Characters, Characters Everywhere

by Vivian Zabel

         A story or novel must have characters, but where does a writer find unique characters who can bring writing to life?

         Recently I read a discussion about the difficulty in finding and developing characters in writing. I had to laugh because I nearly fall over characters begging to be included in stories and books, even if they don't realize it.

         After spending nearly a month in a facility that includes rehab (which I needed after surgery), I have a list of characters that can be used in various ways. All I had to do was jot down some details to use later.

         This facility as four halls and cares for residents who need skilled nursing, rehab, and special care, as well as those who live here permanently because they can't live on their own. The list includes those like me who are here for rehabilitation due to injury, surgery, or stroke to those who can't remember who they are or where they are. Allow me to share some "characters" that may well appear in one of my writings some day.

         An example of courage and determination is a man I'll call BJ. The bear of a man, recovering from a stroke, has lived here for over three months. When I first arrived, he had made little to no visible progress in being able to talk or use correct words. His eyes, under bushy gray brows, appeared lost and confused. In therapy, he struggled to find words that he knew he should know. No matter how discouraged he may be, he kept trying and trying and trying. His delight, when shown a pen, at being able to say "Pen" caused a smile to crease his face. Lifting a foot an inch off the floor became a major achievement.

         Humor can be found, too. One resident has Alzheimer's. A force to be reckoned with, ninety-five-year-old "Granny" can covered more ground faster with her walker than most nimble young people can running. However, she pulls some frustrating, yet so funny, stunts. One day she kept walking off without her walker and had to be reminded to get it. I'd witnessed two incidents earlier in the day and was returning to my room after a walk. "Granny" came out of her room without her walker.

         I asked, "Where's your walker?"

         "I don't know" was the response.

         "Go back in your room and get your walker."

         She turned around and entered the room, muttering all the time. In seconds she was back in the hall with her walker. She walked up to me and said, "She told me to go get my walker. She made me go back in my room to get my walker." I struggled to keep from laughing as she fast-walked away from me. She hadn't even remembered I was the one who told her.

         A nurse asked if they could hire me, but I refused. No way could I survive keeping up with "Granny."

         My advice for finding characters is to look around. Notice the people we see and hear. Keep notes. Then when the occasion arises, insert them in our writings. I carry a small pad with me and a pen or pencil at all times. I have notes that include bits of dialog, character traits, stances, ways of walking and of talking. I'm ready to use characteristics found all around me.

Vivian Zabel

Don't sabotage your book from the start with an ugly cover.

by Aidana WillowRaven

This topic was inspired by an artist's recent submission. Because we are considered a small house, authors and artists alike tend to think we'll accept mediocre work. That, or they just have no sense of aesthetic or quality ... AT ALL.

I won't show you the horrible example that the artist attached to his submission, but I will duplicate some of the things he did horribly wrong, resulting in my immediate rejection (being the Art Director, he has to pass me to get in the gate). I didn't even visit his website to see anything else he may have had in his portfolio. If that was his best (which I can only assume any twit would submit their best work when wanting to get hired), then I didn't need to go any further.

Further more, what author or publisher would ever accept such an ugly cover for their book? I can't repeat this statistic enough: The cover is responsible for 70% of all book sales! The last thing you want is a horrid book cover. Let me show you what I mean ...

(I’m using 4RV Publishing’s recent release, Aldric & Anneliese, by Harry E. Gilleland, Jr, for the example).

I hope it's painfully obvious which cover is the real cover. Just in case you are one of those authors/artists that thinks 'bolder and brighter is always best', let me educate you. The cover on the left is one that is the real cover. The one on the right is the one that mimics many of the amateur errors made by untrained authors or novice wannabe designers.

First rule: Font. Always, always, always make sure the author's name is easy to read. A close second is the title. Font can be stylized to suit the feel and theme of the story, but it has to be easily readable. On the left, the title font fits the period of the story, somewhat calligraphic, like written with a quill pen in the middle ages. The one on the right does not match the story at all. It looks more like a western themed font. This title would imply a ranch setting, not a medieval one. Also, the font on the left is solid and easy to read, not clear and obscured by varying background colors, making it harder to read.

Second rule: Color. Yes, you want your book design to be noticeable. Yes, you want it to stand apart. But, ... let me try that again … BUT, don't hurt the eyes, people. If you mix jarring colors together to shame any tinker (by the way, I am Gypsy, I can say that), it's going to make your book look cheap and amateur. Besides, the background is part of the story, too, not just the title or main element, in this case, the coat of arms. One on the left, the background is designed to look like parchment. What does that red do to tell you about the story? The turquoise? Nothing.

