Three Short Stories to Publish as an Ebook

I've decided to publish three short stories as an e-book to sell for $.99, which comes to about 125 words per penny.

The cover above is in its current incarnation.  I took the original photo and used a section to save as background color with texture--just plain color wasn't dynamic enough. Then I added that twice as a background layer, top and bottom of the image. I added the eye section of the original photo to the middle. Then I used the feather gradient to blend everything. I added the text, originally a red, but I felt the white showed up more and also provided more unity because of the white of the eye. Finally, I rotated the eye to give more dynamism to the image. With the text, I played around with bevel/emboss, stroke, and character height to add more presence to the text. Then I removed the bevel/emboss because the letters didn't stand out so much in a small thumbnail size image (what most online cover images will be). There are probably more things I could do, but I had a lot of fun. I'm really getting the hang of layers in PhotoShop. It allows for a lot of experimentation without messing up what works.

The one below was my first try. I just didn't feel good about it. Not as much dynamism--in my opinion, anyway.

• "Who Listened to Dragons," 9,500 words.
• "River's Daughter," 2,500 words
• "T 'Uk's Dilemma," 1,200 words

The other two cover's aren't really necessary, but I added them inside the book to front the stories. I can also add them for "extra images" to go on Amazon and Barnes & Noble.

All three short stories are set in the Dragons of Blood and Stone series reality, the setting of The Stone Dragon.  I also found an image that I think will be great for the SD sequel, Dragons of Blood and Stone. I hope to start working on that by spring at the latest.

Right now I have the e-book uploaded to my Kindle, and I'm going through it for a last time, looking for little errors and formatting issues. I wrote about this process in my blog post "Kindle as a Writing Tool."

Adding photos makes the process a little more tricky, especially when uploading to different sites (Kindle and Smashwords). Sometimes you just have to say, "This is as good as it's going to get with the current technology."

I plan to publish the books on my birthday, this Thursday, February 2. If I can feel comfortable with the e-formats, then publishing the stories will be my birthday present to myself. At this point, I think I probably won't make that birthday goal. I don't want to lower the quality of the product for an artificial deadline.

I've also been enjoying making covers for the stories. The three stories will be published under Who Listened to Dragons, but I made covers for each story to front the short story in the e-book.

I like the Dragons of Blood and Stone image. It connects with the cover image on The Stone Dragon. This was a quick version of the cover. I think I can make it better with more time, but having the cover is a real inspiration to start Draft 2 of the novel!

I'm also playing around and making banners for advertising. Here's one I've made for the e-book. It's smaller because of the size required for the half-banner advertisement. I'll change it to use the new "blue" image, but I was practicing using a sideways (horizontal) format.

These will be the first publications that I've used online stock photos for. That is a fun experience, looking through huge catalogs of images to find one to use. The price is really inexpensive, too.

Copyright 2012 by Thomas L. Kepler, all rights reserved

Finding Your Voice As a Writer

More than once over my teaching career, I've told student writers the following: “I like your ideas, but I don’t hear you saying them. You're the world’s foremost expert on yourself. Make sure you speak with your own voice. Use your own words.” In a very real way, the first step of writing is to find yourself; once you have tapped into the fountainhead of your creativity, you will naturally write with your own voice.

The 6-Traits + 1 writing program defines voice as speaking to the reader in an individual and powerful way that also respects the audience and the purpose for writing. Notice that the word “speaking” was used in the definition. Often, “voice” is described as writing like you talk—in a natural manner that reflects who you are. Writing with a powerful “voice” begins, in a manner of speaking, with looking into the mirror and “embracing” the image you see and then looking out the window and “embracing” the people you see outside. Voice implies audience because we speak with different voices to different listeners.

Finding your writing voice is really the task of finding yourself, for how can you speak in your own personal, natural voice if you don’t know who you are? Or, perhaps more accurately, if you are afraid to be yourself when you write, how can you possibly have a writing voice that is uniquely your own? I've been practicing the Transcendental Meditation technique for many years. This isn't a writing technique, but I would call it a preparation for the activity of writing. I guess one could say it cleans the slate prior to writing. To speak with your own voice, you must be willing to reveal personal details about yourself, to reveal the person behind the words. Our voice represents of--in a very real way, it is who we are.

Focusing on the person you are talking to is also important to finding your voice because we use different words and styles of speaking in different situations. If you write up your job application as if you’re writing to your eight-year-old cousin or nephew, your prospective boss might think you have issues and not hire you. You don’t ask your prospective boss how his hamster’s doing.

A professional writer from Ireland, Derbhile Dromey is a freelance writer with extensive experience in news and feature journalism, publicity-generation and broadcasting. She is the owner of WriteWords, a business that offers a range of editorial and copywriting services.

She has commented about writing in discussion groups and in an article on her blog “World of Writing,” saying that connecting to your true self inside is the basis of connecting with your actual audience outside.

“Reach inside yourself for ideas. You're bound to find an angle that's of interest to your readers. Advice given to me at the start of my career by a wise old journalist, who made me realise that tales about my visual impairment could give readers a fresh angle. Of course, the material is limited, but it's still bringing me income to this day.”

From the blog article “Good copy, Bad Copy” (July 10, 2009) about writing engaging advertising:

“So what makes good copy.

