have read the book will understand how that can work. I actually have two already: one that I wrote that is included at the end of the book called "Let Down Your Hair" and one that my son wrote called "Into the Trench" that is included in Charter Shorts. There's so much room for more stories there, though, and I just don't have time, right now, to write any, so, hey, why not get some other people to do that work for me, right? It will be kind of like Tom Sawyer convincing his friends to pay him to do his chores.

And here's how it works:
Write a short story based on a trip in the Imagination Room from The House on the Corner. Submit it to me by February 6, 2013. I'll pick the best one based almost completely on, just, which one I like the best, although I may have my kids help with the choosing if I can't decide. The author of the story I pick as "the best" will win a box of the GREATEST CHOCOLATE in the world. And, maybe, another special prize as well, but I'm not completely certain about the second one yet (but I'll let you know as soon as I am). There may even be more than one prize if there are multiple entries that I think are just awesome. It would be really nice if I had your permission to include your story in a special collection of House short stories as well. Oh, and just to be clear, I want short stories, so that would make your cutoff point 7500 words (though I'm not gonna quibble too much if it goes longer than that (although it would be nice if they were under 10,000 words)).

Yes, I do realize that you have to have read The House on the Corner to be able to enter this, so, if you haven't, you ought to get on that, don't you think? And, no, this is not really a sneaky way to get more sales or reviews or anything like that, although both would be nice. I just think, since quite a few of you (at least 3 or 4), have read it, that this will be a lot of fun. Assuming people actually submit stories. You can even post the stories on your blogs once you write them, and I'll link over to them.
One other note, because so many of my students at school have read the book, I'm gonna open the contest to my creative writing class, too, so you better bring your best, because some of those kids can really write!

Well, there you have it. I hope some of you decide to take part and that this is a fun idea for more than just me. If I'm wrong about that, please let me know. Otherwise, get to writing!

"Are you the guy that made The House on the Corner?"

I spend a lot of time at my kids' school. The younger kids' school, that is. I don't spend any time at the high school my oldest goes to. On Mondays and Wednesdays, I read from House in the 6th grade class, and, on Tuesdays and Thursdays, I teach creative writing as an elective in the middle school there (I have 14 students this quarter).

Earlier this week as I was walking across campus, a young boy, a 1st grader, ran up to me. Now, I knew who this boy was because he's the younger brother of one of my younger son's friends, so I thought it was going to be something related to that. I was kind of surprised when he said, "Are you the guy that made The House on the Corner?" And I wasn't sure what was going on, either, because he's a few years younger than any of the kids I've read to at  this point. But I smiled and said yes. His face exploded in a grin, and he said, "I love your book! It's great!" Then, he turned around and ran off.

It was really sweet. I was touched.

And I love that question: am I the guy that made the book? Not wrote it. Made it. It's amusing to me, because, actually, that's how all the kids ask me that question when they ask it of me. "Are you the guy that made The House on the Corner?" I used to say, "Well, yes, I wrote it," but I don't do that anymore, because I don't think there's a significant difference to them. It would be like asking George Lucas if he wrote Star Wars. Well, yes, he did, but, really, he made Star Wars. And that's what it is to these kids. I made this world, for lack of a better term, called The House on the Corner.

It's funny, because I never think of it that way. I never think of it as a world building project, although I know that it is. It's just not in my head that way. It's not like my son building with his Legos or in Minecraft. I sit down and I write. Sure, I visualize and try to bring that environment to life, but I don't think about it as building a world. Clearly, that's what it is to these kids, though.

It's all kind of cool.

I really like that question, at this point. Yes, I made The House on  the Corner.
What fun!

My other favorite question, and I get this one from even the middle schoolers, is "When are you going to make House into a movie?"

I still have to hold in the laughter when they ask me that, but I love that they ask me. Like I just need to decide to do it, you know? After all, I did make the book, why can't I just make the movie the same way? I've been asked that question twice this week, in fact. I guess I'll have to get on that.

Remember that one teacher?

You know the one, right? That teacher that everyone dreaded getting. The one with the hard rep. The one you couldn't make excuses with or sluff assignments. The one that gave you nightmares...

There were only two types of students in that teacher's classes, the ones that made A's and everyone else. The ones that made A's were few, and no one made B's. You either worked your... bottom off or you did poorly. That's just how it worked. You know, except for that one kid that just made good grades without breathing, and everyone hated that kid. You're pretty sure even the teacher hated that kid but couldn't do anything about it.

