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Noah Baird - Fiction is a Lie + Contest

Enter to win a paperback copy of Donations to Clarity

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Fiction is a Lie
by Noah Baird

Hi, everyone! I’m Noah Baird, author of Donations to Clarity. Today, I am guest blogging for Night Owl Reviews.

Today we are going to talk about lying. I used to be a liar; now I write fiction. I lied so well someone published me. That means I have a black belt in telling lies. I am a Jedi Master of Bull.

You’ve been told your entire life not to tell a lie. As children, we held George Washington is great esteem because he could not tell a lie. Turns out, that whole little story about George was itself a big lie. We were told a lie to teach us not to lie. So, pull up your big-boy pants, and start squeezing that bs gland.

Lying will make you a better writer. Not those little ‘white lies’ we tell each other. I don’t mean when you tell your wife she looks great in those new jeans, or when you tell the neighbors how cute their mutant children are. I mean a gigantic, steaming pile of a lie. The kind of lies you can barely keep a straight face telling. Lies so big you feel sorry for anyone who believes you.

Mark Twain said, or at least he’s credited for saying, “Why shouldn't truth be stranger than fiction? Fiction, after all, has to make sense.” The same goes for a lie. Have you ever heard a young child lie? Small children lie so poorly it is hardly worth listening to. It’s not until we are teenagers that our skill at lying becomes believable. And it’s not until we start drinking that they start becoming truly entertaining.

To write fiction is to lie. We pull the threads of bs out of the ethereal and weave the fabric of fibbery. If you want to write fiction that is believable, then you need to lie with conviction.

I lie to my children nearly everyday. I’ve told them lies, they have repeated my lies in school, and I get phone calls from stern-sounding teachers wanting to discuss their concerns about my fibbing children. That was another lie; my ex-wife gets phone calls from the teachers. I just get the talk.

I once told my son, who was attending preschool at a Presbyterian church, the reason we celebrated the Easter Bunny was because when Jesus died and was buried in a cave, an egg-shaped rock was placed in front of the cave so Jesus couldn’t get out. The Easter Bunny pushed the rock away from the cave and saved J.C. The chocolate symbolizes the wood of the crucifixion. We got a very nice phone call from the school to discuss what I’m teaching the children.

Sometimes I lie because my children ask far too many questions for their size. I have two little boys, 4 and 7, who are bubbling fountains of questions. Sometimes I lie because I don’t know the correct answer, but usually I lie because it’s a lot more fun.

One day while shaving, flanked by both boys quizzing me on my shaving ritual, my oldest asked me, “Dad, why do you grow hair all over your body and mommy doesn’t?” I crouched down to their level, looked them both in the eyes, and very seriously explained to them I was a werewolf. I had to shave because some people are afraid of werewolves, and I didn’t want to scare them. I watched as their eyes grew big. They both nodded obediently when I explained this was a big secret and they shouldn’t tell people I was a werewolf. Here are the facts as I described them:


  • My hair is brown when I’m a werewolf (they asked).
  • I don’t transform in front of them because I’m afraid it would scare them.
  • I won’t eat the dog.
  • I became a werewolf when I was bitten by a werewolf when I was a boy. That makes me a 2nd Generation Werewolf.

They may also be werewolves, but they usually won’t show until they are teenagers. They would only be half werewolf because their mother doesn’t like this werewolf business. That would make them 3rd Generation Werewolves.

They may show signs early. I instructed them to check their feet when they woke up after a full moon. If their feet were dirty, then they were out howling at the moon.

At this point, the reader should expect a story about frightened children who could not sleep; afraid of the werewolf dad prowling around in the dark. My lie had the opposite effect: it stopped the bad dreams, monsters in the closet, and moving shadows on the wall. I hadn’t made the connection until I overheard the boys playing. My oldest, speaking as the elder statesman of the two, wished the boogyman would break into our house so I could transform into a werewolf and scare him away. My youngest speculated I would only need to show the boogyman my claws and roar, and the boogyman would never scare another kid again.

My double life as a werewolf has been the answer to numerous prepubescent concerns. Vampires? Werewolves and vampires don’t bite each other’s children because we are equally strong. A vampire attacking a werewolf’s pups would be inviting an attack on their children. Peace is maintained through equal power; the Cold War with fangs. Zombies? Werewolves don’t taste good to zombies so they stay away from us. Of course, no self-respecting werewolf would ever eat a zombie. That’s just disgusting.

