What I found particularly appealing is the fact that The Book Depository offers free delivery on your book order – worldwide! As another comparison, I wanted to order two hefty tomes for my research for a novel. These are textbooks that even as paperbacks, cost a small fortune. However, despite the free delivery – The Book Depository is quoting both of my example books for cheaper than Amazon – one by £1, and the other by almost £7 difference! This saves me £8 plus the £5 postage and handling if ordering via my regional Amazon site. This sampling, along with the free worldwide delivery made me take the option to become an affiliate for The Book Depository, and make that first purchase myself. If you’re looking for books online, have a search through The Book Depository. The user interface is clean, the search facility seems to work quickly, and the site isn’t cluttered with other merchandise – it’s solely for books. You’ll see the banners ads scattered over this site also. I think it’s a good one.

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Whilst all the problems were going on, I still had enough to think about in simply reading out my short story. Asking me to read in the first place was one huge thing. Asking it for my first public appearance should have been a big thing also.

Here, in my real life – the life where I am writing, and plotting out stories, and a writing career, I have no public audience. Locally, there isn’t even a writing club – or even a reading club. Everything for me is virtual.

For some time in Second Life, I couldn’t work out the emphasis behind writers ‘speaking’ out their work in public or group workshops. I could understand adding voice to an event which included a published author reading out an excerpt of their work – after all you would either have this, or simply have a bunch of virtual avatars to look at. Voice added some personalisation to the events. Over the past few weeks I have tried to attend as many reading events as possible, to get an understanding for this.

But I’ve shirked away from all the group messages asking me to come prepared with work to read out to a group. Me? My voice? Now, when we were talking about my own self, the whole thing took on a much less appealing factor. I didn’t want to read out my stuff, why would anyone else want to listen to it?

With the Storyquest awards ceremony I was forced into my own first voice attempts. And into reading out – in it’s entirety, a piece of my writing. Whilst I was dealing with the large problems occuring inworld at the time, and juggling my story on-screen, scrolling through it, reading out loud, and holding buttons and mouse down, I had little time to think about it all.

However now I do. I know the story I was reading had areas within it, that on re-reading I am less than happy about. If given the chance I would not like that story to go to publication – but as part of the prize and contest itself, it will do so. And the story was written in a day’s timeframe, and less edited than I would like. But it’s also a darned good story, and certainly a good start to the fictional side of my writing life.

But to the point – if given the chance, I would rewrite large passages of that story, and some of that comes from having had to read it out.

Reading out a story is an oddity in itself. My own short story has three female characters, including the un-named female protaganist. This made it hard, in certain passages, to tell who was speaking. Particularly as I use a lot of dialogue. Was it the hero, or another bit character with a female voice?

This became particularly challenging when reading it out.

Acting it out, with different voices for different parts would have made the world of difference, but one person’s voice just couldn’t cut it in places. Even as I read it, I found myself trying to take on more of a persona in voice for different female characters, hoping that would help people listening to understand. I seriously doubt I succeeded.

I see that now, having read it out. I see the places where I should have gone back and clarified the voices within, perhaps by even adding character names to differentiate some.

Authors are always told to read their stories out loud. In my case, I randomly do this, passage by passage, thinking that the reading voices inside my head will surely suffice. But my lazy approach has now caught me out. So I’ll give myself a B for effort, and a Needs Improvement on this particular learning lesson for my own work.

I’m still not confident in doing this publically – for me the only option is an online writing event such as those found in Writer’s groups within a virtual world such as Second Life. But those events still involve participation and critique, and that’s not something I can, as yet, accept within my own boundaries. I don’t want to do it for others, and I don’t want to hear the results for mine. Perhaps this is because I still find that I am learning, in my own way, how to improve my own writing (and what I am happy in seeing in my own writing), and am still quite new at this.

Does voice and reading out loud matter to you as a writer? Do you do it?

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The novel itself is free as a demo for this format, and is readable on any device with a decent web browser. It utilises multiple screens and threads through a large new world.

Getting and Running “Descending Road”, the Novel

I first came across Descending Road from within Second Life, the virtual world which I’m currently exploring. The author has a shop on Second Life’s Book Island, and from there a notecard leads you to his website for downloading the entire book.

