AUDIO BOOKS 1

Prospect for Murder...in written and audio editions...the first Natalie Seachrist Hawaiian Mystery

Prospect for Murder is the first award-winning
Natalie Seachrist Hawaiian Mystery 
written and narrated by
Jeanne Burrows-Johnson

As I have shared recently, I have completed reshaping my author website and ImaginingsWordpower.com [a branding and development tips]. Unfortunately, the new website template system does not allow embedding  audio files directly from my desktop. Therefore, I am placing audio samples in appropriate blogs and inserting hyperlinks on my websites to connect readers to these blogs. Text from the lighthearted article, “Tucson and Her Cemeteries” is available on my author website.  A link to my previous blog provides an audio player for your listening pleasure…

Having completed several audio projects, I’m contemplating publishing an Online compendium of suggestions for your own endeavors in this area of authorship and performance. This would include ideas for project conceptualization, as well as treatments of technical issues…with the proviso that electronic hardware and software are constantly changing.

Today I offer some background on the development of Under Sonoran Skies, Prose and Poetry from the High Desert, which you can read about on my author website.  The six-author anthology was one of the top 50 picks of 2012 by Southwest Books of the Year.

Under Sonoran Skies Prose and Poetry of the High Desert

HARMONY

I believe an invaluable issue in compiling any anthology is establishing harmony among the authors’ personalities, skill sets, and voices. Fortunately, the co-authors of USS had become acquainted in attendance of writers’ salons for a couple of years. 

MY CO-AUTHORS

~  Bill Black, a magician, poet, prosaist, storyteller and MC, who has published numerous books and has been featured in regional and international magazines.  His current works may be found at his author page on Amazon.com

~  Susan Cosby-Patton, retired language arts instructor and poet who is published regionally and nationally. 

~  Kay Lesh, PhD,  educator and psychotherapist who authors professional articles and books and will soon be publishing a collection of short mysteries as well as a memoir. 

The late Reverend Patricia Noble, an author, educator, and speaker who aired radio essays and published journal articles. 

The late Larry Sakin, a political writer, radio talk show host, and green energy entrepreneur active in civic and literacy projects.

OUR COMPLEMENTARY WORK

Over time, we became familiar with the depth of our fiction and non-fiction work and recognized our complimentary voices. This led to a book of eleven themed chapters of poems, short stories, historical articles, and reflective essays.  Our intention was to allow readers to work their way through the book sequentially, or select from varied  subjects. 

The topics of our assembled pieces include: animal companions; business; the environment; history, mythology, personal relationships; phases of life; philosophy; politics; and, war. As most anthologies address a single theme, you may be wondering how we knitted the book together. We began by grouping our disparate works by topic and then placing them in chapters. Imagine our delight when Patricia recognized the synchronicity of flipping the words in the titles of our first and last chapters, “Visioning the Craft” and “Crafting the Vision.”

INDIVIDUAL ASSIGNMENTS

Production work was apportioned based on experience and interest. Because Kay possesses a well-modulated voice, we asked her to record the front piece material and chapter headings. Susan had been involved with the fabrication of other publications. Therefore, she undertook text layout to meet the requirements of hardcopy and Online production.  We also benefited from the breadth of Bill’s technical knowledge and Patricia’s grammar checking.

While Larry obtained most of the art images in the book, I addressed the overall design. This included utilizing a sunset image shot from my back lānai for the cover, and folio art to frame pagination. Because of my work in historical projects, I also undertook preparing a comprehensive index. 

THE AUDIO EDITION

As the majority of our group had performance experience, we immediately decided to produce an audio, as well as a written edition. We were fortunate that Larry had been working with Jim Waters of Tucson Waterworks Recording for several years. With confidence in both the man’s technical and directing talents, it was easy for each of us to enter the studio for one or more recording sessions. Once Jim had the raw material, he was able to smooth out differences in speed, cadence, and tone.  His final work was to prepare our audio files in several formats.

IN SUMMATION…for now

Was our work perfect?  I don’t believe so, but I hope we have met our listeners’ expectations of a work addressing multiple subjects in truly varied voices.  You will be the judge of the strengths and weaknesses of the few areas of consideration I’ve raised in this brief project overview. 

I think my greatest advice to you is to consider the individual gifts of everyone involved in such a project. This means being aware of yourself, as well as those with whom you are working. A well-produced audio book generates income.  It is also a wonderful way of enhancing recognition of your brand and introducing your work to a greater audience!

Please be aware that the voices you’ll hear in USS vary. And I’ll admit  that not all of us would be appropriate to undertaking the reading of an entire book. Finally, none of us would suggest publishing a work in any form without the input of other established authors, let alone a professional editor and perhaps a performance coach….

Now without further ado, here are a few audio samples from Under Sonoran Skies, Prose and Poetry from the High Desert. I hope you’ll enjoy these selections and understand why it’s my pleasure to continue working with these talented authors.

The Bourbon Eulogy by Bill Black
Prologue to Prospect for Murder by Jeanne Burrows-Johnson
As a Jewel in the Crown by Susan Cosby-Patton
Cookie Time by Kay Lesh

I hope you’ve enjoyed this brief introduction to one of my favorite projects!  Now I think it’s time to turn to the matter of a business Facebook page…

Wishing you the best in your creative journey, 
Jeanne Burrows-Johnson
author, narrator, consultant, and motivational speaker

You may also wish to check out the following blogs on related topics:
~ Quality Book Production, Feb. 15, 2016
~ The Value of an Index, Aug. 28, 2015

To learn more about current and planned projects, please visit my author website at JeanneBurrows-Johnson.com.

Tips on branding, marketing and developing your work are available at Imaginingswordpower.com.

WEBSITE RENEWAL

Jeanne Burrows-Johnson  IT’S BEEN SO LONG!

I can’t believe that half of 2019 has passed! A lot of my work time was lost in experiencing two bouts of flu. The one thing I truly missed has been remaining in touch with those of you who periodically drop in at one of my sites or Facebook. But when I look at the following list, it appears my working in spurts did allow me to accomplish most of my other goals:

Murders of Conveyance, the third Natalie Seachrist Hawaiian Mystery, recently launched.  I hope you have enjoyed at least one of Natalie’s adventures in murder. This book is a romp across the island of O`ahu during a Chinese New Year scavenger hunt. Unfortunately, Natalie discovered that her dream of a film noire was actually another of her visions. It was a mid-twentieth century murder, that eerily parallels the crime that occurs in front of the hotel suite where she and PI Keoni Hewitt are staying. To learn more about this and the rest of the series, drop in at JeanneBurrows-Johnson.com.

~  Some of my down days included study in order to enhance aspects of the never-ending joys of Search Engine Optimization. This resulted in my adding art to my blogs…present and past. [Scanning the left side menu of past blogs may reveal topics worth exploring.]

~  I’ve also reshaped ImaginingsWordpower.com, a website with tips for branding, marketing, and development. While brightening its overall appearance, I decided to move articles I’ve written on historic Tucson to my author’s website. At this time, you’ll find the first third of “An Early History of Tucson and Her Cemeteries.

~  Inspired by the upcoming British Isle holiday of my fabulous editor, Viki Gillespie, I have just completed Yen for Murder, the fourth Natalie Seachrist Hawaiian Mystery. While finishing the remodel of her Auntie Carrie’s cottage, Natalie and Keoni contemplate an antique auction’s catalogue. In it, they discover the image of a Shākyamuni Buddha statue stolen during the commitment of a murder in one of his last cases as a detective with the Honolulu Police Department.

Today I’ve completed the redesign my author website, JeanneBurrows-Johnson.com, which will launch later tonight. There you’ll find the first section of “The Growth of Tucson and her Cemeteries.”  I’m also inserting the following audio sample, “Yuletide in Tucson,” a lighthearted piece on historic Tucson. Wish me luck in embedding this for what I hope will be your listening pleasure!