My oldest is now at the stage where he’s excessively fascinated with guns, war, and all about my military experience. Enter the werewolf; I fought in the Great Werewolf-Zombie War. Werewolves and Vampires rounded up all of the zombies and locked them into underground bunkers (because you can’t kill zombies. Duh!). You try to explain the U.S.’s foreign policy in the 21st century to a four year old. There are people running for president who can’t explain why we’re in Afghanistan.

Now, at this point, you are probably thinking: Noah, lying to children isn’t hard. And you are correct. I lie to adults too.

Many years ago, I was teaching an oceanography class to some young men and women who were working for the U.S. government. This particular portion of the lecture covered topics such as plate tectonics and Mohorovičić Discontinuity (In scientific terms, Mohorovičić Discontinuity is the surfboard the land rides over the mantle). Because I wasn’t as familiar with the subject matter as I needed to be, as well as the students’ insistence on asking too many damn questions, I convinced them the reason the earth’s core was liquid was because of the ‘Half-Baked Brownie Effect.’ Never heard of the ‘Half-Baked Brownie Effect’? Well, I’ll explain it to you. The reason the earth’s core is liquid is because the earth is too far from the sun to bake all of the way through. Space is cold, right? So as the earth rotates around the sun, the dark side of the earth cools off, which causes the center to never fully bake. As far as I know, there are about thirty people working for our government who believe this to be true. The next time you hear of the government pushing another head-scratching policy; just remember this story. You’re welcome.

On a road trip with my wife-at-the-time, we drove from New York into Pennsylvania. We passed a sign along the highway welcoming us to Pennsylvania, and about a half mile down the road we pass the back of the ‘Welcome to New York’ sign. My then-wife turned to me and asked why there was such a large distance between the two signs. I explained to my soon-to-be-ex-wife that the ink on maps which demarcate the boundaries between states occupies physical space on the earth. That narrow ink line on the map was about a half of a mile wide on the earth. This is where the term ‘No Man’s Land’ comes from. My ex-bride-to-be pointed out there was houses in the space between the two state borders. I explained those houses belonged to whatever state was closest to the house’s master bedroom. Houses on the north side of the street were New York. Houses on the south side were Pennsylvania. If your bedroom faced east or west, then you flipped a coin to decide what state you paid taxes to.

As far as I know, she still believes this to be true.

Before I was married, I owned a dog. After getting married, it was decided by my future-ex-Mrs. Me that I should be the one to bathe the dog. Which meant the dog usually needed a bath. One day, apparently sick and tired of sharing a house with a filthy dog, my no-longer-wife called me at work to ask me how to bath the dog. I explained everything she needed to know about washing dogs, which consisted of: “You know what you do to your hair in the shower? Do that to the dog.” I did add one itty-bitty, teensy-weensy, little fib to the end of my instruction. I told her she had to squeeze the dog’s anal glands. All she had to do was squeeze each side of his little doggy butthole until everything that was going to come out was done coming out. She responded that she didn’t want to express the dog’s anal glands. I went on to assure her I did it all of the time. The truth is: I’ve never done it once; the dog follows me around enough as it is.

If you want to write believable fiction, you need to learn to tell an outrageous lie. Lying teaches you to create plausible falsehoods to support your bs. In Jurassic Park, Michael Crichton didn’t write, “I don’t know what happened, honey. I turned on the lights and there were a bunch of dinosaurs everywhere!” He explained, in detail, how fossilized dinosaur DNA, when fused to amphibian DNA, could be used to clone dinosaurs. It was a huge lie and we loved every bologna-scented second of it. As you create your fictional world, learn to fabricate the rationale which allows your fictional world to exist. The more plausible your fiction is, the more realistic it will feel to your reader. Trust me. I wouldn’t lie to you. Now get out there and lie to someone.

There really isn’t a point to the dog story except I laugh myself silly every time I think about it. I would like to tell you I called my ex-wife back before she molested the dog. I would like you to believe that I am not the kind of person who would think my bride-at-the-time had better things to do than milk the dog’s anus. Let’s just say that isn’t the reason she left, but it was on the list.

“Carlyle said ‘a lie cannot live.’ It shows that he did not know how to tell them.”

Mark Twain's Autobiography; Mark Twain in Eruption

“'Tis immoral to lie except for practice.”

