Okay, since there was all this talk about originality, touchstones, ideas executed in a brilliant manner, and all that other jazz last week. I thought I'd take the time to throw out some examples of what I thought were ideas executed brilliantly. Now, don't forget, that there aren't any original ideas any longer. Every single idea out there has been done before . . . just in a different way.
So, here's my list, and no, they're not all books either. This is just a way to touch upon the idea of executing brilliantly . . .
Idea: Someone dies, goes to Heaven, and then is sent back to occupy somebody else's body. Yeah, familiar idea. Drop Dead Diva on Lifetime executes this idea brilliantly in a new and fresh way. I just happened to catch the show one day and fell in love with the concept. Basically, a 24 year old blonde model dies and her soul is plunked into the body of a 32 year old very chunky woman with dark hair. Talk about culture shock. Still, this concept could have come across as hokey. Instead, the writers are doing a brilliant job as this 24 year old skinny blonde model is forced to see life through different eyes. Check it out if you get a chance.
Idea: stranded on a desert island and must survive against nature and overwhelming odds. Let's see - Swiss Family Robinson, Robinson Carusoe, Castaway, and Lost. Each execution of brilliance stands out on its own. The idea has been done before, countless time, but each execution is a bit different that intrigues the viewer/reader.
Idea: a reinterpretation of the Greek mythology. Okay, we have Clash of the Titans (good movie), the syndicated series Hercules with Kevin Sorbo, and then Marie Phillips wrote gods behaving badly. OMG, loved the book. She took an interesting premise and developed it into a quirky, wonderful novel.
Idea: a little girl skipping through the woods on the way to grandma's house, the big bad wolf, a princess kept in a high tower by a witch, a woman with an evil stepmother and sisters. Yeah, you got it, fairy tale concepts. A brilliant execution of this idea, combining characters from many fairy tales, was the Broadway musical Into the Woods. Great play, available on DVD, and with Bernadette Peters to boot. Can life get much better than that? I don't think so! Oh, and then there was the animated Happily Never After with the voices of Sigourney Weaver and Sarah Michelle Geller. Basically, Cinderella's wicked stepmother gets control of fairy tale land and starts to make sure that all the stories end happily never after. Very cute movie with a unique twist, shall we say brilliant execution, on an idea that's been done before.
Now, there are tons, tons more examples I could put out there, but I'm not going to. Instead, I'm asking for your input. Yes, you, dear readers. What are some ideas you think were executed brilliantly?
S
Monday, August 31, 2009
Friday, August 28, 2009
Originality
As usual, the inspiration for this post came from somewhere other than the depths of my - sometimes - depraved mind. So, without further adieu . . . Lady Glamis' Thursday post at The Literary Lab about stones and Davin's post about where is originality found are the inspiration for this post.
Okay, go click on the links, read the posts, and then hurry back here to immerse yourself in my brilliance! Yes, I'm a bit snarky as I'm writing this post. It happens from time to time.
The whole thing about originality is . . .that it doesn't exist any longer. What? OMG, has he been hitting the margaritas already? No! But at 7:30 PM Central Time tonight, all bets are off!
We all know (or should) that every single idea out there has been done before. It is not the idea that matters, but the execution of the idea in a brilliant fashion that matters.
Now, after reading Lady Glamis' post about stones I posed the following question:
If there are no longer original ideas, then aren't the ideas from our touchstones just copies of earlier ideas that generate from the earliest beginnings of ideas?
Lady Glamis' response:
I believe they are, in a sense, but I also firmly believe that everything we internalize and write from our heart is truly our own. Nobody else could write it that way. Nobody else has our voice. To me, it all feels like a pearl getting bigger and bigger inside the shell - we are all growing and learning from each other.
So, even though there are no original ideas any longer, there is the ability to reshape those original ideas into brilliant ideas from our own perspective.
My second question was: Art - whether paintings, pictures, books, sculpture, whatever - is meant to evoke an emotional response. Isn't creativity an emotional response? Isn't the forming of an idea, and making it brilliant in our own right, just part of the creative process?
And, being the generous person that I am, I answered my own question . . . If that theory is correct, then every book we read, every piece of art, every poem, song, whatever, are all touchstones . . . well, at least in my little world!
The world around me, is my inspiration, whether it's a lone man on the dance floor dancing like nobody is watching, or the words of a poem that light the fire of inspiration in my brain and cause me to grab the pen and paper and begin scribbling out ideas, or the sight of a lone deer wandering through the developed backyards of society where once there were only trees, or any number of things.
