Dreaming Your Way to Success

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

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

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

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

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

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

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

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

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

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

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

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about the first book in the Natalie Seachrist Hawaiian mystery series (Prospect for Murder), Conversations with Auntie Carol, a series of Hawaiian Oral History Interviews and other projects, please visit my author’s website at www.JeanneBurrows-Johnson.com.  For more ideas to strengthen your Wordpower© and branding, visit: www.ImaginingsWordpower.com

 

Interviews & Oral Histories: #4

AFTER THE INTERVIEW

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder,  Conversations with Caroline Kuliaikanu`ukapu Wilcox Delima Farias, and other writing projects, please visit my author’s website at JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website, ImaginingsWordpower.com.  

BALANCING VERBIAGE & SPACE

There have been many instances in my career as a professional writer when I’ve needed to alter text to maximize its appearance within the space allotted to it.  Sometimes this is disappointing, as the words I initially selected were ideal to the purpose and tone of the project.  Nevertheless, the goal in any written work is to create a product that is most appropriate for communicating with one’s target market. 

 As I generate promotional materials for marketing Prospect For Murder [the first book in the Natalie Seachrist Hawaiian mystery series], I’ve frequently had to revisit this basic activity of editingsubstituting vocabulary to fit the available space.
Value of a Professional Wordsmith
One of the greatest values a professional wordsmith brings to a verbal project is their knowing when and how to adjust text to maximize readability.  This ability to edit within varied  parameters demands the flexibility as well as the skill to replace verbiage to accommodate the allowed space.

In the past, when a client decided my composition met their needs, they usually took the text to a graphic artist and I never saw it again—at least not before the final product was printed, uploaded to a website, or sent forth in emails.  Imagine my disappointment when I saw that the presentation of my work looked awkward because of justified paragraphing and/or the lack of breaking syllables at the end of paragraphs, which resulted in wide gaps or crammed lettering.

If I remained in close contact with the client, I sometimes had an opportunity to rectify the situation.  At a minimum, I could alert them to the problem which was bound to recur until their process of production was changed.  If I had the opportunity to work with the artist tasked with incorporating my text, I could suggest potential means for enhancing the overall layout by:

~  Changing words that were too long or short
~  Altering the paragraph structure
~  Adjusting the number of columns or their size
~  Repositioning and/or resizing artwork
Subliminal Influences

Harmonizing Product Packaging and Marketing Materials

Regardless of the sophistication of a project, balancing art and typography can truly maximize the sensory experience of your readers.  It is a vital key to synchronizing a product’s packaging and the marketing materials that accompany it.  As may be expected, this can help determine a reader’s initial response to the product being represented, thereby affecting whether it will be purchased or bypassed. 

Even the information presented in a dentist’s pamphlet should be designed to flow in an harmonious manner.  The next time you have an appointment at a professional’s office, glance through the materials in their waiting room.  If you find odd looking paragraphs, it’s probably because a graphic artist took the text and simply dropped it into their design—usually without the copy writer having the opportunity to re-edit their text.

Designing Promotional Materials & Websites
In my blog on the layout of books, I discussed the various issues I faced in the design of covers for the hardcover and audio book editions of Prospect For Murder.  All of the spatial challenges I’ve just explored in this blog were applicable in both editions.  I’m very grateful that my artist and typographer were the same person [you can visit www.yasaminejune.com to view her art].  This meant I was able to work with her to balance elements of concern.  Of course, working in this manner requires mutual understanding and sufficient time to accomplish the necessary edits.

Artwork & Titling in Secondary Projects

From Hardcover to Audio Book Format
Transforming the images and text of the hardcover book jacket into that of the audio book required more than re-positioning and resizing the many design elements.  Most notably, the mysterious moon above the apartment building had to be deleted to accommodate the resized and realigned titling.  In addition, the book synopsis and my author bio had to be shortened to allow for book reviews.

Postcards
Recently I reworked the 8.5 x 5 inch promotional postcard I am using for several purposes.  As I now have a growing number of positive book reviews I wish to highlight, I needed to edit both the book’s description, as well as my bio to accommodate snippets from the four reviews I wanted to feature on the front of the card.  And because I may wish to employ varied greetings, I had to allow room on the backside to place labels with personalized messages.

Letters
It may seem needless to mention that each letter that one sends out via snail mail or email is an entity unto itself.  However, writers are just as prone as other professionals to remain wedded to verbiage for which they have an affinity.  Generally, effective letters should be limited to a single page.  This means that the need to resize the length of one’s text arises quite often.  Sometimes simply reworking the size and location of a logo and decreasing the dimension of margins will suffice to reuse a favorite piece of composition.  At other times, it’s also necessary to:

~  Combine paragraphs
~  Reduce the size of the font used for text
~  Use left justified paragraphing without indentation
~  Use an even smaller dimension for line spacing between paragraphs

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  For more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com

 

Book Promotion: Evolving Art & Text

May 2017 bring you health, happiness & prosperity
beyond your New Year visions!

 As I examine the months since the launch of Prospect For Murder [the first book in the new Natalie Seachrist Hawaiian mystery series], I realize I have not posted a blog regarding the art and science of writing for a long time.  I’ve started several, but details of the publishing and promotional processes have interfered with my sharing new author strategies

 Since addressing the topic of my artistic vision for the book layout for Prospect For Murder in a previous blog, it has been released in hardcover, downloadable audio and ebook formats, and a 9-CD audio book.  Preparing for the promotion of each version has required re-examination of artwork and descriptive text, as each format varies in size and may appeal to a different target market

successful advertising and branding
Unified Book Branding and Advertising

Authors may separate their work into categories of writing, publishing, and marketing, but each of these activities should unite under a shared roof of unified branding.  And while today’s book marketplace includes many self-publishing authors choosing to offer downloadable rather than printed books, such works must still be accompanied by attractive art and typography to maximize their appeal to the sensory experience of potential readers.  

