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An Invitation to Blog

The Writers Co-op is looking for a few good bloggers. Anyone in the writing life is welcome to submit a blog. If you have something to say about writing, editing, publishing, marketing or just want to share news of your latest effort, we’re interested. Submit a new blog, or, a link to your current blog page.

Members should post their blog in the draft section. Others should submit their their blog or link to GD <at> Deckard <dot> com. Blogs are posted every Monday or Thursday morning on a first-come basis.

Remember that readers are likely to be people in the writing life interested in learning from one another. Sharing our successes, failures, insights, knowledge and humor is a big part of the life we lead.

I look forward to hearing from you.

– GD Deckard, Founding Member

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Why Write?

Why do you write? Or, edit or publish? I’ve never met any who say, “Oh, it’s a job. Just trying to make a buck.” Thanks to self-publishing, the traditional gatekeepers are gone and more people are making money in the writing business now than ever before. Anyone who wants to be a writer, editor or publisher already has the qualification to do so: Want.

Do it. If you are good and lucky, you will succeed. Never before has so much opportunity been right in front of so many. The gates are open. If you’re a writer, act like one. Toss your book into Amazon’s hopper of eleventy-million other books. Editor or publisher? There’s room for more. Stop acting like you just showed up to the ball to see someone else wearing your dress.

So, why do you write? I like to write because I get better at it.  it is about self defining. My writing has been a journey of self-discovery.

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2019 Writers Co-op Anthology

 – by Curtis Bausse

The Writers’ Co-op invites submissions of short stories (and poems) for the second edition of our yearly anthology, The Rabbit Hole. Volume one was released in November last year, volume two is scheduled for September 2019.

This year, we are looking for weird stories dealing with the following themes: entertainmentweather or science. (If you want to combine all three, we’re very open to stories about a group of scientists on their way to the theatre when they’re caught in a freak snowstorm.) However, there will also be a section Weird At Large for stories that don’t fit the specific themes suggested.

There is a maximum word count of 5000. This is more a guideline than a strict limit – quality is the main criterion, not length. So a great story will be accepted, whether it’s 6000 words or 200 (flash fiction is welcome). But we’re looking for short stories, not novellas or extracts from novels – the story should be complete in itself. Though the anthology will be comprised mostly of stories, there will also be room for some poems or pieces of an experimental nature.

The deadline is 31st March 2019. Submissions should be sent in an attached file to curtis.bausse(at)outlook.com with the subject ‘Co-op submission’. They may have been previously published on personal websites (or elsewhere) but authors must have full rights to them when submitting. Authors will retain said rights after the story or poem is published in the Writers’ Co-op anthology.

Writers whose stories are selected will have the choice between keeping their share of the royalties or donating them to the Against Malaria Foundation.

What is meant by ‘weird’?

Like many categories, it’s fuzzy, because it stands in distinction to ‘normal’, and there’s no common acceptance of what is normal. Not all writers will approach it the same way, and so much the better – we hope for plenty of variety. At the core of weirdness, though, is the upsetting of expectations: normality, in the sense of what we’re accustomed to, doesn’t follow the course that led us to form those expectations. Where it goes – somewhere disturbing or hilarious – is entirely the writer’s choice. Or why not hilariously disturbing? Indeed, one advantage of ‘weird’ is that it allows for humour as much as for horror, so go for it!

How weird does it have to be? Anything from full on, over-the-top freaky to subtly odd and unsettling. So no worries if weird isn’t your usual style – a few deft touches can suffice. Give us writing that shifts our perceptions, leads us to experience, bubbling up through the regularity and routine, the fundamental weirdness of life. To quote the Count of Lautréamont, author of the Chant de Maldoror, if your piece is ‘beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella,’ there’s every chance that we’ll love it.

We look forward to reading you.

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SciFi Lampoon

It’s a new magazine, a portal for spoofs of a cherished genre. We are sailing into uncharted waters with this. We, at least, possess no charts. But Geoff Habiger, Mike Van Horn, Adam Joseph Stump, Margret Treiber, Rik Ty, Jim Webster (to name a few in alphabetical order) and others are now editing submissions. Together with the writers they are working with, that’s enough talent to start a chain reaction. The plan is to publish the first issue this year on Amazon in digital and hard-copy formats.