Yuletide in Tucson

I guess that’s a fair amount of work, but I promise to remain in closer touch with you! This includes launching a business Facebook page.

Wishing you the best in your creative journey,
Jeanne Burrows-Johnson,
author, narrator, consultant, motivational speaker

To learn more about current and planned projects, please visit my author website at JeanneBurrows-Johnson.com.

Tips on branding, marketing and developing your work are available at
Imaginings Wordpower and Design Consultation.

REVIEWING 2018

 

Every year brings a mix of high and low points. Hopefully, you have experienced positive outcomes in both your personal and professional lives. I’m delighted to say that that has been true for me in several ways. On the personal front, my husband John was declared free of cancer. This September was especially memorable. I was able to visit friends as well as readers of the Natalie Seachrist Hawaiian Mysteries in a visit to the city of my youth, Portland, Oregon—after an absence of more than twenty years.

MERGING OF PAST AND FUTURE
When I used to travel from Honolulu to Portland, I often planned a gathering of friends, which allowed us to catch up on one another’s lives. This was not possible on my last trip. However, each day I was able to see people who mean a great deal to me. The first evening, I saw had supper with Jerry Lesch, one of my favorite directors at the Portland Civic Theatre. We briefly met with my editor, Viki Gillespie, who was delivering marketing materials that I had shipped in advance. Although he was not aware of it, he had met Viki many years earlier during my performance in the play A Shot in the Dark, which Jerry directed. Later, her daughter had taken drama classes with him in high school.

The following morning, Viki took me on a tour of the city. I found that the trees had grown phenomenally and the city seemed much hillier than when I lived there. Later, I enjoyed dinner with my former Highland Dancing teacher, Bonnie McKenzie and her husband Colin, a renowned bagpiper and composer of classical piebroct music. My next event was passing out Hawaiian candy at my 50th high school class reunion. The following week, I gave public addresses at my high school and a combined meeting of book clubs of the American Association of University Women. What a wonderful visit to the past, while gliding more firmly into my public life as an author!

Continue reading REVIEWING 2018

SUCCESSFUL COVER ART

The award-winning cover of Murder on Mokulua Drive

Successful cover art is the product of teamwork. In November 2018, Murder on Mokulua Drive [the second Natalie Seachrist Hawaiian mystery] won several awards. Notably, it won Second Place for Published Fiction in the 2018 Arizona Literary Excellence Contest. This was due in large part to the superb editing of Viki Gillespie, who has helped to refine each of the books in the series. Like Prospect for Murder, MOMD also won First Place for Cover Art Design in the New Mexico-Arizona Book Awards, where it was also a Finalist in the Cozy Mystery Category.

 Let’s examine how the winning cover art for this series has been achieved.

 TEAMWORK
Regardless of what you do in life, one of the major keys to your success is teamwork. Even when you are the primary producer of a product, you will be relying on the merchandise, talents, and skills of others. If you are an artist, you utilize a variety of products to create your art, and usually employ a framer to present your finished work to the world. Authors, whether self-published or working with a publisher, are likewise dependent on the output of others to finalize their creations. First, capturing their thoughts depends on a variety of manual and electronic tools. Succinct editing services are also required. Then there is the issue of layout, fortunately provided to me (along with overall publishing skills) by Geoff Habiger of Artemesia Publishing. Of course, he cannot complete his work without the final art designs brought to fruition by fine and graphic artist Yasamine June.

MY APPROACH TO ARTISTIC PROJECTS
While I possess some skill as a design consultant and can produce certain graphic art elements for marketing materials and my websites, I lack the tactile skills to produce truly refined artistic images. So where do I begin art projects? First there is the overall concept, generally driven by text I have already composed. For a book cover, the first consideration is determining the images that will evoke the essence of the story I need to highlight.

Fortunately, when I began writing the series, I composed timelines, chapter synopses, and descriptions of settings and characters. Even a cursory review of these elements reveals a list of those that may be appropriate to a book cover and supportive marketing materials. While some authors create new art for each of their works, I chose to present certain images with consistency including Miss Una, Natalie’s silent but fleet-footed feline companion and images like palm trees and ocean waters reflecting Hawai`i. In addition, I have conceived a recurring gold frame based on Hawaiian heirloom jewelry. I also utilize pagination folio art that I designed, and a gold hibiscus flower that Yasamine has refined. At the point that I have a list of elements that might be good for book jacket art, I begin roughing out a tentative layout in a graphic art software program.

ARTISTIC DEVELOPMENT
As I examine my list of suitable artistic elements, I manually draw a few pictures that fit the requisite portrait layout of a book cover—knowing that the final product can easily be converted to a square layout for an audio book. So where did the award-winning cover of Murder on Mokulua Drive begin?

First of all, Natalie’s life has shifted from a high rise in Waikīkī to a cottage in the beach community of Lanikai on the windward side of the island of O`ahu. Next was consideration of the fact that the murder in this story occurs at night. What does this add up to? A nighttime beach scene which includes the Mokulua islets, the moon, a palm tree, footprints in the sand, and Miss Una. Additionally, although I will not be completing the design, I try to allow space for the insertion of Titling in my signature Peignot font so that there will be no overlapping of images and text. Here is the initial layout I sent to Yasamine.

How did Yasamine’s magic polish this concept?

Since this is the second book in the NS mysteries, I had been through the publishing process for the series once. Additionally, I was able to draw on my experience as art director for the well-received multi-author anthology, Under Sonoran Skies, Prose and Poetry of the High Desert. For that project, I featured a picture I shot of the desert at sunset from my back lānai.

Whatever your artistic needs may be, I urge you to be involved in the process, even if you are unable to finalize the images yourself. The input you provide to a professional artist will ensure a product that reflects your own work and the goals you may be setting for future projects…Here’s a look at the before and after images for the forthcoming Murders of Conveyance, being released in early 2019!

Wishing you the best,
Jeanne Burrows-Johnson,
author, narrator, consultant, motivational speaker

Discussion of art is available at the following blogs:
Authors Design Dilemmas 1, April 2015
Confronted by a Fantasia of Fonts, May 2015
Rainbows of Color, May 2015
Winning Logos & Slogans, October 2015
Quality Book Production, February 2016
Harmonizing Branding Elements, August 2016
Book Promotion and Evolving Art, January 2017
Balancing Text and Space, February 2018
Successful Cover Art, December 2018

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

PUBLIC SPEAKING, 2

All the World’s a Stage…and it awaits the imprint of your brand!

The success of any branding program rests on harmonizing the look, sound, and feel of all of its elements!  That includes the setting in which an author appears. And while you may not be able to control every aspect of the physical environment of your presentations, you can enhance the positive impact of some aspects to boost the effectiveness of your overall book marketing program.

The Venue
If you have never spoken at the venue, you’ll be relying on the event’s organizers to provide the correct information regarding lighting, voice amplification, and projection of materials you’ll utilize to highlight your speaking points. In addition, they’ll be scheduling the podium, table, and/or chair from which you’ll speak.

If possible, visit the venue in advance of the event. While this may be easy in your home town, it can be impossible when you’re working in another city [let alone country]. Therefore, it’s good to arrive a day in advance of your presentation. If you’re lucky, you will be delivering your remarks at the hotel in which you are staying.  As this is seldom the case, travel with the basics you require to be effective.

From a Stage or…
Depending on your height and weight, and position in relation to the audience, you may need to modify your hair, clothing, shoes, and/or accessories to maximize your facial and overall visibility. Speaking engagements often occur in rooms with a stage that is at least a step above the floor on which the audience is seated. This enhances your visibility as a speaker, but it means you must look good from the top of your head to the bottoms of your shoes. And although many stages are carpeted, older wooden or tiled stages may have uneven surfaces, for which you will require sturdy and slip-resistant footwear.

