Not One Woman

Many and many a blog ago, in Woman Yes, Girl No, I wrote about some people’s inability to use the word woman. Recently I was reminded of this by a book I read. In it, the author either refused to or could not get himself to use the word woman.

My response was to write a “skinny” poem, also called a “short lines” poem.

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Let There Be Light

The man
writes
a book
peopled
by men,
boys,
ladies,
and girls,
but not one
woman.

In four
hundred
pages,
not one
woman.

I want
to rate
this book
one star
but can’t:
even one
star
belies
the dark.

 

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Barbara Gregorich has published one book of poetry: Crossing the Skyway.

Five Figures of Speech

Rhetoric is effective and/or persuasive writing or speaking, and figures of speech are one of the components of rhetoric. Both readers of and speakers of the English language enjoy encountering figures of speech, which can be clever, humorous, biting, visual — intriguing or memorable in some way. Thus writers who can employ figures of speech are more likely to win over their audience.

Because the ancient Greeks valued and taught rhetoric, most figures of speech have names that come from the Greek. I have to confess that I can use a figure of speech, knowing I have used it, without being able to remember its name.

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Some sources state that anaphora [a NAPH o ra] is probably the oldest literary device of all. Anaphora is the repetition of a word or phrase at the beginning of successive clauses, and it has been used extensively by writers and speakers of all kinds. Walt Whitman used anaphora, as did Martin Luther King, Jr.

Here’s a well-known example, from Winston Churchill’s most famous World War II speech: “We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills. We shall never surrender.”

Then there’s antanaclasis [ANT an a CLASS is], in which a word is repeated in the same grammatical form (verb, for example, or adjective), but with two different meanings or senses. An example is the quote attributed to Benjamin Franklin: “We must, indeed, all hang together, or, most assuredly, we shall all hang separately.” In both cases hang is a verb, but in its first use it means to consort with, and in its second use it means to be suspended by the neck until dead.

UnknownYou can infer the importance of repetiton, both to the Greeks and to ourselves, when you consider how often repetition is part of a literary device. There’s anaphora, there’s antanaclasis, and there’s ploce [PLO see], which is the repetition of a word, often with intervening words between, and usually the second use of the word has a different meaning than does the first use of the word. “When the going gets tough, the tough get going.”

game-of-thrones-longclaw-sword-of-jon-snow_1000Metonymy [meh TON eh me] replaces the name of something with a word that is closely associated with the first thing. For example, when Christina Rossetti wrote “Never on this side of the grave again,” she was replacing the word death with something associated with death: the grave. In “The pen is mightier than the sword,” pen is being used instead of written words, and sword is being used instead of military force.

Metonymy is so much a part of our spoken and written language that we’re often unaware that we’re using a figure of speech.

Synecdoche [sin EK do kee] is a special form of metonymy in which a part is used to represent the whole. An example of synecdoche from everyday usage is calling workers hands — the hand is just part of a human being, but it is used to stand for the whole person. Likewise, calling a very intelligent person a brain is an example of synecdoche.

And now, by your leave, I’ll leave you alone.

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Barbara Gregorich employs figures of speech in her poems, published in Crossing the Skyway.

Early Readers: A Short Phase

In a young reader’s development, early readers come immediately after start-to-read primers, but before early chapter books. Dr. Seuss’s books, such as The Cat in the Hat, are easy to read because of their emphasis on phonics and simple words, but they’re not early readers. I consider them more of a start-to-read book. Or, if anything, they are unique books in that parents read them to children as picture books, children memorize them, and then children read them at the beginning of their reading lives.

For decades early readers were orphans in the world of children’s books, seldom receiving consideration for either the Caldecott (which usually went to picture books for illustration) or the Newbery (which usually went to Middle Grades books for story). Then, in 2006 the American Library Association, which awards both the Caldecott and the Newbery, instituted the Geisel Award, named after Theodore Geisel (Dr. Seuss), who pioneered beginning readers during the 1950s.

Early readers most often have chapters. Or, they sometimes consist of two, three, or four separate stories. A chapter or story runs 300-600 words long. The length of the book is usually 48 pages, but can be as short as 32 pages or as long as 64 pages. Early readers contain illustrations: usually “spot” illustrations which are smaller than picture-book-sized illustrations.

