#FlashFictionFriday: Dreams and Shadow Truths

Dreams and Shadow Truths

Tales, dreams,

Shadow-truths…

The fabric of the multiverse.

One universe touches upon another, and

The dreamer dreams.

The faerie queen leads her court though the forest and

One more mortal falls in love.

Books are evidence that once upon a time

A mortal slept, and dreamt.

Within the pages of dusty, leather-bound books

Lies proof the philosophers’ stone

Exists in the realm of imagination,

Spinning words of straw into gold,

Bequeathing immortality to those who possess it.

The multiverse is yours for the taking

If  you believe, and

Are unafraid to dream.

Open a book, and

Step into a realm

Unknown.


Credits and Attributions

Dreams and Shadow Truths, © Connie J. Jasperson 2015.

Fantasy Digital Painting, By Boxiness (Painting using tablet PC.) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

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Filed under #FineArtFriday, #FlashFictionFriday, Poetry

#amwriting: proofreading vs. editing #NotTheSame

The last stage of getting a manuscript ready for publication is critical.  This is where the final person in the process comes in–the proofreader. Perhaps you have volunteered to proofread a friend’s book. The friend arrives with the proof copy (or maybe you have been sent a manuscript). They ask you to look for typos, cut-and-paste-errors, or autocorrect errors. These are things they and their editor may have missed.

Before we go any further, proofreading is not editing.

Editing is a process that I have discussed at length elsewhere and is completed long before we get to the proofreading stage. A good proofreader will understand that the author has already been through the editing gauntlet with that book and is satisfied with it in its current form. A proofreader will not try to hijack the process and derail an author’s launch date by nitpicking his/her genrestyle and phrasing. 

The proofreader must understand that the author has hired a professional line editor and is satisfied that the story arc is what they envisioned and the characters are believable with unique personalities. The editor has worked with the author to ensure the overall tone, voice, and mood of the piece is what the author envisioned.

You will note that I have used the word envisioned twice in my previous paragraph. This is because the work is the author’s creation, a product of his/her vision, and by the time we arrive at the proofing stage, it is intentional in the form it is in.

At this point, the author and his/her editor have considered the age level of the intended audience, so if you feel their work is too dumbed down or poorly conceived and you can’t stomach it, simply hand the manuscript back  and tell them you are unable to do it after all. DON’T go through it with a red pen and mark it up with editorial comments, or critique their voice and content because it will be a waste of time for you and the author.

But what if it is your manuscript that needs proofing? What should you ask from a proofreader?

Even though an editor has combed your manuscript and you have made thousands of corrections, both large and small, there may be places where the reader’s eye will stop. Words have been left out, punctuation is missing–any number of small, hard-to-detect things can occur despite the most thorough of edits.

If the person who has agreed to proof your work cannot refrain from asking for large revisions regarding your style and content, find another proofreader, and don’t ask the first reader for help again.

The problem that frequently rears its head among the Indie community occurs when an author who writes in one genre agrees to proofread the finished product of an author who writes in a different genre. People who write sci-fi or mystery often don’t understand or enjoy paranormal romances, epic fantasy, or YA fantasy.

These are genres with specific styles and reader expectations, and many authors don’t understand this. For this reason, some otherwise wonderful people become terrible, arrogant readers, when they have been asked to proofread in a genre they don’t care for, or for an author whose voice they don’t like. They can’t proofread because they are fundamentally driven to critique and edit.

It is your task to ensure that your intended proofreader is aware of what they are to look for.

In the publishing industry, proofreading is done after the final revisions have been made, and hopefully, it is done by someone who has not seen the manuscript before. That way, they will see it through new eyes, and the small things in your otherwise perfect manuscript will stand out.

What The Proofreader Should Look For:

Spelling—misspelled words, autocorrect errors, and homophones (words that sound the same but are spelled differently). These words are insidious because they are real words and don’t immediately stand out as being out of place.  A human eye is critical for this.

  • Wrong: There cat escaped, and he had to chase it
  • Right: Their cat escaped, and he had to chase it.
  • Wrong: The dog ran though the house.
  • Right: The dog ran through the house.
  • Wrong: He was a lighting mage.
  • Right: He was a lightning mage.

Repeated words and cut-and-paste errors. These are sneaky and dreadfully difficult to spot. Spell-checker won’t always find them. To you the author, they make sense because you see what you intended to see. For the reader, they appear as unusually garbled sentences.

  • Wrong: First of all, First of all, it is accepted practice to italicize thoughts.
  • Wrong: First of all, it is accepted practice to practice thoughts.
  • Wrong: First of all, it is accepted to ot  thoughts.
  • Right: First of all, it is accepted practice to italicize thoughts.

Missing punctuation and closed quotes:

  • Wrong: “Doctor Mendel, you’re new to the area. What do you know about the dead man? asked Officer Shultz.
  • Right: “Doctor Mendel, you’re new to the area. What do you know about the dead man?” asked Officer Shultz.

Numbers that are digits:

Miskeyed numbers are difficult to spot when they are wrong unless they are spelled out.

  • Wrong number: There will be 3000 guests at the reception.
  • Better number (but still written wrong): There will be 300 guests at the reception.
  • Right: There will be three-hundred guests at the reception.

Dropped and missing words:

  • Wrong: Within minutes the place was crawling with cops, and Officer Shultz was sitting at my kitchen table me gently.
  • Right: Within minutes the place was crawling with cops, and Officer Shultz was sitting at my kitchen table grilling me gently.

Make your corrections with care. Each time you create a new passage in your already edited manuscript, you run the risk of creating another undetected error.

At some point, your manuscript is done. The line editor has beaten you senseless with the Chicago Manual of Style. The content and structure are as good as you can get them. At this stage, all you want is one last eye looking for small flaws that may have been missed.

Before you upload that masterpiece to Kindle or wherever, do yourself a favor and have it proofread by several intelligent readers who understand what you are asking them to do and who are willing to do only that.


Credits/Attributions:

The Passion of Creation, Leonid Pasternak [Public domain], via Wikimedia Commons

Writing letter, By Kusakabe_Kimbei [Public domain], via Wikimedia Commons

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Filed under Publishing, writing

#amtalking: #interview with @authorLeeFrench, Ghost is the New Normal

Author Lee French is a prolific writer, with more than twenty books to her credit. Her work is featured in many anthologies, and she is a driving force in the Pacific Northwest Indie author community. She is a strong proponent of NaNoWrimo, and works with me as Co-Municipal Liaison for the Olympia region. Her insights and commentary regularly crack me up, but more than that I really enjoy her work. Two of her series, The Greatest Sin and Ilauris, have become favorites of mine. Her YA series, Spirit Knights, is an excellent adventure series, completely appropriate for teens and readers of all ages.