I think I'm that teacher. Not at school. The kids love me at school. Even though my creative writing class is extra work for the kids (because it's an elective), the students frequently tell me that it's their favorite class. No... I'm that teacher here. Sort of. At least, that's the rep I think I'm getting for all the grammar stuff and my reviews. People are starting to ask me to not read their stuff because they're scared of the review they might get.

Of course, I also have more requests to read than I can keep up with, so I'm sort of okay with the requests to not read.

But here's the thing:
It's not the bad grammar, improper punctuation, and lack of editing that bother me. Not in and of itself, at any rate. If you're doing your best, you've sought out the best help you can find or afford, and you're trying to improve, I can overlook some bad grammar and splotchy commas. It's the people that shrug it off as not important that bother me. That's when  the bad grammar and lack of editing get me all riled up.

The thing that makes me most upset is when the author has the attitude of "hey, I wrote a book, and you should worship me for that." That bothers me. I mean, it really bothers me. And I find that a lot more than you'd probably like to believe. That attitude of "why should I worry about grammar, punctuation, and editing? Those things aren't important, because I wrote a book!" And I want to respond with something like "well, actually..."

It's the attitude that writing is all subjective anyway and therefore doing it correctly isn't important that bothers me. When I see a manuscript out for public consumption that looks like something one of my middle schoolers handed in, and I'm correcting their stuff and helping them to get better, but the author of said manuscript blows off the poor writing as "just my opinion," well, that makes me mad. Because, honestly, that attitude is wrong.

Here's the truth. Are you ready for it? I think it's a hard truth and one a lot of people have an issue with and don't really understand. The TRUTH:

Stories are subjective; writing is not.

It's that simple. Whether I like your story and how you tell your story is completely subjective, but, whether the writing is good or not, well, that's something else entirely. The writing is something that can be graded, and I know, because I do it. Actually, to some extent, stories can be graded, too, or, at least, subjected to objective measures like "hey, you have your character in two places at once, right here" (yes, I am (still) talking to you Snow Crash).

[Oh, and I have a good example of this coming up in a near future review. A story where the writing is very good, perhaps excellent, but the story just never grabbed me.]

The idea of writing being subjective is, honestly, just an excuse to excuse poor writing, and everyone has bought into it to such an extent that that part of it can't be seen anymore. Before I go on, there's a lot here that could be said about agents and publishers and all kinds of stuff, but I'm not talking about any of that. What I do mean is that people, when told their manuscripts need work, fall back on the whole "it's all subjective" thing. That, or they revise every time someone says anything, but they just keep changing the story rather than dealing with the underlying grammar issues.

[Okay, I need to insert here: when you're told that your manuscript needs work and there are a bunch of story suggestions included, that is subjective, because that person is just telling you what your story needs for that one person to like it more. However, when you're told your story needs work and there's a list of grammar/punctuation issues that need to be fixed, that's objective. That's stuff you should pay attention to.]

Before I get off on about 20 different tangents, I'm just gonna stop. This is a complicated topic and it changes from person to person, but, basically, if my rep is becoming that of some kind of grammar fascist, I suppose I'm okay with that, because there's not enough attention on proper writing, right now. Not from indies, certainly not from small publishers (who often have editors with no better than a high school diploma if they have editors at all), and not even from larger, more traditional publishers who have been canning editors to cut back on costs and increase profits.

All I really wanted to say, to clear up, is that I'm not so hard about all of this as it comes off. At least, I'm not so hard on the people that care, are trying, and actually want to improve.

However, I have no sympathy at all for those people who just blow it off as a non-issue or a subjective issue. If you want to have an analogy, and look! I do, it's sort of like a fireman that decides he's only going to put out fires that happen in bathrooms and children's bedrooms. The other fires just aren't important. They may not even be there, you know. Maybe that person wanted that fire in the middle of his living room floor. For roasting marshmallows, you know. Or, maybe, that stove top fire is supposed to be there, like for roasting a pig. It doesn't matter how much work that fireman puts into putting out the bathroom fire, the house is still gonna burn up.

And NOW on to other things!

Friday will be the free release day for part five of Shadow Spinner: "Part Five: The Police Car." Part five is the reintroduction of the Man with No Eyes: reintroduction because there was this post way back when that had him in it (and that exact scene from the linked post didn't actually make it into the book), and, also, reintroduction, because I posted this stuff a long time ago when I was first writing all of it. Anyway, all of that to say, well, be prepared for Friday, but, also, I want to give you a peek at the cover for part five, because it's amazing!