• It invites readers in. It will have an introductory paragraph that speaks directly to customers, asking them questions, or creating a vivid picture in their minds.

• It addresses customers directly. It shows an understanding of concerns customers may have and what they need and demonstrates how your business can meet that need.

• It reads like a standard editorial article. People should be informed and entertained by it and not realise they’re reading advertising copy until they see your ad cunningly placed beside it.

• It gets to the point. Good copy lays out points in an attractive format, with short simple sentences which make it easy to read.

“And finally, good copy sparkles. If you’ve got a unique product, or a product which you passionately believe will improve people’s lives, that enthusiasm will flow into your copy. If your copy is interesting enough, people will read on.”

Having your own writing voice is the most mysterious of the six traits of writing. It’s not the lyrics to the song or even the melody. It’s the revelation of the beautiful, unique, individual human who is singing the song. One might say “As we are, so is our writing.”

Copyright 2012 by Thomas L. Kepler, all rights reserved

Derbhile Dromey’s writing used with permission, copyrights retained by the author

Kindle as a Writing Tool

In the movie Finding Forrester, the Pulitzer Prize winning novelist William Forrester says about writing, "You must write your first draft with your heart. You rewrite with your head."

That's one important thing the Kindle does for me as a writer. It allows me to objectify my work, to look at it with my head, rather than with my heart. It allows me to look at my writing as a reader rather than as the writer. When I see the story on the Kindle screen in the same format as all the other books I read, I slip into my "reader mode" much more quickly and read the story more with my head. Seeing the story through a reader's eyes is an important gift that Kindle gives.

You may ask, "What about a Nook or iPad or some other reader?" My response is that the Nook I owned (now used by my wife) was perfect for reading, but I found the note-taking and note-viewing functions not as practicable. I cannot speak for the new Nooks or for other readers or tablets. I do know, though, that the Kindle makes it easy to highlight and to take notes, and when I look at the notes, they are in a single list, the note and original text placed together, so that I can quickly go through them. Kindle's note-taking function is another powerful tool that the reader provides to help me as a writer. After reading and taking notes on a piece with my Kindle, I am able to sit at my computer and use my notes to make changes on the original file. After that, I can convert the file to a mobi file and start another round of revision.

The third reason owning my Kindle helps me as a writer is that I now tend to write in Word with the knowledge that I will convert to an e-format. This makes the final publishing steps of creating the ebook much easier. Some of the glitches that show up can either be fixed or at least noted for fixing in the final stages. I've found that adding poetry to the prose piece demands that I work with the HTML file when creating the published mobi (or epub) file. Such glitches show up during the drafting process, so the final published work usually requires fewer formatting revisions once it is uploaded to Kindle.

My Kindle provides a user-friendly device for a work in progress to "make it look different." I've also printed hard copies of my writing, moved from double space to single space formatting, and saved a file as a PDF and then read the work with Adobe Reader. All these techniques allow me to objectify my experience of revision, to increase the "writing with the head."

The Kindle reader just makes it easier in addition to providing a preview of how the piece will look on a reader. Finally, I also can use the mobi file to send the work to beta readers. They can make notes and then move the file from the Kindle to their computer and send the file back to me. In all honesty, though, I also send PDFs to beta readers because the comment function on PDFs is so slick.

I like my Kindle, both as a reader and a writer. Discovering its utility in the writing process was an added bonus. It's pretty great just as a reading device.

Copyright 2012 by Thomas L. Kepler, all rights reserved

Book Review: Pride and Prejudice

Reviewing Pride and Prejudice is kind of like reviewing the Bible. Do you talk about characterization and plot development? That Moses guy--now, come on, get real!

Jane Austen set her novels in her own time, and that time has passed. That language is gone, the sensibilities are gone, the era is history. But . . . all that is irrelevant because humanity endures, and this is a very human story.

First of all, Pride and Prejudice is a novel about survival. Sure, we don't see anybody starving in the novel. In fact, characters in the novel not of Austen's social class are just stage props, and as such are significant only in a limited sense. However, the Bennet family has five daughters and no son--and therefore the land and money will bypass the children. The girls have few "prospects."

This reality is a driving force for the novel--one that consumes Mrs. Bennet and one that Mr. Bennet deals with by putting off the time that it will have to be dealt with. If this were the only driving force in the novel, though, it would not be enough for the novel to endure. Times have changed too much, and modern women have other survival options than marriage.

Other forces are at work; Austen's novel resonates with readers on other levels. Perhaps the easiest way to look at the enduring popularity of the novel is to consider it from the viewpoint of psychotherapist William Glasser's Choice Theory. Glasser's theories of human behavior start with the premise that we have four basic needs (beyond survival): the need for fun, power, love, and freedom. Pride and Prejudice certainly engages the reader in these areas.

