Showing posts with label book love. Show all posts
Showing posts with label book love. Show all posts

Wednesday, March 25

How well do you know the parts of a book and their names and functions? Below I've gathered a list of the most common elements in a printed book.

Photo credit: pschubert from morguefile.com

Front Matter


All the pages prior to the main body. Numbering is done in lowercase Roman numerals.

End papers/leaves
Blank pages, sometimes with images, at the beginning and end of a book. They usually exist to fill out a printer's signature (huge paper sheets from which book pages are cut) and give a polished look. Paperbacks are less likely than hardbacks to contain them.

Endorsements
Praise from other authors, important book reviewers, or experts on your topic often appear first. Keep in mind that readers will be likely to skip or skim, so put the most important first, and have plenty of white space on the page. Dense text on an endorsements page will be a turn off.

Half title page
In traditionally published books, it's common to have a page with the title and nothing else.

"Also by" page
A list of the author's other works typically appears on the back of the Half title.

Title page
The book title and the names of the author(s) and the publisher go on the front of this page

The back of the title page should include the copyright notice, the ISBN, the publisher’s address, the year the book was published, any disclaimers, information about the cover art and/or designer.

Cataloging in Publication information also goes here--the categories for library search engines-- for traditionally published books. Self-published books are not eligible for this service (see Library of Congress FAQs for more info). Don't try this at home, either. You can pay to have CIP data generated, but it's pricey and won't guarantee your book will make it into a library.

Dedication
Spot where the author gives special recognition to someone or something. The word "dedicated" or "dedication" need not appear. Simply "In memory of my mother" or "For Sam, who makes it all worthwhile" is often plenty.

Acknowledgements
Specific thanks to all the people who helped the author, and can sometimes cleverly incorporate the story's themes or images. Acknowledgements can also appear in the back matter, if preferred.

Table of contents
This list of the elements included in the book is more common in nonfiction than fiction. It should include pertinent front matter--such as a foreword or preface, the chapters, and all back matter.

Foreword (note spelling!)
A special introduction written by someone other than the author, that gives supportive information regarding the book. Forewords can be included in nonfiction, fiction, and poetry books.

Preface
Written by the book’s author, this contains important information related to the book topic, such as explaining the author's expertise, or research methodology. Prefaces are largely used in nonfiction.

Body

Introduction
In nonfiction, the author gives the reader more details about the book, typically a rationale for "why I wrote this book" or an informal letter to readers, highlighting the benefits of reading the book.

Prologue
In fiction, a chapter occurring outside the main narrative time frame or location, typically before the main story action picks up. Sometimes the prologue will be a fictionalized outside source, such as an imaginary newspaper clipping, TV broadcast or online article. Using part of a scene from the climax as a prologue has been done (Twilight) but will likely come off as gimmicky. Keep in mind that some readers will skip prologues, so use with caution.

Chapters
The text of the book is typically broken into parts called chapters. These might be named with a simple number (Ten, 17), the word "chapter" and a numeral or spelled out number (Chapter 23, Chapter Six), a descriptive heading ("In which the heroine uncovers a ruse"), a date (especially for diary-style fiction), a location (Chicago, Dave's house), the point-of-view character's name, or a combination of these (Chapter 6, March 21, Chicago; 15 Vanessa).

Epigraphs
Quotations from other sources that summarize the theme of a chapter can be inserted at the beginning of a chapter, or the book as a whole (usually right before the body). Beware of taking more than about 400 words from any single source--that's the UK threshold for "fair dealing," a copyright concept more strict than US law. If you use Bible verses, use several different translations (say, NIV, ESV, NASB) to ensure you don't stray out of fair use or fair dealing territory, and be sure to attribute correctly (in an appendix, and in your copyright information).

Frank Herbert's Dune used epigraphs from a fictional source written by one of his characters who is a small child in the book. In doing this, he avoids copyright issues and also signals that this person will become significant.

Scenes/sections
Chapters are composed of subsections called "scenes" in fiction and "sections" in nonfiction.

How separations between scenes are demarcated can depend on medium. In paper books, extra space is typically added. In e-books, scene breaks are often marked with centered asterisks, dashes, or even line art. Indie authors should determine what their "house style" will be and use it consistently.

Nonfiction sections usually have descriptive headings.