Although Second Life itself does have an internal web browser system, you would be best in downloading and reading the novel externally, and with more room to spread out. The author provides the full book from within his website also, and you work through this scene by scene from the website. This is dependent on the speed of your connection, naturally.

Or to have the novel available immediately when you want it, it can be downloaded as a 15mb zipped package. Once you extract it, you will find a folder full of html files, image files, and several PDF files explaining the background behind the project.

You will need to find the “demo.html” file and run this, opening into your web browser to start. Once there, click on the large cover image to open the novel itself – your browser will open two other windows depending on the size of your device. One window will be opened for smaller devices. The author suggests he has successfully run Descending Road on portable Playstations before, presumably on the one window.

Your browser must be setup with javascript capabilities, and optioned to allow the browser to open multiple windows. Behind the scenes, Dana Paxson has developed technology to create the novel in this format, and suggests a patent is pending on this technology. He offers for anyone interested in publishing like this to contact him.

Descending Road Format

Scenes and Threads

What makes ELM fiction so powerful is the ability to hyperlink scenes to multiple other scenes. In this way, a reader can follow a threaded story for one character and arrive at the scene, then deviate onto another character’s viewpoint and follow that character through their own story, to arrive at the scene again (possibly) and see it in a totally different perspective than when first read.

Multiple Windows

Once into the novel, you will find three windows. The central one holds the novel narrative, told scene by scene, for one character point of view. You move onto the next scene with a simple next or previous link. This window also has an option to choose a different character point of view and story thread which leads to this scene, and two vertical bars on either side of the text. These bars will bring the left or right windows on top. Normally the central narrative window will be on top, calling the others when supplementary information is required.

The right-hand window holds glossaries, character appearance indexes, and scene title lists.

The left-hand window holds reference links to several subjects for further reading. Within the story, this left-hand side contains the Tarnus Encyclopedia (Tarnus is the world the stories are set in) and calendars, organisation, language, culture and technology reference notes for the world you are about to read about.

All windows are interlinked. For instance, the narrative text of the stories contain key terms which are linked to open up the glossary in the correct place.

What is an ELM (Apart from a Tree)?

ELM stands for Electronic Literary Macramé, according to Dana Paxson. It appears to be a term coined by this author for the format he has developed. Electronic novels are not, as we know, totally new to the world. Only recently this blog covered another format in the Wovel (web novel) – a serial format published electronically onto a website, and before that, a format called a Visual Novel, which is a graphical novel including text and graphics, and a partially interactive nature as it has a few threads to choose from.

I’m personally not sure if the “ELM” term will ever catch on, but perhaps novels in an html and scripted format such as Descending Road do have a real future, especially given the additional tools and resources such novels can provide for the storyline itself.

Using html and javascripting, the ELM novel allows for numerous text linking, the inclusion of side glossaries, and images, aside background text, reference links, footnotes and endnotes, and in the case of Descending Road, multiple story threads, led by different characters found in the Descending Road world. For large fictional bodies of work such as an entire new fantastic world, the format could be one solution to providing on-the-hand information when you need it without losing emphasis on the story being read.

Descending Road’s ELM environment is visually quite stark – although you could use such a format to make graphically intensive works – good for educational resources and text books perhaps – the novel in this format is confined to only a couple of colours and this makes the textual centre window a much more immersive environment. You are drawn into reading the narrative text and discovering the plight and fortunes of the characters in this format.

As a format, the ELM Fictional work sits between the linear confined electronic structure of a normal e-book, the threaded graphical visual novel – both of which don’t provide supporting mateiral;  and on the other end -the broad spectrum uncontrolled references found in something like an online encyclopedia. Think of it as something like a combination of all seven Harry Potter books, and the Harry Potter lexicon website, all wound up into the same document. It makes for a rich and huge narrative work.

Descending Road, The Novel

One of the PDF files which comes in the zipped package for Descending Road explains in some part why the ELM format was created. The novel is set in a large fantastic world called Tarnus, a human world displaced in time and space from Earth by an interstellar coldsleep migration and millennia of cyclic history. The story itself centres around several main characters, with the main thread held by Andrew. It contains many adult-themed elements, and browsing through, can still make for some hefty reading.

