Need a Break from DYSFUNCTION?

 

A few months ago, I realized that between the news (wars, crimes, the latest pathogens and some petty pointless bit—ing about others), and the sort of movies and TV shows I was watching, which were mostly about dysfunction (wars, crime stories, pandemics and plenty bi---ing), it was taking a negative toll on my psyche.

 

Sure, it was compelling, and it is an aspect of the human story. But I needed some medicine to balance this out.

 

And so, I have been making the effort to pay attention to basically good people doing or trying to do good things. Flawed people, (is there any other kind?) but decent and with a conscience that is alive and serves to guide.

 

I like THIS IS US (now all seasons streaming on Netflix) and novels like ASK AGAIN, YES by Mary Beth Keane. If you have recommendations for some such, I am as wide open as ever.

 

Let the light of humanity pour in~

©Art by Shelagh Duffett

FAVORITE UNDER-APPRECIATED NOVEL

 

One of the oft-asked questions in the literary community is about novels that do not have the halo of The Greats, but should.

 

There are many, and despite the notion that a great novel would have deep but also universal appeal, in the end it is a personal connection that makes it one of the books that transformed you.

 

Today, I pick one that most would classify as a novella.

 

THE ALL OF IT by Jeannette Haien is one such story for me. I wouldn’t have known about it were it not for a local book store’s clerk’s recommendation. When she recommended this book, even her colleague, standing nearby, raised his eyebrows and admitted he hadn’t heard of it. I suspect I bought it because at the time my life was hectic and the book appeared short.

 

It was one of those pivotal moments in my reading life. This novella changed the way I think, which is something books have the power to, but rarely do.

 

I am not saying *you* should read it. But everyone has this sort of book in their bookbag, and this is one of mine. Obviously, there are many universally recognized GREATS that I carry with me. But this is one of the lesser-known treasures, and all the more precious for having come into my sphere with little attention from the usual sources.

 

Feel free to share underrated books that, for you, were transformative.

Do You Have to LIKE the Main Character(s)?

 

A relative had recommended a series, and after watching the first episode I let him know I didn’t think I’d watch the rest.

 

He was aghast. “It’s the best series I ever saw,” said my dear family member. “It got me thinking about so many questions and had so many twists and turns.”

 

Yes, that’s the plot. A whole town full of characters. Mysterious occurrences, once begun, continue to baffle as they go on and on. Good premise.

 

The problem was that I found every single person in the town unlikable. Not in an interesting sort of way what’s-with-him/her unlikable, but in a dull nothing-to-like-here mode.

 

My relative lamented that his wife also dismisses stories (be they books or movies) when she doesn’t like the main character. “I just don’t get it,” he added.

 

Here’s the best explanation I can give on this matter. Spending the most precious thing I have, time, in a place I don’t like or with people I don’t like, is something I won’t do unless compelled to by law.

 

We all occasionally have to. It might be family, or a job. But we’d be wise not to do so for longer than necessary.

 

Reading a book or watching a movie is very much like hanging out in their time, place, and with their characters. What happens there can be interesting. But without liking someone in that world, I’m out of there, thank you.

 

And so I left that series, which incidentally is named The Leftovers. I may give it another try someday. Who knows, never say never. But the feeling that I choose who to hang out with when I begin a story is forever. Same for the ones I write.

Have You Ever Gotten READER’S BLOCK?

 

Writer’s Block is a famous phenomenon even those who never write fiction have heard about. It’s depicted in movies about writers and plenty of writing memories. Biographies and fictional writing characters speak of it. The irony that they write about not being able to write doesn’t escape me.

 

I haven’t had writer’s block, and my only explanation is just that I say NO to it. I’ve had days when in the midst of first drafting a novel I am seized with fear that I just can’t do it. At least not now. Maybe not ever.

But then, I make myself sit and do it. I write, and that’s that.

 

I tend to agree with another writer who concluded that the so-called writer’s block, if prolonged, isn’t a specific writing malady. It is clinical depression as manifested in people who write. For others, clinical depression robs the very zest for living. Everything feels flat and pointless. In a writer, this becomes a sense they have nothing to say and can’t write.

I’ve been blessed not to have had clinical depression to date.

But I have had Reader’s Block. Those are periods when I’m unable to focus on reading. I don’t mean reading articles or short blog posts or letters. I mean reading good literature. I pick up a book I normally would relish reading, and find that I. Just. Can’t.

