Saturday, January 12, 2013

Writing About History Is Writing Toward Truth

Writing About History Is Writing Toward Truth
by Mark Nichol

The latest chapter in the depressing saga of Sarah Palin’s losing battle with chronic foot-in-mouth disease illustrates a point writers and editors should take careful notes about, because it’s going to be on the test. It has to do with history and repeating, but not with history repeating itself. It has to do with repeating accounts of historical events.
Palin was in the news again last week because she recently made some confused statements about Paul Revere’s legendary ride, implying that one purpose of the mission was to warn the British military occupation that colonial militiamen were prepared to oppose their advance through Massachusetts to arrest rebel ringleaders and confiscate munitions.

So, where’s the writing tip amid the historical histrionics? First, I readily concede that Palin is not an entirely reliable source of American history. But, in her defense, she actually got it partly right, and her detractors are also mistaken in some respects.
Here’s the background: The legend of Paul Revere we all know from history class and Henry Wadsworth Longfellow is just that — a legend. His ride is historical, but the details, as they’ve been handed down to us, are a bit muddled: Paul Revere was not a lone hero galloping off in the moonlight to rouse unprepared farmers and villagers to repel a surprise British advance. He was just a minor part of a long-prepared, well-organized network of planners, couriers, and militiamen who had rehearsed for the eventuality of the military maneuver, which they knew was inevitable. It was Longfellow’s poem that elevated a fairly trivial historical figure into an icon of the American Revolution.

The most egregious issue in the latest Palin controversy is that one of her supporters attempted to revise Wikipedia’s Paul Revere page to deflect criticism of her. The intent was to support her by introducing a comment suggesting that it would have been odd for Revere to cry out, “The British are coming!” when those who responded to his call identified themselves by that term of nationality. A Wikipedia monitor rejected the change, but the truth is that it’s a valid point: Revere’s warning likely referred to “the regulars,” not “the British,” to announce the impending arrival of regular British army units.
The British colonists in America were just that: British subjects. Many of them were disgruntled British subjects, but on the eve of the battles of Lexington and Concord, in April 1775, most of them remained loyal to the British crown and wanted not independence, but redress of grievances.

Furthermore, British army scouts captured Revere before he accomplished his entire mission. It is at this point that he reportedly informed his captors of the stout defense they could expect if the army unit marched inland; one purpose of this challenge was evidently to try to divert them from the vicinity of the farmhouse where rebel leaders Samuel Adams and John Hancock were in hiding. If this is true, then Sarah Palin’s comments are essentially accurate.
On this point this post hinges: History is a work constantly in revision. Unfortunately, it is a target also of revisionism, and it is difficult to wade through legend and lore and romanticized heritage to reach the truth. And truth is asymptotic; you will never arrive at it. Walk halfway to a destination. Walk halfway again. And again. Repeat into infinity. You’ll never technically arrive, but you’ll get closer — and it is incumbent on writers, when discussing history (or current events), to step ever forward toward the destination of truth.

Resist complacent reliance on schoolbook history. Reject the partisan playbook. Read multiple sources of history and information originating from all along the ideological spectrum. Judge what you read — and what you write — by the standards of objectivity.

Tuesday, January 8, 2013

Book Cover Design - Part One - Designing Your Books Back Cover, A How To Parts To the Puzzle by Kareen Ross


Book Cover Design - Part One - Designing Your Books Back Cover, A How To Parts To the Puzzle by Kareen Ross
Book covers are just one part of the book design process... here will create a list of what's needed for the back cover. Ask yourself, what part does the back cover play in the sale of my book? It's said the cover design brings them in, it's the hook....and the back cover sells them, it's the meat. Why is it that 'they' say that and how do all the parts work together? As I've probably mentioned before, designing a book cover is like a puzzle and the back cover is part of that puzzle. In Part one of designing a back cover we'll go over the elements that make up the copy.

The Puzzle Parts of Artful Back Cover Design:

1. Category and price. This is usually the first line on the back cover.

Price: This has several places on the back where it can be positioned.