- Mark Twain; Reported in the Washington Times.

ABOUT THE AUTHOR

Noah Baird wanted to attend the Ringling Bros. and Barnum & Bailey Clown College, but his grades weren’t good enough (who knew?). However, his grades were good enough to fly for the U.S. Navy (again, who knew?), where he spent 14 years until the government figured out surfers don’t make the best military aviators. He has also tried to be a stand-up comedian in Hawaii for Japanese tourists where the language barrier really screwed up some great jokes. On the bright side, a sailboat was named after the punchline of one of his jokes.

He has several political satire pieces published on The Spoof under the pen name orioncrew. Noah received his bachelors in Historical and Political Sciences from Chaminade University, where he graduated magna cum laude. He knows nothing about hoaxing Bigfoot. Donations to Clarity is his first novel.

You can visit his website at www.noahbaird.com or his blog at www.noahbaird.wordpress.com.

Connect with him at Facebook at http://www.facebook.com/pages/Noah-Baird-Writer/100193913390453.

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M. E. Patterson - Lessons I’ve Learned From Early Readers + Contest

Enter to win a copy of Devil's Hand!

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Lessons I’ve Learned From Early Readers
by M. E. Patterson

It’s easy, when you’re first getting started in the whole writing game, to assume that you’re “pretty darn good at this and, come on, when someone finally reads my masterpiece, they’ll be blown away!”

Except that you’re wrong.

The part that’s tough, the part that makes a lot of first-time writers grimace (and makes some give up and quit outright), is when you hit that first set of reactions to your work… and realize that you’ve got a long way to go. So where do you get reactions that can really help you move forward?

Early readers.

And by early readers I don’t mean your Mom or your best friend, but people who will be willing to give you hard truths about what you’ve written. People who will challenge you to do better. My early readers taught me several major things that I’m going to share with you. Maybe you’ll recognize them in your own work?

Sentence Flow and Word Choice

I’m not going to say that every sentence I write is a masterpiece in terms of structure and rhythm. Probably few of the sentences are. But having someone early on point out what I was doing that “hit the ear” badly has helped me immensely in crafting more readable prose. It’s a benchmark I always keep in the back of my mind as I’m building up a sentence or paragraph, and one that I wish more published authors would think about.

In short, when writing a sentence, think about how the words flow together and sound. It might seem picky. It might seem like the sort of thing that you’d want to ignore with the excuse, “Hey, if my story is exciting enough, nobody will care about those little things.” But trust me on this. People will have trouble completing a book that has terrible sentence flow.

For example, if all the words in a sentence start with the letter S, the sentence will slow significantly and sound strange. Maybe you want to do that to emphasize the point of the sentence. But if you’re writing action, I’d take a different tact. And like any gimmick, doing it once might be clever, but doing it a lot will make you look like a bad writer.

Overall Plot “Tone”

This is an interesting one brought up by one of my early readers on a previous draft of Devil’s Hand. It resulted in major rewrites, all which contributed greatly to the improvement of the story.

The idea here is that you can imagine the ‘tone’ of your story kind of like a steady musical note. When the action goes up, the note is high-pitched and sets your nerves a little on-edge. When the story dips into sequel and quite reflection, the tone is calm and comfortable, but risks being boring if it goes on too long. Different genres and different types of stories might have their own ideal tone patterns, but the common problems to look out for are:

SQUEAL: A constant, high-pitched tone from the first chapter to the last. Too much action, buddy! All scene and no sequel. Even if you’re writing a screenplay for the next Crank movie, Statham needs to take a quiet moment to wash the blood off every once in a while.

HUM: A constant, calm tone. No conflict. This story is just poking along and nothing much is happening. It might be interesting or original or even important, but it’s still likely boring. Maybe okay if you’re writing certain types of literature that are more introspective, but you better know that’s what you’re after.

PSYCHO: A tone that’s all over the place. Four chapters are high-pitched, then suddenly calm and boring for eight chapters, then high-pitched again without any warning, and so on. You haven’t figured out the scene and sequel rhythm yet. There’s a certain expectation the reader has of falling into a story rhythm. For a master of doing this right, check out Cormac McCarthy.

Same Words Used Too Close Together

Sure, it’s easy to figure out that you just wrote, “He went down to the Department of Redundancy Department.” Redundancy usually jumps out at us. But a more insidious flaw is when we craft a paragraph, or even a whole page, where we keep using the same, unique word in a way that starts to stand out to the reader.

