Category Archives: The Fictorians

Big grants, small grants, grants for individuals or groups, writing, editing, professional development, retreats, workshops, literary festivals, delivery of and promotional activities – there are many grants writers can access. Applications for writing grants may not appear as formal as for other granting projects but the principles are the same. The following points will help you navigate through ambiguous jargon such as provide a summary of your creative purpose for using this grant, and how you will use these funds to assist in this process.

1) Follow the guidelines exactly. You can’t make the program fit you – you have to fit the program and that’s where the work in writing the grant comes. Never be creative on the format, too wordy, general, or too familiar. It’s a formal document and, like with editors and publishers, being silly or sloppy or not professional is reason for a rejection.

2) Answer only what is asked for. For example, the proposal may ask for your resume or your organization’s history. Focus only on that. This is not the section to talk about the problem and your solution to it, or how, in doing this project, you or the community will benefit. In the history/resume section, the funder is looking for experience, reputation, if your mission aligns with the funder’s values. So as an artist or writer, what have you done and accomplished that makes you a worthwhile candidate?

3) Current programs and activities. Focus only on what you’re currently doing. They want to know what you’re doing on a daily basis, the operational information that is relevant to the project you’re proposing. They want to know if you have the capacity to follow through on the grant monies. Don’t list programs/projects that aren’t current, weren’t successful, have no relevance or received negative reviews.

4) Target groups. If you must define your target groups, always be specific, never general and use charts and graphs if you can. If the funder targets a specific group, it’s because they’ve already determined there is a need and will know if you haven’t done your homework. As a writer, you may need to say what age group you’re writing for, what makes it unique from the current offering and if it’s for promotional purposes, what schools you’re targeting, age groups, etc.

4) Partners. A funder looks for the impact of individual and collaborative efforts, representation of the target population, and monetary or in-kind contributions. These are your partners. As part of a community group, your partners are obvious. As an individual, your partnerships are less obvious. Do you belong to writers’ groups? Is there any benefit that you can extend to them by what you’re doing, or that you can teach? You may not have project partners per se, but partnerships can be informal, in-kind like partnering with schools, book stores and writing groups as part of a promotional plan. Fatal flaws: non-existent partners, no letter of support from the partners, overstating a partner’s role.

5) Project description. A project goal is what you’ll finish between the start and end dates, and this may not be a product finished in its entirety. Objectives are the milestones that allow you to achieve the goal and form the program design.

A project description can be as tricky as a query letter. Not only must you describe planned activities with timelines and expected results/benefits, you must be concise yet speak to who you are as an artist. What are you aiming to achieve? What is your artistic process? How will this grant benefit you as an artist?

You may wish to start with a summary (a short paragraph) which addresses who you are as an artist, what you’re planning to do, why you want to do it, how much funding you’re seeking.

Be clear, detailed, yet precise. Ensure that your goals and objectives are realistic. For example, if you’re applying for a marketing grant, you’ll need to discuss the target audience, specific media and promotional strategies to reach that audience, if it involves travel (dates, location, promotional plans for those appearances,).

6) Expected results and benefits. For some granting agencies, this is where you set the scene by giving a brief profile of yourself to provide a paragraph resume about yourself to set the context of the application. This may include whether you are emerging or professional, which includes a brief synopsis of what you’ve done to date. What about you will give this project a reasonable chance of success and, how will it enable you to develop your craft or skills? Note: you may still be required to provide a more detailed resume.

7) The budget. Some funders give a small sum for development and don’t require a line by line account. But if they require line by line items, you must be able to explain and justify every item. Make sure every line item matches the objectives and meets the guidelines. For example, if travel is required, research airline, hotel and meal costs. If there are costs to research in a specific archive or museum, include them.

8) Support materials. Here, you sell yourself through the eyes of others. Supporting materials are memorandums of understanding from partners or collaborators, letters from experts in your field who can vouch for you and your work, or other materials such as scripts or story boards.