CJJ: Your new book, Ghost is the New Normal, is the fourth installment in the Spirit Knights series. This series is set in Portland, Oregon, and features an unusual cast of characters. Claire is sixteen and is in foster care. Her new family has connections to her deceased parents, and this unusual connection is the core of the story. Claire’s father was a Spirit Knight, a member of a group dedicated to hunting ghosts in Portland. Tell us about the Spirit Knights and the story so far.

LF: At its heart, the Spirit Knight series is about the same thing all my books center on—family. The people in your family, whether it’s the family you were born with or not, are the people who affect you the most throughout your life. All three of the primary characters, Claire, Drew, and Justin, have lost their parents, and all three are affected differently by that. It’s how they deal with those issues, feelings of betrayal, survivor’s guilt, abuse, and loneliness that makes their stories worth telling.

CJJ: Claire is a unique girl. She is fun and feisty, a girl who makes mistakes along with her successes. But even when she has stumbled big-time, she picks herself up and keeps going. When did you have the idea to write her story in the first place?

LF: Claire began life as a Werewolf: the Apocalypse character. That’s one of White Wolf’s role-playing games. Her humble beginnings as a relatively dumb, brute-force werewolf provided a foundation for someone who solves problems by punching them in the face. At her core, she’s an exaggeration of the “strong” female character, softened into realism by adding layers of humanity over that.

CJJ: You write in several different genres. As an Indie trying to carve a niche for your work, has that presented a challenge for you?

LF: With work in five different subgenres now, it’s challenging to find readers who like all of it, which means I have to approach each subgenre’s books as a separate entity. I can get crossover between epic and sword & sorcery fantasy, and between superheroes and urban fantasy, but never the twain shall meet, and nothing else intersects with cyberpunk. As a result, my fans are in three disparate groupings. Marketing to one grouping is time consuming and often expensive. Marketing to three is more than I can handle, so I try to take turns with each thing.

TL;DR: Yes, and I don’t recommend it. Stick with your genre until you achieve success in it.

CJJ: You have an eye for graphic design and have done covers for several books. You have also worked with several professional designers. What should the cash-strapped Indie consider when looking and budgeting for a cover designer?

LF: Pre-made covers are economical, and you can see the quality before you buy. If you don’t personally have design skills and software, it’s a good route to take for your first few books. If you do have the skills and materials, it’s important to understand the specific market of book covers in your subgenre. There are expectations about covers, and there are techniques specific to covers that should only be subverted once you understand them. Just like with writing. Research your subgenre and fit into it.

CJJ: If you could go back to your first books and do anything differently what would that be?

LF: At this point, I look back at that first year of publishing and wish I’d known someone who could’ve given me good advice on what to do with those first 5 books. I read lots of advice, but have come to appreciate that some of it wasn’t good. Most specifically, I think I would’ve dumped a lot more money into the first few books, for editing, covers, and initial roll-out. I’ve since gone back and had the editing and covers redone.

CJJ: What has been the greatest hurdle for you to overcome in your career?

LF: Meeting people. I’m horrible at remembering names, I have a hard time digesting information I only get aurally, and I have anxieties that kick in around large groups. Attending parties where the purpose is meeting people in the biz is a special form of torture. As my own sense of personal success builds, I’m getting better at it, but the socializing will always be my least favorite part of this job. After writing blurbs. Blurbs suck more.

CJJ: What has been the biggest happy-dance moment for you as an author?

LF: Joining SFWA, the Science Fiction and Fantasy Writers of America, was always a sort of pie-in-the-sky thing for me, up until I did it as an indie last December. The moments that allowed it to happen—hitting #1 on Amazon in multiple high-level subcategories—were pretty good too. Those kinds of moments help create a sense of legitimacy in my own mind, which helps me convince others I deserve a seat at the table.

CJJ: You and Indie author, Jeffrey Cook, wrote Working the Table, the Bible for Indies who intend to have tables and sell their books at conventions. Tell us a little about that book and how it came about.

LF: Jeff and I worked 32 shows in 2016, plus another dozen or more in 2015. Between the two of us, we climbed the learning curve pretty fast. Watching others work and settling into what we found both comfortable and successful has given us a reputation in the Pacific Northwest among a fair-sized swath of indie authors. A few people suggested we should write a book with all our tips and tricks, which we brushed off because neither of us felt especially wise or learned in the subject. At one show, a friend issued the ultimatum that if we didn’t write it, she would. I did some research and discovered Amazon had no such books, so we wrote it. That book took about 3 months to produce and was probably the least stressful authorial experience I’ve ever had.

CJJ: Where will readers be able to find you this spring and summer?

LF: This is my current schedule through August, but more shows may be added:

  • Wen-Con—Wenatchee, WA
  • Norwescon—Seatac, WA
  • CapitalIndieBookCon—Olympia, WA
  • Miscon—Missoula, MT
  • GEARCon—Portland, OR
  • MALCon—Denver, CO
  • GenCon—Indianapolis, IN

>>><<<

Lee French can be found blogging on all aspects of her writing life at Scripturience, www.authorleefrench.com

Follow Lee on Twitter: @authorleefrench

Lee’s Facebook page can be found at:  https://www.facebook.com/AuthorLeeFrench

You can find Lee’s books on Amazon. Her books are also available at Barnes and Noble, Kobo,  and  in all other digital formats as well as in print, and as audio books.

Lee French lives in Olympia, WA with two kids, two bicycles, and too much stuff. She is an avid gamer and member of the Myth-Weavers online RPG community, where she is known for her fondness for Angry Ninja Squirrels of Doom. In addition to spending too much time there, she also trains year-round for the one-week of glorious madness that is RAGBRAI, has a nice flower garden with one dragon and absolutely no lawn gnomes, and tries in vain every year to grow vegetables that don’t get devoured by neighborhood wildlife.

She is an active member of the Northwest Independent Writers Association, the Science Fiction and Fantasy Writers of America, and the Olympia Area Writers Coop, as well as being one of two Municipal Liaisons for the NaNoWriMo Olympia region and a founding member of Clockwork Dragon Books.

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#flashfiction friday: St. Patrick’s Day at the Drunken Sasquatch

There’s something about St. Patrick’s Day that brings out the crazies, even in Seattle. Or, should I say, especially in Seattle. If there is one night of the year when were-dragons should stay home and avoid the tavern, it’s March 17th.

