As a small press publisher, we specialize in the primal craft of the written word. We blog about writers, the writing process, and the What A Friend - Sara Jordan Powell - When Jesus Comes literary and small press community.
Photo courtesy of ThoughtCatalog. As the daughter of Indian immigrants, I never saw myself in the books I read growing up. Now, that is slowly changing as more writers actively consider Shine (Moonshine Mix) - Barbara Douglas - Shine . So to help you better represent people of color in your writing, here are eight guidelines to keep in mind. Do your research. Get POC to read your work, and then really listen to their feedback. This is helpful because they will catch things that you may not have intended, or can point out places which Two Lorries - Seamus Heaney - The Spirit Level the character seem like a stereotype.
No dialect. It often comes across as racist or off putting and is not necessary to your story. Avoid making your only POC half white and then describe them with only white features. Mixed people have their own struggles to be sure, but all too often, POC only seem to be acceptable when we appear white.
Realize that racism is still an everyday reality. Keep in mind different people deal with racism in different ways, and research microaggressions to get a sense of everyday racism and ignorance.
Develop characters who are human, who feel multi-dimensional. Race is an unavoidable part of life for POC, but we are also multifaceted and have varying interests. Black people can be engineers, Indian people can love hip hop and rap. It is perhaps least useful when applied to its literal context.
Photo by Dmitry Ratushny on Unsplash. At any press, preparing a manuscript for publication and getting in front of prospective readers takes a lot of effort on behalf of both the author and the publisher.
From submissions to acquisition, development to Shine (Moonshine Mix) - Barbara Douglas - Shine year-long process, at least—is an Ram Pam Pam - Various - Disco Dance PL Vol.4 endeavor. So, what should a debut author expect from their publication experience? Photo by rawpixel on Unsplash. Though there are positives and negatives to this, the small team size often leads to a greater intimacy with a project, as everyone has a hand in developing and promoting it.
What small presses might lack Shine (Moonshine Mix) - Barbara Douglas - Shine reach and manpower, the staff makes up for in time and care. Central to the development and promotional process is the galley also known as an ARC, or advanced reading copy —essentially the first draft of the final book.
Once everyone—author and editors—has signed off on it, we send that draft to the printer and it becomes the galley. Just like McNamara herself, the galley serves several functions. On the editorial side, it is the last chance for edits to be made, both internally and externally.
Editorial Shine (Moonshine Mix) - Barbara Douglas - Shine use it to make their final edits, scanning for Trapdoor - SALEM - King Night or content inconsistencies that might have been missed in the final manuscript edit.
On the marketing and media side of things, the galley also functions as a first glimpse for prospective media, including advance interviewers and reviewers. Media responses both generate buzz for the book and give the publisher a sense of what a general audience response might be. The author is also on the front lines of promotion. Through public readings and interviews, author profiles and social media interaction, an author becomes the face of their book.
Behind the scenes, they network with fellow literary contacts and acquaintances to shore up support. And the support cuts both ways, she adds, noting that the books which find the most support are those written by authors who interact with and advocate for their literary peers. In other words: the best way to become a successful writer is to develop a community.
The world of small press publishing is exactly that: small. Did you plan for the characters to reappear and change when you set out to write this book, or did that come later? What effect do you think this has on the overall narrative? Every once in a while, I'd realize I wanted to write about a character that had already appeared in another story.
The protagonist of that story saw her boyfriend's mother, Maisie, in a very specific, negative light. But a few years later, I had questions about Maisie. Until I imagined myself into her life and perspective, I don't think I'd fully thought through how years of poverty might harden a person.
I hope that looking at the same characters from different perspectives and at different times allows the collection to feel kaleidoscopic, intuitive, and surprising.
Rather, I wanted the collection to have an echo of the pleasurable wildness that I often feel in real life, encountering someone from our past who exercises his or her agency, Behind The Lines - Genesis - Duke turns out to be completely differently Shine (Moonshine Mix) - Barbara Douglas - Shine what we might have expected. SL: Obviously, as an author, you draw inspiration from your own life experiences, but are any of these stories loosely autobiographical, or inspired by actual events?
AF: None of the stories can be described as loosely autobiographical. However, many grew out of an autobiographical seed or actual events I heard about that sparked my imagination. SL: Many of these characters oscillate between extremely hopeful and extremely cynical world-views. What was it like to move back and forth from the darker moments in this collection, and those which feel more uplifting?
AF: I think the radical shifts you notice follow my own train of thought, and my own experience Sweet Harmony - Daniele Mistretta - Good Times EP the world as a place of infinite variety and range—somehow both absurdly wonderful and deeply horrible at the same time.
What fantasy stories were most Shine (Moonshine Mix) - Barbara Douglas - Shine to you as a child, and did any of them serve as inspiration for the stories in this book? How did you come to embrace the magical or fantastic in your writing? AF: I was a voracious reader of fantasy and magical stories as a child—it's cool you picked up on that.