Solo Performance
Sole presenters in a public venue usually have access to a podium. Free-standing or table top, it should offer sides that mask your script, notes, watch, and other items you may need to reference. Unless a free-standing podium is constructed of a tubular frame, it is probable that you’ll be visible only from your chest up. That gives you more flexibility in your stance and movement of your feet. If the podium is comprised of a hollow frame, or positioned on top of a table that has no tablecloth, you will not have that luxury.

Whispers to Screams
The quality of your natural speaking voice can be either an asset or detriment in public speaking. Depending on your audience, even the strongest of voices expressed in the wrong tonal range can be hard for some listeners to hear properly. Many podiums are set up with a microphone fixed in position. If you learn you’ll be using a hand-held mic, you may want to obtain a small stand in order to free your hands for gesturing, pointing to overhead projections, etc. Having said this, I must note some presenters like to speak off the cuff rather from written material and prefer a hand-held or wireless mic so they can roam freely—sometimes even moving within their audience.

Be aware that the effectiveness of the microphone you use [especially lavaliere or headsets] can depend on your neckline, arrangement of hair, and any chain or necklace you wear. Also consider that dangling earrings and loose watches or bracelets can interfere with sound projection.

Having a strong voice may lessen the need to provide your own electronic equipment. However, if you are embarking on a lengthy tour, you might consider acquiring sound equipment that can make you more independent of the facilities in which you appear—if it is compatible with the speakers to which your equipment will be connected. In making such a decision, you will want to seek the input of an electronics specialist.

Inviting Displays
Will you be able to set up a display that greets and enlivens your audience? At the minimum, you should be able to drape a banner over the front of a podium [using double sided tape, if nothing else]. I carry the banner from the release of Prospect for Murder, first of the Natalie Seachrist Hawaiian mysteries. I also travel with varied sizes of boxes on which I can place color-coordinated tablecloths to create heightened surfaces for displaying signage, products, and handouts. And I carry stands of varying proportions to maximize visibility across a room. Do be cautious about displaying valuable items which could disappear…

Enlargements of colorful book covers, pictures of previous appearances, and banners with both your image and the works you’re presenting make a wonderful background for highlighting sales sheets, future project descriptions, and business cards. Since Murder on Mokulua Drive has an embossed jacket front, I present it on a stand, as well as on the table top to invite people to pick it up.  If there is a theme to your work, you can add decorative items that reinforce that reference. As most of my work centers on Hawai`i, I display a shell lei or two, a golden fish business card holder, and tablecloths that harmonize with my book cover colors.

Ensuring You have What You Need
If you’re speaking in your home town and have checked out the venue, you’ll know what you need to carry with you. The one thing that may affect your preparations is a change in the size of your audience, thereby impacting the number of books and handouts required. When traveling to a long-distance destination, you may be able to send a box ahead to a friend, colleague, or the hotel in which you will be staying. Regardless of whether that is an option, strategize the items that you should carry personally, rather than check into a luggage compartment.

I recall my gratitude for arriving in Hilo (after flying back from the U.S. mainland) two days in advance of a performance of Scottish Highland Dancing, since my costumes remained in Honolulu by mistake. I now keep the following items with me personally when traveling to author appearances: memory sticks and a master copy of materials needed for display and distribution; one copy of pertinent books and project samples; one small tablecloth and a shell lei to personalize a display; one copy of a short biography; two 3 x 5 inch cards with an introduction of me and my presentation; a brass name badge and any pertinent professional badges; a beautiful artificial orchid for my hair; and, one elegant jacket to dress up even an emergency wardrobe purchase if my luggage does not arrive with me!

This is the second of three discussions of Public Speaking Engagements.My next blog will address the ways in which public speaking engagements can enhance your branding as an author, and will be featured at Hometown Reads .

Wishing you the best in your adventures as an author or other creative professional endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Suggestions for Dynamic Public Appearances are available at:
Author Appearances, December 2015
Promo Materials for Public Speaking, July 2018
All the World’s a Stage, August 2018
Final Preparations for Public Speaking, September 2018

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

Drawing on Sense Memories

What are your earliest and favorite sense memories? Most of us think of the five physical senses as we are experiencing them. The toast looks and tastes all right, but it has a slightly burnt smell. I wish the kids would stop screaming, my ears are starting to hurt. I love this faux fabric, it almost feels like my cat’s fur…

The Creator’s Sensory Perception
As a writer, or other creative person, sensory perception can be an important element in preparing a stimulating picture via words or graphic images. We may not be aware of it, but the way an image or scent impacts us personally can greatly impact or work. One of the most effective devices for creating believable images is by consciously drawing on our memories. This is because referencing something we’ve encountered personally provides a depth of authenticity in whatever work we are undertaking.

The Truth of One’s Experience
This does not mean that we have to reveal our personal circumstances in order to truthfully share a sensory experience. Of course, that may not be true if we are presenting a work that is a memoir or similar personal expression, for which we are obligated to reveal this aspect of our lives. The truth of our sensory experiences can be shared without revelation of the circumstances in which they occur.  Isolating the experience from its original circumstances, can encourage us to revisit the specifics of what we saw, smelled, heard, touched, and/or tasted with greater accuracy.

For example, while we may wish to describe the beauty of a star-lit night from our honeymoon, we do not need to provide details of the circumstances in which we viewed it. Even when we need to describe something we have not experienced, it’s good to seek out the concrete memories of those who have. In describing Shanghai in the 1920’s for Prospect for Murder, I drew on images shared by people whose fascination with the city transcended the actual era in which they traveled. And despite their degree of positive or negative reactions, I was able to utilize their perspectives to provide images of the bustling streets and even the scents they encountered in their sojourns.

In Murders of Conveyance, the third book in the Natalie Seachrist Hawaiian mysteries, my heroine overhears a conversation in Chinese from outside of the building in which she stands. I’m sure we can all think of times when we’ve  accidentally overheard a conversation, whether in a language we speak or not. When I moved to Honolulu at the beginning of the 1970s, there were many occasions in which I heard languages I couldn’t understand, nor even identify. Because I needed my heroine to feel connected to foreign dialogue, I inserted phonetic sounds that allowed Natalie to guess the speakers might be referencing someone she knew.

Stimulating Vocabulary
Sometimes we are fortunate to be able to utilize vocabulary or pictures that effectively mimics the images we wish to share.  I find the following words and phrases can bring clarity to a description, sometimes reaching beyond a single sense: wispy; screech; a snapping branch; wrinkled; razor’s edge; staccato; fragmented; shrunken; glassy; whispered; fiery.

The perception of other words often relies on those who read or hear them. Reference to an Upscale dining experience may arouse the taste and ambiance of a five-star restaurant to one person, and a fast-food joint to another. While the phrase Opulent jewelry signifies a strand of synthetic pearls with rhinestones to one reader, someone else may envision weighty crown jewels. Vintage clothing could generate a disco scene from the 1970s for a millennial, whereas someone my age may picture a flapper dress from the roaring twenties—the 1920’s that is. Similar variances can arise with an author or artist’s use of color and shape, as well as a composer’s insertion of pauses, changing rhythms, and escalating tones.

I’m fortunate that many of the images I wish to share in the O`ahu setting of the Natalie Seachrist mysteries practically write themselves: the sparkle and whooshing sound of incoming surf on a moonlit night; the stickiness of teriyaki sauce on a barbecued chicken thigh; the fresh fragrance of a flower lei, the stench of rotting plumeria blooms beneath an aging and neglected tree. But although I bring personal insight to such images, I must avoid cliché verbiage that will bore the veteran traveler. 

