Writing a Book Acknowledgement

MOCK 01 Front Cover Scattered StonesThere are many sections to a book. The two important parts that need the most attention are the story and the cover (in that order). For the past several months, I have focussed on these two things; without a doubt, I want them to be as close to perfect as humanly possible.

As launch day approaches for Scattered Stones, book 2 in The Castle Keepers series, I need to start playing with the other parts that go into a printed novel, the little details that occupy the spaces between the front cover and the story, and the back cover and the story. Playing is the exact word I want to use.

This time around, I want to be less formal and allow a slither of my silly side to lighten and brighten these little details. I love fun, funny and silly. And I love putting a twist into things that readers don’t expect. Sometimes it works and sometimes it doesn’t.

I have never written an acknowledgement for any of my books, but I’ve seen many books that include them. In essence, it is a few words to thank the people who provided a helping hand to bring the book to life. This might be direct or indirect help.

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Impressions OR an Overview of CCMA

ImpressionsWe are often told you don’t get a second chance at making a first impression. Those first impressions brand themselves in our memories. We recall them every time your name is mentioned or your work passes our eyes. By the time you get to make a second impression, we may have recalled the first impression a dozen or more times, making it difficult to bump it aside for a different impression to take root.

Bad impressions imbed themselves deeper than good impressions—for the most part. This means if you made a bad impression the first time, you’ll have a mountain to climb to mend the fence.

Obviously, good impressions are important in our personal lives, but they are vital in our professional lives. They can make or break our business (which is gaining a reading audience), so it’s important to pay attention to your actions and words when in public, particularly if you’re in the company of readers and writers.

The flip side of that is we are always judging the impressions of others, both new and old acquaintances. We may not consciously do this, but we do it because it’s our nature. We use our morals and opinions to apply that judgement. So while something you did was great in the eyes of one person, it might not be so hot in the eyes of another.

It’s a tough road, but one we travel every day.

I was reminded of first and lasting impressions over the weekend when I attended several events associated with the Canadian Country Music Awards (CCMA) held in Halifax, NS. This was my first CCMA show, so my mind was wide open to what may or may not happen.

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Feel the Music in Your Words or Rewrite Them

Diane Lynn Tibert
Get into character -- Sing that Story

Some days I feel cursed. Other days, I can’t believe I’m this lucky. As the tenth of eleven children raised by parents both born in the 1920s, I was exposed to many different genres of music. As a result, on my MP3 player, you’ll find John Denver snuggled beside Bonnie Tyler, Loverboy and Rod Stewart squished between Donna Fargo and Buddy Wasisname, and Anne Murray rubbing shoulders with Helix and Andy Stewart.

Music has always influenced me in one way or another. It can enhance or change my mood depending on the day and the attention I give it. The melody of a song can set a mood, but it’s the words that can make me laugh, dance or shed a tear. The degrees of these emotions depend on whether I’m listening to the song or singing along.

But let’s get this out of the way first: I don’t sing well. However, I sing often.

Hearing someone sing their heart out may not tug on your aorta, but that may change if you put their words in your mouth. Personally, I can sit and listen to Son Run to the Spring by Cal Smith and ignore the story within the melody, but I can’t sing it with a dry eye. I become that boy who must run to the spring for water while my mother spares me from witnessing her silent death due to a long term illness.

Feeling the music can only be accomplished by putting yourself in the shoes of the song’s character. That’s not to say you’re Dean Brody, standing on stage in front of thousands of fans. You are the boy who must watch your older brother go off to war and wait for him to return (Brothers) and the young man who wonders about the lives of his high school girlfriend, his college friends and the girl who gave him up for adoption (Trail of Life).

Of course, you get the good parts, too. You’re basking in the sun on the Santa Maria (Trooper) and bragging about Who Wouldn’t Wanna be Me (Keith Urban).

Sure, you can just sit and listen, but you won’t feel the full effects of getting into character unless you sing those words.

Breathing life into the words you’ve written is done exactly the same way.

Before I submit anything, I always read it aloud. It doesn’t matter if it’s a 400-word blog or a 100,000-word novel, reading every word is the last step in editing. Actually, if I get stuck on a section of writing, I read it aloud. Often, it is all that’s needed to find that perfect word or the next sentence.

When I read, I take on the characteristics of the character. If I’m angry, I speak with anger. If I’m stumbling over my dialogue, then I stutter. Sometimes, I’ll use a Scottish or English accent, just to hear the story with fresh ears. It doesn’t matter if I get the accent right; the point is to make it different than how I usually speak.

Reading it aloud will point out problems in rhythm, uncover those words that sound too much alike and find words that have been accidentally left out.

In my novel, Mystery Light in Cranberry Cove, two of the main characters were Ellis and Alice. On paper, these names are easily distinguished. However, when you read them out loud in a sentence, they sound very similar – too similar for characters who will spend a lot of time together in a novel. In the end, I changed Alice’s name to Shona.

If reading your words doesn’t create the emotions you want to convey, then consider making changes. You don’t want to giggle in the middle of a tragedy and you don’t want readers to think a character is angry when he’s really trying to sweet talk his lover.

If you’ve never read your work aloud, give it a shot. Feel those words, make them yours. Guaranteed you’ll hear things from a new prospective – your character’s.