I’ve observed that, for me, these periods are not ones of the doldrums, but rather periods when exciting things (either good or stressful) are taking place. Something happens to my ability to dig in and focus on more demanding reading.

 

This whole pandemic thing-a-ma-jig has been such a period. I managed to read one good novel, but it actually took the same sort of “just do it” I enlist for days when writing threatens to challenge. I also managed to write, because that “block” isn’t allowed by me. But reading continues to be a challenge.

 

I hope this reading block lifts, and soon. If you’ve ever had it and got through, let me know how to kick it to the curb.

Storytelling is for Always

When I was one year old, my mother and I flew from Israel to the United States because her father, my grandfather whom I never met, had just died. My father stayed behind, and our stay in Florida, which was supposed to be short, lasted nine months.

It would be a foreshadowing of my parents eventual divorce, when I was seven. But for a time, it was an extended separation.

When we left, I spoke in two-word sentences in Hebrew. When we returned, I spoke fluently, and in English, a language my father barely knew. But my father understood the very first thing I said to him when he greeted us at the port of Haifa, where our ship had docked. He told me about this meeting many times. He said I looked at him, took his hand and said, “Daddy, tell me a story.”

I forgot whatever English I knew not long after. I would learn it (or re-learn) some years later in school, as a second language. But I knew this sentence because in re-telling my father always said it in English.

Tell me a story. No matter what or where, no matter how or whom. There are always the stories and the storytellers who tell them.

📚~Keep telling stories~📚

The Last Few Months

A writer friend reminded me that as different as these last few months have been, for many of us they were more the same as the pre-pandemic world.

Because books are books, and stories are stories, and the things that matter are very much the same.

But the publishing world is trying to access what is different, not what is as before. As they do so, those of us who want to be published are swinging in the breeze of changing winds.

To that end, I’d love to hear from others. Have you found that you are reading/watching differently? Have your book-buying habits changed? If you could rule the publishing world, what do you wish you could find on virtual shelves?

Maybe the most surprising thing, for me, is that at the height of the rapid closures and public tension I found it hard to focus on reading or writing original stories. But shortly after, (shortly here means about eight weeks) the ability to be a reader and also a writer returned with aplomb. What about you?

Writers Need More Readers

With official summer around the corner, some think it the season for pleasure reading.

After all, when else will career busy folks put down their technical must-read-for-work books? When else will school children pick up books they want to read but don’t have to?

Turns out that a whole nation embraces creative writing, and we now have a National Novel Writing Month, a.k.a NaNoWriMo every November. But as more people are writing novels than ever before, fewer are reading them.

Leisure time is precious. Between movie streaming and internet news and animal videos, people have found time to write and encourage each other to publish. But who will read all that output?
Other than committed writers who read and write year-round, (not only in November) and children assigned books at school, most Americans do not read much fiction for pleasure. To illustrate the point, more than ninety percent of book groups are middle aged (and older) women. This leaves out a lot of people, many of whom don’t read a single work of fiction if they don't have to.

I think it’s time for National Novel Reading Month.

The internet tells us there is a National Reading Month. it falls in March, in honor of Doctor Seuss’s birthday. The great doctor should be honored, but this suggests a designation aimed at very young readers only. What happened to all the novels written in November if in March we read picture books? Besides, who’s ever heard of this NaRe[ading]Mo if they didn’t search? Where is the engine that drives this to be an actual national event?

I think July is a better candidate for the honor. But any month will do. 

Just sayin’.

What Will We Write?

Or

What Will They read?

It’s a big question mark for writers for a post-pandemic period. What will readers read, and hence, what should we be writing?

No doubt, it’s the big five-W questions again.

What?

The pandemic, of course. The one with the number nineteen in its name, though it’s mostly a twenty-twenty event

When?

When sheltering in place and wiping grocery bags with bleach will be in the rear view mirror

Where?

Here, there, and most everywhere. But not, in fact, in the same way everyplace.

Who?

Human beings on every continents save Antarctica, that’s who L

Why?

Religious leaders and some environmentalists already have global moralistic explanations to the "why" of it. I will stay away from such like the plague that this sort of thinking is. The book of Job says it best: we can seek “reasons” but should avoid thinking we ultimately have any handle on moralistic global explanations.

And now, back to the ranch. The place where stories are born and typed, which (for me) is the corner of my room in the corner of my home.

I heard that some people were drawn to stories about plagues. Not me. I had no intention of re-reading Albert Camus’ The Plague, or watching movies like Steven Soderbergh’s Contagion or re-watching Wolfgang Petersen’s Outbreak. No way. Nah-ah. Not.

