Tag: writing

on by
The Boulevardier
This is the standard, traditional method of serving a Boulevardier. The drink depicted is poured as a double.

So at the behest of my buddy and fellow author, KM Alexander, I’m going to start a new series here on this old blog. Current Cocktails (his title, credit where credit is due) is going to be a series detailing the cocktails and other imbibements that accompany me through the adventure of writing. For better or worse.

The first cocktail in this series is tied to my current WIP (Work In Progress).  All in this series will be linked to some current work. As I have discussed in a previous post, I tend to be a bit of a method writer and I’ve found that alcohol adds a pleasant aspect to experiencing the lives of the characters we write. My current novel is set in 1920’s Paris and as such, cocktails abound. Those of the American Lost Generation flocked to Paris’ booze soaked establishments to drink cheap and live large. Today’s cocktail is attributed to one such American expat, Erskine Gwynne, writer and founder of the Boulevardier, a short lived monthly magazine printed in Paris and the source of this cocktail’s name.

Also, you can be pretty sure that if I’m writing about a drink I’m also drinking that drink at the time so all the details I provide will be full on, in your face, hard hitting journalism. Or at least tipsy musings on tasty beverages. Either way. Enjoy.

The Boulevardier

This delightful concoction is basically the bastard child of the Manhattan and the Negroni. In true Manhattan fashion, either bourbon or rye whiskey will work. Also in true Manhattan fashion, traditionalists will argue ad nauseam about which is correct however, when rye is used, the drink is more often referred to as the “Old Pal” which is such a great name. As for the Negroni half of the family, Campari is the star of the show. It’s insane red color and bitter bite both shine through. Anyway, on to the recipe. (more…)

on by

We’ve talked about the importance of letting others read what you’ve written. We’ve talked about the way in which an author can make use of alpha and beta readers. Now it’s time to discuss the trickiest part of the process. Now we get to deal with the chaotic landslide of feedback.

And you should be hoping for a landslide. That was the point of using your alpha and beta readers. This feedback can come in a variety of forms. From notes they’ve taken for you (more common and necessary from beta readers) to notes you’ve taken yourself as you discuss the work with them (most commonly performed with alpha readers). Today, I want to focus on beta readers and their feedback because this is where you’ll receive the most volume. It’s also where the most detailed critiques will occur. But first, a note on alpha readers particularly those found in critique groups.

Writing critique groups are a great way to get your writing in front of others however, the efficacy and quality of this form of critique can vary, a lot. I’ve been lucky enough to be a part of multiple critique groups over the past few years and each was useful in its own way. One was a group where five fixed members attended once a week. We were thus familiar with each other’s work and with each other’s style of critique, making the task of analysing that feedback much more easy and consistent.

Another group I attended had a core cast of regulars plus a rotating cast of writers each week. This meant that, while always great company, not every piece of feedback was useful. This also boiled down to familiarity or a lack of it, both my familiarity with their personalities, preferences, and critique skills and their familiarity with my work. The feedback from a group like this can be and has been very valuable to me but I had to work harder to evaluate their critiques. It’s much more difficult to establish the necessary trust, though with some of the regular members, it was there in spades.

Okay, back to beta readers. Here’s is where the “fun” really begins and by “fun” I mean work. I’ve received anywhere from one to ten pages of notes from beta readers in the past and tend to provide between five and ten or more pages when beta reading for others. That’s a lot to sift through and sifting we must do. (Note: This volume reflects beta reading for a novel sized piece.)  (more…)

on by

No matter how good your first, second, or even third draft is, it’s not ready for primetime until someone else can evaluate it. Like a doctor operating on their dying child, it’s a bad idea to only trust your own work. You’re just too close.

In the traditional publishing world, at least a few sets of eyes (agents, editors, etc.) will scour your book to help you make it something worth printing. Self published authors who are doing it right also hire editors. These people are paid. Their time is precious and limited. Your book isn’t the only one on their plate.

What if you could fine tune your work so that a.) you could present agents with writing that is attractive and b.) you could present editors with work that is already mostly fixed, therefore leaving them more time to scrutinize the small stuff? Well folks I’m here to tell you it’s very possible. Enter your best friends, alpha and beta readers.

I say “best friends” because chances are, that’s who they are. Your friends, your family, your coworkers, the cool lady from your ultimate frisbee league, these could be the saviors of your story.

Before we dive into how to utilize alpha and beta readers, let’s get clear about what they actually are. (more…)