There are many ways to make the appearance of a book pop within the massive listings of any genre.  As mentioned in my discussion of art for PFM, I have chosen to use an Island-themed gold frame based on Hawaiian heirloom gold jewelry to distinguish my book and the promotional materials with which I market it.  

Hardcover, Downloadable E & Audio Books, and CD Audio Book Art

Hardcover Books
Book jacket art for the hardcover edition of PFM was the first design project I undertook.  After the evocative gold frame was completed, I realized it could be utilized for the entire mystery series.  And, with changes in the metallic color, it will be ideal for other book projects as well.

9-CD Audio Book Albums
After I completed recording the 9-CD audio book, it was time to modify the book jacket art.  For the CD albums, my job was to shorten text describing the book and me, as well as the snippets of reviews.  My artist and typographer Yasamine June [you can view samples of her work at www.yasaminejune.com] then adjusted the size and proportion of her original artwork and dropped in my edits.

Downloadable Ebook and Audio Editions
The next task was designing website icons for sites offering the downloadable audio and ebook editions.  Our goal was to enhance a visitor’s recognition of the products being offered.  Therefore we created a conjoined image of the hardcover book jacket and a square edit resembling a CD case.  Wherever possible, this paired image is used to signify that Prospect For Murder is available in multiple formats.

Designing Promotional Materials & Your Author Website

The art of communication is one of the most vital skills a professional in any field can develop to help them in achieving goals and objectives in both their public and private living.  The following tools can be refined to maximize messages to colleagues, friends and the general public.

Artwork
I am using the iconic paired image of the print and audio editions of PFM as artwork for both printed promotional materials and my author website.  Without intention, the colors for Prospect For Murder and Imaginings Wordpower are nearly the same, which has greatly simplified my choice in color palette. I am still contemplating where and how I will utilize the gold frame.

Titling
I have used the Peignot font for my promotional business, Imaginings Wordpower [www.ImaginingsWordpower.com] for many years.  Therefore, I chose to use it for the titling of book jackets, my author website, and all promotional materials for the Natalie Seachrist series.  This decision is especially appropriate since many of the historical details used in the series predate World War II.  The Peignot font is an art déco [or style moderne dating from the 1920s], sans-serif display typeface designed by A. M. Cassandre in 1937 for the Deberny & Peignot Foundry in France.  While this font is too stylized for lengthy text, it makes a viable statement for titling and headings.

Author Business Card
Unexpectedly, I discovered that the standard size of a business card and the dark haunting color of the hardcover and audio book art was not suitable to my new double-sided author business card.  To resolve these problems, I created a new image.  I did this by overlapping the frame of the hardcover edition with that of the downloadable audio edition.   In the lower right-hand corner, I inserted the gold hibiscus found in the corners of the frames.  This has proven effective, since the image is always accompanied by text providing my name and the title of the book.

Author Stationery and Forms
With use of the paired image of the print and audio books, plus the Peignot font, there were few decisions to make in creating my author letterhead stationery.  For most purposes, I place the iconic art image in the top left hand corner of the page and all contact information centered at the bottom.  This layout works for both letters and business forms [such as invoices]. 

Communicating Through Emails
Every piece of communication you generate is a marketing opportunity.  And while you may not use an outgoing email layout paralleling your letterhead stationery, you can strategically position artwork, logos, and other information to draw the recipient’s eye.  I put the paired book image and purchasing information in the top left-hand corner of each outgoing email.  For the signature section for all outgoing emails, I have added a link to my author website [www.JeanneBurrows-Johnson.com] to listings of my Imaginings Wordpower website [www.ImaginingsWordpower.com] and this blog [www.JeanneBurrows-Johnson.com].

Logo Notecards
For many years I’ve used what I call logo notecards to extend invitations, express gratitude, and confirm appointments.  For both portrait and landscape layouts, I place a logo in one quadrant of an 8.5 x 11 inch layout, with text positioned diagonally and upside down from the artwork.  The printed result is a sheet of paper that can be folded into a 5.5 x 4.5 notecard that will fit an invitation-sized envelope. 

Postcards
After discovering that postage was the same for a couple of sizes of postcards, I chose a dimension of 8.5 x 5 inches for my author’s promotional postcard.  Beyond displaying recognizable book cover art, this ensures sufficient space for a synopsis and book reviews, plus purchasing options.  The art and descriptive text pop against a simple white background, with a high gloss finish on the front side for durability and flat finish on the back, which facilitates use of a pen for personal messages. 

Sadly, I discovered a typo after receiving an initial order of the postcards.  And having continued to receive positive reviews, I realized I should have printed a small number of the cards initially, to allow for subsequent corrections and additions.  As my publisher has declined to reprint book jackets with the latest reviews, I’m glad my second run of postcards allows me to send out books as samples, or for review or sale with up-to-date information.

Other Promotional Considerations

Websites Displaying Prospect For Murder
As the release date for Prospect For Murder neared, the number of websites featuring the book increased.  Unfortunately, some had received galleys displaying artwork devised as a placeholder for the book jacket art that was to come.  Without proper notification, these sites would continue to display the galley image as being representative of the published book.  Therefore, I suggest that authors releasing books through publishers or on their own, remain vigilant in cruising the Internet to ensure that the words and images describing them, as well as their work appear as they intend!