I know, I know. A magazine? Our motto should be “Trephening.” (You need us like you need a hole in the head.) On the other hand, why not let in a fresh breeze? Or, better yet, be that breeze. Got a humorous speculative fiction story in you? It can be science fiction, fantasy, superhero fiction, science fantasy, horror, utopian, dystopian fiction, supernatural fiction – just be risible. It can also be a funny advertisement, article, column or letter to the editor. Or rewrite a famous story (that is in the public domain!) The idea is to poke fun at ourselves and have fun doing it.

And we do have the domain name, SciFiLampoon.com. That seals our bona fides, doesn’t it? We’ll even set up a formal web portal to feature the magazine and its writers, accept submissions and link to the sales sites.

So, if you can laugh at what you write, share the fun.
Submissions@SciFiLampoon.com

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When Is A Book Not A Hershey’s Bar?

Always, of course. So, why do we market them like Hershey’s bars? Here’s two thoughts on that.

1. Most books, like Hershey’s bars, are not advertised. When did you last see an ad for Hershey’s bars? Hershey does not need to advertise them because they are everywhere candy bars are sold. Like J.K. Rowling’s books are in all the book stores. Yes, her publisher will advertise her new book, but that’s just sensibly putting the cart after the horse. They want fans to know she has a new book.

2. When books are marketed, they are marketed like Hershey’s bars, as if they too, were a commodity and people should buy a package of the same thing and if they like it, come back for more of the same book. Books are not commodities. Each one is unique. So, there are no repeat sales of the same book to the same consumer.

What to do? Consider yourself – yes, you, the author – as the commodity. One thing of which we can be certain is that when a reader is looking for something to read, they usually do not envision a cover or make up a title to look for. They will, however, consider a novel from J.K. Rowling if they have enjoyed reading her.

“Sell yourself first.” That’s what any professional sales manager teaches. Don’t expect a stranger to trust what you sell if they do not trust you. How do you get readers to know you well enough to try your book? One writer here that understands this is Perry Palin. In many ways, he sells books to people who have first come to know him. Another may be Mimi Speike. She plans to initially stir up her market with Guerrilla marketing techniques which may make her infamous.

How do you get yourself known as a writer? Use the Comments section to let us know. We, obviously, need all the ideas that we can get!

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Epistemology for Writers

 

I know, epistemology is the arcane study of knowledge. Epistemologists theorize how we know the difference between what is a justified belief and what is just opinion. And, I realize it originated way back before we mutually decided (against all reason) that everyone’s belief and opinion is equally valid. It is an old way of looking at what we know.

But, fiction writers have to know that, don’t we? Don’t we have to make our readers’ believe our story? People have been studying knowledge for so long that there are now many types of epistemology, but, luckily for us, three types suffice. To be believable, no element of our story can be obviously wrong, the story can’t contradict itself, and all the elements have to fit into the story -they have to “work.” Understanding these three basics makes our job easier.

Foundationalism: or, recognizing that all knowledge is based on accepted facts. Don’t write, “He leveled his semi-automatic rifle and held the trigger back until the clip was empty.” You’ll lose ex-soldiers, gun owners and anyone else who knows that you have to pull the trigger every time you fire a semi-auto.
Pro: Foundationalism is extremely precise. It draws a clear line between what is knowledge and what isn’t. As long as the facts are true and the logic is sound, we can be 100% sure of our reader’s acceptance.
Con: You have to be sure of your facts! If just one is false, then your reader may doubt more of the story.

Coherentism: Avoid contradictions. Don’t have your character “enter a triangular storage area” and then proceed to describe the contents of four corners. Actions are true so long as they are not self-contradictory.
Pro: Coherentism is flexible. It isn’t based on facts. It is the consistent logic of your creativity.
Con: Mere coherentism can fool you into too quickly believing your own “facts.” For example, you can write that unicorns are real and they live on Mars. This is not a self-contradiction. But it is a ridiculous claim unless other story elements strongly support it.