UnknownThe size of early readers is different from the size of picture books — they have a slightly smaller trim size, making them feel less like “baby” books and more like “real” books to the child selecting them. The trim size of Alien & Possum, for example, is 6.25”x9.25”.

Not all children’s book publishers are interested in publishing early readers, perhaps because early readers appeal to a child for only a short time in that child’s life: 6 months, maybe a year. Reading abilities and reading comprehension grow in leaps and bounds, and a child who’s reading an early reader at the beginning of second grade might be ready for an early chapter book of 80-100 pages by the end of second grade.

Picture books, on the other hand, are suitable for children aged 2-8 years, and early chapter books are read by ages 8-10, or even older. Parents are more willing to buy picture books and early chapter books than they are to buy early readers, which their children might outgrow very quickly.

Children, on the other hand, often develop a fierce loyalty to early readers, and this loyalty can last into adulthood. I’ve heard many adults speak passionately about early readers such as Frog and Toad, or Henry and Mudge.

003124As far as I know, early readers of the Frog and Toad variety didn’t exist when I was a child. In fact, I read the Frog and Toad stories as an adult and fell in love with them. Written and illustrated b y Arnold Lobel, the first book in the series, Frog and Toad Are Friends, was published in 1972.

People who write early readers are aware that they must use somewhat simple sentence structure and a somewhat restricted vocabulary. But I think that writers of early readers make up for these restrictions by finding a beautiful rhythm of sentences. Here are the first five sentences of “Down the Hill,” the first story in Frog and Toad All Year:

Frog knocked at Toad’s door.
“Toad, wake up,” he cried.
“Come out and see
how wonderful the winter is!”
“I will not,” said Toad.
“I am in my warm bed.”

One of the very popular early readers series is the Henry and Mudge series by Cynthia Rylant, first published in 1987. Henry is an only child and Mudge is his dog, who grows from a puppy into a 180-pound canine. Rylant won the very first Geisel Award in 2006 for Henry and Mudge and the Great Grandpas.

Another early reader series is the Fox series, written and illustrated by James Marshall (of George and Martha fame). Like Arnold Lobel, Marshall wrote with a beautiful rhythm, economy of words, and great humor. The first Fox title, Fox All Week, was published in 1984.

Because I love reading early readers, it should come as no surprise that I sometimes write early readers. The first of these, Waltur Buys a Pig in a Poke and Other Stories, was 64 pages long. It contained three stories and came to 64 pages mainly because the publisher divided each of the three small stories into four small chapters. Publishers Weekly gave the book a starred review. Booklist, Kirkus Reviews, School Library Journal, and the Cooperative Children’s Book Center all liked it, the latter making it a Choice 2007 book.

Unknown-1For the sequel, Waltur Paints Himself into a Corner and Other Stories, the publisher left each of the three stories intact (instead of breaking them into chapters). The book then came out to 48 pages, a much more economical arrangement, considering the cost of color printing. Booklist thought the stories contained “deliciously sticky, comical situations.”

If you have never read an early reader, or did but have forgotten the wonderful way in which it tells a story, look at one of the books I’ve mentioned the next time you’re in a bookstore. Try any of Arnold Lobel’s Toad and Frog books, or James Marshall’s Fox books, or Cynthia Rylant’s Henry and Mudge books, or her Poppleton books. You just might get hooked on the rhythm of the story.

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When she isn’t writing early readers, Barbara Gregorich writes books such as Jack and Larry: Jack Graney and Larry, the Cleveland Baseball Dog.

Ridge and Furrow

One of my early memories is of riding behind my uncle as he drove the tractor, plowing the fields. I loved to see the earth turn over on itself, forming ridges.I wrote this poem as a tribute to farmers and the farming life.

 

Deep_Furrows_-_geograph.org.uk_-_20348

 

Ridge and Furrow

Spring is the starting season. Tractor tows,
plow plunges into earth, cuts the trench
and folds deeper dirt bottom-side up. Earthworms
glisten in the rich, ready soil. Ridge and furrow,
furrow and ridge roll across the land.

Next comes the harrow, its sharp spikes
crushing heavy clods of dirt into smaller clumps,
smoothing the land, grooming the earth.

The farmer rises at dew-filled dawn to
drive the tractor true; sits dry and dusty
under the welcome shade of a solitary tree,
chews his lunch and drinks lemonade; works
through cricket dusk, dreaming of golden grain.