In addition, authors need to be aware that many popular websites selling and promoting books do NOT offer an easy means for having books reviewed or even displayed in categorical listings.  Most of the time, an author’s work is only visible if the visitor to a site knows the author’s name or book title.  Personally, I’d like to see Prospect For Murder displayed under the following categories for each of its several editions:  Hawai`i; Hawaiian mysteries; cozy mysteries; cat mysteries; female authors; female detectives; female sleuths. If you have any tips to help me with this situation, please drop me a note through the contact form on one of my websites…

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com

Interviews & Oral Histories, # 3

Conducting the Interview

Few people willingly give up control of their personhood to allow a stranger to delve into their inner thoughts.  But those private thoughts are what an effective writer must access to produce a true facsimile of any interview they conduct.  For as a professional or even an amateur writer, your goal is to meet your listeners or readers expectations that they are sharing your sensory experience while gleaning the particulars of why the highlighted individual is worthy of their attention. 

There are four statements I can make about my perspective on the interviewing process:

~  The interviewer has one chance to make a good first impression
~  The interviewer may not get another opportunity to interview their subject
~  Despite a subject’s agenda, an interview should encompass a non-fiction record of fact
~  Regardless of the premise for an interview, the subject may become reluctant to speak about topics previously authorized for discussion

The Importance of Preparing for Interviews
In several blogs, I’ve stressed the importance of preparation to conduct both general and oral history interviews.  In contrast, there are some writers who feel that research and other preparation is unnecessary, or even unwarranted.  I strongly disagree.  I believe research is vital to empowering your words in the interview process.  It will also help with establishing your credibility as a wordsmith who has mastered the art and science of writing.  In short, it’s one of the best ways of demonstrating your skill at the art of communication and making your subject trust you.

Contrary to the theory that “winging it” in an interview demonstrates you are a “common man,” and therefore likely to establish a connection with your interviewee, I’ve observed the results of people who conduct interviews without appropriate research.  For when an interviewer demonstrates little knowledge of their subject, their interviewee may judge them inconsequential.  If that is the case, responses to the interviewer’s questions may be superficial.  In fact, the subject  may be thinking, “If you don’t care enough to do your homework, why should I care about your project?  So I’ll just keep the kernels of my truth to myself until the right interviewer comes along.”

Summarizing Your Research
By the time you’re ready to conduct a cogent interview, you should have completed a great deal of fact checking in several areas of your subject’s life, including:

~  The historical era of their life and the category of work they’ve performed
~  Their biography and career…as reported by them, and as available in public sources
~  Materials they’ve published, and speeches and interviews they’ve given previously
~  Comments their colleagues and other contemporaries have expressed about them

 Shaping Your Questions
The bulk of your questions will be determined by the purpose of your project. In some cases you’ll need to conduct interviews with multiple persons.  By asking parallel questions of each, you can compare and contrast their views of the primary subject, as well as one another.

Regardless of whether there’s any obvious controversy you must address, beginning your interview with general questions about the unfolding of the subject’s life, can assist in putting them at ease…if their mental processes are fully functioning and there are no hidden elements in their early life.

By delivering the early portion of your questions chronologically, your interviewee can mentally relive moments with which they should be comfortable. Additionally, taking them through the recognizable patterns of the decades of their life may trigger remembrance of small details.  This will not only enhance the interview itself, but also add color to your subsequent reporting of the event. This can, of course, lead to some sidetracking, but you should be able to steer the conversation back to the key points you need to cover.

Prior to, or during the interview, you may uncover facts about your subject’s life and work that are at odds with information the person has released in the past In this case, you’ll have to decide whether to directly question these inconsistencies. Of course, you’ll want to keep in mind that true or false, the opinions of others may have colored the public record.  Also, the perspectives of most people change with time and life experience.  And, whether we like to admit it or not, everyone has gaps in their memory, without necessarily being conscious of it.

Approaching the Interview
It’s nearly show time.  That’s right.  I said show time.  While serious scholars and journalists may dislike hearing me say it, an interview is usually a semi-public performance.  Unlike a play, the dialogue is not set in stone; unlike an evening at an improv theatre, it’s not without direction and form—for that’s your job.  But like a play on Broadway, it will be frozen in time, even if you conduct subsequent interviews.

Location of the Interview
It’s been my experience that interviewees often set and control the location of the interviews they grant.  This may not be the case for broadcast media and bloggers with sets in which the subject is expected to appear, but you are probably not working in these situations. Admittedly, it’s best to conduct an interview at a site to which you’re both agreeable, but sometimes you must accept interviewing your subject in their office, home or other location of their choice.  Nevertheless, there are things you can do to balance the situation so that you’re able to subtly declare your professional standing, while still putting the person at ease. 

There are many authoring strategies that can help to distinguish your work as an interviewer.  Establishing a good rapport can be the key to making the interviewee trust you with the information they’re imparting.  To do this, you might bring something with you to enhance the experience.  This could be an edible item, or, if you know they are fond of a particular author, you might obtain a copy of that writer’s work to share with your subject.  Please note that I’m not suggesting you spend a significant sum of money to buy your subject’s cooperation.  But small acts of kindness can help warm the atmosphere, demonstrate the thoroughness of your preparation, and make the entire experience positively memorable for both of you.

Interviewer Anxieties
Anxiety will undoubtedly arise, regardless of your preparation.  Despite previous contact you may have had with a subject, being in their presence (even by video conferencing or telephone) changes the balance of your relationship. There is another factor that may detract from your rapport with your interviewee:  If there’s an aspect of their lives that makes them suspect in the eyes of the public, they may be hesitant about granting you an interview.  They may be apprehensive about information you may have uncovered already…or what they might reveal in conversation with you. 