In the thick of sheltering in place and leaving home as little as possible to get groceries from markets with empty shelves, all I cared to read, watch, and listen to were stories about normal times. Stories with people who greet each other with a hug, and gather to listen to music in large halls, and go out to restaurants where others’ talking made it necessary to raise your voice for conversation. "Normal," like always.

When we’re back to normal, it may be a modified normal. But stories written before will only need slight changes, not seem downright anachronistic like they do now. Of course, there will be novels with this experience in the background. Stories about how some coped, while others frayed at the seams. They’ll likely include the requisite one person dying in each. But I hope that in less time than anyone imagines at the moment stories will return for the most part to where we left them, way back in the historic time of the Fall of 2019.

©Chaim Goldberg Art

My Favorite Meal

Do you have a favorite meal? Mine is, hands down, breakfast.

Breakfast means, literally, break the fast. You’ve not eaten since maybe eight the night before.*
*(Unless you are the midnight by-the-fridge sort, which is an image I’ve only experienced watching movies/sitcoms. In real life, middle of the night is a time when the last thing I want to do is stand by an open refrigerator or even think about food.)

So now it’s eight in the morning. You’ve “fasted” for twelve hours, and you should be ravenous.

For me, this is the mystery of breakfast: I’m not hungry in the least. I don’t know why, I just don’t get that peckish sensation that precedes lunch or dinner. This makes breakfast a meal of complete non-urgent food choice.  
A long time ago I vowed to never eat something I don’t enjoy, (with the exception of social circumstances when someone else is in charge and I want to be polite) so breakfast is pure pleasure food.

It so happens that American food conventions also include my favorites as breakfast food. Pancakes, scrambled eggs, hot cereal, and...
coffee, blessed coffee.

I liken it to reading for pleasure. Not assigned books (whether for school, work, or a book club) or books that are “good for you,” as in must-read-because-it-won-the-Pulitzer-prize. But pure pleasure reading.
At the same time I abandoned “good for you” breakfasts, (bye-bye bran flakes and cold milk) I also vowed to never finish a book that didn’t resonate.

Life is too short.

            

So eat when you don’t have to, and read when you don’t have to. Life will be good.

WRITE What You Love to READ

Steven Spielberg said he makes the movies he’d like to see. It’s that simple.

So it is for me. I write the stories I’d like to read. Good thing, because read them I will, over and over, before I move on to writing the next story I’d like to read.

This is my answer to the question of why I write for kids, why I write what I write, and why I write, period. I like to read. That is the why and the what.

There are writers who wouldn’t write commercial books if asked, because they don’t read them. Others wouldn’t write literary fiction because-- ditto. If you love reading who-done-its, Science Fiction, or romance, you could try writing one. Writing is a thorough engagement, and such is rewarding in a deep way when it’s what you like.

All the rest are the dues we pay for this privileged existence.

©Ofra Amit (from A Velocity of Being)

Listening to Books

Do you like Audio Books?

My experience is both limited and mixed.

I listened to a few books on long drives. I can firmly state that they helped me get through the long commutes. I have a friend who swears gardening and house cleaning are much improved with a good book in her ears.

But it is a different sort of experience. It is not reading, as the content and plot are absorbed, I suspect, by a different part of the brain.

For one thing, the complete focus that reading while not doing anything else is gone. Paying attention to the traffic or the weeds is not trivial. For another, the emotional flavor of the words is colored by the reading voice, and the reading voice is rarely the inner voice inside your head.

In other words, (pun intended) the reader makes all the difference.

Here is a link to a good post about writers who are tempted to produce/read their own audio books.

So far, my personal experience is that for less demanding commercial books, audio books are fine. Especially with a good reader. Exquisite literary fiction still needs my reading eyes.

Remember to BRE---ATHE~~~

When I was a wee one, one of my teachers used to say, and often, “Remember to breathe.”

This struck me as funny. Who forgets to breathe?

I grew up, and with more breathing lessons under my belt, I understood better what she meant.

Many eastern meditation techniques involve focus on one’s breath. But this expression in western context means do something that takes you off the treadmill and allows your mind to clear before you get on again.

Feeling creatively stuck?

Breathe.

Got bad news?

Breathe.

A dear one is in crisis?

Breathe. Help them. Then breathe again.

For some, to breathe means eating chocolate or sipping a glass of Merlot. (And I do mean sipping, not to be confused with gulping.) For others, to breathe means making contact with a close friend and talking.