The limits to our originality, our shaping of an idea into something brilliant, are, in my opinion, infinite.
S
Oh, a few other things . . .
. . . I haven't forgotten about the rest of the followers and posting your names and blogs. It's very time consuming, and I just haven't had the greatest amount of time available lately. I haven't forgotten and you will get your moment of glory on this blog. : )
. . .Revision in Progress is going well, and I'm nearing the end of the manuscript and getting closer to my word count. I have a feeling I'll have to make another pass through the entire manuscript to really narrow down the count. Ah, the joys, the joys, the joys of eliminating words!
Have a great Friday (and weekend)!!
Okay, go click on the links, read the posts, and then hurry back here to immerse yourself in my brilliance! Yes, I'm a bit snarky as I'm writing this post. It happens from time to time.
The whole thing about originality is . . .that it doesn't exist any longer. What? OMG, has he been hitting the margaritas already? No! But at 7:30 PM Central Time tonight, all bets are off!
We all know (or should) that every single idea out there has been done before. It is not the idea that matters, but the execution of the idea in a brilliant fashion that matters.
Now, after reading Lady Glamis' post about stones I posed the following question:
If there are no longer original ideas, then aren't the ideas from our touchstones just copies of earlier ideas that generate from the earliest beginnings of ideas?
Lady Glamis' response:
I believe they are, in a sense, but I also firmly believe that everything we internalize and write from our heart is truly our own. Nobody else could write it that way. Nobody else has our voice. To me, it all feels like a pearl getting bigger and bigger inside the shell - we are all growing and learning from each other.
So, even though there are no original ideas any longer, there is the ability to reshape those original ideas into brilliant ideas from our own perspective.
My second question was: Art - whether paintings, pictures, books, sculpture, whatever - is meant to evoke an emotional response. Isn't creativity an emotional response? Isn't the forming of an idea, and making it brilliant in our own right, just part of the creative process?
And, being the generous person that I am, I answered my own question . . . If that theory is correct, then every book we read, every piece of art, every poem, song, whatever, are all touchstones . . . well, at least in my little world!
The world around me, is my inspiration, whether it's a lone man on the dance floor dancing like nobody is watching, or the words of a poem that light the fire of inspiration in my brain and cause me to grab the pen and paper and begin scribbling out ideas, or the sight of a lone deer wandering through the developed backyards of society where once there were only trees, or any number of things.
The limits to our originality, our shaping of an idea into something brilliant, are, in my opinion, infinite.
S
Oh, a few other things . . .
. . . I haven't forgotten about the rest of the followers and posting your names and blogs. It's very time consuming, and I just haven't had the greatest amount of time available lately. I haven't forgotten and you will get your moment of glory on this blog. : )
. . .Revision in Progress is going well, and I'm nearing the end of the manuscript and getting closer to my word count. I have a feeling I'll have to make another pass through the entire manuscript to really narrow down the count. Ah, the joys, the joys, the joys of eliminating words!
Have a great Friday (and weekend)!!
Thursday, August 27, 2009
Instinct
As usual, this post was inspired by something else. Go figure. The lucky source of inspiration today is . . . Lady Glamis! Why? Well, because she wrote this really in-depth post called diving deep on her blog.
So, you know the drill, hop on over there, read the post, and then come back here.
Okay, since you've read the post (you better have, because otherwise nothing I'm writing here is going to make the least bit of sense) . . .
Question: do you let your instinct, intuition, guide you when you're writing?
If you answered heck, yeah! then there's no need to keep reading this post. If you went huh?, then you might want to keep reading.
I've learned to trust my instinct when writing. Heck, I've learned to trust my instinct in life. The few times I've ignored my instinct bad, very bad, things have happened.
So, I'm writing along, word after word, sentence after sentence, paragraph after paragraph, watch those pesky adverbs, chapter after chapter, and then - suddenly (sorry, couldn't resist) - BAM! I hit the wall. My fingers freeze over the keyboard and my brain, well, my brain is at a standstill. There's not a single synapse synapsing, oh, except for the one sending this message: crap, now where was I going with this chapter. I recover from this moment and begin typing again . . . slower, slower, slower still, even more slowly (creep, creep, creep), and then the fingers are hovering above the keyboard again and my brow is furrowed in intent concentration.