Drop by and tell Rusty what an awesome job he did!

On Grammar and Punctuation: Most People Do It Wrong

As I've mentioned, now that school is back in session, I'm teaching my creative writing class again. It's going to be different this year, though, as I will be teaching two days instead of one, and one of those days will be devoted to the technical aspect of writing. Story structure. Plot. And, yes, grammar and punctuation. I expect that I will start having more posts, um, start having posts devoted to these topics as we (my class and I) go through the year. Actually, I already have a post started all about that wily rascal, the comma, and class hasn't even started, yet. [Okay, actually it has, but I wrote this before it had.] Oh, and there was that post about adverbs which has actually been sitting around for a long while. See, these posts aren't being inspired by  the class; they're being inspired by the lack of correct grammar and punctuation I'm seeing all the time in people's projects and the tendency of said people to just brush it off.

Now, look back up at my title of this post. No, really, read it again. Do you see it? I'm guessing most of you don't see it. Actually, I'm guessing that none of you see it, but, hey, I could be wrong. If you see the problem, raise your hand. Anyone? It's wrong. Specifically, "wrong" is wrong. The word in that spot should be an adverb, because it's (supposed) to be modifying how people do it. The appropriate wording would be, "Most people do it incorrectly."

Why do I bring this stuff up? Aren't grammar and punctuation subjective? Can't you just kind of do it however you want to? No, not really, despite what a lot of people, including some (bad) editors, would have you believe. There are rules for grammar and punctuation for a reason, and, frankly, I'm getting tired of seeing comments like this from authors:
"I write first person because that way I don't have to know any of the grammar rules."
I'm sorry; that's just lazy and irresponsible, and, honestly, if you can't take the time to learn the rules of your job, then you shouldn't be allowed to write.
The problem, though, is that editors, also, don't want to learn the rules of their jobs, and publishers don't care as long as they're going to make money, and more and more of them are cutting back on the editorial staff to increase profits and "allow the audience to get involved in the editing." (Yes, that's a real quote from a real publisher (but I'm  not gonna say which one).)
While we're at it, why don't we let drivers get involved in the process of building cars. Without training.

So, yeah, I'm being kind of ranty, but the attitudes around this stuff are (frequently) just wrong! (And, see, that time the "wrong" is correct, because it's an adjective telling what kind of attitudes. Wrong ones!)

Here are two things that I've experienced recently that I want to point to:

1. In providing feedback about a manuscript recently, I made a punctuation error. Yeah, I did, because no one, and I mean no one, is ever 100%. Part of it was just that I don't go back and proof blog posts and emails and things like that quite as thoroughly as I do a work I mean to publish. I just don't have the time to proofread these things quite as fanatically as I will something I want someone to buy. Part of it was just that I was having a brain fart and was thinking about the word incorrectly, so I punctuated "although" in the manner that you should punctuate "however." All in all, it was a relatively minor mistake, and it wasn't a repetitive mistake; it was a singular slip. However, I made this error while providing grammar correction to someone. And there were a lot of corrections in the other manuscript, and they were all repetitive mistakes. See, that means the person in question didn't know what s/he was doing and needed someone else to say, "Hey, you're doing this incorrectly," or, in the vernacular, "You're doing this wrong." A third party responded by pointing out my mistake and saying that I had no business offering grammar corrections, because, LOOK!, I'd made one, too. Basically, if I couldn't be 100%, I had no business giving advice.

That is a ludicrous statement. In fact, if you take that out to its full implication, no one would ever be able to teach anything. Because why? Because no one is ever 100%. Not all the time. If I'm operating at, say, a 90% capacity and you're operating at, say, a 30% capacity, it's just ridiculous to make the statement that I shouldn't be allowed to make the assist on you getting better. This attitude of having to be at 100% just supports the idea that anyone can do whatever they want any way they want to because there's no one qualified to make them better. HOW STUPID! I just want to say: take the help you can get and the help that's offered and learn as much as you can. If you can see that someone else is more qualified than you, don't be a dunce and dismiss him/her because s/he's not 100% qualified.

2. Someone recently posted her first chapter and asked for feedback on it. Now, this was supposed to be in "final" condition. As in, she was getting ready to send it off and was asking for final thoughts. This also means that she was "finished" with her editing process, whatever that was. I'm assuming, based on comments, that it included feedback from critique partners. I figured I might as well give it a glance. I was barely able to do that.