Your Target Audience
This brings us to a brief discussion of one’s audience…one’s target market. If you’re working within a recognized genre of literature, art, or music, there may be standards to which the majority of your audience will expect you to adhere. If you are striking out on your own to create a variant or wholly new artistic expression, you can move in any direction you wish…keeping in mind that you will need to attract some degree of a following in order to achieve any degree of success.

Accordingly, I sprinkle snippets of pan-Pacific and world history across my mystery plot-lines.  And while I present a fair number menu items within each book, I place actual recipes on my author website, rather than completely bogging down a story.  As to the cast of characters, folio art framing page numbers, chapter aphorisms, and linguistically and historically detailed glossaries, the reader can choose to appreciate or ignore them…

Wishing you the best on your own creative ventures,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Tips to enhancing your writing may be found in:
Empowering Your Words, February 2015
Creating Fictional Characters, March 2015
Sidestepping Writer’s Block, April 2015
Communicating with Every Sense, May 2015
Energizing Narrative Passages, September 2015
The Author Recycles, July 2017
Balancing Text & Space, February 2017
Book Series Adventures, April 2018
Drawing on Sense Memories, July 2018

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

MEA CULPA

What do you regret about your past or present work? Your book series is doing well!  This truly is an accomplishment to cherish!  What must you do to ensure your writing career continues on an upward trajectory?  Regardless of whether you have a publisher or self-publish, there are problems that can arise during the complex process of production. Some we must live with and bypass with minimal discomfort; others we can actually take steps to remedy…

Publishing Errors

I’ve previously discussed issues an author faces in publishing a series—regardless of genre.  Fortunately, the process of publication is seldom the responsibility of a single person.  Of course, as the author, the quality of the final product reflects on you—for it is you who will be facing the public.

As a reader, as well as an author, I have not heard of a book that arrives in a reader’s lap without flaws of one type or another.  They may be barely perceptible, and actually may be a matter of choice rather than outright error.

Whose Fault?

In truth, no matter how much effort [and sometimes treasure] you invest in maintaining the quality of your work, unexpected flaws can emerge.  They can arise from both overt errors, as well as from actions you failed to take.  Most of my errors come from copying and pasting text and repeating favorite words.  Unless one closely and repeatedly reads the edited text, words may end up out of sequence, or can be wholly missing.

Discovering Flaws

The process of finding errors can be simple or complicated.  In writing a series, you probably have a written or mental list of flaws you’re prone to make.  As I prepare for the publication of Murders of Conveyance and work to complete Yen for Murder, I’ve found that the following errors appear frequently:

~  Repeated words and phrases
My favorites, myriad and R & R.

~  Overuse of prepositional phrases
Mine frequent the beginning of sentences. 

~  Complicated action
I’ve found scenes in which a character would need three hands to accomplish what I’ve described.  I’ve also struggled to explain how hidden compartments are accessed…

~  Character flaws
Misspellings of names, and their pronunciation in audio books can easily occur, and did in the audio edition of Prospect for Murder.  Titles of officials and their organizations can be misstated or may change over time.  Evidently my love of British police procedurals produced my mixing of the word detective with the ranks of police officers.  In actuality, most police forces in the U.S. [including Hawai`i], do not do that.  A sergeant with the Honolulu Police Department who becomes a detective is simply referred to as detective, with higher ranking officers being referred to by their rank.

Major Errors

You might think that writing fiction means that few errors unrelated to grammar will materialize.  But issues of consistency still need to be addressed.  My own inconsistencies have included changing the floor on which protagonist Natalie has a condo and the color of the truck of her boyfriend and detecting partner Keoni.  While regretting even these minor mistakes, at least they do not interfere with the reader’s ability to follow the story.  I’m not sure the same can be said for the two lines of crossed-through text in Murder on Mokulua Drive.

One thing that cannot be ignored or casually dismissed is the erroneous reporting of a historical fact.  I was particularly embarrassed to discover that in copying and pasting text in the Glossary of Prospect for Murder, I mistakenly dropped a sentence relating to Hawaiian Princess Ka`iulani into the description of Queen Kapi`olani. This is an obvious mistake to readers who are familiar with the lineage of Hawaiian royals and a serious detraction from my desire to share Hawaiian history with a global readership.

Making Corrections

Having determined the cause of a problem, you face correcting it.  This can be fairly easy with the publication of a digital book, and other on-line pieces…That is, if you are capable of altering the text within the template that generated it. If you cannot do so yourself, you may have to return to the typographical artist who originally laid out the book. If you are not able to reconnect with them, you will have to find a new source of help.  Fortunately, my publisher is working to correct the MOMD Ebook error regarding Queen Kapi`olani.

Matters are more complex in correcting flaws in printed editions. Unfortunately, the error regarding the Queen can only be corrected when further batches of the books are printed.  I wish I could send out errata labels to everyone who has a copy of the book…The one thing I have done is to publish a message of Mea Culpa on Facebook!

Avoiding Repetition of the Crime

Once you’ve pinpointed the sources of flaws, you can seek appropriate ways to dodge their recurrence. This challenge is exacerbated in the production of a series.  To keep my projects separate but harmonious, I’ve prepared and continually update detailed reference notes listing aspects of appearance, voice, attire, movement and behavior. I also have spreadsheets that pinpoint chapter elements [such as when Natalie has which vision] and the family trees of major characters.

I’m glad that most of my readers enjoy references to daily life in the Hawaiian Islands—especially food.  There are, however, some who would prefer little discussion of food, beverages, relationships, history and cats.  At this point, I don’t foresee removing these elements from my tales—nor would I detract from plot lines by inserting actual recipes.  However, recipes  that reflect Natalie’s life, local restaurants and menu items one might expect at an Island gathering, do appear on my author website.  This has necessitated my keeping records of the food and beverages I write about for review during the writing of each book.

Variations…Not Errors

As a series unfolds, it is to be expected that improvements in writing style and changes in book layout may occur.  This doesn’t mean that earlier editions of books are necessarily flawed.  Happily, my publisher opted to offer embossing on the vibrant cover of Murder on Mokulua Drive.  And, as I like reference material to be readily accessible, we are enlarging the font that introduces Glossary sections.  Similarly, we are inserting spaces before and after the hyphens between author birth and death dates in chapter aphorisms.

Fortunately, while outright flaws need to be addressed, developments in an author’s style of writing and the presentation of their work can be things of beauty!

Wishing you the best,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries [including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

BOOK SERIES ADVENTURES

This blog first appeared on https://HometownReads.com,  which I highly recommend to both readers and authors seeking to learn more about the art and business of publishing books! You can click on https://HometownAuthors.com to view a variety of articles from member authors…

The Natalie Seachrist Hawaiian Mystery Series

How are you enjoying your adventures in book publishing? You may have experienced both lows and highs if you have managed to publish a book series!  It’s a true accomplishment, regardless of whether you planned it or not.  But while you were promised great things would emerge at this point in your writing career, you are facing more than a few challenges.  Allow me to tell you about issues I’ve confronted during the publications of Murder on Mokulua Drive, the second Natalie Seachrist Hawaiian mystery

Elemental Consistency
Beyond avoiding copyright violation in the chapter-opening quotes I use, I guard against repetition.  During pre-publication review of Murder on Mokulua Drive, I discovered I’d reused a quote from Prospect for Murder.  My records of aphorisms now indicate when and where a quote is used.