2. Headline: What is the main benefit you want your readers to get out of your book.

3. First paragraph: is usually a descriptive short summary, collective of back up facts or statements.

4. Sub heading and Bulleted list: the sub heading leads you into the features, the bullet points.

5. The closing paragraph: one or two sentences to sum it up and call to action.

6. Author Photo and Bio: if there is room add a photo and short intro to the author or their company.

7. Testimonal: an endorsement from a well know person and what they think about your book.

8. Signature: company name and contact info, website and location if you want. Usually on the bottom left.

9. Barcode: usually positioned on the bottom right although there is no standard placement.

So I've given you an idea of what goes into the back cover design of your book. In Part Two we'll go into more detail on each of them and what part it plays in catching and holding your readers attention.

 

Thursday, December 27, 2012

Writing – Art or Craft?


Writing – Art or Craft?
by Hugh Ashton
I have lived in Japan for the past 21 years, coming from the UK, where I had worked in the IT industry in support and technical writing. Originally, I came over to write manuals for musical instruments and audio equipment, working for a Japanese subcontractor specializing in documentation. For the past 12 years or so I have been working on a freelance basis, providing writing and editing services to companies and individuals (mostly in Japan) who need polished professional English.

This has taught me to regard quality writing as a craft, not an art. In the same way that a cabinetmaker will take pride in turning an exquisite chair leg on a lathe, but would never regard himself as an artist. I aim to produce well-turned sentences that do not come under the heading of artistry, but serve a definite purpose: to communicate meaning clearly and simply while retaining a certain elegance.

This applies to almost all aspects of my work whether I am writing a user manual for a piece of electronic equipment, a speech to be delivered at a conference, a magazine article, or presentation slides for a sales promotion.

This is not to say that emotions and feelings are absent from the writing I produce­ there is room for the human touch even in technical manuals­, but the primary aim of most of my writing is to communicate facts and ideas, not feelings and emotions.

One aspect of the writing craft, probably unique to those living in foreign countries, is the concept of “rewriting.” Japanese teaching of English is typically poor (there is usually no problem with Japanese people learning English, despite their protests), and there is a need for rewriting by “native speakers” (the phrase is used a lot here) of concepts expressed by Japanese writers in English.

Sometimes mistakenly referred to as “proofreading” by the Japanese client, such work can involve the complete destruction and reassembly of the text, referring to the original Japanese on which the English was based. Sometimes, on reading the English version of a speech or presentation, I find that the order of thoughts and ideas follows a Japanese pattern, which would be unacceptable to an English audience. In these cases, I recast the whole piece, explaining carefully to the client that I am not producing a translation, and sometimes have the satisfaction of knowing that the Japanese has been subsequently altered to match my English version. In this case, the cabinetmaker has successfully reshaped a square peg to fit a round hole­ craftsmanship rather than artistry once more.

I am proud to call myself a craftsman, or even a wordsmith, for this kind of work. Fiction, of course, is a different kettle of piranha, but that can wait for another article.

Monday, December 24, 2012

Literary Term You Should Know


Intertextuality: Literary critics comparing different works to one another, especially as they relate to retellings and references, practice intertextuality — as do the writers using the device. Adapting religious or traditional stories remains popular in almost every nation’s canon.

Monday, December 10, 2012

Chapter by Chapter: Ten Self-editing Questions Every Writer Needs to Consider


Chapter by Chapter: Ten Self-editing Questions Every Writer Needs to Consider
by Melinda Copp
Whether you’re working on a narrative or instructional manuscript, self-editing skills are important to your success as a writer. However, many writers don’t know where to start when it comes to looking at their own writing objectively. They can easily skim through for grammar and punctuation errors, but when it comes to the effectiveness of the content and images they create on the page, their own perceptions can be very different from what a reader reads.

Every writer needs an editor, but all writers can use the following ten self-editing questions to think critically and objectively about their own work.

1. Are your chapter titles effective and clear? For instructional works, they should tell readers what’s coming up in the chapter. For creative works, chapter titles can be more creative in their purpose. Still, look at them all to determine how they work together and whether or not they help establish the theme for your narrative.
2. Do your opening sentences hook your readers? This is critical for both narrative and instructional works—grab your readers right away and don’t let them go.