Now in a place like Seattle, folks like me usually go unnoticed because the Emerald City is just that kind of town. The people are relaxed and accepting here. It’s like they don’t even see us.

Oh, sure, a few members of my community aren’t the kind of people most folks  want to know. Being a reporter, I tend to come across them in the course of my work, and let’s just say it’s not all rainbows and unicorn farts for  some of us anymore.

Modern society has ruined the weaker minded. You didn’t hear this from me, but some of the most unusual and largest thefts of metal can be laid at their door. Ever hear of the wholesale disappearance of live electric wires for the length of a city block? How about an entire condominium’s worth of  electric water heaters going missing?

In some cases, that stolen metal isn’t being sold for drug money, as the ordinary folk assume.

That would be normal, and being what we are, we don’t really do normal that well.

No, instead of financing drug habits, it’s worse.

This stolen metal shows up at Renaissance Fairs and Fantasy Cons all over the West Coast in the form of knock-off medieval armor, pseudo-medieval jewelry, and fake regalia, hawked by elves wearing obviously plastic Spock ears and cosplaying as Legolas.

But I digress—we were talking about St. Patrick’s Day and why a were-dragon like me avoids the Drunken Sasquatch on that day. I admit that bar is my second home under ordinary circumstances, but this is not a normal holiday. And while the Drunken Sasquatch is in what is known as the Scandinavian side of town, these normally sober, morally upstanding leprechauns of the Lutheran persuasion seem to come out of the woodwork.

These are people who have no knowledge of how things work in a neighborhood bar. Ignorant of the proper protocols, they will blithely sit on a regular’s favorite barstool with no remorse or fear of reprisal.

Don’t look at me like that. You’re thinking, “Dan Dragonsworthy, don’t be such a curmudgeon. They’re leprechauns–it’s their big holiday. Why shouldn’t they celebrate a little?”

Well, I’m not a curmudgeon. I’m smart.  First of all, these folks never set foot in Ireland. They’ve been here for three generations, like the rest of us.  And once they start pounding down the beers, these leprechauns do something no sane person would consider hanging around for.

Karaoke.

You know you’ve died and gone to Irish Hell when a marauding band of leprechauns, drunk on their entire year’s quota of green beer, takes over your favorite watering hole and turns it into a karaoke bar. There is no agony like that of ten drunken leprechauns, all insisting on singing the same three Sinead O’Connor covers over and over again, all night long.

Bloody Bill doesn’t even try to fight it anymore. He just lets them set up their machine and puts in his earplugs.

Me and all the rest of the regulars—we meet at Alfredo’s house for a little BYOB party, play a little cribbage, and listen to his collection of Pogues CDs all night long. For a vampire, he’s a pretty good host, and provides us with all the little Vienna-sausages and microwaved popcorn we can consume.

So, St. Patrick’s Day is the one night of the year when you will not find me in my usual chair at the Drunken Sasquatch. Instead, I’ll be drinking my orange juice at Alfredo’s and watching Harry Wolfe try to beat Grandma at cribbage.

He won’t of course. He never has and and he never will. No one can beat Grandma at her favorite game. Of all people, Harry should know that, seeing as how she wears his stepdaddy’s hide to church every Sunday.


St Patrick’s Day at the Drunken Sasquatch, © 2017 by Connie J. Jasperson, All Rights Reserved.

Green Beer, b y SpaceAgeSage from USA (Green Beer) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

Skunk Fur Coat, By unknown / –Kürschner (talk) 19:02, 3 June 2009 (UTC) [Public domain], via Wikimedia Commons

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#amwriting: worldbuilding: a framework to hang a story on

I write in many different worlds with widely varying levels of technology and forms of government, some set in fantasy worlds and some set in contemporary real-world environments. When I first began writing I had been reading and studying the works of Ursula K. Le Guin, Anne McCaffrey, and the many other pioneering sci-fi and fantasy writers of the 1960s, 1970s, and 1980s.

This was long before eBooks, and I had discovered the joys of the secondhand book store. Every payday I had several new books to add to my collection. In fact, it became hard to find people to help me move whenever my work took me to a different place, because of my large collection of secondhand books.

Many times the actual details of the society and the infrastructure didn’t matter and didn’t come into their stories at all. But the authors knew them, and their visualization of each character, each setting, and the other elements of the scene came across clearly in their writing.

These are subjects that arise my mind in the second draft because after the story has been laid down in its raw form, the answers to these questions matter. And in truth, the answers to these questions are only important in a peripheral way, an invisible framework to hang your story on. The answers ensure continuity and prevent inadvertent contradictions from arising within your manuscript.

Social Organization: What place does your character occupy in her society? That will determine how she interacts with others. Society is always composed of many layers and classes. How is your society divided? Who has the wealth? Are there

  • Nobility?
  • A servant class?
  • A merchant class
  • A large middle class?
  • Who makes up the poorest class?
  • Who has the power, men, women—or is it a society based on mutual respect?

Language, the written word, and accounting: Do they have a written language? This is really important if you are setting your people in a medieval world or in a really low-tech society because access to a written language determines how knowledge is passed on.

Is there a system for communicating knowledge across generations? How does historic information get passed along? How do they communicate knowledge over long distances? Books? Songs? Messengers? Subspace Communication?

Some ideas to consider:

  • How are people educated?
  • Who is allowed to learn to read and write?
  • How are bards, storytellers, teachers, and other disseminators of knowledge looked upon?

Ethics and Values: We currently live in a world where ethics and values are hot topics, and morality in government is a mushy concept. This especially true if a politician has enough plausible deniability or enough bravado to tell and maintain a bald-faced lie despite a mountain of evidence to the contrary. In your fictional society, what constitutes morality? What constitutes immorality?

  • Is marriage required?
  • How are women treated? How are men treated?
  • How are same-sex relationships viewed?
  • How are unmarried sexual relationships seen in the eyes of society?
  • How important is it to be seen as honest and trustworthy?
  • How important is it to only tell the truth?
  • What level of deceitful dealings is acceptable?

Crime and the Legal System: What constitutes criminal behavior and how are criminals treated?

  • How important is human life? How is murder punished?
  • How are thieves viewed? What place in society do professional thieves have?
  • How are treachery, hypocrisy, envy, and avarice looked upon?
  • What about drunkenness/drug abuse?