• Fun: The novel is certainly a search for happiness. The manner in which the plot unfolds regarding this need is very much a product of the Regency society of the times, but we can still identify with Austen's premise that happiness is rooted in one's social life. We see the opportunities for fun, and we see the parents and daughters pursuing that social enjoyment in very different ways.
• Love: Of course this is a love story, but it wasn't necessary to love someone (or even to like someone) in order to marry in Austen's day. That Elizabeth Bennet turned down Mr. Collins' offer of marriage was a big deal because that marriage would have guaranteed the economic safety of Elizabeth's mother and sisters. Elizabeth's refusal of Mr. Collins and the search for love is a major theme of the book and one that still resonates in today's world.
• Power: Austen's England identified power with wealth and social status--and gender. Elizabeth Bennet's appeal is that she is a powerful woman with no power. Society gives her no power, yet the power of her personality cannot be denied. Although every woman in the novel is a foil to Elizabeth Bennet, there are three significant contrasting characters. One is Charlotte Lucas, who marries for financial security. Another is Jane, eldest sister, who is more passive than Elizabeth. A third is Caroline Bingley, who is snobbish and narrow-minded. I suppose I should add a fourth, Lydia Bennet, who is as independent as Elizabeth but who is lacking insight to the morals of the time. Elizabeth seeks to "have her cake and eat it, too," and we are all rooting for her as we read the novel.
• Freedom: The boundaries imposed by money, social status, and intelligent sensibility are the most powerful motifs in the novel. It seems that everything revolves around these realities, and the enduring power of the novel must be because of the enduring realities of money, social status, and intelligent sensibility. Poverty in Austen's time was crushing; there were no social programs or "safety nets." In a later era, author Charles Dickens championed the need to deal with poverty. Poverty merely lurks in the background of this novel. Social status is something Austen, through Elizabeth Bennet, champions when Elizabeth tells Lady de Bourgh that her family is of the same strata as de Bourgh's. Elizabeth's intelligent articulation of equality and her courage during de Bourgh's brutal interview testify to the independent spirit Austen's writing enlivened--and still enlivens.

"Slow cooking" is currently the rage--take your time cooking and allow the food and seasonings ample time to fully present themselves. Take the time to align yourself with the natural processes of living.

The recent cinema adaptations of the novel are indicative of two approaches to the novel. The mini series version with Colin Firth and Jennifer Ehle is a highly stylized and comprehensive adaptation of the novel. I love it. The more recent Keira Knightley and Matthew Macfadyen movie-length version moves through the material so quickly it is almost abrupt in transitions, yet the greater realism lends its own power. (Candlelit rooms, for instance, have shadows.) We can choose our pace, along with our actors.

We can't do that with the novel, though. It is what it is. One might call reading Pride and Prejudice "slow reading." Written in a time before electronics and the highly mechanized world, the novel must be read more slowly. The rhythm of the language demands it. That readers are willing to slow down to the pace of a different time is a testament to Austen's abilities.

We want the Bennet family to do well and for Elizabeth to prevail. That she does is Austen's affirmation that one's individual character is a unique and powerful force. Use it wisely, and Pemberley is ours for the taking.

Copyright 2012 by Thomas L. Kepler, all rights reserved

How Does a Fiction Writer Organize Writing?

When I write fiction, sometimes I organize my thoughts as informal outlines of the plot--and sometimes I don't.

Six-Traits Writing says organization should enhance and showcase the writing subject in a compelling manner, effectively moving the reader through the material. Whatever structure used should match the purpose of the writing and its audience. The introduction should be inviting, the conclusion satisfying, the transitions thoughtful, and the pacing controlled—fast and slow in all the appropriate places. And don’t forget the true “introduction”: be sure to include a captivating title!

Sometimes the story is an exploration, and I find myself moving into new territory. Having been "exploring" my creativity for quite some time, I advance confidently, noting the newness. Sometimes the writing is a journey that requires a respectful attention to the new environment that I've entered. (I also keep different drafts of my "journey" when I save my files, such as story1, story1.1. This allows me to retrace my steps if I need to.)

Sometimes I have a clear idea of what the story is to be (or the chapter), and then I jot down the main elements so that I don't forget them. Sometimes I write down a scene as it comes to me, even though I'm not to that point in the story yet, just because the words are flowing so powerfully. Most often, though, I'll jot down dialogue because that has to be just right. (Yes, I hear people talking in my head.)

The last line of the current short story I'm revising, "Who Listened to Dragons," was jotted down in advance: "These are the words I speak, my wish and my magic."

Organization is a critical function of revision in fiction. How are events revealed and at what pace? How much do we reveal about a character, and where in the story is that information most important? Having "beta readers" is a good technique for determining how the story flows. Teenagers are excellent for this because they usually are comfortable with being bluntly honest--which, of course, is exactly what we want, an unfiltered response. For instance, I just added some detail to a fight scene in "Who Listened to Dragons," in response to a comment from a teenager who read the story. He even told me where to add the action. Organization is critical if the reader is to be motivated to continue reading. 

Most writers nowadays also have to maintain a blog as part of their writing presence online. The same general rules apply to writing non-fiction: ideas need to be organized. Whether we focus in the beginning on the flow, or whether we focus in the beginning on the direction really isn't important--as long as we make sure the piece has structure that lends itself to comprehension and the reader's pleasure.

I never let anyone else read a piece until I have revised it multiple times. I find holding a story close in its initial versions keeps me in good emotional health and also helps my relations with my family and friends. If no one else has read a story, then I can do anything I want to with it and nobody will ever know. It's a great feeling of empowerment and freedom. I can experiment, backtrack, be downright goofy, and then throw it all out or not. I said to a friend the other day (who now is looking at a short story for me), "Why should I let you look at something I've written when I still know myself there are things that need to be changed? Why should I put you through that?" At some point, though, the seed has to slip its sheath.