The Void. Writer's Block. Dramatic Overwhelm. Okay, if you don't know what dramatic overwhelm means, then you've obviously not read the post I insisted you read.
Okay, maybe it's not exactly the dramatic overwhelm Lady Glamis talked about, but the very ideal made me start thinking about instinct and how, in trusting my instinct, I'm better able to write.
I think every writer experiences dramatic overwhelm at some point.
I also think we (or at least some of us) subconsciously recognize the moment we enter into the realm of overwhelm.
When I get stuck in my writing, when a chapter is just not working, I step away for a day and then come back with fresh eyes. In most instances, I erase what I wrote the day before and begin anew. I think I recognized that something wasn't working, so my instincts made me stop.
I also think the deeper we dive, the better our writing will become. I know when I've written strictly from my heart, no thought of audience or what people might think, I've written some of the best stuff I can possible write. It is when I write while considering what others might think that my writing becomes sluggish and, possibly, it is that moment when I enter the realm of overwhelm.
Yes, I know, we need to consider our audience. I just think when we pay too much attention to what other's think, then we begin to lose something of ourselves.
There will come a point when we must consider our audience. It's when we have an agent, an editor, and a publisher willing to take a chance on our brilliance. It is then, when the agent and/or editor says . . . well, you need to change this, this, that, this, that, this, oh, and could you eliminate entirely Chapter 22. Yes, we'll fight for our writing, our beliefs, and everything else, but I would like to hope that I, at that point in time, would be able to recognize that perhaps the changes I'm being asked to make are because I became mired in Dramatic Overwhelm.
In the end, or perhaps the beginning, we (I) must rely on our (my) instinct to guide us (me) past the moments of overwhelm and onto the brilliance we (I) am capable of achieving.
For some, it will be an extensive outlining process. For some, there will be index cards strewn throughout their offices. For some, there will be haphazard notes here, there, and everywhere (this is possibly me, but I'm not telling for sure). We all write as we write, and we write how we are comfortable, and, most important of all, we should let our instincts guide us.
When you hit the wall, the Void, the moment of writer's block, step back, close your eyes, and listen closely to your instinct. It is there, deep inside you, where you will find the path that particularl story needs to take.
So, dear readers, now the initial question falls back to you . . .do you let your instinct, intuition, guide you when you're writing?
S
So, you know the drill, hop on over there, read the post, and then come back here.
Okay, since you've read the post (you better have, because otherwise nothing I'm writing here is going to make the least bit of sense) . . .
Question: do you let your instinct, intuition, guide you when you're writing?
If you answered heck, yeah! then there's no need to keep reading this post. If you went huh?, then you might want to keep reading.
I've learned to trust my instinct when writing. Heck, I've learned to trust my instinct in life. The few times I've ignored my instinct bad, very bad, things have happened.
So, I'm writing along, word after word, sentence after sentence, paragraph after paragraph, watch those pesky adverbs, chapter after chapter, and then - suddenly (sorry, couldn't resist) - BAM! I hit the wall. My fingers freeze over the keyboard and my brain, well, my brain is at a standstill. There's not a single synapse synapsing, oh, except for the one sending this message: crap, now where was I going with this chapter. I recover from this moment and begin typing again . . . slower, slower, slower still, even more slowly (creep, creep, creep), and then the fingers are hovering above the keyboard again and my brow is furrowed in intent concentration.
The Void. Writer's Block. Dramatic Overwhelm. Okay, if you don't know what dramatic overwhelm means, then you've obviously not read the post I insisted you read.
Okay, maybe it's not exactly the dramatic overwhelm Lady Glamis talked about, but the very ideal made me start thinking about instinct and how, in trusting my instinct, I'm better able to write.
I think every writer experiences dramatic overwhelm at some point.
I also think we (or at least some of us) subconsciously recognize the moment we enter into the realm of overwhelm.
When I get stuck in my writing, when a chapter is just not working, I step away for a day and then come back with fresh eyes. In most instances, I erase what I wrote the day before and begin anew. I think I recognized that something wasn't working, so my instincts made me stop.
I also think the deeper we dive, the better our writing will become. I know when I've written strictly from my heart, no thought of audience or what people might think, I've written some of the best stuff I can possible write. It is when I write while considering what others might think that my writing becomes sluggish and, possibly, it is that moment when I enter the realm of overwhelm.
Yes, I know, we need to consider our audience. I just think when we pay too much attention to what other's think, then we begin to lose something of ourselves.