The Atmosphere of the Interview
Even when you have secured the location for holding the event, you cannot be certain of being able to completely control the environment.

~  Despite previous agreement, additional people may be present during the event
~  As recording devices can fail, carry a back-up unit, cordage and microphones with you
~  Regardless of their response, your subject may be distracted by ringing telephones and other interruptions

As you set up your equipment, be aware that recognition of the permanency of the record of their interview may be upsetting to your subject. Even if you have provided them with a copy of your primary questions, they may dislike seeing the list set out before them.  They may also have negative feelings about seeing any reference notes you’ve brought. But since such materials should be in easily read styles and sizes of fonts, you’ll be able to quickly reference pertinent facts, while maintaining eye contact and keeping the dialogue between you as natural as possible. 

The Ebb and Flow of Your Interview
Establishing and maintaining a smooth flow of conversation is a primary goal in the interviewing process.  Regardless of whether your personal views are in accord with those of your interviewee, it’s important to approach what they have to say with a calm, if not fully open mind.  This does not mean that you have to forfeit your role as the honest broker of truth.  However, you can adjust your personal style of behavior and other elements to maximize a positive atmosphere. After all, as in any natural conversation, your subject will periodically lead the discussion. That’s fine as long as they do not deviate greatly from the purpose of your dialogue, or delve into personal details of your life.

Be Prepared for Shifts During Your Interview
After opening pleasantries, you can help direct the flow of the interview by verifying the amount of time you’ll have with your subject.  This establishes a guideline for both parties and should make your periodic redirection of topic easier to explain.

Although you’re guiding the overall direction of the conversation, information will arise that may surprise you, or at least call for cursory examination. This may occur because the man or woman to whom you are speaking may have talking points of their own that they wish addressed.  If that’s so, let them express their concerns, and then try to deftly redirect them to the specific information you need in order to complete your project.

The Editorial Process
Sometimes an author feels stressed about the relationship between the creative process and editing.  As you review an interview, you will not only want to envision how you will shape an accurate account of the event that reflects truly inspired writing as well.  One thing that can help you achieve this dual pronged goal is to remember that the way in which you report your findings may be wholly different than the substance and sequence of the questions you posed. 

For example, if you’re part of an oral history project, there may be a specific format for you to follow.  This generates a record that harmonizes with the results of other interviewers within the larger body of work.  Typically you’ll prepare a transcript of the actual dialogue between you and the subject—often with punctuation or other markings to indicate accents, pauses, stresses, and other notable features of your conversation.  You may also write an introductory passage explaining your methods of preparation and your evaluation of the results you’ve achieved.

If you’re working on assignment for a media outlet, you might have the opportunity to write a personable article containing both dialogue and narrative prose. In this case, you may be allowed to offer your candid view of the person you’ve studied.  Be aware, if you’re working as a freelance researcher and writer, you may need to prepare multiple versions of your report in order to secure one or more appropriate outlets for its broadcast or publication.  I should note that there are situations when an interview will be available to only a select audience, or may be held in private for release at a future time.

As you finalize your work on an interview, you’ll want to remember that in this day of permanency in data recording and retrieval, the words you shape after the interview will live as long as the event itself.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website:  Https://www.ImaginingsWordpower.com

 

 

 

Book Production Issues

The art of communication is as varied as its practitioners.  The creative process varies with each writer’s inspiration and often reflects the perceived desires of their target market and the writing tips to which the author has been introduced. There are many comprehensive sources of writers’ guidelines available on-line and in print. Through this blog, I am attempting to share snippets of authoring strategies as they arise in my own wordsmithing

Many publishing houses restrict the amount of input an author may have in the printing process.  But as a writer, you should be able to express concerns you have about the production of a work that will carry your name.  As someone who has assisted in the process for other amateur and professional writers, and served as the art director on a collaborative effort, I am somewhat familiar with aspects of producing a high quality book.  Now, as a debut author of fiction, I am entering a new phase of professional experience.  While the following areas of concern may not be presented in the sequencing of a publisher or art director, they represent my thought process while preparing for the publication of Prospect For Murder, the first book in the new Natalie Seachrist Hawaiian mystery series.
branding program
Unified Appearance in a Series
Career longevity for a writer often rests on their successful book branding and advertising.  These issues bring us to the appearance of one’s product; in this case, books.  There are many design dilemmas facing authors and the people who will introduce their work to the world.  Personally, I enjoy reading a classic hardbound book, so my contemplation of quality book printing rests on my perceptions of what constitutes a fine hardcover edition.
the reader’s experience
While the design elements of a print or on-line artistic project may vary in several ways (sometimes because of the genre), some issues are common.  In general, the test of a book’s initial appeal is its cover.  Does it draw the eye of the potential reader?  I say the reader, rather than the buyer, because with the constant rise in the cost of hardcopy books, library patrons represent a large segment of the public that may read your book.  Of course, to reach that readership, you will first have to appeal to the buyers of books that line library shelves.

Book jacket design is one of the most important elements that concerns marketers.  Therefore, I encourage you to seek an artist whose skills in fine and graphic art (as well as typography) will meet the needs of myriad projects.  Fortunately, I have found this breadth of talent in the work of Yasamine June.  