Line your ducks up in a row; it makes ‘em easier to count. Some readers will count by 1's, some by 2's, and some just do a rough estimate. If the story has clarity and coherence, everything will add up in the end, no matter what personal counting system the reader uses.

Copyright 2012 by Thomas L. Kepler

A New and Better Review of The Stone Dragon by My Former Student

My former student is grown up now. The last time I saw him was in the 7th grade. Now he's in the 10th grade, has started a blog for the books he's read, and has written an extended review of The Stone Dragon.

Here is the link to his blog--Sebastien Lacasse's Blog--and his review is added below.

Published in August was a book written by my former English teacher, Tom Kepler. Two years ago when I was living in the same town as him, I found out he was writing his own novel. Originally, I thought it was a research-heavy nonfiction book (well, hey, what else does a student think when they hear their teacher is writing a book?). But anyway, it turned out to be one of the best books I've read.

The Stone Dragon is a fantasy book revolving around the protagonist, Glimmer. At first glance, it may seem like the average fantasy novel, solely about dragons: the fire-breathing monsters who live in caves of solitude and horde massive amounts of treasure. The dragons in this book are much more complex. They are more like divine beings than just physical creatures. Like primal forces of the Universe would be the best way for me to describe them. The elements of fantasy that do show up in The Stone Dragon  are refreshingly original in the way they are told and crafted in the story. Gnomes, dragons, and magic would be my prime examples of individuality.

The characters in the story are interesting and each have their unique personality. For funniest character, I have a soft-spot for the character, Cabbage-pants. This little cabbage gnome has some of the best dialogue of the book and is obviously the witty comic-relief. His unique personality constantly kept me on my toes as to what he would do next and his mysterious disappearances and reappearances added to the magic of the story. Perhaps, Cabbage-pants has some magic of his own... ah, ah, ah, you'll have to read the book to figure that out. Cabbage-pants even ends up being a kind of mentor to Glimmer as the story goes on. His wise sayings can be found all throughout the book:

"Glimmer, gleam, glitter-it's not name but person that makes th' worth."

Hmm, it's probably all that cabbage tea...

Another one of my favorite characters is obviously the dragon. I will leave this character a little mysterious for now because I don't feel I could do him justice. The dragon is an amazing source of plot development and you come to like him as an actual person (or dragon) as you get to know him better.

Other than those two, I like Mage DeVasier, Master Alma-Ata, and, of course, Glimmer. Throughout Glimmer's adventures he discovers he is the most dangerous kind of mage: a dream mage. His magic is the most dangerous because it is unpredictable and cannot be controlled. Glimmer copes with his magic until he learns a technique from Mage DeVasier known as the Silence of the Saints. I will leave this a secret as well because it's a very interesting part of the story and I would hate to spoil it.

This book, however, also has an underlying theme of consciousness. As you read, it is easy to see how consciousness effects Glimmer through his dream magic and how all things are connected through it. Whether human, gnome, dragon, fox, or some other bizarre creature, they are all connected through consciousness and the true power of magic lies in delving deep within one's self to that state of inner being.

Overall, The Stone Dragon was a great and interesting read. It was cool to see how the author had a different take on the genre of fantasy and how he incorporated his one style into it. I highly recommend this book to anyone who enjoys fantasy. Actually, I recommend it to anyone!

Is Huck Finn an Archetypal Hero?

In a Goodreads discussion on The Adventures of Huckleberry Finn, one thread asks the question "Is Huck Finn a hero?"

I quickly realized that the comments were from students and that the question had been posed by a teacher. Wonderful assignment! Here are the assignment's specifics:

In your opinion, is Huck an Epic Hero (or Archetypal Hero) based on Joseph Campbell's definition? Use at least two citations (from the worksheet, movie, critical paper, or class discussion) in your answer.

In the thread, student Kristy mentions that Huck does not meet the archetype's guidelines of supernatural assistance or having a sacred marriage. Good points, although because Twain wrote in the realistic style popular in his time, one could place the river in that "supernatural assistance" category; it certainly is described as a timeless, powerful presence by Twain. As for a "sacred marriage," Twain, staying true to his contrary vision as a writer, could have ended the novel with a "sacred divorce" with his characterization of Tom Sawyer and the antebellum South. When Huck decides to not be "sivilized" and to "light off for the territory ahead of the rest," he is divorcing himself from the strictures of Southern slave-owning morality.

Stephanie, another student, mentions that Huck doesn't meet the guidelines for apotheosis, "which tells of how the hero is idealized in some way after completing a difficult challenge." She says the following: "In a sense that is true for Huck because it happens for him from the reader but not from the society that he rejects. Huck isn't worshiped in any way by his society." This is a scholarly insight. One might say, though, that Huck is "worshipped" as a negative example by his society. He is the ultimate prodigal son, destined to be eternally welcomed back into the fold of civilization. Twain, of course, is revealing there is nothing prodigal about Huck; he is the archetypal Green Man, not to be contained by the boundaries of society.

I found the assignment and the students' responses quite interesting and insightful, and I congratulate the teacher, "Kristin, of Reading MA," and her students.