There are a lot of stories in this 200,000 word novel – some are short, some much longer. Some connect with each other, others do not.

Written as a large multi-threaded novel with all kinds of elements (enough to populate an entire world), the original manuscript was rejected by many publishers and reviewers, as the author suggests -

“In the original novel there were simply too many ideas and people presented to the bewildered reader from the outset; even the most caring, able, and sympathetic of reviewers of the manuscript couldn’t figure out what the hell to do with the thing.”

Over time, the novel was re-written into independent threads of stories, to “strip away some of the complexity” and then developed into the ELM format.

If you enjoy exploring a new speculative world, and many stories set within it, or you are intrigued by this new format, take a look at Dana Paxson’s website (link below) and download Descending Road.

LinkMes:

• Dana Paxson Studios – download Descending Road, and read the website for further explanations.
• Defining : The Wovel (Web Series Novel)
• Visual and Interactive Novels

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LINKMEs:

1. On this blog entry Holly gives the ideas behind Rebel Tales. Read this for much further information.
2. The RebelTales website itself – signup for the newsletter to find out when calls for positions and entries go out.

Some Details:

Note: the details following are from Holly Lisle’s blog post, and as this is a start-up, could well change over time. For further details, make sure you signup onto the newsletter from the Rebel Tales website itself. (Link above).

Rebel Tales will be a subscriber based fiction ezine, running is seasons with particular monthly themes for each edition. Writers and editors will be paid for their work.

Readers of the ezine will either simply be able to read it (at a Basic Readers Level), or for an additional fee, have a back-stage pass to other in-depth features – for that issue. Subscribers can purchase a back-stage pass for a season of ezines also, with additional benefits.

Each Edition (Called an Episode)

There will be 12 stories published in each Rebel Tales Ezine. These will consist of – a 60,000 word piece, two 30,000 word pieces, three 20,000 word pieces and six 10,000 word pieces. Holly also suggests that the first edition will be edited by herself and be called something like “Holly Lisle’s Rebel Fantasy and Science Fiction”. She is also considering a Rebel Mystery and Rebel Romance edition.

Back-Stage Pass Features:

• Author interviews (Audio)
• Editor interviews (Audio)
• Peeks at first drafts, winning query letters and synopses
• An editorial from Holly Lisle herself, as to her thinking on why she chooses particular works for the feature spot in the zine.
• A Writers & Editors Green Room (for Season Pass holders) – a forum to discuss writing within
• The Slush Reader Training Program (for Season Pass holders) – a video training course
• First Call Board (for Season Pass holders) – first access to season job openings before made public.

Basic Reader Author Bribes

A season’s access to simply reading the monthly zine is reasonably priced. However Holly is suggesting that she will also give the readers a bribing ability. They will be able to bribe their favourite authors to write a further piece, using Paypal to provide that bribe.

Current Pricing

The following is pricing from Holly Lisle’s current blog entry, and is subject to change. Note: other than the bribe for an author to write another piece, there is as yet no mention on how much writers and editors will be paid for their work.

• $7.99 for a Basic Reader Level per season.
• Bribes to authors via paypal – $2 minimum / paypal minimum
• $19.95 for a one edition / episode Back Stage Pass
• $97 for a full season of Back Stage Passes – available on monthly installment also.

Positions Available

At the moment Holly is not looking for applicants, but you can express your interest and be informed by signing up to the newsletter from the Rebel Tales website (link above) which currently suggests she will be looking for a web designer, 2 Editors, 1 interviewer (presumably with some audio podcasting capabilities), writers, artists and photographers.

There is scope also for targetted advertisements through the zine.

Holly also suggests in the body of her blog that in the future, subscribers with access to the Slush Reader Training program and Writers & Editors Green Room (both available to Seasonal Back-Stage pass holders) will be able to propose ideas for themes for the ezine, and perhaps even become the editor if successful.

Holly also comments in the Editorial spot that she will be providing for Back Stage Pass holders, that she will be giving a commentary on how query letters and synopses won her over. This suggests that writers will need to be prepared to go through the full submission process to have their work published in Rebel Tales.

What’s In It For Me?