Behind the tractor the chattering, row-straddling
drill pokes the dirt, depositing seeds. Tucked into rich
ready furrows, the seeds will sprout, the sprouts
will shoot up into crops — wheat, rye, corn, soy.

Summer is the growing season. Rubber-hoofed
tractor pulls the cultivator, uprooting weeds.
When crop tops tickle the tractor bottom,
the farmer knows: time to rest the machines.

Bees buzz acres of grain; butterflies flutter;
quail and pheasants nest. Rabbits hop
among the ridges and deer browse,
hidden behind abundant stalks.

Autumn is the reaping season. Mighty machines
snort. Combines, balers, pickers —the farmer
rides them hard, racing against the weather.
No time to lose, act quickly or lose the crops.

Everybody jumps to at harvest. Bale the hay,
thresh the wheat — gather, gather the crops.
Make hay while the sun shines because tomorrow
threatens to damage the entire yield.

At last the reaping is complete and farm families
celebrate: hay rides, apple cider and potluck
suppers. Rejoice, for the farmers’ crops
can feed the world.

In the satisfied fields crickets chirp and crows
caw over solitary seeds of grain. Low and full,
the harvest moon shines on stubble.

Winter is the sleeping season. Bare furrows
and ridges ripple around hills and along
creeks. Dusted with snow, they adorn Earth’s face.
Winter’s weight flattens furrow and ridge as
Earth collapses inward for a long sleep.

Finally the snow melts, though frost remains.
Days grow longer and warmer.
The farmer checks the tractor and plow.

Spring is the starting season. Plow
plunges and turns the soil. Earth
embraces herself row after row.
Furrow and ridge, ridge and furrow,
the farming life.

 

 

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Barbara Gregorich has published one book of poetry: Crossing the Skyway.

Book Review: Charlie Chan Carries On

 

When I was sixteen years old and first read Earl Derr Biggers’ six Charlie Chan novels, I loved each and every one, but my favorite was the fifth book, Charlie Chan Carries On. However, I couldn’t really say why.

What was it about this book that made it my favorite? Was it the fact that the story took place on an around-the-world cruise, and that this setting appealed to me? Or perhaps I loved the novelty of having one detective be the protagonist for the first half of the book, and another detective take over for the second half of the story.

Back in the 1990s, after I had already read each book twice, and was about to embark on reading each a third time, I did a lot of research on Earl Derr Biggers. This included reading all the correspondence between Biggers and his editor, David Laurance Chambers of Bobbs-Merrill. From these letters I learned many things I hadn’t known — including something about Biggers’ attitude toward writing Charlie Chan Carries On.

Specifically, I learned that Biggers complained to Chambers about the fact that so many of his fans were telling him he should write a Chan mystery in which Charlie goes to London and meets up with Inspector Duff of Scotland Yard (introduced in Behind That Curtain), and the two of them solve a case together.

Which part of these suggestions repelled Biggers more, I don’t know: that he take his character to London, that Chan co-star with Duff . . . or that the fans felt they could tell Biggers where to set his books. Disregarding all these suggestions, Biggers wrote a fourth Chan novel, The Black Camel, in which he took Charlie home to Hawaii. Inspector Duff was not present in the novel.

Still . . . there was something about the London suggestion, or the meeting-Duff-again suggestion that appealed to Biggers. And so he plotted that Duff and Chan would work together — but not in the way the fans had suggested. In Charlie Chan Carries On Biggers turned the first part of the story over to Inspector Duff in London, then, in the second half, had Duff meet Chan in Honolulu (not London!). Charlie takes charge in the second half of the story and solves the mystery that Duff hadn’t yet solved.

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As I read the correspondence between Biggers and his editor and recalled the plot of Charlie Chan Carries On, I chuckled. Biggers managed to both give the fans what they wanted (another meeting between Duff and Chan) and not give them what they wanted (Chan in London). I think that in writing this book he was showing mystery readers who is in charge of the novel: the author.

Still, learning this about Biggers and his fans’ suggestions didn’t reveal to me why Carries On is my favorite of the six novels. So this time around, for my fourth reading of the novel, I decided to pay very close attention to the question of why I like this book the most.