I do not claim to be a specialist in color theory, but generally, bold colors and print in product packaging are believed to help maximize sales In book publishing, successful cover design does not rest solely on these elements, or even on the overall quality of the artwork.  In publishing, the book’s genre is also vital.  Prospect for Murder is clearly a mystery.  In this genre, the coloration employed in book art often features dark colors, sometimes enhanced with the use of chiaroscuro [the effective contrasting of shadow and light]. 

To facilitate communication with my readers, my artistic vision embraces continuing historical and cultural features within the content and artistic accents that unify the appearance of the books.  Because my stories center on Hawai`i, I am using Island-themed framing based on Hawaiian heirloom jewelry for each book’s cover.  This repeating image, plus ones that are pertinent to each story, will serve to meet potential readers’ expectations by unifying my branding, thereby increasing the public’s recognition of each new addition to the series.

In classic format, I have included a cast of characters, chapter aphorisms, and a notes and acknowledgments section.  In addition, because of the inclusion of considerable foreign language and historical references, I offer a guide for pronouncing Hawaiian words and a glossary of non-English and specialized vocabulary.  For emphasis, the aphorisms are presented in italic fonts and a distinctive hibiscus-based image frames each page number.
formatting tips
Empowering Your Words Through Readable Text
The next concern I have is readability.  Given the length of my books [PFM is 92,000 words], concerns about the cost of printing could lead to printing decisions based on saving paper: Margin size can be reduced; spacing after periods can be decreased from two spaces to one, blank pages between chapters can be eliminated, and the weight of the paper reduced.  Such choices might reduce the overall size of a book and conserve paper; but they would not enhance the sensory experience of the people reading the book. 

Beyond these general considerations, my target market is older, well-educated women and men who are as interested in character relationships as they are intriguing plotlines.  Many readers within my target market may wear eye glasses or contact lenses.  Nevertheless, I am told that with the lack of certain vocabulary and situational elements, the inclusion of historical references and multiculturalism, my series may be appropriate to students in advanced placement courses in secondary school.  These students may not be as concerned with the layout preferences of older readers, but they too will benefit from easy-to-read text.

Regarding my recently published book, I have agreed to a layout that includes single spacing following the end of sentences, despite the continuing use of two spaces by many publishers both here and abroad.  To compensate for this, my publisher has used a larger font that enhances the readability of the text of the hardcopy.

Cohesive Audio Books and Public Readings
With a trilogy of books already completed in the Natalie Seachrist series, I have already completed an audio edition of the first volume.  In general, I knew I had to employ a believable voice for each of the characters.  As the series is written in the first person, the most important voice is that of the protagonist, who is roughly my age.  For Natalie’s narrative, I have used a measured and calm voice; for her interaction with other characters, I employ tones and rhythms appropriate to each scene.  Other characters are presented to showcase their unique profiles.

In preparation for recordings and public performances, I recorded descriptions and samples of each cast member.  The text for each was printed in a distinctive color.  In addition, I utilized a 14 point font and 1.5 line spacing, plus varying spacing and marks to indicate pauses and emphasis.  For instance, I use: upward and downward arrows for changes in tone; ellipses for the trailing off of my voice; and long dashes for abrupt breaks.  For vocabulary or phrases about which I was concerned with correct pronunciation, I inserted underscoring and added hyphens between syllables.

In future blogs, I’ll report on the response to the decisions I have made in this phase of my practice of the art and science of writing!

 Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website: Https://www.ImaginingsWordpower.com

 

Author Appearances

Writers’ Guidelines
Regardless of whether you write fiction or non-fiction, you will need to consider elements of successful advertising and branding for authors.  The skills you have developed as a wordsmith will help you facilitate communication and networking with individuals and organizations that can help you increase your public visibility.

Author Appearances & Readings
You’ve completed a large project in fiction or non-fiction and it’s being published.  You’ve made great progress toward achieving goals and objectives.  As an author, you’ve reached a major milestone in practicing the art and science of writing: You may be thinking the heavy work was over.  You’re wrong.  Seriously wrong.  Neither your creative or editorial chores are complete.  You’ve simply turned the corner from building a product to marketing it in tandem with your publisher.  That is, unless you’re entering the world of independent publishing.  In that case, you’ll be responsible for self-marketing, and need to maximize a branding program that relies on dynamic but cost-effective authoring strategies and advertising messages. 

Regardless of how your work is being published, you’ll need to make promotional appearances.  That process should include opportunities for your readers to hear your words, as well as to ask you impromptu questions about yourself and your work.  Even if you do not have a strong voice or dynamic style of presentation, the public will want to get to know the mind and personality that has generated the material in which they are interested.

Venues for Author Appearances
In preparation for your work to the public personally, you can refine your oral reading skills by practicing with a voice recording device in front of a mirror.  You can also hone your skills at a writers’ group, where you could work on timing selected readings.  If you find yourself uncomfortable reading aloud, appearances at a small book club meeting may be ideal for warming up for larger audiences.  

Once you’re ready for general audiences, you’ll find there are many venues at which you might share your writing.  Some are directly related to publishing, such as book fairs and literary and artistic festivals.  Depending on your reputation as a writer, your local radio or television station may have programming featuring local writers.  This is especially true of public broadcasting in radio and television. 

