Thinking about Thanksgiving

It sounds kind of cheesy, I know, to stop and take note of all that I’m thankful for this Thanksgiving weekend here in Canada. But the thing is that being thankful means being grateful, and gratitude is a healthy thing, especially in an increasingly turbulent and uncertain world. It’s a time when I’m not thinking about what I want or desire to accomplish, but what I have, and when it comes right down to it I have much to be thankful for, personally and professionally.

Of course I’m grateful for my family and my home and my health, and the food on our table. As a person who has sponsored children through the Christian Children’s Fund and reads every Union Gospel Mission newsletter (one of my favorite charities), I’m well aware how many people are going without the essentials on this planet. This fact is constantly with me.

After over thirty years of writing and having my first traditionally published book arrive just six months ago, my gratitude has soared on the writing front. I’m thankful for all of the people in my critique group who’ve come and gone over the years. Everyone one of them has contributed to my life and helped me become a better writer. I’m thankful for my publisher and for the terrific editors I’ve worked with.

I’m thankful for social networking and for the opportunity to let people around the world know that I exist; that I have something to say and want to hear what they have to say. I’m thankful for the opportunity to be able to write full time and to experience the challenges of life as a working, professional writer. I’m thankful to Cheryl Tardif for encouraging me to try blogging about three years ago. 394 blogs later, I’m still enjoying it. And I’m thankful to readers who use their limited and precious time to read and support myself and others. For me, writing has never been about competing, but about supporting one another. And for that I truly am grateful. Happy Thanksgiving to you and yours.

THE OPPOSITE OF DARK, http://bit.ly/i983XE, now out on paperback at http://tinyurl.com/30dlx64
FATAL ENCRYPTION, http://tinyurl.com/ddzsxl
TAXED TO DEATH, http://tinyurl.com/czsy5n

Goal Setting Tips for Writers

I know hundreds of writers who fall victim to the deadly P-syndrome. If you’re unfamiliar with it, you’re one of the lucky ones. This syndrome is not only a killer of words and inspiration, but it can also be contagious, claiming other areas of the victim’s life or spreading to others. Washing your hands won’t keep P-syndrome away―unless washing your hands is part of a new mindset, one where you set daily goals.

If you haven’t guessed by now, I’m talking about PROCRASTINATION. It can be extremely debilitating to an author.

Read more about setting goals and check out the easy tips at Market My Novel

~Cheryl Kaye Tardif

Why Should I Read Your Novel? Why Should You Read Mine?

Why should I read your novel? Why should anyone? Only you know the answer to that, and you tell us by the story you choose to tell, the characters you choose to create, the themes you choose to develop.

We read not so much to escape our lives but to add meaning, understanding, and depth to our days. If we find nothing but the same old stories told in the same old ways, we come away from the experience intellectually and emotionally unsatisfied. If the characters don't change in a fundamental way, if they don't struggle with an idea bigger than they are, we don't change either.

Too often when I finish reading a book, I wonder why I bothered. The story is stale, the characters undeveloped, the stakes trivial, the theme banal. This is particularly true of books written by prolific authors. After three or four books, they plagiarize themselves, using the same basic characters and plots they did before. Perhaps their first book was fresh, with something new to say, but that something becomes stale with each succeeding book.

This is especially true in today's traditional book market where an author is expected to churn out a clone every year. And aspiring authors are being steered into that same pattern. They're told to write in the genre they read because obviously they like the genre and because they are familiar with its conventions. But perhaps the opposite is true. Perhaps they should write in a genre they don't read so they don't keep perpetuating clichés. They might unwittingly rehash old stories in the unfamiliar genre, but there is greater chance of saying something new.

My current work-in-progress is developing into a whimsically ironic allegorical apocalyptic novel, which is bizarre because I don't read that particular type of book; I don't even know if that is a type. What isn't bizarre, though, is all I am learning by writing in an unfamiliar genre. I may very well be writing a clichéd story -- I have no way of knowing -- but at least I am coming to it from my own unique viewpoint, not the distilled vision of all the authors who have gone before. And I am learning more about writing from this novel than any of my previous ones because I have to pull what comes next out of the creative ether, not from my memory of the stories I have previously read.

Without a mystery at its core as in my previous works, I have to search for other ways of adding tension to the story such as the inner conflicts that beset my hero. How much freedom is he willing to give up for security? How much security is he willing to give up for freedom? How much of freedom and security are illusory? And I am becoming cognizant of theme, symbols, and other mythic elements as ways of unifying disparate parts of the story.

So why should you read my book when it's completed? Because, if I do it right, it will be an entertaining way for you come to terms with one of the major dilemmas facing us today, and it will take you into the life of a character whose conflicts and choices will help make sense of your own life.

At least, that's the way story is supposed to work.