There will come a point when we must consider our audience. It's when we have an agent, an editor, and a publisher willing to take a chance on our brilliance. It is then, when the agent and/or editor says . . . well, you need to change this, this, that, this, that, this, oh, and could you eliminate entirely Chapter 22. Yes, we'll fight for our writing, our beliefs, and everything else, but I would like to hope that I, at that point in time, would be able to recognize that perhaps the changes I'm being asked to make are because I became mired in Dramatic Overwhelm.
In the end, or perhaps the beginning, we (I) must rely on our (my) instinct to guide us (me) past the moments of overwhelm and onto the brilliance we (I) am capable of achieving.
For some, it will be an extensive outlining process. For some, there will be index cards strewn throughout their offices. For some, there will be haphazard notes here, there, and everywhere (this is possibly me, but I'm not telling for sure). We all write as we write, and we write how we are comfortable, and, most important of all, we should let our instincts guide us.
When you hit the wall, the Void, the moment of writer's block, step back, close your eyes, and listen closely to your instinct. It is there, deep inside you, where you will find the path that particularl story needs to take.
So, dear readers, now the initial question falls back to you . . .do you let your instinct, intuition, guide you when you're writing?
S
Wednesday, August 26, 2009
Ideas
Jessica Faust over at the BookEnds, LLC - A Literary Agency blog posted about idea theft on Monday. So, you know the drill - hop on over there and read her excellent post, as well as the comments.
The question asked of Jessica was . . . the idea – the spin – was something new and different, and putting it out there for contests would leave it open to idea stealing.
Her response . . . an idea is not copyrightable, so yes, someone could steal your idea, but what really matters in the end is the execution.
Another thing that stood out for me . . .
If your idea is brilliant, but you aren’t able to execute it as brilliantly, it’s not brilliant.
Her challenge to the readers of her blog . . . is for them to actually define “idea” when it comes to your book.
The main point that stuck in my mind is . . .
I think you need to focus on making the execution of your idea more brilliant than anyone else could ever make their execution.
I mean, whoever thought of taking their idea and making it brilliant. Ha!
We all know, or at least we should, that there are a finite number of ideas out in Storytelling Land. Ideas aren't in endless supply. The execution of ideas (I love, love, love that phrase) are in endless supply.
So, you see, I have this idea for a book about a group of friends . . . Well, there are tons of books out there about a group of friends. The idea isn't original. The way I wrote the story is, at least in my opinion, original. I took my initial idea and expanded on it, again, and again, until I created something similar to The Friday Night Knitting Club (a group of friends gathering together, supporting each other, and loving each other, etc.), but different because it doesn't involve knitting, it doesn't involve women friends of various ages, and doesn't deal with . . . well, I'm not going to give away the end. You can just pick up the book by Kate Jacobs and find out what happens for yourself.
The point is, I took the idea challenge (way before I knew about it, I must have been having a psychic moment) and crafted my own unique take on an idea that's been done before, and before, and before, and before, and . . . will be done after, and after, and after, and . . .
We, as writers, must take our ideas, shape them, hone them, polish them, and make them stand out from the generic idea into a brilliant idea that takes into account the premise of the idea and adds depth of character, setting, situations, conflict, drama, and a bit of unpredictability!
S
p.s. you better have checked out the blog post.
The question asked of Jessica was . . . the idea – the spin – was something new and different, and putting it out there for contests would leave it open to idea stealing.
Her response . . . an idea is not copyrightable, so yes, someone could steal your idea, but what really matters in the end is the execution.
Another thing that stood out for me . . .
If your idea is brilliant, but you aren’t able to execute it as brilliantly, it’s not brilliant.
Her challenge to the readers of her blog . . . is for them to actually define “idea” when it comes to your book.
The main point that stuck in my mind is . . .
I think you need to focus on making the execution of your idea more brilliant than anyone else could ever make their execution.
I mean, whoever thought of taking their idea and making it brilliant. Ha!
We all know, or at least we should, that there are a finite number of ideas out in Storytelling Land. Ideas aren't in endless supply. The execution of ideas (I love, love, love that phrase) are in endless supply.