Character and locale Parity
Initially, I had a male protagonist.  Whoops…my writers’ salon found that “voice” more appropriate to a woman.
Names, their spellings, descriptions, and pronunciation must all be checked.  Imagine my chagrin in realizing I’d changed a name’s pronunciation mid-way through PFM’s audio edition!
While my protagonist thinks in whole words, she speaks with contractions.  I now begin each book by reviewing my chart of persons, places, and their characteristics. 

Plurality
Promotional text highlighting aspects of a single book must encompass each title in a series.  Having multiple titles often means having different editions.  For PFM, I had hardcover, softcover, Ebook, and physical and digital audio editions. MOMD is currently available in only hardcover and Ebook. Softcover and audio references (like “Audible.com”) are omitted when describing the second book.    

Presenting Yourself
If you have a publisher or literary agent, they may have guidelines for presenting yourself personally, online, and in traditional and social media. If you’ve never been in the public eye, you may be grateful for suggestions about wardrobe, hair, accessories, and makeup [yes, men sometimes require makeup].

What you say and how you relate it will shift depending on the media or venue.  I’m not suggesting you become a shape-shifting chameleon, but envisioning each audience helps you see yourself as they will.

Marketing Yourself
Regardless of who directs your marketing, examine media kit samples to see what you should prepare.  This will include bios, photos, sample media releases, and relatable stories, covering:
~  Background [family, education, career]
~  Daily Life [home, work, writing locale, pets, hobbies]
~  Writing Methodology [research, writing, editing]
~  Influential People [affecting your work and life]
~  Author Experiences
~  Changes in Your Writing

Describing Yourself
Were you initially described as a debut author? That’s no longer relevant.  What other life changes will impact your self-description.  Are you in a new professional position?  Where do you live, or travel for research, sales, and presentations?   

Elastic Promotional Text
Periodically (and in varying length), you’ll need to restructure text for:
~  Media releases about books, awards, appearances
~  Bios for ads, event programs, introductions
~  Submission of your work for reviews and contests
~  Website discussions of your life and authorship
~  Social media posts, comments, and event announcements

Welcoming Images
Gather images to stimulate the interest of colleagues, readers, listeners, and the general public including:
~  You and your surroundings
~  Events in which you participate
~  Images attracting your interest
~  Organizational and community involvement
~  Images relevant to characters, scenery, and activity in your writing

Designing Inviting Websites and Blogs
Working alone or with a web master, there are many aspects to consider.  First, you may have a website from before becoming an author. Some elements may be recyclable.  With bios, book synopses, and pertinent images available, much of your material is ready for upload.  You just need to weave it all together to appropriately reveal you and your work.  Consider:
~  Styles appealing to your target market [realism, art deco, country kitch…]
~  Colors [you like and wear; those describing your work]
~  Shapes reflecting your style and work [linear or curved]
~  Textures, natural or man-made [wood, silk, metal, stone, plastic]

Final thoughts?  Well, there’s nothing final about the process of writing…or of marketing your work.  As with your compositions, keeping electronic and hardcopy samples of your promotional material, will help you shape attractive representations of your unfolding life’s work! 

Wishing you the best,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Tips to enhancing your writing may be found in:
Empowering Your Words, February 2015
Creating Fictional Characters, March 2015
Sidestepping Writer’s Block, April 2015
Communicating with Every Sense, May 2015
Energizing Narrative Passages, September 2015
The Author Recycles, July 2017
Balancing Text & Space, February 2017
Book Series Adventures, April 2018
Drawing on Sense Memories, July 2018

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

A BIRTHDAY REVIEW

In checking the date of my last blog, I realize how long it’s been since my last one. With all that’s taken place in the last couple of years, the conclusion of 2017 and the arrival of 2018 inspired me to examine the process that brought me to my recent birthday.

What are your memorable birthday milestones?
Have you found that for most people, birthdays are either super important, or nothing at all?  I guess I fall into the latter category…with a few exceptions.  At age eight, my grandmother baked a cake with a beautiful doll embedded in the center.  At 21, I was treated to gourmet French cuisine by a young man on a limited budget. I was surprised on my fiftieth birthday with a party planned by friends, colleagues, and clients.   Continue reading A BIRTHDAY REVIEW

Dreaming Your Way to Success

Have you heard of lucid dreaming?  This is when a dreamer is fully cognizant of being in a dream state.  Some authors actually work at learning to control this form of dreaming as a means for shaping their projects, regardless of whether they are focused on fiction or non-fiction.

Dreamscaping or dream sculpting (as the process is sometimes called) allows the dreamer to actively contemplate the contents of a dream while asleep—and to question how these subjects may be relevant to their personal or professional living.

Dreamscaping Your Creative Project
Wordsmiths and artists are often encouraged to keep notebooks at hand for recording stray thoughts that can help them maximize future creativity.  This includes placing a pen and paper by your bed for capturing ideas that may materialize during the night. 

Regardless of your type of work, I’m rather certain that you have awakened on more than one morning (or the middle of a night) and thought, “Hmm, that was an interesting dream.  Now what was there about it that I wanted to remember?” 

For those of us relying on random ideas on which to build our shaping of words and images, it can be important to retain unexpected thoughts.  I can report that I have benefitted from vigorously striving to record the contents of potentially significant dreams.  And I’ve suffered the disappointment of having forgotten to have the implements for recording anything before falling back into a deep and dreamless state.  The mornings that have followed have been very frustrating.  Far worse than a simple hangover experienced by authors of yore!

My Methods of Directing the Dreaming Process
A simple Internet search will yield instructional resources for learning to implement Lucid Dreaming.  As I’m not a specialist in this field of study, I’ll merely share how I have approached the topic. 

After reading some background material, and discussing the concept with artists, I decided to delve into the process several years ago.  I began my sojourn in this endeavor by placing a retractable pen and small bound book for journaling on my bedside table.  Do note that having a pen without a lid has proven invaluable to my night-time note writing, since I’m rather clumsy and a bit befuddled when rising from a vivid dream.

Most evenings, I spend a few minutes before going to bed contemplating projects I wish to undertake the following day.  Often, this is while rocking in a chair and petting my cat, which I find soothing on several levels.  I then read a few pages of both meditative and mystery books.  After turning off my reading light, I review my to-do list.  I won’t claim that my contemplation of work goals is directly responsible for yielding inspirational ideas during the night.  However, these practices do serve as an off-switch for my overactive mind. 

As anyone attempting to call me in the a.m. will attest, I am not a morning person.  Some of my best work is born in the silence of nocturnal hours.  So prior to entering my pre-sleep routine, I’m already in a creative thinking mode.  The number of hours I spend in sleep varies, but when most people are rising to their own days of productivity, often I am entering my deepest dreams.  While most may seem unrelated to the work I envision undertaking, they are varied in topic and have a film-like quality. 

Results from My Dreamscaping
Having disciplined myself to interrupt the dreaming process, I can now report overall success in benefiting from dreaming with lucidity.  Records of some of my dreams make it into my journal.  Elements of others capture my attention sufficiently to be recalled for several hours after my waking. 

Perhaps the worst challenge that arises from the overall experience, is being forced to fold new concepts into work I may have considered complete.  Sometimes that means reprinting quite a number of pages of text due to a minor edit in their midst.  However, I’m thrilled to report that expanding a character’s role by having her play a bamboo flute has yielded a lovely audio element to that scene… and an interesting twist to the epilogue for Yen for Murder, Book Four in the Natalie Seachrist Hawaiian mystery series!

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

Interview and Oral History Projects 4

AFTER THE INTERVIEW

You’ve successfully conducted an interview!  Regardless of whether an interview is the first or the hundredth, I hope you will feel a sense of accomplishment while parting company with whomever you’ve interviewed! By this point, you should have an audio (if not visual) recording of the dialogue, plus notes you’ve composed prior to and during your conversation. You should also have a signed interviewee release that can allow you to draw from the experience indefinitely.