For me, it has come to mean go for a walk. Not just a leisurely stroll, but one that involves some hill climbing, which necessitates deep breathing. Yup.

The air quality where I live has been seriously unhealthy for almost two weeks. Devastating fires burning almost two hundred miles away have ushered a layer of dense smoke that wouldn’t quit.

Folks are warned to stay indoors and whatever they do, not do anything that requires physical exertion. In other words: Do Not Breathe.

Under such cautions, I re-discovered my childhood “breathing” activity. I didn’t even know back then that it was a form of breathing.

I lie down and read a great book.

I’m getting some fantastic reading done, and my soul is full of oxygen. On this Thanksgiving week, I am thankful for all the wonderful writers who ever lived and the publishing professionals who had the insight to usher their works into the world so we can breathe.

Remember to breathe, everyone.

Johnny Tremain

As a way to celebrate the miracle that is our country, one encompassing much of the continent from sea to shining sea where, let’s face it, many wish to come to and few wish to flee from, may I recommend a classic book?

Johnny Tremain, by Esther Forbes, was the first historical novel written for young readers, and a Newbery medal winner. My kid-lit reading group read it some months ago, and saved me with this assignment from missing one of the best ways to appreciate the effort and enterprise that was the founding of the union of states.

I felt I was there, with Johnny, as his focus shifted from his personal struggles to be somebody in a world that did not bless him with privilege to the honor and privilege of fighting for something greater.

And the next time anyone says something about how divided our country is, let them situate themselves in colonial times, where many of the English king’s subjects in the Americas were not the least bit supportive of the colonial rebels.

Because what we have now is a vibrant, imperfect, but astonishingly successful nation, where disagreements are settled by a system of state-by-state voting.

That is something great, and worth celebrating.

Happy July Fourth and happy reading.

LET THE CLASSICS BE

At the SCBWI meeting I wrote about in the last post, I had an interesting discussion with the younger writers near me. It was about current social sensitivities and the classics of kid-lit and general literature. Do we read/teach/recommend books written only decades ago that convey notions about gender/race/faith no longer deemed acceptable to us?

Think of the N-word used liberally in Huckleberry Finn, one of the great American novels for any age. Think of the misuse of Native American terms in The Sign of the Beaver, another great book. For that matter, think of any of Jane Austen’s main characters whose sole goal in life was to marry, (preferably well$$) or Shakespeare’ Merchant of Venice whose Jewish character is villainously greedy in the classic anti-Semitic tradition.

And so on, and on, and on.

Some parents opt to keep the classics out of their kids’ library. Many school districts have similar policies. They mean well, I’ll give them that. They want their young’uns to feel safe at all times. They feel these currents can wait until the kids are grown and able to understand the context.

I’m on the other side of this debate. I think the classics should be taught, albeit with a contemporary forward by a knowledgeable historian. Because, if we wait until kids are “old enough,” they will be suspicious. If people are exposed to mindsets of another time only when they are adults, presuming they were carefully shielded until then, they are likely to feel incredulous.

“How come I never heard of it?”

“If this were so, I’m sure I would have seen/read about it before.”

“Yeah, they teach it in history class. But I never saw it in anything that was written in those days.”

And, finally— “This is fake news. Fake information from evil interests looking to take over our minds.”

Sounds familiar?

Great books should be taught, and taught unaltered, and to any age. With it, the historical context should also be explained.

Only those who know where we came from can be truly educated and prepared to make thoughtful judgements, which, I presume, is the purpose of education.

I made this pitch to the poor souls who happened to be sitting by me, and I am not sure I convinced anyone. They listened politely. But I got the feeling that reading The Classics was not a priority, and no one wants to stick his or her neck out where the politically sensitive might bite.

But I said my peace, just as I do here, uncensored. Teach the classics and don’t change a single period.

Seems to me particularly poignant at this time of Passover, when my people remember and remind and teach our young that were were once slaves in Egypt. Because not knowing, not remembering, and not teaching-- is a recipe for future disasters. 

This Day in History*

*November 14^th, 1851

On this calendar date, one hundred and sixty-six years ago, Harper & Brothers in New York published Moby Dick by Herman Melville.

Many consider it one of the Great Books in the canon of western literature, certainly of North American books.

Confession: I never read it.