Level of Technology: What tools and amenities do people have available to them? What about transport? Low technology generally can begin with an oral tradition and have some written languages. But low-tech means it takes time to pass along messages, and information can get lost or skewed over generations. Low technology in my books ends with the invention of the printing press and widespread access to Roman-style plumbing.

In my work, high levels of technology begin with the invention of the telephone, steam engines, blimps, and other motorized transport, and the use of radio communication. It grows from there to include cyborg technology for instantaneous communication, warp engines, and all manner of nanotechnology.

  • Hunter/Gatherers?
  • Agrarian/farming
  • Greco-Roman metallurgy and technology?
  • Medieval metallurgy and technology?
  • Pre-industrial revolution or late Victorian?
  • modern day?
  • How do we get around and how do we transport goods? On foot, by horse & wagon, by train, or by space shuttle?

 Do they have the use of magic or a magic-based technology? First you must consider who has magic? What kind of magic–healing or offensive or both? What are the rules for using that magic and why do those rules exist? Magic is an intriguing tool in fantasy, but it should only be used if certain conditions have been met:

  1. if the number of people who can use it is limited
  2. if the ways in which it can be used are limited
  3. if not every mage can use every kind of magic
  4. if there are strict, inviolable rules regarding what each kind magic can do and the conditions under which it will work.
  5. if there are some conditions under which the magic will not work
  6. if the learning curve is steep and sometimes lethal

Government: There will be a government somewhere, even if it is just the local warlord. Someone is always in charge because it’s easier for the rest of us that way:

  • Is it a monarchy, theocracy, or a democratic form of government?
  • How does the government fund itself?
  • How are taxes levied?
  • Is it a feudal society?
  • Is it a tribal clan-based society?
  • Warlord, President, or King/Queen?
  • How does the government use and share the available wealth?
  • How is the government viewed by the citizens?

Religion and the Gods: How important is religion in this tale? Feel free to skip this section if religion plays no role in your tale. If religion is central, ask yourself: Is there one god/goddess or many? If the worship of a deity is a key part of your tale, you must design the entire theology. You must know the rituals and know how their deity holds their hearts. You must know how that deity considers his/her worshipers.

  • What sort of political power does the priestly class wield?
  • What is the internal hierarchy of the priesthood?
  • Who has the power?
  • Is this religion a benevolent entity or all-powerful, demanding, harsh?
  • How does the priesthood interact with the community?
  • Who can join the priesthood
  • Do people want to join the priesthood or do they fear it? How is the priesthood trained?

Foreign Relations: Does your country coexist well with its neighbors?

  • If not, why? What causes the tension?
  • Can people freely cross borders?

The Art of War, by Sun Tzu is part of a collection at the University of California, Riverside.

Waging War: This is another area where we have to consider the level of technology. It is critical for you as the author to understand what sort of weapons your characters will bring to the front, and also what the enemy will be packing. Do the research and choose weaponry that fits your established level of technology.

  • What kind of weaponry will they use?
  • How are they trained?
  • Who goes to battle? Men, women, or both?
  • How does social status affect your ability to gain rank in the military?

When you have cemented the world in your mind,  you will leave enough clues in your writing that the environments your characters inhabit will flow naturally, and your protagonists will fit into them organically. Your fantasy society will be visually real to the reader, even if the world it evokes in their minds isn’t exactly your vision of it. You will have done your job, by giving them a solid framework to imagine the story around.


Attributions:

First Edition cover of A Wizard of Earthsea, by Ursula K. Le Guin, Illustrator, Ruth Robbins, published 1968 by Parnassus Press.

The Art of War, by Sun Tzu, image by vlasta2, bluefootedbooby on flickr.com [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

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#amreading: Stephen Swartz, EPIC FANTASY * With Dragons

Today I am talking with a dear friend of mine, author Stephen Swartz. Along with myself and twenty other authors, Stephen is a founding member of Myrddin Publishing. We have been down a great many rough roads together since those early days of taking the plunge and leaving our former publisher. Not a day goes by that I don’t communicate with him in some way, and he always has a way of making me laugh.

His most recent novel is an ambitious project called EPIC FANTASY *With Dragons which was just launched. I had the opportunity to be a beta reader and liked the book in its proto version very much. I am enjoying the book in its final form immensely. The world it is set in is barbaric and exotic. Corlan is a solid character, a great protagonist who is unlike most squeaky clean, modern heroes. In a purely human way, Corlan has faults and blind spots. But he attracts an odd assortment of people, wonderful characters who force him to see the world more realistically. In his travels, Corlan becomes a worthy hero, but never loses his human nature.

CJJ: EPIC FANTASY *With Dragons is an awesome title for the book. Your dragons are most definitely not the friendly sort of dragon Anne McCaffrey wrote about. How long did you toy with the idea of this book before you began writing it, and what made you decide to embark on such an ambitious project?

SW: The fact is the title was the first thing I thought of. Because I was challenged to write an “epic fantasy” I started with that as the title, more of a spoof, I suppose, but also a focus. I imagined poking fun at the tropes of the epic fantasy genre. Of course, that’s not what I ended up with: it was not a spoof but a serious work of daring-do over a harsh landscape.

I had never been a fan of dragons as a story element. Too many dragons were cute, affectionate, like pets to humans, or the opposite: dragons hoarding gold, talking to humans. I couldn’t deal with those. So I went full biologist and reimagined dragons as perfectly wild beasts following the laws of physics and biology. Then I let them be nuisances, then terrors. I imagined a life where dragons constantly flew overhead, snatching children and livestock, setting thatch roofs on fire, depositing their waste everywhere. People would not put up with that for long. Hence, the need for “gamekeepers” to keep them in check.

As is often the case for me, I had an image in my head, the opening scene. It had to be a fantasy world. Some guy doing his thing in that fantasy world. So I thought of dragons flying by and there is our hero, sitting on the side of a cliff shooting them down. And then what happens? I thought for about a month, then continued: he goes home and faces all kinds of trouble, a bad weekend in the city which ends with him being banished by the prince.

Now that I’ve finished Epic Fantasy *With Dragons, I’m finally reading McCaffrey’s books. Long ago, when I was a child, I showed my mother a story I had written and when she said it reminded her of The Hobbit, I swore never to read The Hobbit so nobody could say I got my story idea from Tolkien. Now, however, we do research. Even so, I don’t think my take on a dragon tale is like any others that I’ve read or heard of.