Below are the thoughts I wrote for the discussion thread after reading the comments.

Of course, Twain wrote before Joseph Campbell, but since the archetypal hero is a manifestation of mankind's collective consciousness, it certainly doesn't need Campbell's articulation to be lively.

I think it's typical of Twain to find something true or universal and enduring and then tweak it so that the truth is seen in a unique and original way. That was his genius.

If Huck Finn doesn't meet all the "official" criteria of the archetypal hero, he certainly meets the spirit of the concept.

He chooses a journey (and if the river is not an archetypal presence in the novel, then what is?)

He has that stimulus to action--his father--accepts the challenge; he even has a second stimulus to action and guide--Jim--and accepts the greater challenge of freeing him.

He meets the challenges of his journey not only on the survival level but also on the moral level.

He gains gifts from his journey, the greatest being knowledge that allows him to see his world in a new light and gives him the strength to make better, more enlightened choices.

Coming back to the everyday world, his gift to humanity is the testimony of his growth--the first person narrative of his trip down the river. It is not the Father that speaks to him from the burning bush; it is the Mother that speaks to him through the eternal and omnipresent river.

Archetypal means transcending the specific limitations of any time or culture and being rooted in the universal psyche that makes us human. I think that Campbell would say that Huck Finn deserves to be one of those "faces" of the thousand heroes.

Actually, in many ways, the "Mark Twain" persona that Samuel Langhorne Clemens adopted is another "face" of the archetypal hero. Iconoclast, soothsayer, individualist--Mark Twain is the symbol of the human dream to be independent, self-sufficient, and to fully express one's inner bliss and potential.

May we all find ourselves on our journey down the river.

Copyright 2012 by Thomas L. Kepler, all rights reserved

Book Review: Theft of Swords by Michael J. Sullivan

On a Goodreads online discussion, author Michael J. Sullivan said about his books: "They are designed to be just enjoyable romps with a couple of likable main characters." 

Either Sullivan is too self-effacing, or he underestimates the power of well-written books that are enjoyable romps with a couple of likable main characters.

Theft of Swords is the first of the fantasy Riyria trilogy, Theft of Swords, Rise of Empire, and Heir of Novron, published by Orbit Books. Sullivan originally published the trilogy as six books; in fact, the last of the six has just been released, although the others were taken off the market with the Orbit publishing deal.

For me, the core of Theft of Swords was the relationship between the two main characters, Royce, master thief, and Hadrian Blackwater, swordsman. Their bantering and bickering lightens the plot yet never overshadows the reality of the friendship between the two. For a free introduction to these characters, read the e-formatted short story "The Viscount and the Witch." Formats other than Kindle are available at the author's website.

The pitch:

They killed the king. They pinned it on two men. They chose poorly.

There's no ancient evil to defeat, no orphan destined for greatness, just two guys in the wrong place at the wrong time...Royce Melborn, a skilled thief, and his mercenary partner, Hadrian Blackwater make a profitable living carrying out dangerous assignments for conspiring nobles until they become the unwitting scapegoats in a plot to murder the king. Sentenced to death, they have only one way out...and so begins this epic tale of treachery and adventure, sword fighting and magic, myth and legend.

 The interaction between the two characters forms the basic power of the fantasy, just as the Holmes/Watson relationship was so powerful in the Sherlock Holmes stories of Arthur Conan Doyle.

Sullivan: "I noticed that most fantasy (at least the ones I've read) are always very serious and dire. I think that humor comes out almost all the time especially when stressed or scared - it's a release mechanism. I have very 'clear' ideas of both Royce and Hadrian and how they talk - editors hate me because I rarely let them touch their dialog...some things I'm protective over."

We should be glad that Sullivan is protective about maintaining the relationship between the two characters. Their unexpected cleverness and humor is one of the key pleasures of the book.

Sullivan also planned out the entire series before publishing the books. Knowing this helped me as a reader to realize that Theft of Swords, although containing plenty of action and character development, is just one third of the story.

"As the series advances it gets more complex and there are a lot of twists that come along the way. I know it's unconventional but I actually wrote the whole series before releasing the first one and by doing so my focus was always on making the last book the most powerful."

Using a writing style that is unpretentious rather than "heroic," Sullivan has created a highly readable tale that manages to endear us to a couple of rascals--and also create a background where magic, dwarves, and dragon-like monsters are so believable that they just form part of the background tapestry.

I've just ordered the second book of the trilogy, Rise of Empire. The only arm-twisting involved with that was me moving my arm to click the "buy" button with my computer's mouse.

And while you're clicking that mouse, go to Sullivan's website. He's got some nice extras there to enjoy.

Copyright 2012 by Thomas L. Kepler, all rights reserved

How Is Teaching Like Marriage?

Whether a successful teaching career or a successful marriage, it is all about the relationship.

Now, this is an interesting idea, taking the current political and social climate regarding education.

Educators need to research best educational practices, plan an educational strategy (a curriculum), meet the diverse needs of the students, and evaluate the success of the students and the curricular practices. Who can argue with that? I don't.

Let's compare education with marriage.