I even knew one of Melville direct descendants, the lovely Meredith Melville. I never admitted to her that I hadn’t read it. I had no excuse. I did read much longer books that book lovers think are must-reads (Yes, War and Peace) and I can’t say that whaling and fishermen are a turn off (The Old Man and the Sea, I did read that one) and really, I have no idea why some great books have escaped the net of my youthful reading, when either the schools I attended or my love of reading drove my cart. Some books just slipped by, and then slipped off.

Like Moby Dick.

But something has changed in me as the years accumulated. I no longer feel I should, or would. I can’t explain that, either. No excuses or “someday.” Call me Ishmael if you need to. That’s fine.

What great books have you not read? Do you still think you will?

&Happy Birthday, MOBY DICK&

The Rich Man’s Omelette

A few days ago I wished my picture book critique group a good summer and sent this as a good omen for getting lots of reading done—

© Summer Reader by SHELAGH DUFFETT

One of my critique buddies  responded with, “I want to be where this gal^ is.”

I thought how I am exactly where this reader is.

I mean, almost.

I do have cats, and one of them will jump on my lap, though never when outdoors. She’s too dignified for that, I think.

I do have a view of the bay if I walk a few blocks up the hill.

I have good books to read. Maybe I would read more if the to-be-read pile by my bedside was not so dauntingly tall.

And when I’m sitting by the blooming plants, it’s not to read, but to weed. I told you it’s an almost.

I do have a tree in the backyard I lean against. I do so when I’m tired of yard work.

All of that got me thinking about the old story of the rich man’s omelette.

A poor man returned home and told his wife he’d had the most amazing meal at a rich man’s house. The wife, eager to replicate it, asked what it was.

“We’ll need some eggs,” the man began.

“We’ve got that!”

“And some butter,” said the man.

“Well, we don’t have butter. But I can use margarine.”

“And some French cheese, such as Boursin or Pont-l'Évêque, ” the man added.

 "We don't have anything like that, " the wife said.
"What do we have? " the husband asked.

“We’ll use Velveeta,” the wife said.

“And we'll need fresh shallots,” the man continued.

“Onion power will do fine,” the wife says.

As they sat to eat, they had to agree that it was, well, almost.

 

This made me resolve to at least now and then try and narrow the gap between the summer reader above, and my life.

Be nice to yourselves, out there.

The Bad, the Competent, the Good, and the GREAT

I took the title of this post from Stephen King’s book ON WRITING, a Memoire of the Craft.

Confession: I’m one of the few who has yet to read a Stephen King novel, though I know I have read one of his short stories a long time ago. This very good and uber-successful author writes horror stories. I don’t read horror. Ah, the horror!

But I got a strong recommendation to read his book on writing, and it turned out to be a delight. The writing advice is solid if standard fare, but the memoire parts are a testament to why he is the Stephen King— a vivid story teller of the first order.

Mr. King puts members of his profession into four categories.  He sees this classification much like the government’s food pyramid, with the bottom having a larger mass than the pinnacle top.

At the bottom are the Bad Writers. Mr. King hints that a few are commercially so successful they live a life of luxury in the Caribbean. (Who could he be talking about? I have my list)

Above them, in smaller numbers, are Competent writers, who comprise much of the work-for-hire, journalistic, and other pretty decent writing we encounter. Competent writers have the ear for cogent expression, but their stories lack wings.

Above the competent are the Good writers, and Mr. king suggests he is in that layer. Good writers have solid technique and tell good stories.

At the very top are The GREATS.  Think Shakespeare, Yeats, Faulkner, or Eudora Welty.

Mr. King believes that no amount of teaching will turn a bad writer into a competent one. They lack the ear, or they wouldn’t have been bad to begin with. He insists that no how-to course or mentoring will make a good writer into a GREAT. The Greats are divine accidents.

The teaching and coaching have a place in the middle of the pyramid. There, the competent, who, if they listen well, try hard, and work at it, could become good.

I tend to agree. I see this in all fields, though it’s most pronounced in artistic pursuits. It fits with a certain perception, one divergent from Malcolm Gladwell’s and his ten-thousand hours of work to any expertise.

But then I wonder: how wise or true is it to have rigid classifications? It organizes the mind, and is fun in its way, but how deeply true?

Here is my other confession for today: I really don’t know, and I know that I don’t. Organization and classification (like these pyramids) make for easy, comprehendible and jauntier stories.

I don’t know about the substance of King’s notions, but trusting some of the best readers I’ve known, Stephen King is nothing if not a Great storyteller.  Maybe his system is just another one of his stories, cooked for easy digestibility.