CJJ: The works of yours I am most familiar with, Aiko, After Ilium, and A Girl Called Wolf are contemporary fiction, set in our real world, as is your vampire novel, A Dry Patch of Skin. You’ve also written an epic Sci-Fi series, The Dreamland Trilogy. This book is a real departure from those novels, as the prose is far more formal and literary. Corlan is a compelling character, and the story moves along at a rapid pace, but I would say it is not a quick read. What kind of reader were you writing this for?

SW: I began writing science fiction, which was what I read as a child and teenager. I transitioned into magical realism by the time I entered an MFA program in college. There we were supposed to write literary fiction, introspective stories of real people in a real world. So that became my focus. There are good things and not so good things about each genre, something that satisfies me when writing each but also challenges for each genre. It comes down to the story: Is it better as a real story in a contemporary setting or as a sci-fi story in an invented world? I usually do not have the choice; the story comes to me already set in the genre it wants to be.

The novels you mention had some basis in my own reality. For Aiko I lived in Hawaii and then in Japan. After Ilium began with me studying Classical rhetoric and the epics of Homer; I transported Homer’s ancient tales to a modern setting. A Girl Called Wolf is really the biography of a friend; I felt her story of hardship growing up in Greenland would make a great novel. I encouraged her to write it but she gave up and insisted I write it for her.

One thing I did learn in that MFA program was that all stories are about people – not the setting, or the technology or the aliens or the dragons. That made a big difference in the writing I’ve done since then. So in Epic Fantasy *With Dragons I focused on my protagonist, making him a real person with real problems but also, as per the epic fantasy rules, some dark secrets, some stubbornness, and some talents. The Dream Land Trilogy, although sci-fi, also focuses more on the characters and their relationships than on the interdimensional doorway and the world they discover and come to rule. Perhaps it is all a matter of growing older myself and experiencing relationships. Who knows?

With the epic fantasy genre comes the criteria: a strange landscape, a variety of odd characters, a quest, and a lot of words to get the reader to the destination. When I began, I decided to aim for 200,000-plus words. I was half joking at first, just like with the title. But it really did not take so long or was too much effort to put that many words on paper. As a quest tale, the right number of episodes would naturally add up to the designated word count. I wrote quickly and did not linger to write lavish descriptions of places or a character’s fashion; I kept my focus on action, dialog, and moving to the next scene.

Like everything I write, I try to do two things, with regard to readers: give them a story that is compelling and within the criteria of the genre, and do something different, enough different, to make it not the same old thing they have read before. I think I’ve achieved that with Epic Fantasy *With Dragons. There is a deeper story that gradually boils to the surface by the end. I hope readers will enjoy the familiar elements of an epic fantasy and then appreciate how I’ve toyed with those elements to make some new and different.

CJJ: Now we get to the question I really want to know the answer to. At what age did you start reading, and what books influenced you most as a young reader?

SW: Being the child of a pair of teachers, I began reading at an early age. It wasn’t too soon after I began writing my own stories. They were comic strips at first: drawings with dialog. Then I dropped the pictures and added more words. All my teachers liked the stories I wrote, often having me read them for the whole class. In 7th grade I invented a superhero: Micro Man who could shrink himself to get out of tight jams. Everyone awaited the next episode every Friday. As a teenager I read sci-fi and fantasy…as well as some of the unabridged Classics on the shelves of my house. Ben Bova, Robert Silverberg, Roger Zelazny, Michael Moorcock, Damon Knight are the authors I remember always reading. Plus Homer, the Russian novelists, especially Dostoevsky, and some Italians like Dante. And I tried to write better stories than what I read. Or at least as good: “Write the stories you want to read.” That’s what I do.

CJJ: How did these books influence your early writing?

SW: Aside from some stylistic tricks and some phrasing quirks from the authors I named, I was shown many (more) ways of seeing the universe than I ever could in my simple world of Missouri. And that’s the reason we read, especially sci-fi and fantasy. Technically, I still use the “two-fer phrase” (He dipped the cup into the stream, drank it.) that I learned from reading Zelazny. I got a literary lesson on how, in a conflict, the side that seems morally right at first glance is not always morally right, courtesy of Moorcock (The Eternal Champion). As an only child who spent a lot of time entertaining myself, I loved reading and writing. Now I teach others to enjoy reading and appreciating literature and to write academically and creatively.

CJJ: I like that. In the opening chapters of EPIC FANTASY *With Dragons, Corlan is possessed of that raw self-centeredness that many of Roger Zelazny’s protagonists embodied. Do you ever take a vacation from writing? Do you have a current work in progress?

SW: The only vacation from writing I take are the agonizing weeks between projects. I might slip into a depression, fearing I’ll never write again. Maybe I’ll have no more ideas. Gradually an idea will emerge from the vagaries of daily life and once again I become excited at inventing something that did not exist before. I’m in that slump presently but I will soon be able to get back to work on something.

Work-in-progress? I hesitate to mention it because that in itself might prove to be a spoiler, but I have ideas and a plan for a sequel to Epic Fantasy *With Dragons. I have tentatively titled it Epic Fantasy 2 *Without Dragons. Now that the dragon situation has been resolved, our hero will turn to problems in the north. We will also learn more of the War of the Five Princes…mapped out in 1973, long before George R. R. Martin thought up his Game of Thrones.

CJJ: What would you like to say in closing about EPIC FANTASY *With Dragons?

SW: EF*WD started as a spoof, then became a serious tale of a quest. Then began the painting of patina of philosophy under many of the scenes, letting characters discuss the issues relevant to them and by extension to all of humanity. That is why I remarked at the close that I had said everything I wanted to say. And that, I believe, is something of the requirements of the epic fantasy: to make a statement about the human condition (without being preachy, of course) that gives the reader far more than a simple quest tale with action and romance. Perhaps that’s what I like most about writing fiction: juxtaposing the mundane reality of our present world with the vivid possibilities of the fantastical world and finding somewhere between them, in the cracks, a few universal truths. Then I can sit back and muse: “My work here is done.”

Stephen Swartz, thank you for stopping by and talking about your work and especially about this wonderful new novel.

Stephen can be found blogging regularly at Deconstruction of the Sekuatean Empire, where he discusses all aspects of his travels and writing life and also illuminates the darker corners of the craft of writing.

>>>|<<<

EPIC FANTASY *WITH DRAGONS

CORLAN, MASTER DRAGONSLAYER, the best in the Guild, the best in the Burg!

And yet, returning from his latest expedition, Corlan discovers jealous rivals have conspired

with the Prince to banish him from the city.