To have a successful marriage, each partner individually and the couple together should research and find out what constitutes a successful marriage. They should also form a comprehensive plan that is aligned with these practices--consider the changing needs in the marriage from season to season and year to year, consider children, parents and in-laws, retirement and health and recreation. I'm sure I've left a lot out. No one can argue that these are important aspects to consider in a marriage.

What if all these good ideas, practices, and material needs were required by the state's marriage licensing agency to be written up and then regularly evaluated as having been met--and those evaluations be sent to the state Department of Marriage?

Even if the ideas and practices professed or the means of evaluation suggested were sound (a big if), many would say that it was too much work--too time consuming. Sure, the ideas are good, but to document them and send them off? Some would even say that so much time was being spent ensuring that the marriage was good that there wasn't time to be married!

Lots would say, "Forget it! We'll just shack up."

I think that is the state of education in America today. So many well-meaning people have accumulated so much good information about what constitutes good teaching, so much information and direction on best teaching practices and curriculum development has been amassed, and so much demand has been placed on "Show us you're doing it right" that teachers no longer have the time to focus on the one most important element in education--maintaining a lively connection with the students in the classroom and having the time to practice good teaching.

Teachers are so busy preparing to teach and proving that they are teaching that they don't have time to teach.

I believe fully in using the best teaching practices in the classroom. So much pressure is being placed on teachers to write down everything they do--to write down their planning, to document their teaching, to provide assessments of their success--that there is little time left to stimulate the natural curiosity that children have.

That takes a good student/teacher relationship. And, unfortunately, the current social and political environment has forced the "couple" to call off the honeymoon--so much time was spent planning and documenting what the perfect marriage would be that no time or funds were left for the marriage.

Maybe that Department of Marriage should be called the Department of Divorce--marriage is way too complicated for bureaucracy.

Copyright 2012 by Thomas L. Kepler, all rights reserved

Dragon Map Published for Dragons of Blood and Stone Fantasy Series

Here is the map that I began to draw as I was revising my fantasy novel The Stone Dragon.

I then added to the map as I was rewriting the sequel, Dragons of Blood and Stone. At some point, I said to myself, "I don't like all those blank places," and added in interesting names and possibilities, knowing that I could go back and tap the map as a resource at a later point. 

A lot of intuition and deep behind-the-eyeballs faint trains of logic were involved. I could feel the story in the names and geographic locations but didn't pull that information out to inspect it.

At least, not until now. 

I've written four short stories over the winter holiday and am now in the process of revising them. They are all set in the Dragons of Blood and Stone series fantasy reality, and they are all "filling in" the history of that reality.

• "Who Listened to Dragons": a story of the desert, the wyrm, and a six-year-old autistic child who is the magician. Told from the first person point of view (of the twelve-year-old brother), something I haven't done much and really enjoyed, a sort of Holmes/Watson approach to increase the drama.
• "River's Daughter" is a story that reads like a legend. After writing it, I thought of Washington Irving and "The Legend of Sleepy Hollow" and "Rip Van Winkle." I stepped out of my role of school teacher for this one and wrote the story as it demanded to be told. An interesting experience. Two sisters: one a river nymph--or are both? There is magic in the forces of nature--and we see the embodiment of magic on the Easypeace River in this story. In The Stone Dragon, there is an ice naiad. I wanted to write about a naiad in another season--and chose spring for this story.
• "Cobb's Dragon" introduces a character I've been thinking about for a long time: a teenager dissatisfied with his life, unhappy with his parents, and about to find out a consciousness-changing truth involving a teenage dragon. Literary foils, dragon and boy. On the map, the action takes place in the Eagle Cap mountains west of Outland. I enjoyed getting about the timberline.
•  "T 'Uk's Dilemma": a mercenary must make a choice between two possibilities, and each possibility, if chosen, will rip him apart. This story explores the ancient duties and responsibilities of hospitality: guest and host and gods that walk among us. The 1,500-word story begins in Knight's Landing and moves north and east to Madrone, where T 'Uk's fate awaits him. I like the names of the villages: Harbinger, Richland, Meadow, Spur, and Ruddy. The castle at Madrone is also in The Stone Dragon.

These stories began with characters that I wanted to write about, but the setting provided specifics for conflict and helped me to increase the realism or "world-building" necessary for fantasy to to hook the reader. As I continue to write the stories, they will eventually become a collection: Tales of the Stone Dragon Inn.

I'm glad I've got a map because now I can go exploring--and so can anyone else who chooses to read my stories! 

Copyright 2012 by Thomas L. Kepler, all rights reserved

Book Review: Through Kestrel's Eyes, by Yvonne Hertzberger

Through Kestrel's Eyes continues the Earth's Pendulum fantasy series of novels by Yvonne Hertzberger. The first in the series is Back from Chaos.

The saga continues, told from the first person narrative of Liannis, a woman seer who is connected with the Earth Mother.

"Liannis, the goddess Earth’s seer, her apprenticeship interrupted by the death of her mentor, must help restore the Balance. Until it is, Earth’s power is weakened, preventing Earth from sustaining the rains needed for good harvests. Drought and famine result."

Like the first novel of the series, I found this to be a quick read. The events impact the rise and fall of kingdoms: coup d'etat, abuse of the populace, drought, famine, and plague. Discovering how all this balances out is what turns the pages, for activities that do not support nature weaken natural forces so that imbalances occur. For the seer Liannis, helping restore that balance is her life's task.