Pragmatism: If it works, it’s true. If your story elements work well for the purpose of your story, the reader will likely accept them. Otherwise, “Nope, that doesn’t make sense.”
Pro: Pragmatism avoids the problems of both foundationalism and coherentism. Pragmatists realize that human beings have limits and that our knowledge is always changing.
Con: It is hard to define “what works.” For example, the Greeks had many incorrect ideas about how the universe works, which we have since disproven. But the ideas were believed at the time, so they worked for then, but now, they are wrong. That’s pragmatism.

All of which is to justify saying that for your story to be believable, you have to know your facts, avoid contradictions and understand your readers’ beliefs.

Source: http://philosophyterms.com/epistemology/

Personally, I find Calvin’s approach appealing:

epist1

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Weirdness

weirdOur first anthology will be stories deemed by the writer as weird. What is weird? You have your own ideas and, please, share some in the comments.

The dictionary says that weird means beyond what is normal or natural. In Western Mythology, weird was related to the three Fates. The very word itself comes from the Indo-European root, wert, “to turn.” From it, we get modern words like divert, subvert, universe and version. We also get verse and prose. Yes, writing and weird are related.

My favorite weirdness is when the universe hiccups. You know, you’re busy doing something and suddenly you can’t find an item that you just used? You look in all the obvious places. But you have to keep looking until the universe hiccups again. And then there it is! You know what I mean. It’s weird.

Now that you’re thinking weird thoughts, share some in the comments and get ready for Curtis Bausse’s Monday post. That will be your invitation to submit your own weird story for the Writers Co-op 2018 Anthology.

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Happy Holidays Again

Who’d of thunk we’d still be here, 20 months after beginning in April of 2016? Not only are we (quite vocally at times) here, I believe we have remained true to our original intent, as expressed by Curtis Bausse in the First Post.

What can you expect to find here? Since there’s nothing new under the sun, I do admit the innovation bit could be a challenge, but we’ll try our best, I promise. There’ll be anecdotes and analysis, thoughtfulness and humour, awards and recommendations, opinions, rants and wackiness. We don’t expect to work miracles and we don’t take ourselves too seriously. But what we do take seriously is writing itself. Which means we’re also keen to help writers explore whatever path might lead somewhere interesting, and help readers find good writing. If that sounds like a programme you could tune in to, you’ve come to the right place. Drop us a line, tell us what you’re up to. Maybe we’ll end up travelling the path together. Whichever one it turns out to be.
+++https://writercoop.wordpress.com/2016/04/26/here-we-are/

May Your God Bless You this holiday season and in the coming year.

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Welcome New Member Victor Aquista

“Not all those who wander are lost…”
~JRR Tolkein

Victor AcquistaDr. Victor Acquista has become a successful international author and speaker following careers as a primary-care physician and medical executive. He previously helped to co-found The Collaborative for Community Health, a non-profit, is a founding member of Rivervalley Market, a food co-op, and authored a syndicated Health and Wellness column. He is known for “writing to raise consciousness”.

His non-fiction and his workshops focus on personal growth and transformation, especially as pertains to health and wellness. His fiction includes social messaging intended to get the reader engaged in thought provoking themes.

Dr. Acquista has a longstanding interest in consciousness studies, is a student of Integral Theory, and strives to do his part to make our planet a wee bit better. He lives with his wife in Florida. He is a member of the Authors Guild, Writers Co-op, and is a Knight of the Sci-Fi Roundtable.
 – http://www.victoracquista.com/

Sentient
by Victor Acquista

Survivors from an almost absolute genocide flee through space/time to make an attempt at propagating their species. The architects of their race’s destruction realize that their mission was incomplete. The resulting conflict will be waged on our home planet where a troubled physicist, his young neighbor, and an artificial intelligence may prove to be key in deciding the outcome.

Welcome to the Writers Co-op, Victor!

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Welcome

It’s a Grand Game.

That’s what I keep telling myself.

Thoughts on a gray, ugly afternoon, when I long to be out in the garden. I’m not in a cheery mood.