Sent into the Valley of Death, Corlan conjures a plan. He and his new sidekick, a runaway boy

from the palace kitchen, will trek the thousand miles to the far end of the valley, where a vast marsh provides nesting grounds for the dragon horde. Once there, Corlan vows to smash dragon eggs and lance younglings, ending dragon terror once and for all time.

And yet, as dangers, distractions, and detours harry him along the way, Corlan learns ancient secrets that threaten to destroy everything in his world. Even with the aid of wizards and warriors, he must use all his guile, his bravado, and the force of his stubborn will just to survive – and perhaps return home – no matter how the gods challenge him with their harshest tests.

Stephen Swartz grew up in Kansas City where he was an avid reader of science-fiction and quickly began emulating his favorite authors. Since then, Stephen studied music in college and, like many writers, worked at a wide range of jobs: from French fry guy to soldier, to IRS clerk to TV station writer, before heading to Japan for several years of teaching English. Now Stephen is a Professor of English at a university in Oklahoma, where he teaches many kinds of writing. He still can be found obsessively writing his latest manuscript, usually late at night. He has only robot cats.

CONTACT Stephen Swartz at:
BLOG

http://stephenswartz.blogspot.com/

TWITTER

@StephenSwartz1

FACEBOOK

https://www.facebook.com/pages/Author-Stephen-Swartz/149555308427639

STEPHEN SWARTZ BOOK LINKS 

Amazon Author Page:
http://www.amazon.com/Stephen-Swartz/e/B007391TQK

Goodreads Author Page:

EPIC FANTASY *WITH DRAGONS (Mar. 2017)
paper https://www.amazon.com/dp/1680630253

kindle https://www.amazon.com/dp/B06XF5FQ57

A GIRL CALLED WOLF (Dec. 2015)

A BEAUTIFUL CHILL (Feb. 2014)

paper http://www.amazon.com/dp/1939296307

kindle http://www.amazon.com/dp/B00I6M4R9Y

A DRY PATCH OF SKIN (Oct. 2014)

AFTER ILIUM (2012)

paper http://www.amazon.com/dp/1939296218

kindle http://www.amazon.com/dp/B009SDW1KC

AIKO (May 2015)

THE DREAM LAND TRILOGY

BOOK 1: Long Distance Voyager (Sept. 2013)

paper http://www.amazon.com/dp/1939296226

kindle http://www.amazon.com/dp/B00AH1V78Q

BOOK 2: Dreams of Future’s Past (Nov. 2013)

BOOK 3: Diaspora (Dec. 2013)

paper http://www.amazon.com/dp/1939296277

kindle http://www.amazon.com/dp/B00GVJGP9E

 

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#flashfictionfriday: Old Peoples’ Gardens

Henry_Roderick_Newman_-_Anemones_and_Daffodils_(15815149940)

Chill and rainy, spring has come

The Ides of March are near.

And all around the garden brown

Shades of green appear.

Though wind and rain still beat the ground

And mud does claim the day,

A secret green lies tightly furled

And soon will have its say.

In gardens up and down the street

Are hints of green and gold.

In old peoples’ gardens, Daffodils

Are shining proud and bold.

Old people’s gardens keep the faith,

Their greening shrubs declare,

That Winter’s grip must surely fade

For Spring is in the air.


Old Peoples’ Gardens, © 2017 Connie J. Jasperson, All Rights Reserved

Anemones and Daffodils, Henry Roderick Newman (1843 – 1917) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

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#amwriting: Repetition

f scott fitzgerald The Great GatsbyAs it is March and is that month known as National Novel Editing Month or NaNoEdMo, I will be revisiting some of my posts on the craft of writing. Today we are looking at Repetition: Repetition can be an effective literary tool, or it can be boring, the overuse of a crutch word, or even the inadvertent repetition of an entire paragraph.

Unconsciously using the same words too often in our descriptions is one of the pitfalls of writing. It happens to all of us, and for me, it occurs most often when I am laying down the first draft. I’m hurrying and trying to get the ideas out of my head and onto the paper, and my vocabulary can’t keep up.

Many common words (the, and, etc.) don’t really stand out when used more than a few times in a paragraph, and you couldn’t write well if not for those words. However, some words will always stand out more than others, and if you use them more than once in a paragraph, it looks like you’re unimaginative or a lazy writer. This is especially true if the word in question has a lot of synonyms you could have used instead of repeating the same word. Having a good thesaurus at hand is a great help to the brain-stranded author.

Some words don’t have a lot of obvious synonyms, so you get hung up on the few you can find.  In my own work, the word sword is one of the main culprits. The type of blade my characters wield in the World of Neveyah books is a claymore, and four ensorcelled blades figure prominently in the Tower of Bones series.

Therefore, some obvious synonyms will not work as these are distinct blade types that are in no way like a broadsword.

  • Rapier
  • Epee
  • Foil

Because of this constraint, I am limited to:

  • Sword
  • Blade
  • Weapon
  • Steel (if I’m desperate, but I despise using that to reference a weapon that isn’t an epee or a rapier)

The spell-check function of your word processing program will pick many inadvertent repetitions out for you, such as “the the.” However, I recommend printing out each chapter. Then, starting on the last page, place a blank sheet of paper over your chapter, covering all but the last paragraph on the last page. This paragraph is your starting point. With a highlighter, start from the bottom and work your way up, paragraph by paragraph. Use the highlighter to mark the places you want to correct.

Once you have marked up your hardcopy, you can open your digital files, and make your revisions much more quickly, simply by looking at your notes and crossing them off as they are completed. This method saves me weeks of work when I am trying to get a manuscript submission ready.

Working with hardcopy from the bottom up, blind to what has gone before in that chapter, allows you to see the work through unbiased eyes. When you do this, you will also find places you have repeated an entire thought almost verbatim, and places you don’t like your phrasing. You may decide to change some things around.

However, sometimes we use intentional repetition:

Sometimes we want to emphasize a concept, and deliberate repetition is the way to do it. Some of the best authors use the repetition of certain key words and phrases to highlight an idea or to show the scene. This technique is an accepted rhetorical device and is commonly found in mainstream fiction. It is used to evoke an emotional response in the reader and can be exceedingly effective when done right.