Now, don’t go running off and replace all your “he said”s with “he growled” and “he conjectured.” Note that I said “unique words.” Thinks like “he said” blend in and the reader doesn’t really read them so much as just absorbs them. What you really want is to watch out for how many times in a single page you’ve described the bald man’s pate. Or how often in two paragraphs you mention that the main character brought out his leather billfold. It’s a unique word or phrase that gives your prose some life. But too many times and it starts taking the reader away from the actual story.

So those are just three of the big ones that I struggle with and had early readers point out. Acting on that realization improved my novels tenfold. Take some of these considerations to heart and I promise your writing will improve. What other big-picture issues have early readers pointed out in your writing?

ABOUT THE AUTHOR

M. E. Patterson is an author of sci-fi, fantasy, horror, and thrillers, as well as an information technologist. He received an English/Fiction Writing degree from Virginia Tech, where he studied under nationally-recognized writers and poets. He has published short stories on RevolutionSF and his first manuscript for his book, Devil’s Hand, placed in the top five in the Writers’ League of Texas Manuscript Contest.

You can visit his website at http://devils-hand.com or his blog at http://blog.digimonkey.com.

Connect with him on Twitter at www.twitter.com/mepatterson or Facebook at http://on.fb.me/dhnovel.

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Allison Moon - The Feminine Wild + Contest

Enter to win one of three copies of Lunatic Fringe. Print or ebook- Winner's preference.

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The Feminine Wild
by Allison Moon

Never forget you are an animal.

I had to remind myself of this fact many times as I wrote my novel Lunatic Fringe, just as I have to remember it in my day-to-day life as a human woman wandering the world.

Civilization is designed to remove us from our animal instincts. Particularly for women, who are daily told that we shouldn’t have body hair, sweat, smell, swear, scowl, fight back, get angry or emotional, be too tired, too hungry or too horny. It tells us we should be smiley, agreeable, docile, efficient and satisfied with whatever we’re given.

That’s a lot of shoulds.

Often, we accept these things as facts of life rather than letting them get us down. But, in my weaker moments, I rage against the proverbial machine. I wrote Lunatic Fringe to help exorcise some of my loathing of the way women are told to ignore our monstrous sides.

Lunatic Fringe follows a young woman who goes off to college and encounters ferocity in the form of radical politics and some mean-ass werewolves. To me, the metaphor was so simple. Women as werewolves, I mean, come on. Who else changes moods with the moon?

But I’ve found some pushback, mostly from guys who get skeeved out at the idea of “aggressive, hairy women.”

Speculative literature works best, in my mind, when it not only opens our ideas to fantastical possibilities, but when it illuminates parts of life and self that are already there. As women, we all have our animal. She stalks in silence, barely contained behind our societally-acceptable veneer. At times we let her out- when making love, when making war, when our family is threatened or when we need to just. let. go.

But even then, we hold something back. I believe we do this because we know the power she has to create, and to destroy. That animal within us can do some mighty damage, and we know it. She is the mama bear that will beat down anything that approaches her cub. She is the lioness that stalks and runs down the prey in the Savannah. She is the pack leader that preserves the rigid hierarchy and protects what is hers. Powerful stuff, that. Best keep the lid tight and heavy on all that bad-assery lest we let something slip.

I would, however, like to see women let that beast break free a bit more, to see the beauty in her power and in her passion. What would it look like for your werewolf to take hold and run headlong into your unspoken desires? Would you trample an old version of life that didn’t serve you? Would you screw everything in sight? Would you gather your sisters and howl until your throat was sore? Would you run naked through the night unafraid?

There are instincts within us, there are drives that are passionate, fierce and sometimes terrifying. Sometimes it’s good to keep them caged. And sometimes it's best to let them take us over and see what comes next.

Allison Moon is the author of the lesbian werewolf novel Lunatic Fringe. Buy now on Amazon, Barnes and Noble or IndieBound. She blogs about gender, feminism, writing and independent publishing at her blog, Tales of the Pack. She is currently working on the sequel to her novel, titled Hungry Ghost.

FIND ALLISON

Mysterious Galaxy Bookstore - San Diego
Thursday, November 3

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Michelle Franklin - Commander and Den Asaan Excerpt + Contest

Enter to win an eBook copy of Commander and Den Asaan - Vol. 1.