It’s a very well constructed mystery, as are all six of the Chan novels. The story starts out in London, where Inspector Duff of Scotland Yard investigates a murder that occurs at Broome’s Hotel. The murdered man, Hugh Drake, was a member of Doctor Lofton’s Around the World tour. Duff questions all seventeen members of the tour, but gets nowhere. He wants to keep the tour from leaving, but the British legal system will not let him do so because he has no evidence with which to charge anybody with murder.

In Nice a second member of the tour is murdered. Duff, who has arrived in Nice, learns that somebody in San Remo, Italy, is in danger, even though she’s not part of the tour. Duff travels with the tour to San Remo, but the person he means to protect is murdered. Neither Duff nor the Italian police can solve the crime, and so the tour continues eastward while Duff returns to London — after asking Pamela Potter, a tour member, to keep him informed by letter, and to cable him if anybody else is murdered.

Back at Scotland Yard Duff and his superior decide to put an undercover Yard man on the case: he will join the tour in Calcutta, working on the ship’s crew. But this undercover operator does not make it past Japan.

As the tour boat makes its way to Hawaii, Duff is sent to the US to investigate safe deposit boxes (which play a role in the murder) and, eventually, to meet the tour ship when it arrives in Honolulu.

There the long-awaited reunion between Chan and Duff takes place, with Chan and Duff treating each other to lunches and Chan inviting Duff to his home for dinner.

And then, the night that Duff is to sail to the States with the remaining tour members, he is shot while in Charlie’s office at the Honolulu Police Station. Before he passes out Duff whispers, “Carry on, Charlie.” Duff’s life is saved, but he cannot leave the hospital.

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At this point Chan takes over, stating that his honor has been assailed and that he will solve the case for his friend. The last seven chapters of the book take place aboard the President Arthur as it steams its way toward San Francisco. Chan has Duff’s case notes with him and proceeds to question the tour members.

In my fourth reading, I was able to determine the identify of the killer by Chapter 18 (of 23) — with the same method that Chan was able to determine his identity. (Of course, unlike Chan, I had been here three times before!)

There are three things I noticed during my fourth reading that I hadn’t noticed in my first three. First, I observed that in this book Biggers’ does an amazing — and very funny — job of spoofing both Agatha Christie’s Hercule Poirot and her Miss Marple. I’m amazed that I never noticed this before.

Second, I think Biggers’ depictions of Americans abroad is hilarious. Earl and Eleanor made several trips abroad, and they must have encountered many Americans tourists such as the always-taking-pictures Mr. Benbow. Or the crude but good-at-heart gangster, Max Minchin. Perhaps one of the reasons I love this book so much is that the writing is so funny.

Third, I observed that although there are seventeen suspects, it was always very easy to know which character was which. I’ve read books in which there are six or seven suspects . . . and I can’t identify who is who when they next appear in the book. We’ve all had similar experiences. So how did Biggers manage to do this?

Although Duff had to question all the suspects, Biggers broke them into small groups. First we meet Doctor Lofton, who is in charge of the tour. That’s one character. Then we meet Pamela Potter and her mother. That’s three. Pamela is distinct because Mr. Drake was her grandfather and also because she is the youngest woman on the tour, perhaps twenty years old. The mother goes back to the States, so seventeen are down to sixteen. We then meet Mrs Spicer, who had the room next to Mr. Drake. We also meet Mr. Honywood, whose room is on the other side of Drake’s. We now have four characters to know (Lofton, Pamela Potter, Spicer, and Honywood). They are very distinct from one another. So far, an admirable job by Biggers.

Duff asks Doctor Lofton to assemble the tour members in a lounge. But five of them aren’t back from their London jaunt yet, so they will be questioned later. One of the seven new characters, Mr. Tait, faints the moment he enters the lounge. His young assistant, Mr. Kennaway, helps him into another room.

Now we have five people left to concentrate on: Mr. Ross, a timber merchant; Captain Keane, who isn’t a captain and who seems to lie about everything; Mr. Vivian, who seems to be the paramour of Mrs. Spicer; Norman and Laura Fenwick, brother and sister. We learn about these five, and it’s easy to keep them distinct because of their different ages, different origins, and different attitudes. The Fenwicks want to leave the tour and eventually do, narrowing the number from sixteen to fourteen.