The very first sentence had a punctuation error in it. And, I have to say, it was one of those that is really beginning to bug me, because I see it everywhere. Still, I thought, maybe it was just a slip, so I kept reading. The piece was full of errors. The dialogue was rarely punctuated correctly, and every instance of the type of sentence like the first sentence was punctuated in the same incorrect manner. Clearly, the piece needed editing, and I only made it about 1/3 of the way through before giving up. I left a comment noting the error in the first sentence and stating that I was unable to finish the piece because of all the errors.

The author asked for examples. Well, I felt I'd already given an example, so I related to her that I was busy editing another piece for someone, but I would try to give her 1st chapter a pass when I was done with the other project. Her response was, "Oh, no, I have critique partners for that; I just wanted an example of the punctuation errors you were talking about."

Clearly, her critique partners had failed at their job.

And that's the point, really: "Most people do it wrong." Critique partners when used as editors are entirely overrated, because, honestly, they don't know any more than you do. If you think you're going to get what passes as editing from your critique partners, you're going to be incredibly disappointed in almost every instance. They can't catch those comma errors, because they don't know they are errors. Do you know, without looking it up, the difference between a coordinating conjunction and a subordinating one? I guarantee you, your CPs don't have any more clue than you. And that's an easy thing.

While it's true that grammar and punctuation and, heck, language change over time, that does not mean that it's subjective. That just means it changes. Speech changes, and writing changes along with it to reflect those changes, but that doesn't mean that it's subjective, although there are often cases where rules can be argued (But that's just like science. Remember, science still doesn't know what glass is). Rules exist in grammar for a reason and while, yes, fiction is allowed to play with those rules more than non-fiction, it's not a reason not to know them or to break them because you don't know them.

I get that writing how we talk is all in vogue, right now. The first person experience has become this holy  thing and everyone is getting on board, but what comes out of it is a lot of garbage because people don't actually know how to write. First person has become the short cut to actually doing the work, and, yes, that bothers me. Writing, even first person writing, is not like speech. It shouldn't be. Writing is a separate discipline, and it should be treated as such.

I'm going to end this with a quote by C. S. Lewis. Specifically, he's speaking here about using italics in writing, but the idea can be expanded to all of writing, especially 1st person writing:

I am now inclined to think that this was a mistake - an undesirable hybrid between the art of speaking and the art of writing. A talker ought to use variations of voice for emphasis because his medium naturally lends itself to that method: but a writer ought not to use italics for the same purpose. He has his own, different, means of bringing out the key words and ought to use them.

What this really says to me is that a writer should learn to write. A writer should not be someone that just copies down what people say. Speaking and writing are different and should be different. Make words your tools and learn how to use them.

Back in the School of Things

School is in full swing again. It started last Wednesday for the younger two and on Monday for the oldest. Back to school means a lot of things:

• back to biking -- and, oh, man, after, really, all of the spring and summer away from it, it was a lot harder adjustment than I thought it would be. Not the actual doing of it, but, evidently, my butt got out of condition, and it had an argument with the bike seat the first few days. My younger son said the same thing. My daughter, however, just gloated about how comfy  her seat is. [I have to add here that it was my daughter's fault we didn't bike through the spring. She caused an accident by arbitrarily stopping that ended up with me flipping over my bike and breaking the rear axle. Yeah, it took me a while to get around to getting it fixed.]
• back to making lunches in  the mornings  -- Of all the things related to school, I hate getting up and making all of the lunches the most. I've tried doing it in the evenings ahead of time, but, evidently, I hate that even more, because I just won't do it on a consistent basis.
• back to badgering the kids about getting their homework finished -- Yeah, I hate this one, too, but lunches are worse.
• back to quiet during the day allowing me to focus on writing for more than 12 minutes at a time before I'm interrupted
• back to teaching creative writing! The class will be two days a week, this year. One day will be for writing and reading and the other day will be for technicals such as grammar, punctuation, and story structure. [My son will only get to be in the class half of the year because of Spanish and art, which are both required while my class is just an elective. He's not happy about it.]
• back to reading The House on the Corner! I've been asked to read the book to a new class of kids this year. I'm actually pretty sure none of these kids have ever heard any of the book before, or, if they have, it was years ago while I was still writing it. I think, though, this is the in between group that has not had any overlap from the reading in either of my son's or my daughter's class. At any rate, none of my kids are in this class this year, so it was a nice surprise to be asked to come in and read by a teacher that does not have one of my kids in her class.

