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Five (Dirty Little) Truths about Proofreading

March 18th, 2016

By the time your book reaches the final stage of editing, you've read each sentence what feels like a million times. And yet, insidious errors lurk within the pages of this perfect manuscript that you, the author, simply cannot see. That's where proofreaders (also known as copyeditors) come in. A good copyeditor is not just someone who has mastered every comma rule in the English language (no small feat); a good copyeditor is someone who will find errors that twenty beta readers manage to miss but anyone who paid actual money for your book, somehow, will not.

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Kevin Smith vs. Mark Waid: The End of an Era for Daredevil

March 17th, 2016

1998 was a very weird time for Marvel Comics. They had gone bankrupt two years before, X-Men and the superhero movie renaissance were two years away, and Daredevil had just been canceled. So when writer/director Kevin Smith came onboard to write a new volume that would also launch the Marvel Knights imprint, it seemed a boon from the gods.

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7 Tips on How To Write a Better Open Letter

March 16th, 2016

Based on the last couple months, looks like we're in for a long year of open letters. And I can't take it anymore. Look, I get it. You spilled takeout on your expensive jeans. Your least-favorite football player did something that pissed you off. Or maybe you have a kid who has a disease and you want to tell everyone about some jerk who made fun of her. Or maybe, shooting in the dark here, there's a political candidate you have opinions about. 

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Five Great Folk Horror Novels

March 11th, 2016

Folk horror isn’t really a fiction genre per se. It usually refers to a certain kind of British horror movie that came out in the 70s, films like Wicker Man, Blood on Satan's Claw, and perhaps Witchfinder General, among others. 

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Storyville: The DOs and DONTs of Running a Successful Kickstarter Campaign

March 10th, 2016

So you’ve probably heard about the Kickstarter I ran this past February, raising over $55,000 to launch a new online magazine of neo-noir, speculative fiction with a literary bent—Gamut. Here are some of the lessons I learned during this rollercoaster of a month. DO care about what you’re doing. It has to matter to you. A lot.

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Why Working a Shitty Job Makes You a Better Writer

March 10th, 2016

I used to work at this retail store that tried to kill me practically every day I clocked in. Once it even came close when a suit of armor got a bit frisky and sliced my wrist open. I lasted at this place for fifty-nine days. I know the exact number because employees were not allowed a sick day until they’d completed sixty days, and I caught bronchitis on day fifty-nine. I was due in at 6:00 A.M. and I called off at 4:00. The next day, my boss was standing in front of the building, shaking her head at me as I approached on my bike.

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A Rose By Any Other Name: 5 Episodes of Literary Mistaken Identity

March 9th, 2016

Sometimes authors willingly choose to direct readers away from their true identities. It might be a bid for intrigue, or a means to hide from unwanted scrutiny and prejudice such as in the case of the Brontë sisters. Occasionally, however, issues of authorship and identity are more complex or decidedly less purposeful.

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Writing through PTSD: A Personal Account

March 9th, 2016

I never feel safe. This is the center of my PTSD—the axis point at which the rest of the disease revolves around. I call it a disease because that’s what it is: a malignant tumor that spreads across my life, leaving nothing and no one untouched.

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Ten Tips on How to Pitch Your Book to Review Bloggers and Not Get Ignored

March 8th, 2016

You’ve done all of the hard work, toiling away at your laptop crafting the perfect story, and then putting in the painstaking hours of editing. You even have a professional cover and some pretty kickass back cover copy. So, you’ve got the completed book, and now you want the visibility.

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What Works & What Doesn't: 'Citizen Kane'

March 7th, 2016

Welcome once again to What Works & What Doesn't, whereby we look at the craft of screenwriting by examining elements from classic films and determining whether they're effective or not. 

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