Epilogue
A final chapter, typically dramatized scenes, that takes place sometime after the main narrative. This might be a day or decades later. In Harry Potter and the Deathly Hallows, for example, J.K. Rowling provides a glimpse of how our favorite characters are faring 19 years after the Battle of Hogwarts.

Back Matter


All elements that appearing after the body of the book. Be sure to include them when numbering pages and constructing your table of contents.

Afterword (note spelling!)
Unlike an epilogue, an afterword is not in a character's voice, but is instead follow up information for the audience from the author. This might include an explanation of how the author got the idea for the story or a testimonial from another source.

Appendix (Appendices if more than one)
Appendices include supplementary information, such as "further reading" with recommended books, or a list of resources such as organizations and websites related to the book's topic. Maps of your fantasy world and lists of characters and their relationships (for large casts) would also appear here. Appendices might also include additional content related to the book, such as discussion questions or recipes for foods featured in the story.

Glossary
Vocabulary words and their definitions. If you coin a lot of terms in your worldbuilding, readers will appreciate a glossary. Don't forget to include pronunciations.

Bibliography
Lists the references used in writing the book. It's rare to include this in fiction. More often, fiction writers mention important research sources in their acknowledgements.

Index
An alphabetical list of significant terms found within the text and the pages where they appear. Nonfiction books usually include this element.

Author biography ("About the author")
A sentence, paragraph or even a page with information about the author. Increasingly, authors include information about how to connect on social media. Some also include a personal plea for reviews.

Sneak Peak
A sample chapter of the next book in the series, or of your next release can build audience.


Did I miss anything? Which elements do you wish authors and publishers used more often? Less often?
Wednesday, March 25, 2015 Laurel Garver
How well do you know the parts of a book and their names and functions? Below I've gathered a list of the most common elements in a printed book.

Photo credit: pschubert from morguefile.com

Front Matter


All the pages prior to the main body. Numbering is done in lowercase Roman numerals.

End papers/leaves
Blank pages, sometimes with images, at the beginning and end of a book. They usually exist to fill out a printer's signature (huge paper sheets from which book pages are cut) and give a polished look. Paperbacks are less likely than hardbacks to contain them.

Endorsements
Praise from other authors, important book reviewers, or experts on your topic often appear first. Keep in mind that readers will be likely to skip or skim, so put the most important first, and have plenty of white space on the page. Dense text on an endorsements page will be a turn off.

Half title page
In traditionally published books, it's common to have a page with the title and nothing else.

"Also by" page
A list of the author's other works typically appears on the back of the Half title.

Title page
The book title and the names of the author(s) and the publisher go on the front of this page

The back of the title page should include the copyright notice, the ISBN, the publisher’s address, the year the book was published, any disclaimers, information about the cover art and/or designer.

Cataloging in Publication information also goes here--the categories for library search engines-- for traditionally published books. Self-published books are not eligible for this service (see Library of Congress FAQs for more info). Don't try this at home, either. You can pay to have CIP data generated, but it's pricey and won't guarantee your book will make it into a library.

Dedication
Spot where the author gives special recognition to someone or something. The word "dedicated" or "dedication" need not appear. Simply "In memory of my mother" or "For Sam, who makes it all worthwhile" is often plenty.

Acknowledgements
Specific thanks to all the people who helped the author, and can sometimes cleverly incorporate the story's themes or images. Acknowledgements can also appear in the back matter, if preferred.

Table of contents
This list of the elements included in the book is more common in nonfiction than fiction. It should include pertinent front matter--such as a foreword or preface, the chapters, and all back matter.

Foreword (note spelling!)
A special introduction written by someone other than the author, that gives supportive information regarding the book. Forewords can be included in nonfiction, fiction, and poetry books.

Preface
Written by the book’s author, this contains important information related to the book topic, such as explaining the author's expertise, or research methodology. Prefaces are largely used in nonfiction.

Body

Introduction
In nonfiction, the author gives the reader more details about the book, typically a rationale for "why I wrote this book" or an informal letter to readers, highlighting the benefits of reading the book.

Prologue
In fiction, a chapter occurring outside the main narrative time frame or location, typically before the main story action picks up. Sometimes the prologue will be a fictionalized outside source, such as an imaginary newspaper clipping, TV broadcast or online article. Using part of a scene from the climax as a prologue has been done (Twilight) but will likely come off as gimmicky. Keep in mind that some readers will skip prologues, so use with caution.