Speaking of reading in classes, I found this

in our family folder last week. It's a thank you book from one of the classes I was reading in last year. Each kid wrote me a note, and some drew pictures.

A picture of the house.

Me reading to the class.

The thank you book was completely unexpected and completely awesome.

Since I'm going to get to spend more time on the technical aspects of writing this year, I'm going to be doing some posts related to that stuff. It makes me glad to be able to work with kids interested in writing and help them to develop their technique at an earlier age than most people get to. I mean, most of the writing samples I run across online aren't any better developed than middle schoolers', anyway, which makes me wonder what happened to their schooling, except, then, I remember the state of the education system and the lack of importance given to anything in the arts, which includes knowing how to write a decent sentence, and I quit wondering, but, then, I wish they would take it seriously enough to learn how to do it rather than just blowing it off and writing in 1st person because they think they can get away with it that way. I don't know... maybe, grammar lessons will be boring, but they will probably be accompanied by a decent amount of ranting, which can make pretty much anything entertaining, so I guess we'll see.

Hmm... It seems like I had one other thing for this post, but, if there was something else, it's gone now. At any rate, for those of you with kids going back to school, I wish you a very merry school year. Or, you know, the nearest approximation.

It's Time for a Bicentennial Celebration!

Okay, so that's not precisely true. I have not been blogging for 200 years, although it would be very impressive if I had. I just wanted to say it, because in hitting my 200th post, I started thinking about the bicentennial when I was a kid. The Bicentennial. I was six. I was a very patriotic lad. I still have souvenir type things from 1976. Which includes my brother, since he was born only a few days later. It makes me wonder how we'll celebrate the 250th birthday of the nation; I'll be surprised if I'm still around for the 300th.

Anyway... This is, indeed, my 200th post. When I started blogging, I don't think I ever thought about getting this far. 200 posts is a lot, especially when you tend to the longer side of posting. I mean, my posts tend to be in the 1000 word range, so that means that I'm hovering in the 200,000 word range in my posts. That's a lot. Hopefully, they've mostly been "good" words.

Since this is post #200, I'm gonna make it about me. I figure I can do that every once in a while. BUT! There will also be a contest, so keep reading!

First, here are some recent things that have been said about my book, The House on the Corner:

"When you read a book and get so into it that when you reach the end you feel lost and alone because you miss the characters and want to know what comes next. Thank you Andrew, for introducing me to the Howard's. I cannot wait to read more!"

"That was a great book I cant wait for the next one :)"

"Omg how could you end it like that?!?!?!?!?! You need to hurry up with the next book!!! "

"Clearly I loved it, since it's 5am and I stayed up to finish it."

"Loved it, loved it, loved it Andrew! Loved the viewpoint of children. You could always tell who the voice was because you wrote the characters so clearly. The story was "real" and down to earth, even though the subject veers off into the realm of fantasy - but the family itself is rooted in the familiarity of the real world and I loved that. Great book! Really enjoyed it! Well done!!!!!!!"

I think those are some great quotes. Of course, I also think you should read my book. Just to note, I am debating about the idea of raising the price on it. A lot of the newer research/reports suggest that people view books at the $2.99 price point as indie authors just trying to grab the 70% royalty rate and that's where the "crap" sits. The view is that if the book is not priced at at least $3.99, it's not worth buying. So, yeah, buy it now while it's still $2.99!

Oh, and for those wondering, I am working on the sequel. I promise! 
One other thing, if you've read House (and liked it), it would be a great help to me if you could pop by Amazon and click the "like" button on the page (both Kindle and physical would be great). The links are off to the right over there. Thanks!

An update on "The Evil That Men Do":

Well, this is not precisely an update about that story, but it is an update about Tib. I have some preliminary cover art for Shadow Spinner, and I'm working hard on finishing it. Theoretically, I should have the first few parts coming soon for the Kindle. Remember, "The Evil That Men Do" sets up the events in Tib's life. I only don't include it with the rest of the Tiberius stuff because it's more of an adult story while Shadow Spinner is appropriate for kids, too. Be on the lookout for more great artwork from the inestimable Rusty Webb! I mean, I've seen it, and it's great! Especially the one he's done of the Man with No Eyes! Oh, man! It's almost enough to make me want to show you, now, anyway, even though it's not finished!