9) Other key points:

Project Start date – in some cases, activities can’t begin before the application is submitted.
Make sure you meet basic program eligibility guidelines such as geography/residency, discipline, target population (emerging, professional).
Allow yourself enough time to research and prepare your application.
Granting agencies may have consultants or they may give you examples of successful applications. Use them!
Jurors have limited time, so be as succinct as possible and follow the guidelines for the required information which includes formatting and number of copies.
Get a PROOF READER! Whether it is a spelling or grammatical error, an unclear statement, any minor thing alleviated is one less reason to deny the application. Questions a proof reader should ask (a juror will): Is the purpose clear? Is it clear how the money will be spent and is it concisely stated? Do the goals provide a solution for the needs presented? Are the goals and objectives realistic? Are the objectives measurable?

Grants can be a big boon to your writing time and career. They are a lot of work to do well, but the rewards are well worth it.

Book Launch: Unwilling Souls

November 10, 2015

Gregory D. Little

Hello, Fictorians readers! I’m thrilled to announce that today my first novel, Unwilling Souls, launches.

Ses Lucani has never known her parents. Powerful leaders in the cold war left over after the gods’ imprisonment, Ses’s mother and father are now bitter rivals, each pretending their secret daughter doesn’t exist. Raised by her grandfather, Ses now lives in the hollowed-out center of the planet and learns to forge wrightings, tools imbued with soul energy and used to maintain the prison of the gods.

When terrorists attack the prison on her sixteenth birthday, Ses is forced to flee after the ensuing investigation reveals the secret of her parentage. Suddenly, the very parents who abandoned her may be the only people she can trust. Running from government operatives and fanatic cultists, Ses meets Murien, a boy with fingers in a shadowy network that can lead her to her father.

But some secrets are darker than parentage. On her way to find her father, Ses will uncover truths about her family and herself that will shatter her understanding of the world and risk the return of the gods themselves.

This book was a lot of fun to write. I set out with the conscious goal of crafting a fast-paced tale in a second-world setting with as many amazing locales as possible. As Ses races from the core of the planet, where the gods are kept imprisoned, to the surface cities built out of the corpses and bones of the immense creatures that nearly destroyed humankind, I feel I achieved that goal. I hope you’ll check it out!

Unwilling Souls is available in ebook formats on Kindle, Nook, Kobo and iBooks and in trade paperback from Amazon.com!

About the Author: Gregory D. Little

Rocket scientist by day, fantasy and science fiction author by night, Gregory D. Little began his writing career in high school when he and his friend wrote Star Wars fanfic before it was cool, passing a notebook around between (sometimes during) classes. His first novel, Unwilling Souls, is available now from ebook retailers and trade paperback through Amazon.com. His short fiction can be found in The Colored Lens and Game of Horns: A Red Unicorn Anthology. He lives in Virginia with his wife and their yellow lab.

You can reach him at his website (www.gregorydlittle.com) or at his Author Page on Facebook.

Try/Fail Cycles of Writing Advice

November 9, 2015

Nathan Barra

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The Internet is filled with blogs, discussion forums, and clever tweets about writing. Though my writing friends and I do our best to keep up with the latest news and tricks, it feels like trying to drink from a fire hose. Go Google “writing advice” and you’ll find nearly half a million results!

Clearly, there is no shortage of people willing to talk to young authors about writing. So thank you for choosing to spend some of your time with us, sharing the Fictorians with your friends, and reading our thoughts and words. We appreciate your patronage and hope you find us helpful in your own writing journey!

Though we writers want to learn from the successes and failures of others, it is essential to remember that what worked for a New York Times best seller may not be effective for me, and that’s perfectly okay. Ultimately, any piece of advice should be judged based on its efficacy for the end user, not the prestige of the source.