 

images-3I never thought my book could be published, for a number of reasons. I’ve gotten past that. I’ve finally found a solution for what I always saw as my major problem, radically different tones in books one and three. I’ve nudged both sensibilities to a middle ground, and I think it works.

The marketing will be as hard or harder. What can I say except: we have to try to enjoy the experience in and of itself, as a game. Because, we all know it, the odds are heavily against us.

Here we are, on this crazy train, right? Maybe we’ll end up in a sweet place, maybe not. Set your sights too high and you’ll have your heart broken, I’m afraid. My definition of high would be a genuine career, earning anything (and I do mean anything) remotely akin to a living.

I hope none of us has paid one of the rebooted vanity presses for a (very likely) iffy edit, a formatting, a cover, and a few POD hard copies. I have a neighbor who bought such a package. At first I thought she had been legitimately published. I was thrilled for her. Then I googled the name of the small press publisher. Their charges run four hundred to well over a thousand dollars. I doubt she’ll make her money back. I asked her, what are you doing to promote it? I got a blank look in return.

Actually, a thousand ain’t bad. My father paid to publish his autobiography in the early eighties. The story in my family is that he spent ten thousand dollars to get himself in print. (Ten thousand thirty years ago. What would that be today? At least double.)

He may have sold a few books through the Swiss-American Society (his family immigrated from Switzerland when he was a child, and it was rather an interesting story, hardscrabble homesteading in Canada, mine disasters in Washington state, rough, they had it rough) but he had to give most copies away.

There is a ton of stuff on the web about promotion. I’ve been gathering it, for years, into a file. I’ll fish out the most useful items and dribble them in here from time to time. But my best advice is, have fun with this. Honestly, that’s my very best advice.

Here’s a more nuts-and-bolts tip: I’ve read again and again, take it slow and steady, keep writing, publish multiple titles, grow a following. That’s how Hugh Howey (Wool) did it. He initially offered his book in serial form. And, of course, he had a great story in a popular genre, and a lot of luck. I’m not writing in a popular genre, and I’ve never been particularly lucky, so I’d better settle for having fun. Frankly, that’s been my game plan all along.

I’m right now googling a book written by a former housemate. My brother told me twenty years ago that he’d walked into the Harvard Coop on a visit to Boston and found the guy doing an author signing of Murder in the Combat Zone. I lived in a group house with Herb for five or six years. Now I find on his Linked In profile that he studied creative writing at Cornell.

He never breathed a word about an interest in writing all the time I knew him but, neither did I. Rae was a computer person at MIT, Christopher was the perpetual PhD candidate at Tufts, I was making stripper costumes for the Combat Zone (which is why I remember the title of his book exactly, I had jotted notes for a thriller set in the Zone myself and I was jealous, and bummed). No writing went on in that house that I was aware of, but for Chris and his never completed dissertation. Herb and everyone else (we had many transients) were working for a computer-paper recycling co-op that my brother started. I’m curious as hell to know how well he writes, now that I see, my God!, he studied creative writing at Cornell. Maybe under Nabokov. Hold on. I’ll check on that.

Nope. Nabokov was there until ’59. Herb would have landed on campus in the fall of ’64. Vladimir wouldn’t have been teaching undergrads anyway. I can’t find a mention of Herb’s book anywhere. He apparently never wrote a follow-up. I guess the first didn’t sell. Big surprise, hey? This would have been the eighties, pre-ebook. Damn! You’d think a reseller would have a copy listed.

Well, we have ebooks now and they don’t disappear. This is something of a nightmare for those of us trying to get a toe in the door. I pump myself up with the idea that a hundred years from now someone may discover my nonsense and I’ll be a sensation.

I mean to be encouraging. Is it working?

This venture shows signs of developing into a formidable resource. GD’s first post contains very useful information, in Jousting Windmills. Thanks, GD. I may use a variation of that phrase on a piece comparing goofball me to Miguel de Cervantes and goofball Sly (my fast-talking cat) to Don Q. Who’s roly-poly Sancho? Sly’s own sidekick, my roly-poly froggie, of course.

We’ve got some good heads here (mine the least of them, providing comic relief). Dip a toe in every now and then. You’re going to be glad you did.

 

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