Finally Duff meets the five people who weren’t there at the beginning of the questioning. Mr. and Mrs. Benbow are distinct because Mr. Benbow records each step of the world tour on film and is thus always with his camera; Max Minchin is a gangster from Chicago, with a very distinct way of speaking, and his wife Sadie buys jewelry everywhere they go. Mrs. Luce (the Miss Marple Spoof) is a 72-year-old sharply observant world traveler who has stories to tell about every port she has visited, and who draws lessons from her life’s experiences. As I said, these five characters are easy to keep straight, making this round-the-world story a real pleasure.

There is much I admire about Charlie Chan Carries On, but even now, after reading it a fourth time, I can’t pinpoint the reason why it’s my favorite. So let’s just say that the sheer scope of the book is what appeals to me.

 

___________________________

Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies contains suggestions on how authors can keep characters distinct to readers.

Adventures in Self-Publishing, Part 6

Early in 2017 I was asked to give presentations on “How to Self-Publish on CreateSpace at No Cost.” This is a program I’ve been giving since 2010, and I update it each year, mainly because CreateSpace makes changes each year and I want the program to reflect those changes.

Each time I give the program, I use screenshots from my own books, so that people can see the decisions I had to make on CreateSpace. But in 2017 I decided I would do something different — something that might benefit those attending the presentation even more.

Self-Pub copy

Instead of showing how I use my own template (which I prefer), and instead of showing them the beautiful covers that Robin Koontz created for my books, I decided I would actually publish a book using the CreateSpace template. And I would make my own cover using CreateSpace’s Cover Creator.

This would more closely approximate the experience that most people who use CreateSpace encounter: they use the CreateSpace template, and they use Cover Creator.

There was just one problem.

I had no manuscript to publish.

What, oh what, could I do?

The answer came to me suddenly. I could take 20 or 30 of my blogs, format them, and publish a book.

It took me not quite two weeks to decide which of my 60-some blogs I would select, to put them in order, and then to write an introduction to the book. I titled the book almost instantly, based on a reference to one of my blogs.

Because my “blog book” wouldn’t be a large one, I chose a smaller sized template than I had been using. Instead of 6”x9”, I went with the 5”x8” size. Instead of creating my own 5”x8” template, I downloaded that size from CreateSpace. Then I pasted my manuscript into the template.

I inserted a header and also a footer, and I wrote the front matter and inserted a table of contents. This took me perhaps one full day, mainly because I spent some time experimenting with type size and page breaks and such.

Once my book was ready, I uploaded it to CreateSpace, which informed me that I could proceed to Cover Creator while the CS automated system checked my manuscript for errors.

Cover Creator offers 30 different cover choices. I picked one, and I searched through the CreateSpace data base for a photo of a boat, to go with my title, Xenia Steered the Boat. I found absolutely no photos of boats.

So I asked my friend Sandy Katz if I could use part of one of her paintings. Sandy generously said yes, and she sent me a JPEG of the boat painting I wanted. I uploaded her art to Cover Creator and was very pleased with the results.

But I wasn’t all that happy with the five choices of font Cover Creator gave me for the book title and author name. In fact, I outright rejected three of the five choices. Then I had to decide which of the two remaining ones was less objectionable. The font I really wanted had poor leading: the second line of the title ran into the first line of the title. I called CreateSpace and spoke to a customer service person about changing the leading on the typeface I wanted, but she informed me that this was not possible. So I opted for my second choice, which was an all-capitals title. Not my fave, but definitely acceptable.

Xenia

I took screenshots of the entire process and made a huge update to my presentation.

After I “approved” the cover I had created, CreateSpace asked me to look at my book online. Which I did, catching no mistakes. But I also ordered a softcover copy of the book before publication, and I’m glad I did, because when the book arrived, something I hadn’t noticed in the online copy leaped out at me on the physical copy — my left-hand margins were a quarter-inch larger than my right-hand margins!

How this happened, I have No. Idea. Something makes me think the error was somehow related to the CreateSpace template I downloaded. Perhaps. Perhaps not. I went back into the template and made the left-hand and right-hand margins equal. Then for good measure I proofread the book one more time. And then I uploaded again. And proofread online. And ordered one more physical copy.

When that copy arrived, I went through it page by page. And then I hit the Publish button and my tenth self-published book entered the world.