One tag given to this novel is "fantasy romance," and I feel that is accurate. Along with the civilization-affecting challenges of the novel are also the individual characters and their quest for happiness. The author Hertzberger focuses on women in this novel, and although this was in many ways illuminating for me, a male reader, I found myself lacking a character I truly identified with.

Liannis is the main character, yet because of her role as speaker for Earth, her characterization becomes elevated beyond the human in many ways. What balances this is the seer's relationship with her servant Merrist, a soldier who loses a leg in battle and who then must revise his concept of self and role in life. Merrist was actually the character I connected to most.

As a romantic fantasy, the novel's individual characterizations revolve around love: the love relationships between the adults in the novel (from book 1 of the trilogy), a young prince and princess, and the hints of forbidden love between Liannis and Merrist. These are compelling characterizations but not completely fulfilling for me. I suppose I found the social and political conflicts more compelling.

Other areas that moved the novel to "romance fantasy" and more for women readers were the following: a beautiful woman who courted power by flirting with two princes; a neglected and abused mother who fears her husband; a pig of a rapist who takes advantage of the political chaos; women abused by the political leaders; the healing and nursing necessary after revolution; and a wedding with a very important dress. These conflicts and events were, in many ways, the story. They make the story but also skew the story, in my opinion. Thank God for Merrist and his rehabilitation.

However, I did read this book quickly and did not want to put it down. As in the first book, I wanted to find out what happened next. I wanted to find Earth placed back in balance. Hertzberger does an excellent job of including the individual stories within the epic events of the series. The magic of Liannis is realistic within the context of the novel. She has visions sent from Mother Earth, and she relays the information to the significant leaders. This works quite well.

The perspective of this novel, though, is more a woman's. If you greatly enjoyed England's marriage of Prince William and Kate Middleton (and I watched along with my wife), then you will find corresponding events in this novel: save your kingdom and find love. I considered giving this novel a "3-star" rating, but decided that my personal bias shouldn't color my evaluation. It's actually a technically more proficient novel than the first in the series and deserves an equal "4-star" rating.

Thinking about some hints delivered in the novel, I'm wondering where the third novel of the trilogy will take us. That's an excellent sign.

Copyright 2012 by Thomas L. Kepler, all rights reserved

Getting Ideas for Writing (with a focus on the 6-Traits + 1 writing strategies)

Having an idea is always the first stage of writing. 

Writers approach getting a good idea in diverse ways. In Writing Down the Bones: Freeing the Writer Within, Natalie Goldberg suggests buying a notebook and just filling it--top to bottom, edge to edge--and with the volume of words, ideas will finally coalesce into a project or projects. Others suggest jotting notes as good ideas come. This is what I do; then, of course, I have to keep track of the notes! Brainstorming (a rather scary term, if you ask me) is recommended by others--a sort of blend of writing freely without focus and jotting.

Once an idea or project is selected, then supporting ideas must be developed. For me, this is a very organic and fluid experience. I feel the story inside me in its wholeness, don't focus too much on the specifics, and then when I sit to write, the specifics and details just open up. It's not that I start without an idea; it's more that I know what's inside the box, so I don't feel the need to make a detailed inventory prior to using the contents. However, in all fairness, I do sometimes jot down notes for an entire passage, a sort of informal outline. I did that for the "Gnome's Quest" chapters of The Stone Dragon, which were added to the second draft of the novel. A recent short story set in the Dragons of Blood and Stone series, "Cobb's Dragon," was informally outlined prior to writing the 2,500-word story.

People have different learning styles or "intelligences," so it is important to gain familiarity with what works for you. Once you find your style of working, then successfully using that style or those strategies should add to your confidence and competency as a writer.

The Six Traits program says that ideas should be clear, focused, hold the reader’s attention, relevant, accurate, written from knowledge or experience, and should consider the reader and be insightful.

Ranier Maria Rilke, from his Letters to a Young Poet, said that everything we write on paper comes from within us. Our first step as a writer is to contact that source of ideas within us. After that we must put those words on paper as elegantly as we possibly can.

Although good ideas can come at any time, I think it's a good idea to give ourselves a break. We should take care of ourselves as best we can--be rested, healthy, and unstressed. I practice the Transcendental Meditation program. That helps. I also take regular breaks when I write and bike ride, work in the garden, chop firewood, wash the dishes--engage in some physical activity.

Not being fatigued or frazzled, then when idea bubbles to the surface, it's not lost in the froth created by 10,000 monkeys beating the water with sticks.

Another thing I believe is that we should write regularly. We can get into a habit of using our creativity if we regularly engage in creative pursuits. A sort of channel is formed that allows our creativity to flow more easily. In sports, the term momentum is used; being on a roll is a good thing. In addition a dull piece of writing can be revised, but a blank piece of paper is just there, austere and intimidating.

Writer's block isn't something I experience often, if at all. It does remind me, though, of that story regarding American pioneer Daniel Boone (of which there are several versions). Asked if he had ever been lost, Boone said, "I've never been lost, but once I was a mite confused for a few weeks." I can always write, but there are times the writing seems flat. I keep on writing, having confidence from experience that all will work out in the end.

The most straightforward definition of a writer, after all, is one who writes. Everything after that is the cream on the peaches.