Third rule: Everything. Yes, everything. Everything I do for a cover design means something. It says something about the story found within. In this case, the one on the left tells us the story takes place in a time that shields, swords, and parchment covered in calligraphy were the norm. I even made the shield look like a heart (hinting that it’s a love story, too). Every color, every letter, every element down to how many swords I included, have clues about the story. Even the double, yet crossing, rose vines. Everything must have a legitimate reason for being put there other that to attract attention. If you want your book cover to stand out, let it stand out because it's a great design. 

Don't sabotage your book from the start with an ugly cover.

Aidana WillowRaven

Art Director & VP of Operations
4RV Publishing

Put Modifiers Where They Belong and “Undangle” Them

by Vivian Zabel

Running up the stairs, the clock struck midnight. Mary hurried to her room with a glance toward her parents’ room. Sitting on the side of her bed, the house seemed very quiet. Her heart slowing down, the knowledge that she wasn’t in trouble made her smile. She decided that she must leave earlier parties during the times she had a curfew. She hadn’t known only the clock was three minutes fast.

What? A clock runs up stairs? A room glances toward another room. A house sits on the side of a bed? Knowledge has a heart? She leaves parties during times of curfew? Only the clock was fast?

The first paragraph confuses a reader because modifiers are misplaced or dangling. A misplaced modifier appears to modify the wrong word. A dangling modifier, a prepositional or participial phrase, has no word in the sentence that the modifier can logically modify. Let’s look at these problem areas and see how we can make the original paragraph understandable.

* Reword the main part of the sentence to include a word that the dangler can modify.
Revised sentence: Running up the stairs, the girl heard the clock struck midnight.
Revised sentence: Sitting on the side of her bed, she thought the house seemed very quiet.

* Place the adverb only before the word or phrase it modifies.
Revised sentence: She hadn’t known the clock was only three minutes fast.

* Move the modifier as close as possible to the word or phrase it modifies.
Revised sentence: With a glance toward her parents’ room, Mary hurried to her room.
Revised sentence: She decided that during the times she had a curfew she must leave parties earlier.

* Reword the dangling modifier as a subordinate clause, reflecting the relationship to the main idea in the modifier to the main idea of the sentence.
Revised sentence: After her heart slowed down, the knowledge that she wasn’t in trouble made her smile.

We can now write an understandable, intelligent paragraph by using the guidelines of correct modifiers.

Running up the stairs, the girl heard the clock struck midnight. With a glance toward her parents’ room, Mary hurried to her room. Sitting on the side of her bed, she thought the house seemed very quiet. After her heart slowed down, the knowledge that she wasn’t in trouble made her smile. She decided that during the times she had a curfew, she must leave parties earlier. She hadn’t known the clock was only three minutes fast.

Making sure that modifiers actually modify the word it should allows a reader to understand what is written and meant.

Sources:
1. Writer’s Companion, Prentice Hall
2. Literature:Platinum, Prentice Hall
3. Lesson plans from Vivian Zabel

Storyteller or writer, which are you?

by Vivian Zabel

         A recent newsletter I wrote for another site about "show, don't tell" stirred up a hornet's nest. Several comments were sent me by email as well as a direct reply to the newsletter. So now I have a question to everyone: Do you want to be a storyteller or an author? Which is more important to you?

Which do you want to be: storyteller or a writer then an author?

         First we need to address what a storyteller is or isn't. Storytelling is the conveying of events in words, images, and sounds, often by improvisation or embellishment. Telling a story allows nonverbal actions and communication not possible with written words. The teller can entertain and keep attention of listeners with vocal, facial, and body expression, as well as words, using the combination to show the audience what is happening in the story. Therefore, storytellers do "show" even if not through words alone.

         An author/writer (called writer from this point forward, since a person has to be a writer before he can be an author) has only words as his tools. His face can't show excitement, surprise, or anger - note the use of "show." A writer needs to show the reader what is happening in order to gain and to keep the reader's attention. In this world of television and movies, readers also want to "see" the action from books and stories in their heads.

         One newsletter respondent used the argument that contests often have word limits and showing takes more words than telling. I enter some of those contests, as do others, and if the judges recognize good writing, the entries with showing rather than telling will place higher than others.

         Using excessive detail does not equal showing. In fact excessive detail often is a side effect of telling. To show, rather than to tell, a writer weaves details into the story as needed, bit by bit, not in long boring paragraphs. Also only details required to move the plot or characterization forward or to allow the reader to share the experience should be used.

         Another point, telling in directions and instructions is different than writing a story or novel. Directions and instructions are written in second person and are mainly telling. Most stories and novels are written in first or third person (second person doesn't work nearly as well) and should show.

         Two people argued that storytellers, stressing the teller portion, have been around ages longer than the advice to "show." Let's see, paper and pens haven't been around as long as storytellers, and computers haven't been around as long as paper and pens. Which do we use the most now? That argument would require we not write stories or improve our writing. That attitude will keep writers from being published authors. Also, as explained above, storytellers can "show" what is happening through the use of voice, face, and body. Writers have to use words.