Since your goal is to sell books in every form you are published—hard- or softcover print, Ebooks, audio books, or online websites and blog sites—libraries and bookstores [local and national chains]  are ideal for promoting current work and for attracting potential long-term followers.  Again, your personal reputation and the involvement of your publisher may determine the ease with which such appearances can be booked. 
Media Relations Dos and Don’ts
Expanding Media Relations
In previous blogs—and at https://www.ImaginingsWordpower.com—I’ve discussed the importance of connectivity with the media.  With each public performance opportunity, I suggest you prepare an advertising message that can be adapted to public service announcement [PSA] messages.  These can be utilized promoting the non-profit organizations (i.e. schools and libraries) at which you might appear.  For while you may have expectations of selling copies of the work you’re promoting,
your authoring events may be deemed worthy of mention in the calendar of non-profit community activities within your local media outlets and platforms, as well as virtual communities.  They may also be of interest to followers of social media and blogs featuring interviews.
s
Cost-Effective Media Relations
As you expand your community relations and get to know your media, you may be surprised by the amount of free media coverage you can obtain.  It all depends on your practice of the art of communication, and I don’t simply mean effective wordsmithing.  Hopefully your writer’s inspiration will aid you in establishing strategic media relations.  Much of this will rely on pithy PSAs prepared as broadcast, print, and On-line media releases [you can find samples at

https://www.imaginingswordpower.com/media-release-samples.html].  You should also be prepared to attend business, social and community activities that will introduce you to members of the media, whose own work you may have been enjoying for years.
Empowering Your Words
Enhancing the Listener’s Experience in Your Public Performance
Let me again state that you have one opportunity to make a good first impression.  Remember that each time you appear in public, you’re making a statement about yourself and your work.  And although your written work may be inspired and employ a rich palette of words, you must now present it to people who will be judging you on their sensory experience!

Where you present your work should direct your preparation.  Will you be speaking in a large or small room?  Will you be standing or seated?  How much of your body will be visible to the audience?  Will you have a microphone?  Will you be introducing yourself?  Will someone be monitoring the time you’ve been allotted for speaking?  Are you the featured speaker at the event, or one of a group of presenters?  And how will you handle stage fright?  I encourage you to remember that stage fright is not a phenomena experienced solely by actors

~  The quality of your voice.  Once you know the size of the room and whether you will be utilizing a microphone, consider how well your vocal quality matches the venue.  Remember that unless you are providing your own Audio Visual equipment, there’s no way you can be assured that the equipment provided will work as desired.  Therefore, think about whether you have the vocal strength to project your voice throughout the designated space if you end up without a sound system. 

Although no one wants to give a reading on a day when they are not feeling well, you may not be able to cancel an appearance.  If you are unable to read your material, you may need to take a friend or colleague to actually present your work, but it would still be good for you to show up (as long as you’re not contagious).   When in doubt about your condition, check with your healthcare provider.  If you just have a tickle in your throat, you can always try drinking warm tea or munching your favorite fruit to produce a clearer sounding voice.  

Your appearance.  Many artists and writers feel there’s no need to be concerned about their appearance or their behavior.  But if you want to be taken seriously, I believe you should demonstrate respect for yourself, your work, and for the public who awaits you.  What you wear may be dictated by where you’ll be speaking.  If you’re standing on a raised platform, consider how your legs and shoes will look from the audience.  Women may want to wear a longer skirt length than they normally do, or even a pantsuit to ensure they aren’t sending the wrong message.  And don’t forget that use of makeup is not limited to women.  Men, (especially those who are bald), are just as susceptible to having a glowing face that detracts whether they are on stage or on video.  Also, the eyes are key to projecting a performer’s personality.  A touch of eye liner below the lower eye lashes gives your audience a sense of being closer to you.

As to style, the casualness of ragged denim, faded hoodies and unshaven portions of one’s anatomy may seem representative of the artistic world.  But ask yourself whether they best represent the work you are introducing.  If you’re beyond the first two decades of life, consider more sophisticated choices in attire and overall self-presentation.  Personally, I usually top skirts and dresses I wear to public events with a vivid Asian style silk jacket.  Not only is this in keeping with my normal wardrobe, but since the Natalie Seachrist mysteries features references to Asian culture, this choice sets the stage for the stories that I will be addressing.

Introducing Yourself
You should have several empowering bios by the time you’re launching a book.  [You’ll find a summary for writing one on my website at https://www.ImaginingsWordpower.com/bios-to-empower-you.html]  You should have brief versions in one or two paragraphs in both first and second person voices.  If you’re lucky, there’ll be an MC or other person to introduce you, and hopefully they’ll read your bio without inappropriate ad-libs.  However, regardless of your advance planning, there will be times when you must introduce yourself.  And while it is important to have a well-written bio, it is useful to be able to speak off-the-cuff without any notes. 

Your Performance
That’s right.  I said Performance.  That’s what an author’s appearance is.  You must present yourself so that you are memorable and believable as the author of the work you have produced And just as there are many styles of writing, there are many ways in which you can present your work.  In my opinion, the top rung of professionalism holds those rare authors who memorize portions of their work and perform it like a play…that is, sans script. 

One of the most likely venues in which you’ll see this type of performance is Cowboy Poetry.  One of my favorite entertainers in this genre is Bill Black, whose warm vocal tones are accented with more than a hint of North Carolina.  From the moment he steps onto a stage with his cowboy shirt, hat and bolo tie, the audience is wooed by both the stories he relates and his personage as their author.

At the next level are presenters who place text within a folder.  This is where I fall in terms of performance.  I try to avoid treating my audiences to the rustling and flopping of loose pages that can separate easily and cause the reader confusion.

A Single Performance Among Many
At some time, you may be charged with scheduling a group of authors to read.  At a recent gathering of writers, I found that despite instructions to “read for about five minutes,” there was great variety in the lengths of the readings.  Even when a presenter has timed their work in advance, the pressure of public performance can produce variations in the actual length of a reading I believe that setting a measurable standard (i.e. three to four pages, double spaced).  While some will read faster or slower, the overall time of the readings should even out.