SENSITIVITY READERS

Many say that you should only write about what you know, and others say you should write about what you want to know. I’m in the latter group.  I do stick with what I know, and know intimately, when it comes to the main character. This is essential for me even more when the story is written in first person, and the narrator is the main character.

But there are other characters, and they often come from other places, other faiths, even other times. Seen through the main character’s eyes-- the narrative voice remains an authentic observation of their “otherness.” But as readers are diverse, I always felt I should run a story with such characters by Beta Readers who would have known them intimately. 

One of my novels, set in the South, has a narrator. The narrator is an outsider, lands in the American South, and marvels at the difference of her northern California mind-set and the people and place she finds herself in. I ran many of the southern dialogue lines by a native of the specific area, and, once the second draft was done, I had the whole story read by my first Beta reader, a native of the American South.

This turned out to be insufficient. Another reader objected to the way a character spoke and acted. I revised, again. This time with a reader who was not quite from the same place in the south, but of the same race as the secondary character.

I have done similar things with other stories. I did not know there was a name for such readers, but I’ve learned. They are now called Sensitivity Readers. They will check the authenticity of voices and manners, because they know from the inside. At the same time, they will point out anything that strikes them as pointlessly offensive.

A simple internet search using this term will show not only that it’s established, but there are sites that hire such readers, vet them, and for a fee will connect writers to a specific need. I was ignorant that this was recognized and monetized, and had turned to friends or other writers with an exchange of reading their work-in-progress. I know what I don’t know, which is plenty, and I know feedback is invaluable.

In search of authenticity, I try to remember not to sanitize what real life sounds like. This is not about the PC police waving their badges.  At the very least, it is a good idea to run work by people of a different background and weigh their feedback. In the end the process is enriching well beyond the mining of my own mind.

PROTOTYPE and SINGULARITY

“Everyone is kneaded out of the same dough,

but not baked in the same oven.”

—Yiddish Proverb

Aside from the notion of whether it is nature or nurture that shapes personality, and with it, destiny, there is something that every writer must struggle with and every reader must decide whether to accept or reject: how stereotypical can a character be before we call the narrative racist, or sexist, or simply poor and formulaic? There is nothing to make the character singular and thus fully fleshed out.

And the other side of the coin is really the same question, only read in reverse: how unusual can a character be before we exclaim that such person would never do this or say that? Would a twelve-year-old use proper archaic English they could have only glimpsed from Shakespeare? Would a four-year-old remember something that happened when they were two? Both are possible, but not typical, and many would say are unbelievable.

I ask, because I have read enough reviews, given reviews, or gotten feedback, and have seen both reactions. “Formulaic,” and “unbelievable.”

Classical musicians face similar balancing dilemmas when interpreting well-known pieces of music. A piece of music must sound different and new, thus it lives. But it can’t be so singular that the composer wouldn’t recognize it, and the listener would have their expectations smashed.

I like the Yiddish proverb above, because it reminds me of this delicate balance: similar, but not the same. Made of the basic stuff, but formed into a different shape.

A delicate, almost undefinable balance. A good visual is the tightrope walker. I think of her as I dialogue with my characters, and pray I don’t miss a step and fall off.

©Tightrope Walker by Seiltänzerin (1913)



WHY Won’t They Publish…?

There are a lot of websites and blogs that offer nice checklists to go through and make certain a manuscript is ready for submission or publication. Just internet-search any variation of this post’s title, and you’ll be amazed. Help is there.

The thing is-- none of these checklists, handy-dandy though they be, really tells you if your offering will get published. You may go through these point by point and remain frustrated.

Here's a typical, and sensible, list to consider:

*Is the story properly classified? Have you submitted to the right publishers/agents? Check/Check

*Have you taken care of typos and other pesky technical things? Check

*Is the premise unique? Check

*Is the premise not so unique that no one knows what to make of it? Check

*Are the stakes high enough? The plot riveting enough? The characters engaging enough? Check/Check/Check

*Have you run it by good readers who would tell you the truth? Check

And so on, and so forth. Now what?

---

I don’t have the answer. But the single thing I find most helpful, inspiring and encouraging— is go to my local bookstore. (Yup, I’m lucky to still have many nearby.) There, I read recently published books aimed at the same readers I am working for.

© By Karla Gudeon

Inspiring, because the level is generally high and the examples push me to excel. Encouraging, because some of the books are not nearly as good as they could be, and I believe I can do as well or better. Helpful, because the best checklist is to simply read good books that made the bar, and try to understand why.