At any rate, I think "The Evil That Men Do" has been under appreciated, meaning that almost no one has bothered to pick it up, but it's only $0.99, and it has a perfect 5-star rating! At the moment.

The Contest!

Oh, yeah, I mentioned a contest, didn't I? Yeah, I think I did. But it's not going to be an easy one. It will require some work on your part, too. 

As a writer, one of the things I hope is that I am not writing in a bubble. That includes blogging. I mean, I don't want to be like that Dragon Tattoo guy who never got read until after he was dead. That would suck. Which means, I don't blog strictly for my own entertainment. I could do that without putting it online. That means this stuff I throw out here into the void of the Internet is, hopefully, stuff that is of worth to you people that read what I'm throwing out. As such, it's time for some feedback from you guys!

Here's what you need to do:

1. Go back and read all the other 199 posts. I'll give you a few minutes to do this.

2. Okay, no, you don't really have to read all of them.

3. Okay, seriously, now, of the posts that I've written and you've read, decide which one was your favorite and/or the most helpful to you.

4. Have one picked out? Now, tell me about it. Why is that particular post your favorite? Why was it helpful to you.

5. And, you know, if you want to skim back through my early posts, the ones I wrote before I had any followers, feel free to do that. Some of those are quite good, too. Well, I think they are anyway.

6. Just to be clear, in the comments section, leave me a comment telling me which post is particularly meaningful to you in whatever way it is, and you will have entered the contest.

7. You have until midnight (PST), Friday, July 27 to get your comment in.

The Prize!

The prize is going to be a little self serving, too. Deal with it.

Back at the end of May, I released a collection of short stories from the kids in the creative writing class I taught last school year. That release was met with a lot of support and a lot of people posting about it and, yet, there were almost no sales. It was a bit disappointing, because the kids did a great job, and some of the stories are really good. They're all good, but a few of them are great. You can see the link to Chart Shorts over there on the right side of the blog. Since I should be teaching this class again this coming year and since I'll be putting together another collection of short fiction from the kids, I really want people to see what was done this past year when I went into the class without any intention of putting together a book.

So that will be the prize. A signed copy of Charter Shorts to the person that has the "best" comment about which post they liked best. Of course, the book won't be signed by all the authors, but I'm pretty sure I can get three different signatures in there. As an added bonus, I won't necessarily stop at just one copy! I'll give away up to three copies of the book depending on the worthiness of the responses. Basically, if you guys make me unable to choose a "best," I will give out more than one prize. I'm  not like those Pulitzer people that just decide that no award shall be given at all.

The fine print of that does mean that you will have to be willing to give me your snail mail address if you want the book. However, if you don't want to do that, you can choose an e-copy instead. As long as you are Kindle friendly, that is.

Well... There you go. My very first contest. 200 posts. A great prize. And speaking of the prize, because we were, I'll announce the winner(s) on Monday, July 30. Probably. I mean, I don't see why I wouldn't. But, you know, don't tie me down.


And if I have time, I'll try to put together a top 5 or so of my favorite posts just because I think that might be interesting. Next week will be pretty busy, though, so it might be a few weeks before I have a chance to sit down and figure out my top 5.

The Top Secret, Super Secret Project

Actually, there was nothing really secret about this project; I just didn't talk about it. Well, I didn't talk about it online, because I didn't know how it was going to turn out. Really, I didn't know how it was going to turn out until last Friday, but that's not really important. At any rate, plenty of people I interact with in the actual, physical world knew all about it.

As I've mentioned, I've been teaching a creative writing class at my younger kids' school. Some of the stories that have come out of the class have been really good. I mean, impressively good. At some point in there, I decided that I should make up a book of their stories for them. At some point right after that, I decided that I should make this book available to other people. Ostensibly, this is just a fundraiser for the school, and it is. Profits from the sale of the physical book will go to the school, making it a fundraiser.

However, it's more than that to me. Some of these kids are really good, my son being one of them. When he won that contest for his story "Into the Trench," it really made an impression on him. No, it wasn't a huge contest, but it was against adults, and he was, in his own laid-back style, elated. It came up a few weeks ago on a walking field trip (because several of the boys in his class were telling me about the books they are now working on (because they've been inspired to write books because I've been reading my book, The House on the Corner, in their class (which is all kinds of cool -- them being inspired, not me reading))), and he really stressed the part about how he won in a contest against adults (and the prize money funded a Lego purchase). All of that to say, I want to make an impression on all of the kids from this class by being able to hand them a book that they wrote.