Literarydevices.net says, “The beauty of using figurative language is that the pattern it arranges the words into is nothing like our ordinary speech. It is not only stylistically appealing, but it also helps convey the message in a much more engaging and notable way. The aura that is created by the usage of repetition cannot be achieved through any other device.”  (End quoted text)

Also according to literarydevices.net, repetition as a literary device can take these forms:

  • Repetition of the last word in a line or clause.
  • Repetition of words at the start of clauses or verses.
  • Repetition of words or phrases in opposite sense.
  • Repetition of words broken by some other words.
  • Repetition of same words at the end and start of a sentence.
  • Repetition of a phrase or question to stress a point.
  • Repetition of the same word at the end of each clause.
  • Repetition of an idea, first in negative terms and then in positive terms.
  • Repetition of words of the same root with different endings.
  • Repetition both at the end and at the beginning of a sentence, paragraph, or scene.
  • A construction in poetry where the last word of one clause becomes the first word of the next clause. (End quoted text)

Some famous examples of repetition as a literary device:

“Every book is a quotation, and every house is a quotation out of all forests, and mines, and stone quarries; and every man is a quotation from all his ancestors.”  Ralph Waldo Emerson, Prose and Poetry

“About half way between West Egg and New York the motor-road hastily joins the railroad and runs beside it for a quarter of a mile so as to shrink away from a certain desolate area of land. This is a valley of ashes—a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens, where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air.” F. Scott Fitzgerald, The Great Gatsby

When an author writes it intentionally to drive home a point, repetition is an effective tool. It is when words are inadvertently used with a lack of creativity that repetition ruins a narrative.

ozford-american-writers-thesaurusConsider buying a thesaurus or make use of the many online thesauruses that are available.

I have a well-worn copy of the Oxford American Writer’s Thesaurus. This book has become just as important to me as my copy of the Chicago Manual of Style. This large book of synonyms can be purchased used from Amazon, for as little as $9.99 in the hardcover form. I do recommend purchasing this as a paper book rather than an eBook. Once you see the amazing variety of words at your disposal, it’s one you will refer back to regularly.


Credits & Attributions

LiteraryDevices Editors. “Repetition” LiteraryDevices.net. 2013. https://literarydevices.net/metaphor/ (accessed March 8, 2017).

Ralph Waldo Emerson, The Complete Works. Published 1904. Vol. VIII. Letters and Social Aims, VI. Quotation and Originality, Bartleby.com, accessed (March 8, 2017)

F. Scott Fitzgerald, The Great Gatsby, pub. 1925 Charles Scribner & Sons.

 

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#amwriting: publishing overview, Indie vs. Traditional

Who are youThe publishing industry is in a state of growth. According to the annual report of the Association of American Publishers, published July 11, 2016, the  U.S. publishing industry’s annual survey revealed earnings of nearly $28 billion in 2015. The market showed an increased return to print purchases, and a significant growth in audiobook sales while the growth of eBooks sales lagged compared to previous years.

“The area of largest growth for the trade category was Adult Books, which grew by 6.0% from $9.87 billion in 2014 to $10.47 billion in revenue in 2015. For the second consecutive year, Adult non-fiction books, which includes adult coloring books, was the category that sold the most units and provided the most revenue in the trade category. Within the Adult Books category, the fastest growing formats in terms of units sold were downloaded audio (up 45.9%), hardback (up 15.1%) and paperback (up 9.1%).” Ebooks still comprised 17.3% of the market.

In this publishing world, what share of the market is claimed by Indie book sales? In October 2016 Author Earnings reported that overall, Indie sales were down. In my view, this is to be expected, because eBook sales were down, and most Indie sales are in eBook format. It is the availability factor—Indies have trouble getting their work into places like Walmart and Target, which are the big booksellers in America, right behind Amazon.

Author Earnings reported:

Amazon’s 2016 online print book sales are nearly 18% higher than they were in 2015.

When we integrate the area under the two curves, we find that:

Amazon sold over 255 million print books in the US in 2015.

Amazon is on track to sell well over 300 million print books in the US in 2016.

The above totals include at least 13 million annual print sales of non-expanded-distribution CreateSpace POD books by self-published authors, which Amazon does not include in the numbers they report to Nielsen Bookscan.

The implications are numerous:

In 2015, more than 40% of Nielsen Bookscan’s 652 million total reported annual US print sales–and the majority of Nielsen’s Retail & Club sector–were online print sales from Amazon.com, rather than brick-and-mortar bookstore sales.

The fact that Nielsen Bookscan reports only 5% growth in the “Retail & Club” sector, when Amazon’s half of those “Retail & Club” numbers is up 18%, can only mean one thing:

The other half of the Bookscan Retail & Club sector, US physical bookstore sales, must be down by at least 8%.

What do these numbers mean when you are trying to decide whether to self-publish or attempt to go the traditional route? In my opinion, they really mean nothing. Authors, either Indie or traditionally published, rarely earn enough in royalties to support their families. Publishers, large and small, don’t waste budgets promoting work by unknown authors the way they do the few who have risen to the ranks of their guaranteed bestseller lists.

This means you will be doing the work of getting your name out there regardless of whether you choose the traditional route or not. What are the perks of going traditional if you’re an unknown? Why go to the trouble of wooing an agent and trying to court a publisher?

  • The traditional publishing industry offers many valid perks to those who get their foot in the door.
  • Once you are in their flock, you have an editor who works with you personally. Most of the time you can forge a good working relationship with this editor. If you go Indie, you must hire a copy editor, which is not cheap. (And should not be.)
  • While they may not treat a new author the way they do Stephen King, traditional publishers will dedicate a small budget to marketing your work for its launch, and it will be more money than you might be able to pony up as an Indie.
  • Traditional publishers can get your work into markets like Target, Walmart, Costco, airports, and grocery stores. That is a huge thing, assuming your publisher considers your work worthy of such a commitment on their part. Their confidence will have to be earned. You must expect to find your work on the slow track for a while as the publisher tests the water and sees how well your work is received at Amazon and Barnes & Noble.
  • Once you are an established author, you will have a wider distribution, make far more sales. With those sales, your work will meet the criteria to be considered for industry honors and awards, which will help sell your books.
  • There is an air of ‘respectability’ that still clings to being able to claim you’re traditionally published.

These are all extremely valid reasons for attempting to go the traditional route.