Firstly, Holly admits that she’s not blind to the potential that another ezine like this might well fail. In fact, she has done a lot of statistical gathering around the world of fiction. And fiction doesn’t sell well on the internet. However, given the ideas here, I would suggest that Rebel Tales has the potential to meet three very different kinds of groups here.

1. The Quick Reader

Previously I’ve written here at Juiced on Writing about the Wovel – or web novel. The Wovel was produced as a concept to draw in compartmentalised readers – the office workers who dip into a novel in their lunch breaks, or hidden behind their office cubicles.

In this day and age, where many of us are not reading as much as we once did, new formats for written work are required. Writing work – and reading it – needs to be cut down to fit into the rest of our rushed lives. Providing a monthly ezine at a very reasonable cost of $7.99 is one good way of looking at this new hectic market of readers. The price is very reasonable for a month’s worth of stories.

But what may make it even more of a winner is the contents – 120,000 words, but in bite-size stories, some of only 10,000 words each – stories which anybody can pick up and read during their coffee or lunch breaks. Dip-able stories. And stories in genres which the reader may not normally contemplate reading.

Readers at this basic level may not be interested in author interviews and other items from the back-stage pass level. But they will be interested in receiving new stories from their favourite authors each month – and perhaps in even bribing them, and connecting with those authors in a social way.

2. The New Writer

As a writing tutor / coach, Holly Lisle knows her stuff. I have just personally graduated from her How to Think Sideways – Writer’s Career Course, but am still of the need to properly try out my own query letters and synopses. In offering the Back Stage passes, Holly gives somebody like me the ability to look into those areas, and contemplate writing shorter fiction to get myself published in Rebel Tales. She’s given me a published outlet (that’s not one of those websites where hundreds of stories are published into a pool each day), and an outlet which I have to work for, just like submitting to a normal publisher.

Writers like author interviews, editor interviews, back-stage peeps. I’m as intrigued by that side of Rebel Tales as I am in the actual Zine contents. I’m the target audience for the full Back-Stage seasonal passes, I’m sure. As a new writer, Rebel Tale’s format appears to be setup to both entice me into the Back Stage, and to put me through my own writing paces to get published.

3. The Experienced Writer

Those looking for a new outlet for their writing have possibly found it. This may include the various experienced writing coaches with students out there, and those writers looking for experience in editing, who might like to oversee an edition in the future. Experienced writers and editors are also given the ability to raise their profile with a new community of readers and writers alike.

Potentially, given the advertising potential within the zine, they could also advertise their latest books or services to an open and welcoming audience.

For those who are artistic in design, the zine offers a potential bonus of getting both your written stories and artwork published, and paid for.

LINKMEs:

1. On this blog entry Holly gives the ideas behind Rebel Tales. Read this for much further information.
2. The RebelTales website itself – signup for the newsletter to find out when calls for positions and entries go out.

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The Official 50 Book Challenge

Started in 2003, The 50 Book Challenge runs on a livejournal blog. Users have access to post their own reviews of books they have read, following posting guidelines as per the User Info.

New users will typically wonder just what kind of reading they may “get away with” and the general response is – “What ever makes you happy”. The only principle provided by the official challenge is that readers should attempt to read 50 books during the year, approximately one per week.

Reading as a Trend

The official 50 Book Challenge remains running, but its popularity has spread virally, and you can now find many offline and online groups, perhaps even locally (some links below), who are challenging themselves to read a similar quantity of books per year – rebelling against the common statistics out there which are showing year by year that less adults are reading.

Book Groups are, happily, increasing against this trend also, and most nations are adding drives to emphasise reading as a holistic skill back into our educational systems – which will hopefully increase adult’s reading also as a side-benefit.

In the meantime, it appears a disciplined approach is needed for writers in getting back into that avid reading habit that some of us (myself included) may have lost. Challenges as goals to aim towards appear one way of setting this habit into concrete.

Reading Lots, From a Writer’s Perspective

There are many quotations from famous authors towards the art of writing being two things – reading lots and writing lots. Many writers advise that the best way to properly improve our writing and prose is by reading.

“Read Widely, and Read Often” anon.

“Whenever someone younger asks me for advice in writing, I always say ‘Read!’, because that will teach you what good writing is like, and you will recognize bad writing too.” JK Rowling.