“Perhaps it will turn out that you are called to be an artist. Then take that destiny upon yourself and bear it, its burden and its greatness, without ever asking what recompense might come from the outside. For the creator must be a world for himself and find everything in himself and in Nature to whom he has attached himself." Rainer Maria Rilke

“Having created the creation, the Creator—Cosmic Creative Intelligence—entered into it.” Taittiriya Upanishad 2.6.1

When we write, we are engaging in the same process that created the universe--same process, different scale. I think that is why making stuff up--or figuring stuff out--is such a powerful experience. When we create, we touch the divine.

Samuel Johnson wrote: "No man but a blockhead ever wrote, except for money." Johnson made a living from his writing--but he wouldn't have accomplished that if his writing, publishing, and marketing ideas hadn't been innovative and in touch with the creative imagination of his time.

Get the idea?

Copyright 2012 by Thomas L. Kepler

Reader's Bill of Rights

 

The following guest post is from blogger extraordinaire Jessica at Hopelessly Devoted Bibliophile. Power to the reader!

 

I've seen this poster around more than a few times lately, and I still remember the first time I ever saw it. In 4th grade, this was posted in our library at school. We had the coolest librarian, and she was the first one who really sparked my love of eclectic reading.

Now that it's a new year, I'm taking a look back into my past as a reader. These simple little sentences are  still as important to me now as they were back then. So I thought I'd share them with you, and give you a little of my outlook on each.

1) To read anything at any time.
See this people who shop at Walmart at the same time as me? It is perfectly normal for me to pull a paperback out of my purse while shopping. Shopping and reading. Perfect combination!

2) To read anywhere, in any position.
So what if I want to read upside down on the couch? Perhaps the blood rushing to my head helps comprehension. (No really, I do this.)

3) To read without intrusion.
There is a reason why I hide in the bedroom at a particularly good part in my book. All that's missing is a DO NOT DISTURB sign on the door.

4) To move your lips while you read.
I don't personally do this, but I totally laugh out loud sometimes. This doesn't work well when you're reading on the bus.

5) To read as slowly as you like.
Honestly, it will take me weeks to get through some books. That is why I like number 6...

6) To read several books at one time.
If a book looses my interest for a bit, I start a new one and come back. I often read 5 or 6 books at the same time. I admit it.

7) To underline favorite passages.
This is one thing I don't do, but I'm OCD about my books. All of them (even ones I've had for years) still look brand new.

8) To ignore literary critics.
You may not love a book, but I will. I may totally dislike a book that you praise. Live and let live.

9) To skip pages or chapters.
I admit it. I've skipped all the way to the middle of a book, just to see if it got any more interesting. If I'm investing my reading time, I want something to happen!

10) To read the last chapter first.
Guilty. Especially in books that I am not sure about reading yet.

11) To stop reading in the middle.
Heck. To stop reading 50 pages in! If the book isn't enticing me, I move on to something new. Too many books, too little time.

12) To read a book over and over again.
The Goose Girl, Stargirl, The Tale of Desperaux. All these are books I've read at least 3 or 4 times each. If you fall in love, it's okay to stay in love.

So there you have it! Do you follow any of these? If this is your first time seeing this awesome set of reader's rights, steal away! It isn't mine to hold onto anyway. I found it through an amazing librarian, and I pass it on whenever possible.

Happy reading!

Thank you, Jessica. I would add one more: "To buy an extension cord so my e-reader won't conk out when I'm on the last chapter!

All copyrights reserved for the author.

Book Review: The Adventures of Huckleberry Finn

I'm glad I re-read The Adventures of Huckleberry Finn. I was motivated by the hubbub of last year when a bowdlerized version of the novel was published, taking out the "n-word." In fact, I was motivated to not only read Twain's version but to teach it.

Goodreads lists 495,491 ratings and 5,327 reviews for The Adventures of Huckleberry Finn:

• 5 stars: 28%
• 4 stars: 32%
• 3 stars: 27%
• 2 stars: 8%
• 1 star: 3%

I'm not going to try to break new ground; over 5,000 reviews have already covered quite a lot. I do have a few personal reactions that I'd like to share, having re-read the novel after a many-years gap between readings.

1. The river was a huge presence for me in this reading. Twain's outlandish characters came and went, but the river flowed on and on, the embodiment of nature, the source of all.
2. The first part of the book establishes Huck and Jim's relationship. The rest of the book contrasts and challenges that relationship with the inequities of society.
3. Jim is a noble character in the novel; he is noble even in his moments of laughable ignorance. Other characters are foils to his nobility.
4. Huck rises above his background--and falls below our expectations. He is great in his promise and potential to transcend the limitations of his upbringing and the consciousness of his times. He is our hope and exasperation.
5. Twain is wickedly realistic with the ending of the story. It's no surprise that Huck is lighting out for the Territories before someone "sivilizes" him. Who needs civilization like that?

If you want to choose one review of The Adventures of Huckleberry Finn out of the thousands, choose this one by Norman Mailer for The New York Times: "Huckleberry Finn, Alive at 100." By the way, Huck Finn is available from many sources as a free ebook; Project Gutenberg is one source.

Copyright 2012 by Thomas L. Kepler, all rights reserved