So, you see, I have this idea for a book about a group of friends . . . Well, there are tons of books out there about a group of friends. The idea isn't original. The way I wrote the story is, at least in my opinion, original. I took my initial idea and expanded on it, again, and again, until I created something similar to The Friday Night Knitting Club (a group of friends gathering together, supporting each other, and loving each other, etc.), but different because it doesn't involve knitting, it doesn't involve women friends of various ages, and doesn't deal with . . . well, I'm not going to give away the end. You can just pick up the book by Kate Jacobs and find out what happens for yourself.
The point is, I took the idea challenge (way before I knew about it, I must have been having a psychic moment) and crafted my own unique take on an idea that's been done before, and before, and before, and before, and . . . will be done after, and after, and after, and . . .
We, as writers, must take our ideas, shape them, hone them, polish them, and make them stand out from the generic idea into a brilliant idea that takes into account the premise of the idea and adds depth of character, setting, situations, conflict, drama, and a bit of unpredictability!
S
p.s. you better have checked out the blog post.
Tuesday, August 25, 2009
Connections
Okay, Davin and I must have been having a psychic moment. You see, I was driving to work Monday morning and came to the stoplight by Starbucks. I happened to glance over and there were three men sitting at an outside table drinking their coffee and chatting. My first impression: well, that looks like an odd group of people. I mean, they just didn't seem like they would be friends.
Well, that lovely thought started the brain cells (without any coffee) working. I thought: what are the dynamics of that group. What brought those three together? What's the connection between them?
Now, Davin wrote a post at The Literary Lab on Monday about Character First Impressions. It kind of freaked me out since I was pretty much thinking along similar lines about the characters. In the end, what the characters do has to make sense, and the connection between them should make sense as well.
Question: What is the connection between your characters?
Question: What are the dynamics that brought the characters together?
Question: Does it make sense that the characters are friends?
I hang out with a varied group of people, but there are little connections between us, just as their are disparities between us. We have a sort of symbiotic relationship, ying/yang and all that jazz. For the most part though, I know the connection between us.
Now, back to the three men sitting outside of Starbucks: one very overweight, one kind of quirky but skinny, and one just sort of there and also skinny. The one just kind of there pretty much blended into the background. Mr. Quirky with his hat on was talking animatedly. Mr. Overweight was nodding his head and smiling, but really not saying much. The dynamics of the group were, at least in my one minute impression like this . . . Mr. Quirky is the leader of the group, Mr. Just There is a part of a group, but seems outside of the group, and Mr. Overweight is just grateful to be considered part of the group.
Okay, those are surface impressions only and I could be totally wrong with my observations. Then again, I could be totally right.
When I was in high school, all the football jocks hung together, and all the cheerleaders hung together. You could place money on the fact that the cheerleaders would date the football jocks. You could also understand why they hung out together. Like attracts like. I can guarantee you that the cheerleaders didn't hang out with the overweight girls in high school. It just didn't happen. The braniacs from high school didn't hang out with the football jocks either. Like attracts like.
So, does it make sense that your characters are hanging out together? Are there similarities between them (like attracts like) that would draw them together? Is one character the leader? Does one character sort of fade into the background? Does one character always, always, always agree with what the leader says, and never dares to voice a differing opinion? If you were to see three of your characters having coffee at Starbucks, would you think gee, why are those three together or would you think well, it makes sense that their hanging together?
If you responded with the first answer, you may need to look back at the beginnings of your characters and tweak it just a bit. If it doesn't make sense, if you're going huh, then there's an issue!
Well, that's it for this lovely Monday . . . oh, but the post won't post until Tuesday!!!
S
Well, that lovely thought started the brain cells (without any coffee) working. I thought: what are the dynamics of that group. What brought those three together? What's the connection between them?
Now, Davin wrote a post at The Literary Lab on Monday about Character First Impressions. It kind of freaked me out since I was pretty much thinking along similar lines about the characters. In the end, what the characters do has to make sense, and the connection between them should make sense as well.
Question: What is the connection between your characters?
Question: What are the dynamics that brought the characters together?
Question: Does it make sense that the characters are friends?
I hang out with a varied group of people, but there are little connections between us, just as their are disparities between us. We have a sort of symbiotic relationship, ying/yang and all that jazz. For the most part though, I know the connection between us.
Now, back to the three men sitting outside of Starbucks: one very overweight, one kind of quirky but skinny, and one just sort of there and also skinny. The one just kind of there pretty much blended into the background. Mr. Quirky with his hat on was talking animatedly. Mr. Overweight was nodding his head and smiling, but really not saying much. The dynamics of the group were, at least in my one minute impression like this . . . Mr. Quirky is the leader of the group, Mr. Just There is a part of a group, but seems outside of the group, and Mr. Overweight is just grateful to be considered part of the group.