Chapters
The text of the book is typically broken into parts called chapters. These might be named with a simple number (Ten, 17), the word "chapter" and a numeral or spelled out number (Chapter 23, Chapter Six), a descriptive heading ("In which the heroine uncovers a ruse"), a date (especially for diary-style fiction), a location (Chicago, Dave's house), the point-of-view character's name, or a combination of these (Chapter 6, March 21, Chicago; 15 Vanessa).

Epigraphs
Quotations from other sources that summarize the theme of a chapter can be inserted at the beginning of a chapter, or the book as a whole (usually right before the body). Beware of taking more than about 400 words from any single source--that's the UK threshold for "fair dealing," a copyright concept more strict than US law. If you use Bible verses, use several different translations (say, NIV, ESV, NASB) to ensure you don't stray out of fair use or fair dealing territory, and be sure to attribute correctly (in an appendix, and in your copyright information).

Frank Herbert's Dune used epigraphs from a fictional source written by one of his characters who is a small child in the book. In doing this, he avoids copyright issues and also signals that this person will become significant.

Scenes/sections
Chapters are composed of subsections called "scenes" in fiction and "sections" in nonfiction.

How separations between scenes are demarcated can depend on medium. In paper books, extra space is typically added. In e-books, scene breaks are often marked with centered asterisks, dashes, or even line art. Indie authors should determine what their "house style" will be and use it consistently.

Nonfiction sections usually have descriptive headings.

Epilogue
A final chapter, typically dramatized scenes, that takes place sometime after the main narrative. This might be a day or decades later. In Harry Potter and the Deathly Hallows, for example, J.K. Rowling provides a glimpse of how our favorite characters are faring 19 years after the Battle of Hogwarts.

Back Matter


All elements that appearing after the body of the book. Be sure to include them when numbering pages and constructing your table of contents.

Afterword (note spelling!)
Unlike an epilogue, an afterword is not in a character's voice, but is instead follow up information for the audience from the author. This might include an explanation of how the author got the idea for the story or a testimonial from another source.

Appendix (Appendices if more than one)
Appendices include supplementary information, such as "further reading" with recommended books, or a list of resources such as organizations and websites related to the book's topic. Maps of your fantasy world and lists of characters and their relationships (for large casts) would also appear here. Appendices might also include additional content related to the book, such as discussion questions or recipes for foods featured in the story.

Glossary
Vocabulary words and their definitions. If you coin a lot of terms in your worldbuilding, readers will appreciate a glossary. Don't forget to include pronunciations.

Bibliography
Lists the references used in writing the book. It's rare to include this in fiction. More often, fiction writers mention important research sources in their acknowledgements.

Index
An alphabetical list of significant terms found within the text and the pages where they appear. Nonfiction books usually include this element.

Author biography ("About the author")
A sentence, paragraph or even a page with information about the author. Increasingly, authors include information about how to connect on social media. Some also include a personal plea for reviews.

Sneak Peak
A sample chapter of the next book in the series, or of your next release can build audience.


Did I miss anything? Which elements do you wish authors and publishers used more often? Less often?

Tuesday, November 12

I admit it. I'm starting to give up on books more often than I used to. A wise friend of mine has a rule of thumb about finishing books: "if you're under 30, give every book 100 pages to hook you. If you're over 30, give it 50." I think she understands the natural impatience of youth, and the often natural stick-to-it-iveness of maturity. Sometimes we need to give authors a chance, sometimes we need to cut our losses and move on.

As I've set aside a few books, I got thinking about what makes me, personally, cut my losses. And as I did so, I realized a very helpful blog series might grow around these areas. So today I'll be simply laying out "the problem" and ask for your input as well. In future posts, I'll address how to avoid these pitfalls in your own writing.

Top ten reasons I stop reading


1. Riddled with errors

photo by verbaska, morguefile.com

Frequent errors in spelling, grammar, usage, syntax, punctuation, and formatting immediately pull me out of the story and make me want to reach for my red pen. Frankly, I don't want pleasure reading to feel like work.

2. Annoying voice


I really love witty, sarcastic narrators, but there can be a fine line between sarcasm and obnoxiousness. The ones that make me shut the book rather than read on are deeply mean-spirited types who always put others down, and/or are self-absorbed complainers.

3. No one to root for


Yes, characters need flaws to be realistic. But if every character is all flawed all the time, it's as boring as reading a book full of Mary Sues. As a reader, I simply stop caring if none of the characters has a redeeming quality to give hope for change and growth. Because change is the essence of plot, and hope the one emotion your reader most wants to have stirred. So sure, bring on the scarred and damaged, but if they're all about simply lashing out or wallowing, I'm moving on.