The Significance of Your Relationship with Your Subject
In my last discussion of general and oral history interviews, I noted that it is good to impress your subject positively.  Doing so includes: projecting a pleasing appearance and voice; demonstrating the level of your commitment, as shown by your research and organization of pertinent questions; and, your sensitivity to their physical, mental, and emotional circumstances.

That last issue is one that is often neglected by professional, as well as novice, interviewers.  Too often a sense of righteousness on the part of the interviewer as truth teller can prevent development of a significant rapport with the interviewee.  While it is important to maintain a professional relationship, the lack of a rapport with your subject may lead to a diminished level of trust and desire to reveal themselves fully.

Your Parting Words
As you prepare to depart from an interview, you will want to leave the door between you and your subject open to further communication.  After all, they’ve trusted you with a part of themselves and they want to know that you’ll value what they have shared with you. Even if you have not established a warm relationship, you will want to facilitate future communication and assure them that they will have an opportunity to view a transcript of the interview.

This does not mean you are relinquishing your role as the interviewer, nor does it imply you are going to change revealing the realities of your conversation. However, if errors are found by either of you, there should be a means for adding explanatory notes. This is especially useful in clarifying names, relationships, numbers, dates, and sequences, which may have been transposed or mistakenly described.   

Editorial Procedures
During the transcription and editorial process, you may need to communicate with your interviewee to gain clarity on numerous points. To maintain accurate records, it is good to receive replies to your questions by email or other written documentation

This is especially useful if there are conflicts regarding the meaning of a passage. After all, the interviewee is relaying answers to your questions through the lens of their point of view.  While you  may never agree with their explanation, the transcript and your notes will allow future readers and/or listeners to experience a close approximation of the event and draw their own conclusions.  This is why clear records of all your communication and notes are so important.

The method[s] of annotation you choose for your transcript can take several forms. This is where your creativity comes into play.   Personally, I try to avoid footnotes.  Instead, I employ bracketed statements for minor clarification and section endnotes for issues dealing with proper nouns and other facts that may stimulate a future reader to pursue answers to their own questions.

Although the interviewer should not remove actual dialogue, you can provide clarification of key points by including a glossary of foreign and specialized vocabulary, as well as an index. Some authors dislike the use of indices if they plan to publish via a downloadable vehicle that may render pagination inaccurate and irrelevant. However, readers of a work published on the Internet may be able to utilize a find/search tool to locate terms they wish to revisit and readers of a hardcopy edition will be pleased with the inclusion of an easy reference tool at the back of the work. 

Another means for heightening the usefulness of your final product is separating your transcript into sections. If the interview was conducted during multiple sessions, utilization of chapter breaks is quite logical. Even when the conversation was held on a single occasion, separating sequenced questions and answers provides natural breaks.

Such a layout should facilitate communication between you and your subject[s] as you review the nearly finished project. Once you have completed editing and annotating your transcript, you can proceed to shaping a final format to meet any requirements for publication. [See my previous blog, Interviews & Oral Histories #3, for the closing  discussion of interview publication.]

Future Interviews with The Subject
The potential for scheduling future interviews may depend on issues beyond a mutual desire to do so. For example, if the interview is part of a larger project controlled by someone else, you may be limited in continuing your relationship with your subject.  And, although the current publisher may express an interest in further interviews, shifts within their organization may preclude future publishing through them. Even when you are working on a wholly freelance basis, your ability to publish may depend on your finding a new source willing to take on the project. And if you decide to expand the initial work into a series of articles or even a book, the task may become even more challenging.

As I’ve noted before, planning, executing, and publishing an interview is a unique experience. Even without the permanency of the Cloud, an interview lives far beyond the event itself! The effort you put into researching your subject’s life and work may prove of interest to people far beyond your targeted readership.  The dialectical elements of the conversation, introductory remarks, annotations, and other explanations will serve not only to illuminate your subject, but also your own life’s work.

In my next blog about interviews, I will discuss the renewal and publication of oral history interviews I conducted more than 25 years ago with a dear Hawaiian auntie whose family history is very interesting…The title is, Conversations with Caroline Kuliaikanu`ukapu Wilcox DeLima Farias.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Here are my offerings on interviews and oral histories.
Overview of Interview and Oral History Projects, June 2015
Researching for Interviews, July 2015
Conducting Interviews, May 2016
After the Interview, August 2017

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

THE AUTHOR RECYCLES

Is your pen always at the ready?

New Creations From Old Work

Is your pen at the ready at all times? In past blogs I’ve talked about examining your previous work as a writer.  Not only does this allow you to measure your progress, it also provides a pool of sources for new directions in content and style.  I am a member of the National Writers Union and the local chapter recently asked me to be their featured speaker at a monthly meetingOften, their speakers read from current projects, but since I’d help to fill in the previous month with a reading of both the Prologue and Epilogue from PROSPECT FOR MURDER [the debut title of the Natalie Seachrist Hawaiian mystery series], I decided to give a talk on how I’ve recycled parts of past projects.  While there’s nothing novel in this concept, I thought that in detailing how I’d used pieces I’d created during my years in Arizona, I might stimulate my listeners to consider the ways in which they might draw upon works in their own files…

Wordsmiths Don’t Fall into a Single Demographic Description

When you look around any gathering of writers, you’ll find that we’re: Young and old; formally educated and barely literate in the grammatical sense; gifted melodious speakers and hoarsely halting readers; technical prodigies and flawed yet persuasive explorers of every topic imaginable.  The breadth and depth of our compositions are as varied as we are.  And usually, if we’re old enough, such variety will be found spread throughout our individual bodies of work.  

In projects of both fiction and non-fiction, I draw on a background in business, education, and the performing arts.   As might be expected, there is no consistent pattern to my output—except for the decades of public relations, marketing, and design consultation I’ve performed for executives and their profit and non-profit entities. 

Forms from the Past…

In preparing for my talk, I looked over previous work I had drawn upon for recent print, audio, and Internet projects.  Not all were inspirational gems of form, content, or style, but each item I had chosen to re-purpose fulfilled a specific need.  With every new project, I contemplate how the assignment fits within the scope of my professional history.  Not only do I look for concepts, data, and text that may yield something I can reuse, but also the bits and pieces that should be moved to the recycle bin.

…Reshaping for Today and Beyond

This year’s springtime file pruning produced some of everything.  I found business cards, ads, and brochures that could be used for marketing workshops. As I continued my file and closet clearing, I eyed posters and signage that could be augmented with a large artistic label for some future event.  I quickly dismissed them as ineffective for a speech delivered from a podium.  There was, however, one item I could share:  a copy of Stephen Covey’s famous matrix of time and productivity management.  The gist of this true jewel of philosophy is that if we focus on aspects of both our personal and professional lives that are important but not critical, we’ll be better prepared for challenges that may arise.

After a brief introduction of this principle to open my talk, I noted how elements of past writing had been folded into my writer’s blog [for samples, please visit https://www.Blog.ImaginingsWordpower.com].  From project inspiration to background research, through the phases of writing and editing, production, and marketing, I discussed how I select issues that may be of interest to other authors and artists.  In addition to mentioning a few of those blog topics, I provided examples of material I’d chosen to use in recent book projects.

~  When I joined with five other authors to publish UNDER SONORAN SKIES, Prose and Poetry from the High Desert,  I contributed both fiction and non-fiction.  With new and as well as re-shaped pieces, we all expanded our repertoire.  Knowing that publication of  Prospect For Murder was approaching, I included its prologue.   I also featured historical articles such asThe Holidays in Tucson, 1878,” which I read at the NWU meeting.   

