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Story Writing Personal Experience | Selling Your Articles
Are you enjoying composing and working on real narratives from others to use in your own work? I was glad to be asked by the writer to write a mother-daughter story before the publication of the work. He and the editor were well respected, and I thought that our story would exalt God and hopefully comfort the family.
So, I e-mailed the writer a short story about it. But I also thought that the writer would send me an e-mail if she had a question about the story or had larger supplement. The resulting story made us both so uncomfortable that we did not felt forced to divide it widely.
Afterwards, as I am now spending a great deal of my spare minute in the field of sales and distribution, I see this as an unnecessary loss of opportunities for the writer. Indeed, the real outcome of the prayers heard in history was correct. However, here the writer misses the boat: 1) To make the story more legible and imaginative, she has added dialogues and thoughts as if by my girl, but neither by her nor by me.
While the resulting dialog was flowing well and enriching the story, it did not mirror what my daughters would have said or felt. She just didn't sound right with her character. Since it felt uncomfortable for both of us and also seemed strange for her boyfriends, the resulting story felt less real, less of an occasion for work.
If the writer had sent us her extra quotations by email, it would have been about a 10-minute solution to make sure these quotations were nearer to the interview that my girl and I actually had. 2 ) Without even being aware of the name of a pivotal figure in history, she invented one. That would have been good if all our nicknames had been invented, but with only one false name, it was unpleasant because my daughter's boyfriends knew that she had no boyfriend with that name.
She should have explained on Facebook that the story is mostly real, especially the response to prayers, even though some things have been changing. But it would have taken the writer less than a moment to e-mail me the name of the boyfriend in the story. It was such a small detail, but so important for the individual whose name was altered and for their boyfriends, and to show the story as completely truth.
This became a mistake in advertising for the then writer - and could now be for another well-meaning one. I myself, as an writer, have almost seen a much worser scene of awkward word abuse. For one of my own book, I had briefly insulted a narrator by formulating a few words about her kid.
There was a hunch I made about specific needs that was incorrect, and you know the term ASSUME: it can turn U and ME into one (the first three characters of that word). Fortunately, I found that out when I sent my changes to my contributors to ask them if there was anything I hadn't done right and said I was always open to change.
I hope this kept the participants from unnecessarily torturing themselves about how to get in touch with me to tell me that she was miserable, and she seemed happy with my overhaul. My preference is to get my participants to divide their thoughts and think as carefully as possible, even if they need a little more clarification.
Nothing of this can be necessary if you have only worked on it for reasons of language, clearness or to make a story more condensed - although the condensation can omit important items and subtle change a story. However, if you want to breathe a story with a few additions to make it come alive, it would be a great politeness for your collaborators - and a good merchandising policy too - to make sure you've done things right.
There is also a long way to go in establishing long-term relations with your collaborators, your loved ones and even your loved ones, if you dare to cite them! Not only will your collaborator thank you, but he'll be more eager and enthusiastic about writing tweet, pins, Facebook and e-mail shoutouts about your textbook he loves to participate in!