4. Garbled action


To use a theatre metaphor, fiction needs to be properly blocked. That is, the key characters and actions should be put in a focal place (not upstaged by the extras), and all movements should be presented in a manner that makes sense and flows. Action scenes with too much going on all at once, with no clear sense where the characters are, and how they are moving in space--and in relation to one another--is simply confusing rather than exciting.

5.  Cliched


If the story feels like I've heard it before, all the characters are standard types, and no one does anything surprising, I'm bored.

6. Predictable


The predictable plot usually flows out of clichéd characters and scenarios. Or perhaps the plot complications are too obvious and obstacles too easily overcome.Sometimes predictability comes about because the writer hasn't mastered advanced techniques such as narrative misdirection--getting the characters focused wrong information some of the time (aka "red herrings"). If I get to page 50 with no real surprises, I tend to give up.

7. Implausible


Plots that hinge too much on coincidence make my skeptic-ometer alarm peal. Random coincidences seem to happen all the time in real life, but dig deeper and there's often some history that led to the moment. Cheap epiphanies, in which characters "see the light" after one minor shake-up, do not a plausible story make. Real change is slow, incremental, and includes some failure and steps backward.

In this category I also lump things like "insta-love" and "insta-reform" (the latter crops up in religious fiction far too often).

8. Stilted


If the writing lacks naturalness, either the narrative voice or dialogue, it pulls me out of the story. Contemporary stories need to sound like they're recording real people. Historical fiction, fantasy and SciFi similarly need to reflect the milieu in which they are set.

9. Thin


Some novels seem like only the skeleton of a story. There's a plot, but it zips along so fast, I never catch my breath. The characters' personalities and relationships are superficial. Thin stories tend to have only a main plot (no subplots) and secondary characters that are all essentially extras, like Detective #3 in a police procedural TV show.

10. Bad fit for my tastes


I have no stomach for graphic violence, and I prefer not to ingest much foul language or graphic sexual content. The proverb "Guard your heart, for it is the wellspring of life," is something I consider when choosing reading material. I want books to help me become more empathetic, not harden me or encourage my vices. Others have different no-go areas and preferences.

What makes YOU stop reading? Any additional categories to add?
Tuesday, November 12, 2013 Laurel Garver
I admit it. I'm starting to give up on books more often than I used to. A wise friend of mine has a rule of thumb about finishing books: "if you're under 30, give every book 100 pages to hook you. If you're over 30, give it 50." I think she understands the natural impatience of youth, and the often natural stick-to-it-iveness of maturity. Sometimes we need to give authors a chance, sometimes we need to cut our losses and move on.

As I've set aside a few books, I got thinking about what makes me, personally, cut my losses. And as I did so, I realized a very helpful blog series might grow around these areas. So today I'll be simply laying out "the problem" and ask for your input as well. In future posts, I'll address how to avoid these pitfalls in your own writing.

Top ten reasons I stop reading


1. Riddled with errors

photo by verbaska, morguefile.com

Frequent errors in spelling, grammar, usage, syntax, punctuation, and formatting immediately pull me out of the story and make me want to reach for my red pen. Frankly, I don't want pleasure reading to feel like work.

2. Annoying voice


I really love witty, sarcastic narrators, but there can be a fine line between sarcasm and obnoxiousness. The ones that make me shut the book rather than read on are deeply mean-spirited types who always put others down, and/or are self-absorbed complainers.

3. No one to root for


Yes, characters need flaws to be realistic. But if every character is all flawed all the time, it's as boring as reading a book full of Mary Sues. As a reader, I simply stop caring if none of the characters has a redeeming quality to give hope for change and growth. Because change is the essence of plot, and hope the one emotion your reader most wants to have stirred. So sure, bring on the scarred and damaged, but if they're all about simply lashing out or wallowing, I'm moving on.

4. Garbled action


To use a theatre metaphor, fiction needs to be properly blocked. That is, the key characters and actions should be put in a focal place (not upstaged by the extras), and all movements should be presented in a manner that makes sense and flows. Action scenes with too much going on all at once, with no clear sense where the characters are, and how they are moving in space--and in relation to one another--is simply confusing rather than exciting.

5.  Cliched


If the story feels like I've heard it before, all the characters are standard types, and no one does anything surprising, I'm bored.