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Xenia Steered the Boat: Thoughts on Writing is a collection of Barbara Gregorich’s blogs on writing fiction, nonfiction, poetry, and children’s books.

Adventures in Self-Publishing, Part 5

After publishing my first volume of poetry, I turned to the exacting task of constructing Volume 2 of Research Notes for Women at Play. Just as with Volume 1, I first created a template and then typed my book into that template. (For all my other books, I wrote the book first and then pasted the manuscript into a blank template.)

There was so much formatting involved with all three volumes of Research Notes that I just felt more comfortable doing everything in the template itself, thus decreasing the chance that I would create some inadvertent error if I were to transfer the manuscript to the template.

GregorichRNNotesIIKindleCoverI published Research Notes for Women at Play, Volume 2, in July of 2013. It was my second self-published book of that year, and my seventh self-published book since early 2010.

Not long after publishing Volume 2, I was hit with a desire to write a book on how to write a mystery novel. I’ve been reading mysteries since I was eleven years old, and mysteries account for perhaps 50% of all the books I read. As an avid reader, I find that over the years I’ve developed annoyances at certain things I encounter in some mystery novels — and if I encounter them, I do not continue to read that author’s books.

I’ve published two mystery novels, and while writing my second one, Sound Proof, I created charts and graphs. These allowed me to track the appearance of minor characters, track their motives, and always be aware of where all the characters were within the setting. I drew a diagram of the farm and buildings where the action took place. I made certain that the minor-character villain was present often enough to register on the reader’s consciousness. I tracked all the elements important to developing plot, character, tension, and resolution.

One day (who knows why) I was struck by a desire to explain some of the things a mystery writer should consider in order to write a mystery that doesn’t cheat, doesn’t sound improbable, and doesn’t annoy the reader. So, pulling out all my saved materials for Sound Proof, I wrote a 25-chapter outline for my to-be nonfiction book and then, week by week, wrote the manuscript. And, because most of the books I’ve written are not mysteries, the guide contains a lot of information on writing in general. (Reviews have pointed this out.)

Let me digress a moment to say that one of the truly wonderful things about self-publishing (and there are many) is that it allows writers to publish books that, because they have a small market, are unlikely to be picked up by a traditional publisher. All three volumes of Research Notes serve as an example. Th existence of high-quality self-publishing also allows writers to self-publish books that are unlikely to sell to a traditional publisher because the author isn’t a big enough name. My how-to serves as an example. I felt that traditional publishers might like my manuscript, but wouldn’t take a chance on publishing it. I love that I was able to publish it myself.

COVER-WITH-TEMPLATE

And now back to the process of self-publishing my how-to. With this how-to, which would become my eight self-published book, I ran into a word-processing roadblock. Fitting all the charts and graphs into my 6”x9” template proved impossible: there was something about Apple’s Pages program that didn’t allow a long chart (three pages long, say) to flow from one page to another. Instead, I had to chop the chart into pieces that would fit on each page. And even then, I couldn’t make it work. So, as before, I asked friend Robin Koontz if I could hire her to format the document. Robin agreed, producing a publication-ready template — but even she thought it was difficult to do.

Of all the titles I’ve come up with for my self-published books, this one is my favorite: Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. The title promises information, lots of examples, and humor. The book, I think, delivers those things.

Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies, was published in October of 2014. It soon became my best-selling self-published book. To this day, Guide battles with Jack and Larry for the number one position in my monthly sales.

After I published Guide in 2014, I dove into the work of publishing the final volume of Research Notes to Women at Play. I self-published the first volume in 2010, and the third in October of 2015.

BookCoverNotesCoverIII-FINALIf you’ve been reading these posts on my self-publishing adventures, you may remember that I intended to donate my thousands of pages of research notes to the Baseball Hall of Fame . . . but then I got the brilliant idea of self-publishing a portion of the notes.

So, after the third volume was finally published, I began to organize my notes, so that I could deliver them to the BHOF in a neat order. I began in November, 2015, and I finished in July, 2016. The project was a big one. I delivered the notes in August, 2016. And then I spent the rest of the year catching up on what I had neglected while organizing the notes. So I did no self-publishing in 2016.

In fact, I thought it was unlikely that I’d self-publish anything for two or three years. But such was not the case.

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Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies vies with Jack and Larry for best-selling of Barbara Gregorich’s self-published books.