~  In  Murder on Mokulua Drive [the second book of the mystery series], I’ve drawn on notes from my studies in history, plus a series of oral history interviews I conducted many years earlier.  This has allowed me to mention the first woman registered to vote in the Territory of Hawai`i in 1920, and to place a major scene in the historic and ecologically significant site of Kawai Nui Marsh.  

~  The compilation of the oral history interviews, Conversations with Caroline Kuliaikanu`ukapu Wilcox DeLima Farias has indeed proven to be an invaluable resource.  Carol was a dear friend seeking to preserve her family’s history, library and other artifacts.   Descended from Hawaiian nobility, her recollections of life in upcountry Maui in the early twentieth century and dancing hula in Waikīkī on December 6th, 1941, delight both readers and listeners.  In reshaping the layout for a book of the seven interviews and an audio edition comprised of the original recordings, I described how this resurrected project is benefiting from the comprehensive glossaries I’ve constructed for the Hawaiian and other non-English vocabulary included in the Hawaiian mysteries. 

~  Finally, I referred to the fourth mystery, A Yen For Murder, for which I examined promo materials I wrote for Highland Games and the Hilo International Festival on the island of Hawai`i during the 1970s.  This led to having Natalie reminisce about hearing a remarkable young woman play the Japanese koto at the Festival…and decades later having that woman, then a Buddhist priestess, become the victim.

In the future, I anticipate giving talks on the authorship process, for which many of these examples will be useful.  Of course, there will also be samples of flawed book covers, changing email addresses, and evolving reviews to reference.  How does all this relate to your work?  Well, I wonder what awaits you when you dive into your own files.  Will you choose to build on your dramatic successes?  Or will you determine that what was once viewed as a failed project may rise to the realization of full and positive fruition?

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

The Value of an Index

Making Non-Fiction Text User Friendly

Empowering Your Words
In both fiction and non-fiction projects, there are many aspects of the art and science of writing that can go unnoticed in the creative phase of composition.  I heartily concur with the idea that as writers we need to focus initially on capturing our inspirational thoughts prior to addressing details of the editorial process.  Nevertheless, it is good to have the overall design of a literary project on the edge of our consciousness whenever putting pen to paper.  And, when we do don our editorial caps, writers need to be cognizant that that work empowers the words already set down.  Regardless of the target market, readers have expectations, and the skills of a wordsmith determine whether those expectations will be met.

During the publication of the anthology Under Sonoran Skies, Prose and Poetry of the High Desert, I was pleased to receive positive critical attention for my comprehensive index.  As the artistic director for the project, part of my authoring strategies was to ensure that future as well as current readers would find the work user-friendly, as well as an enjoyable read.  Despite my vision, some of my five co-authors have been less than enthusiastic about the value of indexing.  In fact, one of them was involved in another anthology for which an index was deemed irrelevant since including one would have reduced the number of pieces from one of the book’s prolific authors. 
Significance of The Lack of an Index
When I examined that book’s table of contents, I realized the work had frequent references to historical events and high-profile people.  Unfortunately, the lack of an index precluded a reader’s ability to analyze the work fully.  This was especially true if a reader wanted to compare text provided by multiple authors on a particular subject.  And, with the passage of time, even someone who has read the book and is familiar with its topics would find it difficult to re-access specific references—at least in hardcopy.  And it is true that reference searches in material in electronic format can be facilitated by utilizing a find or search command.  But to accomplish a comparison of various authors’ views, the reader would have to create a separate listing of those citations that pertained to their interests.

Since one can never know how a work will be used at a future time, I believe there is one simple argument for indices in non-fiction:  If it is logical that some reader may wish to locate a specific reference, there is a need for an index Even when a book’s contents are directed to a specific audience, future developments within the field under discussion—let alone the unfolding of history—may yield an unexpected group of readers for whom an index will be invaluable.

Structuring an index usually begins by listing proper nouns contained in the work—meaning all people, geographic locations, and events of sufficient worth to have been named.  Most word processing programs can help you gather and list such terms, even if they lack an actual indexing feature.  Another tactic for refining an index is analyzing terms included by other authors addressing a parallel subject.

As you delve into your indexing project, you may find topics requiring in-depth analysis.  In looking at the nouns you have initially listed, consider related names and topics that can be grouped under a general category.  For example, a discussion of lions, dogs and parrots suggests that a general topic of animals would be appropriate.  Of course, some words may not have such an obvious association.  One area of complexity is persons of varied professional accreditation.  If you lacked sufficient numbers of therapists, physicians and dentists to provide these individual categories, you might use a comprehensive term such as healthcare professionals.  Consider the terms highways, access ways, and trains.  While they do not all relate to forms of roadways, they might be listed under a general heading of transportation

If you tire during the indexing process, consider returning to your analysis of the work of colleagues.  For although you may have accessed the works of many authors during preliminary research, you may not have closely examined their indices.  This semi-final exercise may not only reveal an approach to indexing you have not considered, but it may also reveal gaps in topics or subtopics within the body of your own work.  Even if you decline to broaden the scope of your piece, you may wish to consider some additions to your afterword or bibliography.

Before I leave the topic of indexing, I should offer one cautionary note for avoiding a mammoth appendage to your actual composition:  When in doubt about including a general category, consider whether you have a minimum of three words to list within it…

The art of communicating with readers requires diligence in refining your skills.  It is as demanding an element in non-fiction as in a fine work of fiction.  So, beyond indexing, what other tools of wordsmithing could enhance your reader’s experience?

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Operational tips to help writers are available in the following blogs:
Fear of Losing Files, July 2015
The Value of an Index, August 2015
Taming Clutter, April 2016

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

FEAR OF LOSING FILES

A Never Ending Dilemma

Authoring strategies include more than conceptualizing, writing, publishing, and promoting your creative ideas.  Being an effective writer demands honed organizational skills as well superb wordsmithing! If you’ve ever lost a file, you may question the promises of the computer revolution.

Are you old enough to remember life before computers?  I actually know some people who have only discovered the wonderful world of electronics in the last five years.  In each case, the revelation of Life Electronic was triggered by a pressing need to communicate with a person or organization that could not be accessed regularly by telephone or postal service.

Once you have joined the electronic age, there are many challenges to be faced. Some parallel those prior to the microcomputer.  The issue I’m addressing today is preventing the loss of files.  Electronic files that is.  If you have never encountered this dilemma, please let me know how you’ve been so fortunate. Each time I think I’ve solved the problem, a couple of years pass in relative peace.  Then I commit some new error and again face the potential loss of valuable information.

Let’s begin our discussion with a basic question:  To avoid losing information, how many files should I keep?  Unfortunately, there’s no single answer that will meet the needs of every person in every situation.  Some authors I know keep every electronic file they have ever created, as well as their hardcopy edits.  I cringe to think of the complex file naming they must employ.  Unfortunately, such people have been known to compare my past editorial remarks regarding the same text.  What they fail to realize is that just as their writing has evolved, so too have my knowledge and sense of style—as well as my awareness of developing trends in the world of publishing.

Another trigger for keeping multiple versions of copy is the fear of losing pleasing verbiage that has proven impractical for a project at hand.  When I find a need to remove favored words and phrases from a major writing project, I simply create files of unused verbiage named to pinpoint the topic and source. One example is a narrative passage from Prospect For Murder that I converted to dialogue.  The single archived file is named,  WongP_orig_speech_re_family.

Knowing I might forget a particular name, I convert both electronic and printed files named for past clients and projects to topical files.  This does NOT mean I keep everything I’ve ever created.  My concern is to prevent unnecessary research and writing in the future.  If I’ve addressed a topic three times, I may save only the last piece, if the layout and text are the most interesting.  This way I do not have to remember the client’s name, yet I can quickly access text by topic, such as the insurance industry, movies of the 1930s, or ocean liners plying the waters between Hawai`i and Asia.  To decrease file size in my electronic archives, I remove logos and other artwork…after verifying the images are stored elsewhere.