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FROM THE PROLOGUE OF COMMANDER AND DEN ASAAN by Michelle Franklin - on Amazonhttp://www.thehaanta.blogspot.com

At the far end of the garrison, the captain found a peculiar creature lurking within one of the holding cells. She eyed it with circumspection, having little idea what it was, but when she neared, she observed that it was a Haanta, one of the mysterious giants from the islands to the far north. She had never before seen one of the reticent giants, but his violet and black eyes, his mauve-grey skin, his white hair and immense stature suggested that he must be a Haanta. The rings and shells adoring his molded locks, the foreign symbols inked into his forearm, his embroidered war kilt, and the heap of various pelts adorning his back and shoulders gave him an appealing and distinguishing air. Though his expression was stern, his features made him almost handsome, his wide maw, high cheekbones and proud nose balanced his reproachful countenance. His body was a work of exertion: his muscles were large and well-formed, his arms and back were gifted with overpowering might, his skin was scarred, and his hands were thick and calloused. Here was a creature of majesty, and the captain found a consolation in seeing the giant at such a time. She supposed he must be a Haanta of some consequence to be so decorated, but before she could ask his abilities with a weapon, the attentive mountain spoke.

“You are holding those incorrectly, woman,” the giant said, gesturing toward the blades dangling from her hands.

He spoke and the captain felt a ripple of sound resonate through her from his low and commanding voice. “I believe I’ve been taught well enough to use them effectively,” she said to the giant as he turned away. “Do you have some claim to the marks on your arm or are they merely for show?”

Her remarks caught his consideration and his violet eyes tapered with growing dislike. He was at least dejected in his solitude, and now she had come to ruin his isolation and compel him to speak when he would otherwise be enjoying silence. He pressed his immense body against the bars of the cell in hopes of intimidating her, but the captain remained complacent and unaffected by his display.

“Leave me, woman,” he bellowed at her.

“I fear a cannot do that just now. I might need your help, should you wish to give it.”

He groaned and turned aside. “I will not assist you.”

“It is rather a shame you won’t. I was going to offer you your freedom.”

The giant turned back and looked at her with hesitation. He studied her form and face and her apparent composure despite the battle ensuing beyond the armoury walls. Her wide shoulders, her high carriage, her half-smile all proposed collectedness, but the pleading look in her dark eyes had told him there was much she feared regardless of her outward tranquility. He made her no answer and continued his investigation of the odd woman.

“I have little doubt of your eventually freeing yourself, creature,” she said. “But by the time you should do so, this outpost will be overrun with Galleisians. If you help us now, I will open that door and give you a weapon.”

“And if I use the opportunity to kill you and leave?” the giant said in a tone half-serious half-arch.

“I have never known warriors to be dishonourable. Should you prove me wrong, we will all be dead anyway. There is nothing so ugly as reneging a promise, wouldn’t you agree?”

The giant clenched his teeth and looked down. “I would,” he murmured.

“If you agree to help us maintain our borders, I will disregard the reason for your imprisonment and allow you to return to your home in secrecy.” She turned over one of her swords and offered it to him.

The giant gaped at the small blade with a reluctant expression. She had sworn him liberation, but he was tentative to follow or fight for a nation other than his own when he had been a leader once himself. He lifted his hand momentarily to accept, but soon dropped it again to further consider her offer. He could escape if he wished; their meager contrivances could not hold him for long should he truly wish his independence, but the weight of his transgression had plagued him and he hadn’t made nor would make an attempt to free himself. He looked at her again, perceiving the determination in her manner, and then looked at the hilt of the blade. His hand ached to hold it and gravitated toward it with unconscious movements. He was silent in his deliberation, but in the work of an instant, the deal was done; the giant conceded, and he would be freed from confinement and armed so that he may save Frewyn’s borders.

The captain swiped at the lock on the cell door and the rusted bolt fell to the ground, releasing the giant from his cell. He stood out from his cramped confinement, stretched his massive arms, and neared with heavy footfalls.

He tightened his clasp around the weapon in his hand, calming at the feeling of his place being reclaimed. “I will win this battle for you,” he declared.

“I daresay you shall,” she said smilingly.

They exchanged a look of understanding and rushed out of the garrison, remaining close to one another while lunging toward the rampant assault.


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