As an example, I once read that the “best” way to be a prolific writer while also working a day job is to get up three hours early each day and spend the time writing. Not only will there be no distractions in the early hours of the morning, but your mind is freshest right after waking up, right? Okay, I gave it a try… and failed miserably. I am a morning person, but I am NOT a getting out of bed person. It’s mostly a matter of inertia. I have an alarm clock I keep across my bedroom in addition to my phone on my bedside table and set, on average, six to eight alarms a day. However, once I’m vertical and have some momentum, I’m good to go. Unsurprising to anyone, getting out of bed three hours earlier than I absolutely needed to be never happened. That piece of advice, though effective for others, failed me miserably. Oh well! Moving on.

But what if it wasn’t when I write, but rather HOW I write that was slowing me down? Kevin J Anderson swears by his dictation method for first drafts, and he’s by far the most productive author I know. He is able to hike up 14,000 ft mountains while spinning a yearn, send off the recording for transcription, and then edit the resulting manuscript into a best seller. This technique has resulted in over 23 MILLION books in print. I do a lot of driving, biking, and hiking, so why not double dip that time? Furthermore, physical activity works wonders to get my creative mind juices flowing, so I took a risk. I bought a recorder, a copy of Dragon Naturally Speaking, and spent the better part of a year practicing dictating my stories and blogs. Though I can do it, the technique just doesn’t work as well for me as it does for Kevin. Instead of a steady stream of consciousness, I stutter and stumble, resulting in a file that DNS has a rough time converting into comprehensible prose. I then spend hours cutting, reworking, and revising that mess into a finished product. In the end I spend as much total time as if I were to sit down and use manual entry from the beginning. So, for most circumstances, I have stopped using the recorder.

Beyond the basic act of producing prose, there is the fundamental question of what to write in the first place. While the basic dramatic structure has been thoroughly explored, every book or blog on story I read seems to tout a system of “rules” that are absolutely, positively, 100% mission critical to ensure success, fame, and fortune. You must always have a shot clock, must always allow time for thoughtful sequels, must always have a love triangle, and must always do this and that and whatever or you are doomed to failure, remaindered books, and discount book bins. While all these elements can work wonders to spruce up your fiction, not every technique translates well across genre boundaries.

For example, I have read advice from a big name romance writer that insisted that all stories need a happy ending. That’s a great guideline if you are writing for a romance audience. Their main emotional interest is the vicarious experience of falling in love. However, a story of romance and seduction isn’t the only payoff, else they’d be reading erotica. A romance book is a story in which two lovers are able to overcome the factors that stand in the way of their happily ever after. The relationship is as important as the sex.

However, other audiences aren’t so picky. Look at the success of the Song of Fire and Ice (Game of Thrones) books. There aren’t very many happy endings, but the story is plenty thrilling and surprising. The grimdark audience is looking to fulfill a very different set of emotional needs. Different audiences, different stories, different rules. Consider what every genre has to give, but do what works best for your readers and story.

Over the years, I have read thousands of pages of writing advice and have found that there is no one-size-fits-all answer. The best advice comes from people with whom you resonate. Look for those who have had success in similar genres, the writers you liked to read growing up, and industry professionals who are involved with authors who write like you. Find those who have overcome struggles similar to what you deal with and figure out how they did it. Read as much material as you can get your hands on, but don’t feel bound to listen to any of it. Ultimately, your writing tricks and habits should be organic, always growing towards the goal of increased productivity. Steal what works for you and leave the rest eating your dust.

My Brief Career as a Ghostwriter

November 6, 2015

Evan Braun

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Getting to where I am today has been a long and winding road… and it definitely wended through some unexpected territory. I started writing at the ripe-old age of six, in 1989. My first-ever story—titled The Magic Christmas Tree—won a CBC radio contest here in my Canadian homeland and the complete text was read live on the air during the morning drive to about a million people. Hilariously, that probably represents my greatest marketing reach so far. It’s been all downhill from there, folks!

But I kid.