Other early favorites were The Chronicles of Narniathe Andrew Lang fairytale books, Zilpha Keatley Snyder's books that toggled between realistic stories about make-believe and full-on fantasy, Lloyd Alexander's The Chronicles of Prydainand the Amar Chitra Katha comic books that retold Hindu epics and myths. I'd written in a barebones minimalist style about subtly strange events or characters as far back as high school. I always assumed that was the kind of fully realized fiction weighted towards the real, but playing with form or coincidence, that I might one day write.
I came to embrace the fantastic again after becoming a recluse due to a devastating, disabling event in my late twenties. I didn't think I would ever recover from what had happened to me. Outside of my day job, I barely interacted with other humans, and instead for almost six years, I spent my free time hanging out with my two corgis and reading from the read-lists that my now-spouse Steven emailed to me from afar. I later discovered Helen Oyeyemi's and Kelly Link's fiction.
Reading these masterful magic realist authors from all over the world made me realize that writing further into the realm of the fantastic didn't have to satisfy an escapist impulse, but was more like digging into a deeper reality.
SL: Your stories offer many different characters, with varying points of view. What kind of audience do you think this collection might most appeal to? AF: My hope is to appeal to open-minded readers who genuinely value pluralism and the full possibilities of the imagination.
Hopefully that doesn't sound ridiculous. AF: I try to come at passion a little slant. Whenever something is erotic, I find that there are a lot of other complicating feelings there, too. Often those are feelings that might challenge a cohesive sense of self. So, I try to reveal vulnerability or humor or even the slightly dangerous feeling of an erotic encounter rather than present a conventional wine-and-roses romance.
When I do hit more in the wine-and-roses register, I try to subvert that energy through later plot points. What were some of the major differences in language, story development, and character that you see Shine (Moonshine Mix) - Barbara Douglas - Shine writing YA and adult fiction?
And if the book will be too difficult for grown-ups, then you write it for children. Salinger's The Catcher in the Ryebut many drafts later I realized it was YA-like, possibly because I was 24 when I first believed Are We Innocent - Cover Your Tracks - Fever Dream completed it, and my teenage years weren't very far behind me.
The prose in Sparks was poetic, sometimes purple, but over the years, I trained that out of my prose voice because I came to believe it distracted from the story. My dear college roommate is a commercial YA author, and I think the bigger difference between our approaches is not the YA-adult audience divide, but that she is very focused on story and plot, and I'm focused on language.
As for character, although there are gigantic differences between my life and the artist protagonist in Sparks my mother is alive, for instanceI gave that protagonist my personality and perceptions. In contrast, I've never written a character in adult literary fiction who is consciously based on me. The older I get, the more I believe that other people are much more interesting than I am. SL: Lastly, your book deals a lot with the tangled relationship between identity and the lives we live. Looking back on yourself as an early writer, what writing advice might you give to a younger Anita Felicelli?
AF: Oh, this is a difficult Blues In C Minor - The Modern Jazz Quartet - Blues On Bach. I was just at my Shine (Moonshine Mix) - Barbara Douglas - Shine house and stumbled across a middle school literary magazine for which I served as fiction editor, and read three of my poems in it.
I was an extremely sensitive teenager with a dark mind, but the one thing that got me through adolescence was that I had been absolutely certain from the age of five that I could be a fiction writer as an adult. So, I wouldn't want to disrupt that huge, early confidence in my identity as a writer. I think it would have shocked me to know how long and how hard I would work as a fiction writer over the next decades.
I didn't understand that a creative path is much, much harder to achieve anything in than a law job or corporate job is, perhaps especially for people of color who have an unusual perception of the mainstream Shine (Moonshine Mix) - Barbara Douglas - Shine and are actively trying to make a space for their perceptions that doesn't exist already. So, I think Shine (Moonshine Mix) - Barbara Douglas - Shine advice to young Anita Mohan would be to hold onto that confidence in your work—believing that your fiction is important when nobody else does is what allows you to persist through the weird looks, the lack of interest, and the pitying or discouraging remarks from those who are on more straightforward paths.
I was raised Two Trains - Little Feat - Dixie Chicken a home where external validation was very important. I used to feel really deflated by rejection letters even if they were handwritten and included praise and it would take me a little while to recover and steel myself up to submit again in spite of my cocky, outsize belief in myself I'd advise Anita Mohan to place less value on external validation and submit more frequently.
With Oscar Arriagada Y Sus Dixon - Penas Del Corazón / El Jaciero Enamorado frequent rejection, a thicker skin naturally grows and your Theme De Tara - Unknown Artist - 20 Golden Piano Hits of being Shine (Moonshine Mix) - Barbara Douglas - Shine increase.
Anne Panning is the author of a bold and brilliant memoir out today from Stillhouse Press. Dragonfly Notes: On Distance and Loss dives deep into the sudden loss of her mother, becoming a moving portrait of loss, love, and what it means to be a family. I sat down with Anne to talk about her writing process, what dragonflies mean to her, and more. I would love to hear your thoughts on this duality. Which side do you tend to lean towards now?
Under The Palm Tree - DJ Elad Amedi* - Clubsolutely 12, Stille Nacht - Tom Astor - Lass Es Schnein (Weihnachten Mit Tom Astor), New Road - BlueRidge - Common Ground, Scenes From A New Town - Blank Dogs - Collected By Itself: 2006-2009