         I wonder what would happen if people took the time and effort they use to argue against something, which would improve their work, to try and use the advice offered. Would more storytellers become writers? Would more writers become authors? Would more people, perhaps, become better readers?

         Each person must decide what he wants to be, a storyteller or a writer then an author.

Vivian Zabel  

The newest releases from 4RV

4RV has released several books in the past four and a half months. Let's begin with November and work our way to the present. More releases will be announced in the following weeks and months.

Stolen by Vivian Gilbert Zabel, cover by Aidana WillowRaven

When the joy is ruthlessly ripped from Torri’s life, she has two choices: dwell in torment and regret, or pick up the pieces and live. A nightmare invades her world, leaving her battered and torn: Her children are stolen.
Paperback: 200 pages
Published: November 1, 2010
Language: English
ISBN-13: 978-0982588642


May be bought from 4RV Publishing Catalog or 4RV Publishing website. 

Dogsled Dreams by Terry Lynn Johnson, cover by Aidana WillowRaven

Twelve-year-old Rebecca dreams of becoming a famous dog sled racer. She’s an inventive but self-doubting musher who tackles freezing blizzards, wild animal attacks, puppy training, and flying poo missiles. All of her challenges, though, seem easier than living up to the dogs’ trust in her abilities.
Reading level: Ages 9-15
Paperback: 148 pages
Published: December 8, 2010
Language: English
ISBN-13: 978-0982642344
May be purchased from 4RV Publishing Catalog or 4RV Publishing website.

Libby the Odd Squirrel by Lea Schizas,
illustrated by Stephen Macquignon

 Libby was different so wasn’t allowed with
“normal” squirrels. Bullying in animaldom.
Reading level: Ages 4 - 8
Paperback: 32 pages
Published: January 24, 2011
Language: English
ISBN-13: 978-0982642368

May be purchased  from 4RV Publishing Catalog or 4RV Publishing website.

 Priscilla Holmes and the Case of the Glass Slipper by John Lance, illustrated by Diana Navarro

Priscilla takes on a baffling case, the missing glass slipper.
Paperback: 24 pages
Publisher: 4RV Publishing (February 15, 2011)
Language: English
ISBN-13: 978-0982659496


May be purchased from 4RV Publishing Catalog or 4RV Publishing website.

Stork Musters & Critter Clusters by Rena Jones, 
illustrated by Nikki Boetger 

Twenty-one more animal clusters, book 2 of 3.
Reading level: Ages 6-12
Paperback: 28 pages
Publisher: January 19, 2011
Language: English
ISBN-13: 978-0982642351


May be purchased from 4RV Publishing Catalog or 4RV Publishing website.

Dylan's Tale by Harry Porter (Brian Porter), illustrated by Mandy Hedrick

The second in the series about Harry’s rescue dogs.
Reading level: Ages 8-12
Paperback: 52 pages
Published: February 15, 2011
Language: English
ISBN-13: 978-0982834619

Can be purchased from 4RV Publishing Catalog or 4RV Publishing website.

Aldric & Anneliese by Harry E. Gilleland, Jr., cover by Aidana WillowRaven

Aldric & Anneliese is a tale of nation
building, kings, knights, fair ladies, battles
won and lost, triumph, betrayal, tragedy,
revenge, redemption, and great loves It is a story for the ages.
Paperback: 164 pages
Published: February 5, 2011
Language: English
ISBN-13: 978-0982659403

May be Purchased from 4RV Publishing Catalog or 4RV Publishing website

Conscience: Breaching Social Amnesia by vohoae, cover by Aidana WillowRaven

Conscience: Breaching Social Amnesia is vehoae’s first of a series that draws parallels between European invader’s personal perspectives and motivaitons and professional decisions to subjugate and exterminate “heathen red-skinned impediments.” Having a profound appreciation for nonrevisionist history, vehoae provides primary document details typically avoided in favor of political correctness.
Paperback: 216 pages
Published: January 27, 2011
Language: English
                                     ISBN-13: 978-0982642382
May be purchased from 4RV Publishing Catalog or 4RV Publishing website.

Watch for new releases as they become available.

Sharing knowledge from editors, publisher, authors, illustrators

We at 4RV Publishing wish to bring writing and reading help to those who want to widen their knowledge base. On staff, we have former teachers, current teachers, and well educated members of the writing community. Our authors, illustrators, editors, and publishing staff want to share what they have learned with others.

We will be posting a newsletter at least once a month, hopefully more often. We will give writing, designing, illustrating advice as well as updates on current books from 4RV Publishing.

Our newest news is the creation of a 4RV Publishing catalog, which will be in print format as well as on a website.

Hopefully, tomorrow we'll have some information about 4RV's newest books.

You may subscribe to this newsletter via email by using the form in the right side bar.