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The Indie Author Revolution
by: Seth Mullins
I remember well the night I first heard Nirvana. I was sunk in wretched and ugly despondency, not wanting to talk to anyone and hating myself. I couldn't discern or articulate my inner state, even to myself. There was no separating cause and effect. Then Kurt Cobain wove his uncanny spell. Suddenly I experienced my apathy, my sense of loneliness and alienation - even my depression itself - all these emotions as EMPOWERING.

Talk about waving your freak flag.

Nirvana's success paved the road to recognition for a lot of other great underground bands like the Screaming Trees, the Meat Puppets, the Melvins; bands that provided a welcome alternative to the bland and condescending music that was being force-fed to the masses by the industry. The "grunge" movement of the early '90's was the closest my generation ever came to spiritual union. A community took root and grew, gathering misfits from every far-flung corner until it was massive enough to shake up the status-quo. This uprising snatched music from the hands of the corporate world and delivered it back to the people. It was fueled not only by hard work on the part of the bands, but also by word of mouth - and the invaluable support of independent labels, magazines and record stores.

The media generally didn't know what to make of it. Record companies were rethinking their strategies and scrambling to hop on the bandwagon. Oftentimes they latched onto the surface trappings - unkempt long hair, flannel shirts and stage-diving - and missed the spirit of the happening entirely. There was no Institute of the Arts where one could go to learn how to translate the frustrations of the twenty-somethings into timeless music.

I miss the excitement of that time, the feeling that the ball was in our hands and we were finally going to see some movement and change.

There is an upheaval occuring now within the publishing industry that will make it possible for a similar grass-roots movement to flourish through the medium of books and literature. Frustrated by the major publishing houses and their worship of the bottom line - and the elitist milieu wherein a handful of people in New York deign to decide what the rest of us will read this year - ambitious authors are exploring alternatives like self- or print-on-demand publishing. They seek greater creative control (i.e., no editors or agents demanding drastic alterations to authors' manuscripts based upon their knowledge of "what sells"), higher royalties, and the means to skirt around the powers that have hitherto been acting as the gatekeepers of the publishing world.

Getting hip to underground music required not only soul-searching and discrimination but also a fair amount of leg-work. The records were hard to find, and because they went largely ignored by radio and MTV one often didn't know which ones were worth laying down one's hard-earned money for. An independently-thinking fantasy enthusiast faces a similar dilemma today when searching for something other than Harry Potter or recycled Tolkien to read.

Here the internet proves a valuable resource. Discussion groups, forums and chat-rooms have created cyber-tribes that congregate around every conceivable subject and interest. Word of mouth travels fast these days - and between millions of people who've never even met. Amazon.com has turned readers into reviewers. Authors have their own websites where they post excerpts and sample chapters from their works. The internet is the ideal launching pad for the indie-book revolution, because it's taken tools previously monopolized by corporate publishing and made them available to us common folks. Books that, once upon a time, would've been rejected because they didn't fit into any cookie-cutter genres can now find a community to embrace them.

Ultimately, when we as authors take our creative destiny into our own hands we're giving ourselves permission to BE OURSELVES - and allowing others a glimpse of our true nature.

A cultural climate where new ideas proliferate - and are exchanged - is an environment wherein the soul can expand and breathe. Art is meant to open the windows and air out the closets. It should not be bound, like Prometheus, to the rock of publisher shareholder interests, chain bookstore monopolies and Oprah's selections of the month.

Seth Mullins is the author of "Song of an Untamed Land", a novel of frontier drama, musical prohibition and the spiritual quest. To browse or download excerpts from his work, visit Seth at http://authorsden.com/sethtmullins.



This article is free for republishing
Seth Mullins is the author of "Song of an Untamed Land", a novel of speculative fantasy in lawless frontier territory. His nonfiction includes dissertations on the craft of writing, as well as the inner meanings of mythic and fantasy stories.

 



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Creative Writing Tips - Have You Established Your Main Character At The Start?
 by: Nick Vernon

In the beginning of your story you have to grab your readers’ interest and sustain it till the end. Our hook is our character. Readers keep on reading to find out more about the character. To see what he’ll do in the story; how he’ll solve his problems. What his goals are and whether he’ll achieve them.

And because our character is the reason readers become hooked on our stories, establishing him at the start is a must in a short story. And it is essential to establish him at the start because we don’t have the capacity in our limited word length to introduce him at our leisure.

The bond between readers and character has to be developed almost immediately.

You might have a few characters though. How do you decide who your main character will be? A main character is one that drives the story.

Think of it this way… If we were to take him away, there will be no story because it’s his story we are telling. The story will unfold by what is happening or what has happened to him.

When you establish who your main character will be, the next thing to do is to find which of your characters is in the best position to tell the story. Will your main character tell his story or will you give that role to another character?

This is what we call Viewpoint and what we’ll see in more detail in proceeding chapters.

Your main character isn’t necessarily the one who is telling the story; he might not even appear in our story ‘physically’ but will be there through the thoughts of others. So the viewpoint character might be a secondary character.

Whoever is telling the story is the viewpoint character.

The viewpoint character gives the coloring of the story. Whatever this characters says, we will believe. It may or may not be true, according to the main character, but because he isn’t there ‘physically’ to voice his opinions, we will have to take the viewpoint character’s word for it.

In a novel you can play around with viewpoint. You can have several viewpoint characters. In a short story it works best with one.

So your main character, whether he’ll be telling his own story or someone else will be doing it for him, has to be established at the start of your story.

Having said that, let’s see the reasons why the main character may not be telling his own story...

  • Perhaps our main character is one that readers won’t sympathize or empathize with.
  • Or the main character will not view highly with our readers
  • Or the viewpoint character knows all the facts and can tell the story better
  • Etc.

~~~~~~~~~~~~~

Let me give you an example of a secondary character telling the story of a main character…

Let’s say your secondary character is a psychiatrist and the main character is the patient. Depending on what’s going to go on in the story, we’ll have to choose who’s in a better position to tell it. In this case, I will choose the psychiatrist.

I’ve done this because the patient is confused, being the one with the problems. The psychiatrist knows all the facts and his opinions will make things clearer to readers.

So, as the secondary character (the psychiatrist) unravels the story, we’ll become involved in the main character because it’s the main character’s story that is been told.

This may get a little confusing to the beginner writer. As they write they will have to keep in mind that the secondary character, although he’s telling the story, is NOT our main character.

The secondary character is there to do perform a task. He’s only the voice. It’s the main character we’ll become involved with.

A secondary character doesn’t play such an important role as a main character does. Therefore, information about secondary characters should be kept to a minimum. It’s not his story – it’s the main character’s story and the spotlight must, most times, be kept on the main character.

Take the above example for instance. It’s no relevance to the story how the psychiatrist started his career or where he received his diploma – what’s important, is what he has to say about the main character, his patient.

~~~~~~~~~~~~~~

Introduce your main character straight away, as close to the beginning of the story that’s possible. Enable your readers to form a bond and that will keep them hooked.

Is your main character established at the start of your story?



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