Does an Event Warrant a Media Release?
Event organizers will normally generate media releases.  That’s wonderful, especially if they follow the details of a bio you submit.  But there’s nothing wrong with sending out your own media releases if you’re a featured participant.  You should include general information about the occasion, your role in it, and other newsworthy persons who are involved, so that your effort does not appear wholly self-serving.  In fact, the sponsors should welcome your boosting the likelihood of media coverage.  For information on this topic, see earlier blogs, as well as sample releases on my website at imaginingswordpower.com/media-release-samples.html.

 In addition, you can send our post cards, letters, fliers or other announcements.   Recipients should include people you expect to attend, as well as those who may not be able to participate but should be aware of your involvement.  If event is open to the general public, distribution of your promo information via mail, email, and social media may add to the number of attendees. 

No matter how well you think you have prepared for an event, something can happen to derail a public appearance.  Once it is over, hold your own private event autopsy, if the event organizers do not have one.  And don’t forget to send out a post-event media release.  Again, make a point of mentioning any noteworthy persons or historical context who are of general interest in your community.  Finally, upload a sample of the reading you gave at the event on your website or social media, even if you have to record it anew.

 Wishing you the best in your writing endeavors, 
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website: Https://www.ImaginingsWordpower.com

 

Energizing Descriptive Writing

Regardless of whether you’re a professional or amateur writer, the most challenging part of a day of wordsmithing may be facing a blank piece of paper, or an empty page on your monitor’s screen 
Writing Tips
The Art and Science of Writing
It may be surprising to you, but despite our electronic age, there are still writers who begin each project with hardcopy composition.  If this authoring strategy produces effective prose, it’s hard to argue with their writing process.  It’s all a question of the results that come from one’s practice of the art of communication.  In both fiction and non-fiction, when the writer’s inspiration produces a rich palette of words that maximizes their reader’s experience, their methods have been successful!

Regardless of your wordsmithing process, on days when you feel lacking in creativity and even editorial direction, I suggest you begin by capturing the images that first come to your mind as you contemplate the scope and goals of your project.  Work without concern for the structure of language, correct grammar, or the sequence in which the words emerge.  Within a short while, you should find yourself producing an unstoppable stream of verbiage. 

As your pace slows, you can pause to write a brief outline of your work to that point.  Confident that you will not lose direction, glance over your creative output for patterns within the images, dialogue, and activity that you have produced.  You can then begin empowering your words by strengthening the connectivity of fragmented text.

You should then be able to move back and forth between the creative and editorial processes fairly easily.  I stress the first category—creativity—because writers often lose images they have glimpsed by becoming too absorbed in initial self-editing.  Remember, editing can always be accomplished at a future time.  But if you lose your inspired thoughts, they may never be retrieved…or built upon as you initially envisioned.

Experienced authors often have an established writer’s voice on which they can draw.  This is true whether they are writing the fourth book in a series, or constructing a non-fiction piece reflecting their true voice and personality.  Whether you are in this position, or creating a wholly new voice, you may wish to take a few moments and reflect on the tone, sophistication of vocabulary, structure of language that is most appropriate to the current work, and images that will enhance the sensory experience of your audience.  [Pease note that I am referring to your voice as the teller of facts or a story, not the voices of any characters you may be creating.]

With these elements in mind, you can enter the realm of refining the vocabulary and organization of your piece.  As usual, I suggest you begin with the most obvious edits.  Personally, I have a tendency to employ overly complex sentence structure that begs immediate trimming.  Another pattern that many of us face is the need to flip first and last clauses, sentences, and even paragraphs.  Like everything else, practice makes better, if not perfect, form.  By the time you’ve reached the end of a couple of sections, your structure should have tightened with increasing clarity.
Writer’s Guidelines
My Editorial Process
Sometimes in the midst of mundane edits, I have a sense of the truly impactful changes I wish to make.  If working in hardcopy (often late at night in the midst of classic films or predictable episodes of television mystery shows), I’ll make marginal notes regarding a character’s appearance, vocabulary, motivations, or inner thoughts regarding other characters.  [This has proven especially important when working on books subsequent to Prospect for Murder in the continuing Natalie Seachrist Hawaiian mystery series.] And when at the computer, I may utilize small sticky notes to record my ideas.

With obvious adjustments to structure complete, I move within the piece to maximize its overall flow and tone.  I usually begin by modifying nouns and adjectives.  In a previous blog on color theory [see Design Dilemmas for Authors, Part 3:  Color, May 30, 2015], I discussed various words that might be used in place of the word blue to enhance your color palette

Facilitating Communication
Likewise, consider how you might embellish a scene referring to a red sofa.  While inappropriate for a children’s picture book (and most contemporary fiction), the author of a dramatic historical novel might say, “The heroine entered the study nervously and perched on the garnet colored velvet chaise lounge.”  Here I wish the reader to feel wooed by the distinctive color, texture and shape of a piece of furniture. 