“If you want to be a writer, you must do two things above all others: read a lot and write a lot…reading is the creative center of a writer’s life…you cannot hope to sweep someone else away by the force of your writing until it has been done to you.” Stephen King.

There are many of us who want to follow a writing career, and many of those people are quite content in using the Vanity Presses / Print on Demand services and giving away or selling their books to a small group of family and friends.

For those of us with slightly loftier hopes – in being published and seeing our books in local bookstores and libraries – then we have a job to do. We need to work out what is good reading in the genre or type of writing that we wish to write in ourselves. This involves studying books, and reading them. Lots of them.

Reading as a Writer

Reading as a Writer is a large subject in itself, and has been tackled in a few books, and through some school writing programs (Some links provided below for further reading). Teaching ourselves to swap between a reader’s eyes to that of a writer’s eyes can also be difficult at times, but I hope with practice will become almost second nature, without impacting the enjoyment of the book itself.

When reading my fifty books, I will attempt to follow a general pattern of investigation, especially when reading the genres I wish to write within. However, reading more broadly will also help my own education in what makes a good read. Some simple elements to watch out for -

• Plots and subplots, and how are these implemented through the story
• Ideas and Themes – how are these dealt with.
• The Organisation and Construction of the book – scenes, chapters, or sections for both non-fiction and fiction; beginnings, middles and endings of each; structural flow – linear, or not.
• Points of View / Voice
• Style and grammatical choice.
• Use of dialogue, description, exposition.
• Areas that bugged me and why.

Documenting Our Reading

Amongst some of the official 50 Book Challengers, there is a subsection of people who go to great lengths to provide reviews on the books they read. Many internet users have started Reading Blogs for that very reason. Others are happy with a simple book count widget counting up how many books they have ‘achieved’. Others are simply happy to count this for themselves.

As a writer, I feel that implementing some type of Reading Journal is of great importance. I’ve long known this as a theory, but never properly implemented it for myself until now. Quite coincidentally, my daughter is currently speeding through her own literature learnings at school – and is reading at several years above her age. Having quickly found her own reading ‘love’, she’s now reading many more books than her teacher appears to acknowledge of her, and we decided to provide a log of just what she is doing at home, both for her teacher’s sake, and as a wonderful record for my daughter when she is older.

This weekend we went looking for a little notebook or journal to become her own Reading Journal – one which she can simply enter the title of another book she’s read by herself in her bed at night. We eventually located a spiral notebook, and she’s already entered a couple of titles onto the first page.

At the same time, I purchased for myself a sturdy journal to document my own reading, including the writer analysis of my findings on each.  Having such Reading Journals has a fringe benefit, as both my daughter and I have found – we both want to be able to finish books to enter them into our journals. In fact, I’ve just taken possession of another shipment from Amazon of some of the writing books I’ve been wanting to get into.

LinkMes:

• The original Livejournal 50 Book Challenge
• 50 Book Challenge at LibraryThing
• 50 Book Challenge at Shelfari
• J-Kaye-Book-Blog – hosts lots of different challenges such as a 2009 E-Book Reading Challenge, 2009 Suspense & Thriller Challenge and a 2009 100+ [Books] Reading Challenge!
• Reading Like a Writer by Francine Prose (Book on Amazon – affiliate link)
• Read Like a Reader; Read Like a Writer (web page and PDF) – for students, but interesting looking at it from this perspective.
• Interested in some of the best writing books? Check out my Amazon store for my own recommendations.

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As a LibraryThing user myself, I have to guiltily admit that I haven’t updated my reading list or catalog online for many months. It just appears to be a bit of a burden to log onto yet another website to do that.

Now, with Twitter integrated, it’s simply a matter of direct messaging LibraryThing with my newest books. Many of us on Twitter use tools and applications sitting handily on our browser or as separate utilities for keeping updated with Twitter, meaning we don’t have to browse to our signon page with LibraryThing to add a book.

Better yet, those of us with Twitter apps on our mobiles (I can Tweet from my iPhone, for instance) can update LibraryThing on-the-fly – from bookstores, real-life libraries or friend’s places, for instance.