And, like I said, some of them are really good.

At this point, what I really want to do is talk about the stories I like the most, but I don't want to predispose any of you to any particular story. Instead, I'll talk about my own representation within the pages of

(And, yes, that is the very talented Rusty Webb on cover duty, once again.)

Well, I'll also talk a bit about the structure of the book, but only a bit, because that's all in the book. Almost the first thing we did, though, was do a bunch of 2nd person perspective stories. I figured they should have some familiarity with it, since they gave me blank stares when I asked about it, so I threw them in the water and told them to swim. Okay, actually, I brought them an example I wrote and told them to go to it. My example is in  there along with the stories they wrote for me. That's section one.

The other thing we did that we spent a lot of time on was working on plot. Talking with them about plot and the stages of plot development is what caused the Tib stories to grow into something real. Some of you may remember back to when I was posting those every couple of weeks... Well, I was posting them in relation to working on them for this class as examples of how you develop a plot. Starting with exposition. Yes, I did start there. I don't believe in skipping it just because publishers these days have decided to turn the story arc into a story slide by cutting the exposition and as much of the rising action as possible. We spent a while working on introducing the protagonist, establishing the setting, and introducing the conflict. [And, I have to say, there are some really great examples of exposition in that section (section three) of the book.]

Working on Tib for this class is what has caused it to grow into the book that it's becoming: Shadowspinner. I don't have a release date, yet, but you can read the first five chapters in Charter Shorts. But, really, you shouldn't buy it for my stories (okay, well, you should, but you shouldn't buy it just for my stories), you should buy it to show these kids your support. Let them know how important reading and writing is. Oh, and, well, there's a bonus!

Several of you mentioned after this post about my daughter and how she should, maybe, be a writer. Well, as it turns out, she's quite good (I did already know this). On her STAR test last year, she scored 100% on the writing section. That's fairly uncommon. My younger son, who scored nearly 100% on the entire test, lost points only in the writing section (although, it wasn't very many). Even though she wasn't in the creative writing class (not being in middle school yet), I included a story she wrote this year. Yeah, I get to do that because I'm her dad. Also, I'm the editor of the book, so I still get to do it. Really, though, it's because I just love the story and, especially, hearing her read it. She's super excited to have her story in Charter Shorts and is already hounding me for a copy. heh And I apologize that you guys can't hear her read it, but, maybe, that will change.

So, yeah, here is why you should rush out and buy Charter Shorts:

A. It's another great cover by  the inestimable Rusty Webb!

B. There are a bunch of great stories in it by literary minded middle schoolers.

C. You want to support said literary minded middle schoolers.

1. You want to support them financially by supporting their school (because, while being a public school, it's not a regular public school in that it's a charter school and much of its funding comes from elsewhere (meaning not from the state of CA)).
2. You want to support the future writing of said literary minded middle schoolers, because there's nothing better as new writer than other people saying to you, "hey, good job!"

D. There's no telling which of these students could one day be a best selling novelist, and you want to own a copy of their very first work to sell on eBay for megabucks when they do.

E. Oh, yeah, Shadowspinner. Five whole chapters!

F. And, okay, yeah, I have to say it, my son has some stuff in there, and, well, he's just really good. His award winning story is included, and that's not even the best of his of what's included by him.

As per usual, it's available for the Kindle, and it will be available as a physical book as soon as CreateSpace allows me to make it available (and why that's not yet available is a (short) story all by itself that I don't have time to get into). I'd strongly urge the purchase of the physical book, because that's what helps out the school, but, really, anything is good. If you do want a physical copy, it's possible that I might even be able to arrange some autographs. Probably not of all of the kids, but some of them, at least.

[Edit: The physical book is now available through CreateSpace here for the low, low price of just $9.99! Really, it's worth it!]

A few other notes:
1. The link to "The Evil That Men Do" is over there on the side. That's the back story, so to speak, for Tib. It's actually just a story that became the basis for Tib, so it doesn't read like a prologue even though that's kind of what it is.
2. It would be really great if you could stop by Amazon and Goodreads and click on things like the "like" button, especially if you read and liked any of the books.
3. I'll get all the links posted for Charter Shorts as soon as they're available, including getting it added to Goodreads.

Thanks, Everyone! I really do appreciate all of you that stop by to read my ramblings, and I appreciate it even more when you take the time to listen to me plug a project!