If you are interested in blogging or want to promote your book, please contact E. B. Davis at email@example.com
Our September Author Interviews--9/6 Kathleen Valenti, 9/13 David Burnsworth, 9/20 Jeri Westerson, 9/27 Frances Brody. Please join us in welcoming these authors to WWK.
September Saturday Guest Bloggers: 9/2--Anne Bannon, 9/9 WWK Bloggers, 9/16 Margaret S. Hamilton, 9/23 Kait Carson, and on 9/30 Trixie Stiletto.
“May 16, 2017 – The Women’s Fiction Writers Association (WFWA) today announced the finalists of the second annual Star Award, given to authors of published women’s fiction. Six finalists were chosen in two categories, General and Outstanding Debut. The winners of the Star Award will be announced at the WFWA Retreat in Albuquerque, New Mexico on September 23, 2017.” In the general category, WWK’s Carla Damron was one of three finalist for her novel, The Stone Necklace. Go to Carladamron.com for more information. Congratulations, Carla!
Congratulations to our writers for the following publications:
Warren Bull's new Lincoln mystery, Abraham Lincoln In Court & Campaign has been released. Look for the Kindle version on February 3.
Shari Randall's "Pets" will be included in Chesapeake Crimes: Fur, Feathers, and Felonies anthology, which will be published in 2018. In the same anthology "Rasputin," KM Rockwood's short story, will also be published. Her short story "Goldie" will be published in the Busted anthology, which will be released by Level Best Books on April 25th.
In addition, our prolific KM will have the following shorts published as well: "Sight Unseen" in Fish Out of Water, Guppie (SinC) anthology, just released, and "Making Tracks" in Passport to Murder, Bouchercon anthology, October 2017.
Margaret S. Hamilton's short story, "Once a Kappa" was published as a finalist in the Southern Writer's Magazine annual short story contest issue. Mysterical-E published her "Double Crust Corpse" in the Fall 2016 issue. "Baby Killer" will appear in the 2017 solar eclipse anthology Day of the Dark to be published this summer prior to the eclipse in August.
Thursday, September 2, 2010
My first few drafts written in the first person point of view helped me with credibility and authenticity. However, when I stepped back from my story, I saw that my protagonist could more easily journey through a dark world if I wrote in the third person point of view. She separated from her creator.
My decision doesn’t mean that I’m not interested in other points of view and how they work in different novels. First person, present tense works for Hank Phillippi Ryan’s Charlotte McNally series because TV reporters come into our living rooms and report intimately on breaking news. The first person, past tense works in Roberta Isleib’s ASKING FOR MURDER and Rosemary Harris’s PUSHING UP DAISIES because the protagonists are defined in part by what they do. Roberta Isleib’s Dr. Butterman is a shrink and an advice columnist. Rosemary Harris’s Paula Holliday is a gardener. My protagonist changes in THE STINKING FLOWER because of the dark subject matter she has to confront.
I’m using multiple third person points of view in another novel I’ve just started. So far, it seems to work but maybe a year from now, I’ll change it.
Janet Evanovich starts ELEVEN ON TOP by having her main character introduce herself to the reader and talk about her previous work experience. According to many writers, editors, and agents that is a no-no. However, Stephanie Plum is a brand name and so she’s known as well as a best friend to many of Evanovich’s readers and therefore it seems natural for her to address the reader. As an unknown writer, I wouldn’t attempt that kind of intimacy with readers.
I’m reading Stieg Larsson’s trilogy. He’s been criticized for being too wordy, for jumping from one character’s point of view to another in consecutive chapters, and for telling and not showing, among other criticisms. I’m sure Stieg Larsson has his faults as a writer but I’ve enjoyed the first two novels and anticipate enjoying the third. By chapter three in the first book, I had faith that characters’ storylines would mesh. The novels are almost too long to fit into a paperback. Whenever I’ve changed a telling section in a chapter into a scene, the story expanded. Naturally, a novel doesn’t have to fit into a print category but, from a practical point of view, how many readers today delve into thousand page books?
Point of view, tense, style, they are all possibilities until a writer makes a choice. Perhaps when agents say they don’t like first person or present tense or there’s too much telling and not enough action, they’re just finding a way to reject a particular manuscript because it doesn’t appeal to their tastes.
How do you choose point of view and tense?