As to forms of electronic backup, the technology is constantly changing and you will have to decide when to shift from one form to the next.  I must confess I’ve still got floppy disks [diskettes] and zip disks.  These disks are large enough to label with client or project names, yet small enough to store alphabetically in clear plastic containers for rapid access…another positive aspect to this old technology is the longevity of the disks, despite innumerable formats.  I also have CDs, DVDs [more fragile], and Universal Serial Bus [USB] flash, pen and thumb drives, which I use for large folders and art files.  Unfortunately, these drives are so small that they preclude easy labeling, but you can use colored markers to color code your choices of media to remember the general category of their contents…

In addition to being concerned about where you save your files, be cautious about how you save them.  While compiling Under Sonoran Skies, Prose and Poetry from the High Desert, my co-authors and I encountered problems with disappearing edits during manuscript preparation until we learned the difference between the file commands, Save and Save As.  When you specify “Save as,” you are creating a wholly new file, which usually precludes the possibility of multiple edits leading to a corrupted file.  So,unless I am writing a single-use document, I now use Save As for every file I re-edit—art, data or text. [To maintain high resolution, technical experts suggest editing art images in Tagged Image File Format [TIFF] prior to saving them in whatever format you require for publication.]

Regardless of the number of electronic files you keep, you will need to create a file naming system that is consistent and memorable.  Even though today’s technology allows long file names, minimizing the characters used simplifies future reference. Since Imaginings WordPower is a lot of characters, I simply use an “I” for the start of operational file names.  Thereafter, I may abbreviate the minimal words used in a title, underscoring between words.  I conclude the titling of files by dating them, with two-digits for the year, the month, and the day a file was created.

The resulting name for a business card might be “I_bus_card_150708.” To differentiate between files with similar names, I may insert “merged,” to note merged layers, “New” for a recent edit, or the name of the company that last printed it. Sometimes I also insert a Header in a document to mimic the source file’s name when I am setting up topical folders of samples of my work. That way I don’t have to wonder about the electronic file name for hard copies I’ve printed for my personal records.  The only thing to remember is that you may need to temporarily delete the header if you are printing the document for public viewing or distribution….

I hope these measures—and your own modifications—will help you avoid corrupting or losing files.  But what happens if you prematurely delete a file from a recycle bin?  The problem is easily resolved if you have not emptied the bin.  In such a situation, you can simply double click the bin, mark the file you wish to un-delete, and choose Restore to return it to its former location on the hard drive.

Unfortunately, restoring files that have been deleted from a recycle bin is not as simple or perfect a process. Again, you can choose to leave the bin overflowing with files; but if you need to restore one, you may find that recognizing the correct file is difficult if you do not have a recognizable file naming system.  In the midst of short projects, I try to avoid emptying the recycle bin.  But once I have completed a section or the entire project, I complete my housekeeping of files, emptying the recycle bin when I am confident that I have properly backed up every relevant file.

Recently I triggered the loss of a file for a potential sci-fi novel. I was lacking material for my writers’ salon, and had decided to share part of this story, which is a departure from recent work in the genre of mystery and suspense. I recall isolating the passage I wanted to use, and reformatting it to double line spacing to facilitate editing by my fellow authors. But when I returned to input the suggestions I had received, I could not find the file.

Knowing files can be mistakenly dragged into an incorrect folder, I systematically checked every subfolder within my creative writing folder. After that, I used the Search programs and files feature offered by MS Windows when you click on the Start button [usually in the lower left hand corner of your monitor screen]. When my inputting of several combinations of words failed to uncover the missing file, I downloaded a free program for recovery of files deleted from the Recycle Bin.

In retrospect, I probably should have paid for a more sophisticated program with additional features, because what I recovered was a mass of undated and unnamed files of multiple edits that had to be individually examined. This was a time consuming and frustrating activity. However, I not only retrieved the file I was seeking, but in reviewing other files, I gained ideas for blog posts and other writing projects. In short, the experience was the proverbial blessing in disguise…but this is not an activity I wish to repeat.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Operational tips to help writers are available in the following blogs:
Fear of Losing Files, July 2015
The Value of an Index, August 2015
Taming Clutter, April 2016

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.

Empowering Your Words

The peaks of your power

Effective Sequencing can Empower Your Words

For decades, I’ve shaped effective written materials for clients and myself.  At the end of assignments, clients often ask if there’s a definitive method for generating quality writing.  Unfortunately, while aspects of the pieces I write can serve as virtual templates, I have to report there’s no magic potion for guaranteeing effectual wordsmithing.  For anyone.  Amateur or pro, the key to quality writing is blending creativity with exhaustive editing.

Feeling nervous to launch your writing project?  Ask yourself one simple question:  Am I so focused on the final product that I’m inhibiting my ability to write?  Your honest answer might be a reluctant yes.  If so, merely facing a pen or keyboard can be traumatic.  In response, consider performing a visualization exercise.  Without committing yourself to serious meditative practices, you should be able to picture your target audience reacting positively to a large screen presentation of your message.  Armed with this optimistic image, you should feel better prepared to set your verbal vehicle on the path to success.

How will you reach your goal?  Regardless of the type of text you are composing, I’ve found that outlining is an invaluable tool.  I believe there are three essential steps to shaping a focused outline:

~  Write a mission statement summarizing your project’s purpose
 ~  List key points in a progressive sequence that validates your summary
~  Craft a closing statement summarizing how you’ve met the goals of your mission

You now have a recipe for determining the content and sequencing of the elements of your composition.  The exact position of the various components will vary, depending on the product you’re fabricating.  The key points on your list may yield paragraphs in an essay, article or speech.  They may also become individual pages in a website.  If you are seeking financial backing for a new business, they could become categories within your business plan.  And fiction?  Well, your list may be the plotline that yields the chapters of a prize winning novel.

Despite my assertion that such organization will aid every writing endeavor, do not suppose that good writers never experience confusion, indecision, or misdirection.  The writing process is a dovetailing of creative and technical activity.  As you plunge into the construction process of your project, you will need to alternate between capturing the essence of what you want to say and coldly editing what you have written.  The beauty of this double pronged approach is that you can let your thoughts flow freely, knowing that the structure of your work will evolve as you edit your way toward a harmonious conclusion. I certainly found this approach to wordsmithing invaluable in writing the first Natalie Seachrist Hawaiian mysteries, Prospect For Murder.

This approach facilitates your remaining productive, even when experiencing writer’s block.  For if you feel your creativity as a writer has stagnated, you can turn to another aspect of the project.  Is there supporting material that requires your attention?  Perhaps you need to shape a bibliography or glossary, or a preface, afterword or acknowledgement section If you’re responsible for printing, broadcasting, or uploading the final product, you may also need to work on color, form, texture, and artwork to present your thoughts with dynamism to your readers or viewers.  And, of course, there’s always your personal bio or corporate mission statement to revisit…

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson
author, narrator, consultant, motivational speaker

Tips to enhancing your writing may be found in:
Empowering Your Words, February 2015
Creating Fictional Characters, March 2015
Sidestepping Writer’s Block, April 2015
Communicating with Every Sense, May 2015
Energizing Narrative Passages, September 2015
The Author Recycles, July 2017
Balancing Text & Space, February 2017
Book Series Adventures, April 2018
Drawing on Sense Memories, July 2018

For further tips on branding, please visit my marketing website
Imaginings Wordpower and Design Consultation.

To learn more about the Natalie Seachrist Mysteries, including the new release, Murders of Conveyance, a few Island recipes and my other projects, please visit my author website at JeanneBurrows-Johnson.com.