Writing, not surprisingly, does not (yet) pay the bills, which brings me to my day job as a book editor. I got my start when a friend of a friend, who operated a small press, was looking for a contract proof-reader. I thought I was eminently qualified, and it would make for a great book-related part-time gig. A decade later, that gig is now extremely full-time. And not only do I edit books, but I now also edit a newspaper—the perfect encapsulation of how freelance careers constantly evolve and change over time.

For a brief moment in time from 2007–2008, however, I added another line to my résumé: ghostwriter. The combination of my journalism degree, editing, and writing skills made this seem like a perfect fit. In that single experimental year, I wrote a total of three books on contract—one of which was published traditionally, another which was self-published by the author, and a third whose fate remains a frustrating mystery.

The first book I worked on is actually the mysterious one. I was contracted by a publisher to conduct extensive interviews with the author, then fashion that raw material into a 75,000-word memoir—or at least, the first draft. I was hired for nothing beyond that. The project lasted two months, from start to finish, and indeed I wrote a first draft just shy of 75,000 words. That’s the fastest I had ever written, but I was driven to meet the tight deadline. I haven’t read this manuscript since I proofed it, and frankly I’m a bit scared to. The publisher was very pleased with the result, and so was I at the time, but nothing came of the project. While I continued working extensively with that publisher for another year, I never heard back from the author, despite many attempts to reach out—which has always puzzled and frustrated me. I would sure love some closure, but I think it’s unlikely at this point. My strong suspicion is that the author’s relationship with the publisher deteriorated significantly, and the radio silence had nothing to do with me. Anyway, like I said, I haven’t reviewed the manuscript since, but the author’s story was a very dramatic one. It’s too bad nothing came of this. With some additional collaboration and polish, I feel this could have been a phenomenal book.

The second ghostwriting project came along about six months later, through that same publisher. In this case, I was working with two authors—a brother and a sister—on a memoir with dual narratives. Just like the last one, it was a hugely dramatic story and I was excited to be a part of it. This book proceeded similarly, and in a comparable timeframe, but the manuscript was only half as long. It was a very challenging memoir full of child neglect and intense abuse—physical, sexual, and emotional. This was a rollercoaster. The final, edited manuscript ended up just shy of 40,000 words and was duly published. This one I have read since, and I remain proud of it. I also have a great relationship to this day with one of the two authors, and it has since led to a number of great professional opportunities—one of which, in a really roundabout way, was attending the first Superstars Writing Seminar in Pasadena. Overall, a challenging but satisfying experience.

I performed many other editing projects for that publisher, but no further ghostwriting opportunities came up in the months that followed. We amicably parted ways a short time later.

Around this time, a close friend of mine hired me to help him write a book, and this is the one that ended up being self-published. I worked closely for several months with him and his wife, producing a great, short manuscript of about 30,000 words that carried a lot of punch. It was based on the author’s messy divorce and subsequent relationship woes. Instead of being a full ghostwrite, this was more of a collaboration, with the author and his wife contributing about half of the material. I then edited all that and grafted it into the larger manuscript I’d been working on. In fact, I believe this book ended up winning an award or two. I still have copies of this book kicking around my house, and I’m quite fond of it. The authors continue to be among my most cherished friends.

Even though I ended up not pursuing a ghostwriting career, my experiences were largely positive. The only reason I didn’t continue is because I decided not to market myself; starting in 2008, I took on a huge glut of very profitable editing work that took priority, and I haven’t had occasion to look back. I don’t regret leaving ghostwriting behind, but I also can’t say with any certainty that I won’t try it again someday. I can honestly say that it was intensely challenging and enjoyable. I grew by leaps and bounds that year, producing my best writing output before or since.

Evan Braun is an author and editor who has been writing books for more than ten years. He is the author of The Watchers Chronicle, whose third volume, The Law of Radiance, was released earlier this year. In addition to specializing in both hard and soft science fiction, he is the managing editor of The Niverville Citizen. He lives in Niverville, Manitoba.