In my own writing, I frequently draw on the breadth of my writer’s palette to concisely depict the ambiance of a scene.  For example, “She heard the sharp sound of a gunshot” became “She was startled by the sharp report of a bullet slicing the air.”  Here I turned a matter-of-fact incident report to a description of my character’s response, which allows the reader to join in the heroine’s frightening experience which will enable your reader to feel they are present at the scene…and who knows how that may prove useful if your piece were to be converted to a script for a movie or television show.
Impactful Advertising Messages
Altering Punctuation
Consider the following examples of shifting vocabulary, word sequence, and punctuation that can alter a reader’s interpretation of a passage within commercial as well as fictional text:

Experience the unique luxury of a journey to the Orient aboard the majestic RMS Empress of Britain.  [Advertising copy similar to posters for the ship’s 1932 world cruise]

I journeyed from Hong Kong to Honolulu aboard the RMS Empress of Britain.  [A matter of fact statement appropriate for any type of writing]

Truly…I did enjoy my trip aboard the RMS Empress of Britain.  [A plea to be believed; perhaps for the dénouement of a murder mystery]

I immensely enjoyed my sojourn from Hong Kong to Honolulu aboard the luxurious RMS Empress of Britain.  [An elegant, almost fussy statement, appropriate to a romance novel]

There are many ways to strengthen your writer’s voice for each project you undertake.  Reading other works in the same genre by authors you like and dislike will provide examples to emulate, as well as to reject in your own work.  There are also reference materials that will broaden your ability to describe people and occurrences in an articulate manner appropriate to your genre.  You might begin by perusing your own reference library to ensure you have:  A couple of grammar-cramming style books such as The Chicago Manual of Style and the Associated Press Stylebook, which are standards.  You will also want to have a thesaurus or two, and a few dictionaries, including ones for foreign words or phrases you might use. 

Rich Palette of Images
Beyond these basics, consider how you can use Internet search engines and other materials.  One of the most interesting sources I’ve found is obituaries [see Shopping for Characters, May 12, 2015].  This is a great place to find physical descriptions of people, and to discover comprehensive biographic images and sometimes even the settings through which men and women of past generations walked.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website:  Https://www.ImaginingsWordpower.com

Communicating with the Senses

Sense Memory:  Words For The Eye and Palette

 The art of communication is largely reliant on visual and aural stimulation.
An author communicates with the written word.
~  A dancer creates a visual message with his or her body.
~  Actors and public speakers communicate with the spoken word and their bodies.

In the past, the sense of touch helped to share the message of written words, as finely tooled leather-bound tomes invited the reader’s fingers to trace the lettering on a book cover.  Even the sense of smell might be involved, as the carved leather fostered anticipation of the remarkable thoughts within. 

Today, all five of the senses of the writer’s audience may be involved through the communication tools of our multi-media civilizationBeyond the realm of streaming radio and audio books, there are audio messages being sent into space that may not be heard for thousands or even millions of years.  We are also at the brink of attempts at smell- or taste-athon forms of entertainment. 

The goal of any communicator is to ensure that their readers, listeners, and/or viewers will respond positively to their message.  Sometimes the process for achieving this is straightforward, even mechanical.  At other times, the gathering of ingredients for connecting with one’s audience seems happenstance if not magical.

A successful advertising campaign is an example of how this process can work.  Most of us are accustomed to extending our minds beyond a limited promotional image and message to the full experience enjoyed when actually partaking of the featured product or activity.  Whether viewed in a full-page magazine ad or television commercial, the sight of a glistening golden turkey on a platter is expected to invoke memories of holiday feasts shared with our loved ones…rather than the reality of a studio of near-strangers focused on taking pictures of an artificial bird glued to a platter and painted with an oily brown glaze.

Sadly, the perception of truth can be more important than truth itself.  For example, I recall being instructed about the art of opening doors, shaking hands and kissing on stage.  I quickly learned that the natural ways of performing these tasks were irrelevant. The actors had to adjust their movements to make the audience feel comfortable with the actions necessary to theatrical performance.

To ensure our audience will be accepting of the images we have created, the artful wordsmith must do more than employ accurate vocabulary.  This is one reason that translation of text from one language to another is so difficult.  In fact, in addition to being an editorial process, it is a fine artMerely selecting a word that correctly describes something does not make it a successful choice:  The descriptive word you eventually choose must evoke the most appropriate image to both your genre and your audience.

Consider how you might employ the following words and phrases:  Azure, blue, and sapphire; highlighted, revealed, and shone down upon; bright, luminescent, and sunny; juicy, moist, and succulent; boar, ham, and pig.  Depending on the scene being described AND your audience, the text you compose from these words will differ.  While the word blue may be appropriate for an advertisement, a children’s book and a romance novel, the same cannot be said for luminescent, azure, and succulent.

As adults with sophisticated English vocabularies, we may envision immediately the magical sparkle of a luminescent sky and the moist deliciousness of a pork loin described as succulent. However, these word choices would be inappropriate for a children’s book intended for a beginning reader.  Our creative process may draw on a rich palette of images within our mind’s eye, but it must be tempered by the realities of the genre in which we are working.

Refining our writer’s palette is one of the most important authoring strategies we can employ, regardless of whether we are working on fiction or non-fiction projects.  In my work as a practitioner of the art and science of writing, I seek to create a juncture between language and the sensory organsI do this by striving to balance carefully chosen nouns and modifiers within an appropriate structure to provide my targeted audience with a rich sensory experience that they will accept within the current genre.  

There is, of course, no right or wrong decision in the scenarios you create as a writerThe options are many.  The choices are yours.  But as you work on any project, consider the demographics, as well as the expressed responses of members of your audience.  In the end, your word selections should be guided by determining the effect you wish to create in each passage…

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

For more ideas to strengthen your Wordpower and branding, please visit:
Https://www.ImaginingsWordpower.com
For examples of sample color palettes, please visit:  https://www.ImaginingsWordpower.com/color/plays_on_color.html
Additional discussion of the nature and impact of color is provided at:
https://www.imaginingswordpower.com/wearing/wearing_your_brand.html.

To learn more about Prospect For Murder and other writing projects, please visit my author’s website at https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit: https://www.ImaginingsWordpower.com