Here’s How

1. Log onto LibraryThing, and edit your profile. On the new Sites page, add your Twitter username.
2. On Twitter you can Direct Message LibraryThing (LThing as a user profile on Twitter) with the ISBN or Title, and tags for your entry.
3. The format of your message will be -

D LThing [ISBN or Title] #tag1, tag2, etc

Some examples -

• D LThing Eats Shoots & Leaves #writing #grammar #reference
• D LThing 9781846680359 #writing #grammar #reference

Both will enter Lynne Truss’s recommended ‘Eats Shoots & Leaves’ to my LibraryThing books. The search uses Amazon and chooses the first edition found. I actually used this as a trial, and within two minutes or so, my online library was updates with this book. The book was given the tags I had defined myself in the message, plus the addition tag of Twitter, making it easier to find on searching if you have a big book list.

LinkMe :

1. LibraryThing
2. Twitter
3. Follow LibraryThing on Twitter for messages
4. Follow Me, on Twitter (Just because)

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Jobler

noun

One who does small jobs

This seems to fit, and is perfect for my odd-job personality both in writing and external work.

The Oxford University Press is trying to reverse the trend which sees words being dropped from the dictionary every year from dis-use. You can adopt your own word at Savethewords.org. The site takes a while to load, but once you have chosen a word from the many, you will be sent an adoption certificate.

Care for your word carefully, attend to it in everyday life. My challenge to myself is to get my own adopted word into everyday conversation once this afternoon, and once again over the week.

LinkMe : Save The Words – adopt your own word

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When I first read this last week, I thought – “What ever next?” but Match.com has partnerships with other businesses such as Yahoo, MSN, Vodafone and The Sun, so it’s not that surprising from their side.

Currently sign-ups get a 7 day free trial. As my husband is watching me, I won’t be signing up to see what the Penguin dating channel has to offer.

However, it’s not an altogether new concept. Here, the Guardian newspaper talks about a new real dating event based on books called Read Dating. (Instead of Speed Dating, huh?)

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Sign in – registration is free – and you have access to an online reader which has chat and annotation functions on each ebook read. Users – and groups of users can use these facilities to discuss the books they are reading – in fact consider this from an online reading group perspective.

Authors can upload their own books to allow these discussions and receive feedback on their work, and the Book Glutton site itself (launched in January 2008) holds over 1000 books at this time, with many groups of readers also.

Cory Doctorow’s Ebook, entitled Ebooks : Neither E, Nor Books, is currently sitting on the homepage books list. The ebook – based on a paper presented at the O’Reilly Emerging Technologies Conference, 2004, makes for interesting reading (even before the arrival of the Kindle and Sony e-readers).

Here are a couple of quotes -

For starters, let me try to summarize the lessons and intuitions I’ve had about ebooks from my release of two novels and most of a short story collection online under a Creative Commons license.

No, if I had to come up with another title for this talk, I’d call it: “Ebooks: You’re Soaking in Them.” That’s because I think that the shape of ebooks to come is almost visible in the way that people interact with text today, and that the job of authors who want to become rich and famous is to come to a better understanding of that shape.

Go to Book Glutton to read this dissertion on ebooks, and to join in with reading several other books online, and chatting over them.

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If you buy a regular old book, CD or DVD, you can turn around and loan it to a friend, or sell it again. The right to pass it along is called the “first sale” doctrine. Digital books, music and movies are a different story though. Four students at Columbia Law School’s Science and Technology Law Review looked at the particular issue of reselling and copying e-books downloaded to Amazon’s Kindle or the Sony Reader, and came up with answers to a fundamental question: Are you buying a crippled license to intellectual property when you download, or are you buying an honest-to-God book?

In the fine print that you “agree” to, Amazon and Sony say you just get a license to the e-books—you’re not paying to own ‘em, in spite of the use of the term “buy.” Digital retailers say that the first sale doctrine—which would let you hawk your old Harry Potter hardcovers on eBay—no longer applies. Your license to read the book is unlimited, though—so even if Amazon or Sony changed technologies, dropped the biz or just got mad at you, they legally couldn’t take away your purchases. Still, it’s a license you can’t sell.

Further discussion can be found on the Gizmodo entry linked to below.

Link : Amazon Kindle and Sony Reader Locked Up : Why Your Books are No Longer Yours (Gizmodo site, March 21, 2008)

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