3. Do your introduction paragraphs effectively introduce the content contained in that chapter? For creative works, the first paragraph should set the tone for what’s coming.
4. Are your subheads effective and clear? This obviously applies primarily to how-to nonfiction and instructional works, but creative writers should look at what each chapter title reveals about the chapter it introduces.
5. Do your chapter titles and/or subheads collectively work together to reinforce the theme and goals of the book as a whole?
6. Where do you need more subheads to make the information more manageable for your readers? Again, subheads are primarily for instructional works, but creative writers should look at how their narrative flows and scenes change in each chapter to find where readers may potentially feel lost.
7. Are the examples you use effective in illustrating your points, and reinforcing the theme? For creative writers, does each scene move the narrative forward?
8. Are your main points clear throughout your chapters? For creative writers, is your theme and narrative line clear throughout each chapter?
9. Is the information, or scenes, within each chapter presented to the reader in a logical way?
10. Does each chapter close in such a way that leaves your readers anxious for what comes next? In other words, don’t let them put your book down for long!

Just like every writer needs an editor, every writer needs to learn how to think about their own work objectively—they need to see their own words as a reader will see them. This can be challenging, but it’s definitely not impossible. When you use these ten self-editing questions, you’ll be able to better see the challenges and inconsistencies in your own writing, and your writing project—whether it’s the great American novel or the next bestselling how-to book—will be much better as a result.

Thursday, November 1, 2012

Program vs. Programme

Program vs. Programme
by Ali Hale

One of our readers wrote to ask if we could clarify the difference between program and programme.

The Noun: Program or Programme?

The basic difference is between different languages:

American English always uses program

British English uses programme unless referring to computers

Australian English recommends program for official usage, but programme is still in common use.

The word “program” was predominant in the UK until the 19th century, when the spelling “programme” became more common — largely as a result of influence from French, which has the same word “programme”.

So, if you’re writing in British English (either as part of an examination, if you’re studying English, or for a British publication), here’s some examples of how to use programme and program correctly:

We’re still drawing up the programme for the concert.

This computer program won’t run on my PC.

I missed my favourite television programme last night.

The Verb: To Program, Programmed, Programming

The word program is also a verb, as in “I’ll program the computer today.” In this case, both American and British English use “to program”.

These forms are also valid in American English:

programed

programing

But the Oxford English Dictionary recommends the double-m instead, which is in far more widespread usage:

programmed

programming

If in doubt, and writing for a publication, check whether or not they have a style guide or a rule on which form of the verb to use. When you’re writing for yourself, just make sure you’re consistent.


 

Wednesday, October 24, 2012

Book Publishing - How to Design A Book Cover Yourself


Book Publishing - How to Design A Book Cover Yourself  
by Glen Ford          

There are many elements of publishing a book yourself that is easy for a new self-publisher to do. There's little fear in such tasks as formatting your book for sale. Or in obtaining an ISBN. Or even in designing a website.

However, there are many elements of publishing a book yourself that scares the new self-publisher. The two which are most frightening -- and deservedly so -- are marketing and designing the book cover.

For the writer and small publisher, designing a book cover represents a major departure from our comfort zone. After all, we work with words. Our pleasure and fame comes from the structure of our words and the flow of those words through our ears.

And book design involves a completely different sense. A sense we may not be comfortable working with.

However, book design -- at its admittedly lowest level -- is not out of reach for the average author and self-publisher. There are six steps that you need to do to create a high quality book cover:

1. Start with a trip through a book store. A virtual one will do. Spend an hour or so visiting Amazon, Barnes & Noble and Chapters/Indigo. Each of them has a display of the best sellers in various niches. Look through all of them. Are there any covers you really like? Are there any that stand out? Right click and save them to a single directory.

2. Now that you've got a set of book covers that you like, it's time to pick the top covers. So go through the collection of covers you've gathered. Start with the first three. Now look at the fourth book cover. Of the four which three do you like best? Keep going until you've gone through all the covers. You now have the top three covers you like. Print them out in full color using an ink jet printer (or color laser printer if you have one).

3. Pick out the book cover you like best. This will be the base for your cover.

4. Now recreate the book cover using a drawing tool like Corel or Adobe or one of the many free drawing tools out there. Use your title and name. Change the cover copy to match your cover copy.

5. If you used the cover as it stands that would be plagiarism. So now it's time to make it your cover. Start changing things. Change the colors. Reverse the colors. Use complementary colors - black and red for example. Change the photograph if there is one. Change the font. Pick one item and make a series of changes. Each time you change something check to see which you like better. Use that one as the base for your next change. When you finish your cover should look different from the original design. If not try it again. Save often.

6. Now save your cover and then import it into whichever cover generator you are using. You now have a cover suitable for posting to the web and also one suitable for your printing house.