However, there are equally valid reasons for going Indie:

  1. Your book will be published. If you seek a legacy book contract, you must pass a gauntlet of gatekeepers: literary agents, acquisition editors, editorial committees, and publishing-house CEOs. These people must answer to the international conglomerates that actually own the majority of American publishing companies. This is why you are most likely to be stopped by a rejection letter. It’s not the quality of your work, it’s their perception of what the reading market will purchase and what it means to the accountants, who in turn must answer to their share-holders.
  2. You may not become a bestseller, but you’ll make more money on what you do sell. In most standard book contracts, royalty terms for authors are terrible, and this is especially true for eBook sales. Most eBooks are sold through online retailers like Amazon. If you’re a traditionally published author, and your publisher priced your eBook at $9.99, this is how the Amazon numbers break out (and remember, Amazon is still the Big Fish in the Publishing and Bookselling Pond):
  • Amazon takes 30% of the list price, leaving about $7.00 for the publisher, agent, and you to split.
  • The publisher will keep 75% of that $7.00, or $5.25.
  • The publisher will pay you 25% of that $7.00—just $1.75.
  • You then must pay your agent his 15% commission—or 26 cents.
  • You net just $1.49 on each $9.99 eBook sale. This is assuming your publisher honestly reports your sales and royalties and in my personal experience, some do not.

If you self-publish your eBook at that same price, for each sale of your $9.99 eBook, Amazon takes its 30%, leaving you $7.00. I don’t recommend such a high eBook price, but at  $4.99 or even $2.99, you stand to sell books and make a decent profit.

  1. You’ll get paid quickly. When a publisher accepts your book, he offers you an advance against sales. These are often paid in installments stretched out over long periods and are tied directly to how well or how poorly your book is doing in real market time. Publishers report sales and pay royalties slowly, as royalty statements are usually issued semiannually. Your royalty checks arrive later, so you can’t rely on this income until you have become an established author in their world.

Conversely, most eBook distributors like Kindle Direct Publishing and Barnes and Noble’s Pubit, and print-on-demand services such as Amazon’s CreateSpace, report your sales virtually in real time. Best of all, they pay your royalties monthly, with just a sixty-day lag from the time sales began.

Finally, and from my point of view, most importantly:

  1. Quill_pen smallYou retain all rights to your work. Legacy book contracts are a terrible danger zone for the author. The sheer complexity of negotiating a contract can be confusing and intimidating. You must hire a lawyer specializing in literary contracts, or risk unwittingly signing away secondary and subsidiary rights to your own work forever.

Quote from the Authors Guild post of July 28, 2015

Diamonds may be forever, but book contracts should not be. There’s no good reason why a book should be held hostage by a publisher for the lifetime of the copyright, the life of the author plus seventy years—essentially forever. Yet that’s precisely what happens today. A publisher may go bankrupt or be bought by a conglomerate, the editors who championed the author may go on to other companies, the sales force may fail to establish the title in the marketplace and ignore it thereafter, but no matter how badly the publisher mishandles the book, the author’s agreement with the original publisher is likely to remain in effect for many decades.

As I said before, you must do the work of getting your name out there regardless of whether you choose the traditional route or not. You must still work your day job to feed your family either way. Both paths are valid, and both have positive reasons for choosing that direction, as well as negatives. This is a critical choice for an author to make and is one that deserves deep consideration of all the many pros and cons.


CREDITS & ATTRIBUTIONS:

Annual Report, Marissa Bluestone © Copyright 2016, The Association of American Publishers http://newsroom.publishers.org/us-publishing-industrys-annual-survey-reveals-nearly-28-billion-in-revenue-in-2015, accessed March 5, 2017

A Publishing Contract Should Not Be Forever, The Authors Guild, © 2015 https://www.authorsguild.org/industry-advocacy/a-publishing-contract-should-not-be-forever/, accessed March 5, 2017

Do I Really Need A Literary Attorney, Arielle Ford, © 2011 Huffington Post http://www.huffingtonpost.com/arielle-ford/do-i-really-need-a-litera_b_927120.html

Image: Quill Pen, PD|by author, BWCNY at English Wikipedia.

Image: Who Are You © Connie J. Jasperson 2011-2017 Life in the Realm of Fantasy

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#FlashFictionFriday: The Sea Doves (reprise)

I’m traveling for a few days, so today I’m revisiting a post from August of 2016. This little flash fiction, The Sea Doves, was written in Cannon Beach, Oregon, one of my favorite places.


sand-dollar-leodia_sexiesperforata_derivada_2013An older lady walking with a cane, and a young boy of about four strolled along the beach, following the line of shells and debris left by the retreating tide.

“Grandma, what’s this?” The boy picked up a round, flat shell, with a design that looked like a flower etched on the rounded top.

“It’s a sand dollar,” replied the grandmother. “When the little creature inside dies, it leaves its teeth behind. Their teeth are shaped like doves. If you shake it you can hear the doves inside, rattling around.”

“Real doves? Like the ones by our house?” He peered intently at it, turning it over in his chubby hands and then, holding it up to his ear, he shook it.  He  danced with excitement, his eyes bright. “I can hear them!”

They walked a while further and the boy bent down again, picking up another sand dollar. “This one is is broken. What happened to the doves? Did they fly to my yard back home?”

The grandmother chuckled. “Perhaps they did. Shall we open one and see if they’re the kind of doves that fly?”

“Okay. I’ll find one.”  After a few moments of searching, the boy shouted, “I found it.” Quickly bending down, he picked up his find and held it out to his grandmother. “Can you open it now?”

“We’ll need a rock,” said Grandma. “Get me a good rock for pounding on things, about the size of your fist.”

Soon the two were bent over a driftwood log, with the sand dollar lying ready to be opened. “What should I do?”

“Give it a good whack. Not too hard, but just enough to crack it open.”

The boy shook his head. “I’m too strong. What if I smash it? I’m much stronger than you, so maybe you should whack it.”

Laughing again, Grandma complied. Soon the shell was opened and the little dove-shaped teeth were exposed.

The boy waited for a moment, then asked, “How come they aren’t flying away?”

Grandma thought for a moment. “Perhaps they only fly when we aren’t looking at them. Maybe we have to close our eyes and wish as hard as we can.”

The boy did so and after a moment Grandma said, “Look!”

His eyes flew open and he saw in the distance five white birds, flying away. “They did it! We let them loose! But they turned into seagulls.”

Grandma fingered the tiny bones in her pocket. “You’re right. Those were seagulls. Maybe they only turn into sea doves if we let them break out naturally.”

“Okay. We won’t hatch any more. I think there are enough seagulls on this beach right now. What we need are sea doves.”

Grandma agreed. The two walked on, stopping occasionally and examining the amazing finds left behind by the tide.


Credits

The Sea Doves, © Connie J. Jasperson 2016 – 2017 All Rights Reserved

Leodia sexiesperforata, By Louis Agassiz (Motier, 28 de mayo de 1807, – Cambridge, 14 de diciembre de 1873) [Public domain], via Wikimedia Commons

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