Okay, those are surface impressions only and I could be totally wrong with my observations. Then again, I could be totally right.
When I was in high school, all the football jocks hung together, and all the cheerleaders hung together. You could place money on the fact that the cheerleaders would date the football jocks. You could also understand why they hung out together. Like attracts like. I can guarantee you that the cheerleaders didn't hang out with the overweight girls in high school. It just didn't happen. The braniacs from high school didn't hang out with the football jocks either. Like attracts like.
So, does it make sense that your characters are hanging out together? Are there similarities between them (like attracts like) that would draw them together? Is one character the leader? Does one character sort of fade into the background? Does one character always, always, always agree with what the leader says, and never dares to voice a differing opinion? If you were to see three of your characters having coffee at Starbucks, would you think gee, why are those three together or would you think well, it makes sense that their hanging together?
If you responded with the first answer, you may need to look back at the beginnings of your characters and tweak it just a bit. If it doesn't make sense, if you're going huh, then there's an issue!
Well, that's it for this lovely Monday . . . oh, but the post won't post until Tuesday!!!
S
Monday, August 24, 2009
Four Questions
This morning's post centers around four questions that I found here and here on the Adventures in Writing blog. So, you know the rules by now . . . click on the links and read the blog posts. Yeah, I'm borrowing the questions for this post, but that doesn't mean you should shortcut yourselves or the team at Adventures in Writing by not reading the original posts and comments. I'm just saying . . .
The questions, in order of appearance . . .
1) Are my characters DOING something?
2) Is there a CONFLICT?
3) If I'm 90 years old and sitting on the porch with my partner (insert designation of choice here), will I say: "I am so glad I wrote THAT novel."?
4) Why does your character want to tell this story?
So, for fun, let me ask and answer these questions for my novel currently in revision stage.
The questions, in order of appearance . . .
1) Are my characters DOING something?
2) Is there a CONFLICT?
3) If I'm 90 years old and sitting on the porch with my partner (insert designation of choice here), will I say: "I am so glad I wrote THAT novel."?
4) Why does your character want to tell this story?
So, for fun, let me ask and answer these questions for my novel currently in revision stage.
- Are my characters DOING something? Yes. Definitely. They're living their lives, interacting with each other, and desperately trying to make the right choices that will bring them happiness and resolve . . .
- Is there a CONFLICT? Well, yes, there is, which is how I'd finish the sentence I left dangling with those pretty little ellipses . . . and resolve the conflicts in their lives. Each character has a conflict they are dealing with and trying to resolve. The choices aren't simple, and the repercussions, for some of the characters, are far reaching.
- If I'm 90 years old and sitting on the porch with my partner, will I say: "I am so glad I wrote THAT novel."? Yes. I love, love, love this project. It was written from my heart. It was written solely for me with little thought giving to any outside influences - OMG, what if my mother reads this? Is there an audience? There is, btw. Will the contents of this novel cause the downfall of society? Will this story make an impact on people? Blah, blah, blah, blah, blah. So, yes, I am glad I wrote THAT novel.
- Why does your character want to tell this story? Because it is a story that needs to be told. Life isn't, no matter what the eternal optimists in the world might say, a proverbial bed of roses. Roses have thorns, people, and every now and then, no matter how careful we are, we get pricked by one of those thorns. Let me tell you, it hurts, it stings, and sometimes it bleeds . . . and yet we survive. So, the travails of an unraveling relationship, the indecision of a man as he exists in a bad relationship and is unable to find the courage to seek something better, the aftermath of a violent attack, and the realization that even the most meaningless relationships, ironically, have meaning after all, are why my characters want to tell this story.
Now, go check out the other blogs, and then start asking yourselves these same questions!
S
Friday, August 21, 2009
Contest
Okay, there's a neat contest going on over here.
This is Maggie Stiefvater's - author of Lament and the soon to be released Ballad. Go over to her blog to check out the rules of the contest and to learn more about the author. Yes, this is a shameless plug for her book on the off chance that I might win the contest and get either an Advanced Reader Copy (ARC) of Ballad or the actual copy of the book once it is released. I'm all about contests, don't ya know! That was me doing a poor imitation of an Irish accent. I do that sometimes, just for the heck of it!
S
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