6. Predictable


The predictable plot usually flows out of clichéd characters and scenarios. Or perhaps the plot complications are too obvious and obstacles too easily overcome.Sometimes predictability comes about because the writer hasn't mastered advanced techniques such as narrative misdirection--getting the characters focused wrong information some of the time (aka "red herrings"). If I get to page 50 with no real surprises, I tend to give up.

7. Implausible


Plots that hinge too much on coincidence make my skeptic-ometer alarm peal. Random coincidences seem to happen all the time in real life, but dig deeper and there's often some history that led to the moment. Cheap epiphanies, in which characters "see the light" after one minor shake-up, do not a plausible story make. Real change is slow, incremental, and includes some failure and steps backward.

In this category I also lump things like "insta-love" and "insta-reform" (the latter crops up in religious fiction far too often).

8. Stilted


If the writing lacks naturalness, either the narrative voice or dialogue, it pulls me out of the story. Contemporary stories need to sound like they're recording real people. Historical fiction, fantasy and SciFi similarly need to reflect the milieu in which they are set.

9. Thin


Some novels seem like only the skeleton of a story. There's a plot, but it zips along so fast, I never catch my breath. The characters' personalities and relationships are superficial. Thin stories tend to have only a main plot (no subplots) and secondary characters that are all essentially extras, like Detective #3 in a police procedural TV show.

10. Bad fit for my tastes


I have no stomach for graphic violence, and I prefer not to ingest much foul language or graphic sexual content. The proverb "Guard your heart, for it is the wellspring of life," is something I consider when choosing reading material. I want books to help me become more empathetic, not harden me or encourage my vices. Others have different no-go areas and preferences.

What makes YOU stop reading? Any additional categories to add?

Thursday, March 21

One of my neighbors is a wonderfully eccentric homeschooling mom who painted her Edwardian-era home purple, gold and teal and keeps chickens in her tiny yard, a block from the commuter rail station. She's often out in her garden with her rough-and-tumble girls, teaching them about plant life cycles or reading poetry.

So when an adorable miniature house full of books appeared at her front gate, painted to match the main house, I thought it was another one of Sue's cool new ideas. Share books! Meet neighbors! The "Little Free Library" sign, I believed, must be a riff on Philadelphia's public library system, called "The Free Library of Philadelphia."

While perusing this month's O, the Oprah Magazine, I came across a brief article on a very special organization behind Sue's box. Apparently there's an international movement of "take a book, leave a book," neighborhood by neighborhood.

The Little Free Library is a charity that helps individuals (folks like you and me) foster literacy and build community in their neighborhoods. You can order kits from their site and place a miniature lending library on your property. Register your library with LFL to receive extra support. The organization also is active in providing books to the third world to promote global literacy.

Here are a few more adorable libraries to inspire you:

Habitat for the Humanities (clever, right?)

A book barn!

A very classy library.
Go check it out, my book-loving friends! This might be just the thing your neighborhood needs.

If you could custom-design a box for your yard, what would it look like? What books might you share with your neighbors?
Thursday, March 21, 2013 Laurel Garver
One of my neighbors is a wonderfully eccentric homeschooling mom who painted her Edwardian-era home purple, gold and teal and keeps chickens in her tiny yard, a block from the commuter rail station. She's often out in her garden with her rough-and-tumble girls, teaching them about plant life cycles or reading poetry.

So when an adorable miniature house full of books appeared at her front gate, painted to match the main house, I thought it was another one of Sue's cool new ideas. Share books! Meet neighbors! The "Little Free Library" sign, I believed, must be a riff on Philadelphia's public library system, called "The Free Library of Philadelphia."

While perusing this month's O, the Oprah Magazine, I came across a brief article on a very special organization behind Sue's box. Apparently there's an international movement of "take a book, leave a book," neighborhood by neighborhood.

The Little Free Library is a charity that helps individuals (folks like you and me) foster literacy and build community in their neighborhoods. You can order kits from their site and place a miniature lending library on your property. Register your library with LFL to receive extra support. The organization also is active in providing books to the third world to promote global literacy.

Here are a few more adorable libraries to inspire you:

Habitat for the Humanities (clever, right?)

A book barn!

A very classy library.
Go check it out, my book-loving friends! This might be just the thing your neighborhood needs.

If you could custom-design a box for your yard, what would it look like? What books might you share with your neighbors?