The Authority of Book Awards

Most authors, either through their own efforts or those of a PR firm, seek validation and publicity for their books. Recognition by a reputable book award can do both. While many award contests are open to small and independent press authors, the landscape is full of both charlatans and champions. As the Chairman of the Eric Hoffer Book Award for the last decade, I’ve helped develop a set a criteria that has maintained consistency and integrity. This criteria should apply to any book award you are considering. In the spirit of transparency, I’ll apply each of the following questions to the Eric Hoffer Book Award as well.

How many registrants are accepted each year? The number of annual entrants should be available upon request both during and after registration. The overall number relates to public interest in the award. If only a few hundred or less register annually, then the book award is probably not worthy of your consideration. Each year, over one thousand entries register for the Hoffer Award. Our coordinator provides detailed registration information during the year and especially after the final results are tabulated in the spring.

What are the registration fees? This helps determine if the book award exists to help the authors or enrich the host of the award. The Hoffer Award registration fee is kept intentionally low. Some awards charge for every entry combination, which results in hundreds of dollars to fully register a book. For the Hoffer Award, a single category registration exposes your book to all higher level awards. The staff is composed of volunteers, although a small honorarium is given to the category judges. Clearly no one is getting rich for their hours worth of service. The bulk of our budget goes to shipping books around the country for evaluation.

What is the award focus? Many awards focus on certain genres or are known for one genre more than another. A little research should reveal this information. The Hoffer Award was designed to be all-inclusive across eighteen unique categories. Our registration committee ensures that each book reaches the correct judging committee.

What awards are given? Beyond cash prizes, recognition by a reputable award is much more valuable to the success of your book. Some awards honor only a grand prize and a handful of finalists, which means only a small percentage of worthy offerings are being recognized. The Hoffer Award offers a grand cash prize; winners, runners-up, and honorable mentions in eighteen categories; press type distinctions; the First Horizon Award, Montaigne Medal, and da Vinci Eye; and a group of category finalists. From thousands of registrants come over one hundred prizewinners and dozens of finalists. Each author is able to capitalize on these honors in various ways.

Who are the judges? Without clearly stating who the judges are, your book will likely be evaluated by unqualified in-house staff (i.e. inexperienced general readers). The Hoffer Award has over one hundred experienced category readers, who typically include librarians, literary agents, and category professionals. Judges are carefully vetted via resume/CV, references, and an interview with one of our coordinators. Judges are annually graded and rejoined/released based on their individual performance. It is not unusual for a returning judge to receive notes on improvement for the coming award year. To keep judges fresh, they are rotated into different qualified categories whenever possible.

What is the publicity campaign? Try to determine if the award uses traditional or modern campaigns, if any campaign at all. Merely posting results on their website is not a publicity campaign. The Hoffer Award uses a combination of promotional activities via press releases, media coverage, and the Internet. Our partnership with the US Review of Books has been highly beneficial to authors. (More on that later.) We also get honorees and entrants involved via social media to help promote each other. In the future, we are planning more innovative ways of cross-promotion via entrant participation. Some entrants have done very well with only an award nomination.

What is the award reach? The ways in which the award results are viewed and processed aids the success of honorees. The Eric Hoffer Award results are published within the US Review of Books, which is read by over 15,000 subscribers and tens of thousands of monthly visitors and followers. (The US Review reports a significant spike in traffic in the months surrounding the award announcements.) As the Chairman, I have firsthand experience of literary agents and publishers who scout our book award results for new authors and books. In our history, we have twice been asked to suppress the honors for an independent author because a new publisher has purchased the book (in part based on its Hoffer Award honors) and requires time to prepare the new publicity campaign.

How are the books judged? Any book award should offer a window into their evaluation process, otherwise it is a black box and open to doubt. To preserve integrity, the Hoffer Award does not divulge its judges’ names, but it does discuss its process with entrants and in writer’s forums across the country. Our scoring process is a proprietary seven-point system that encompasses the entirety of the book from content through production. Judges must complete scoring sheets and commentary according to schedule. No judge handles more than twenty books during an award year, and no judge works in more than one category. When the initial double-blind scoring is complete, books are promoted for higher level panels that are composed of mutually exclusive judges, although they may contact the initial judges for consultation.

Are they claiming publishing rights? Some book awards claim publishing rights for the book being entered. (Many literary magazines hang by a thread and claim one-time publishing rights of a story for an issue or anthology. That is reasonable, because there is little and often no money to be made.) However, claiming the publishing rights of any entire book or any portion without a significant payment in return is just another way to publish an author’s work for free. If the book award in question loves the book enough to give it honors, it should respect the author enough to offer a proper publishing contract. Each time we field this question from registrants for the Hoffer Award, we advise that the author avoid any operation that claims rights.

If the book award you are entering cannot answer the above questions satisfactorily or avoids answering these questions altogether, consider avoiding that organization. Every one of the Eric Hoffer Award’s correspondences explains our basic mode of operation within our e-mail signature, whether you ask the question or not. Any award you enter should be that transparent and work hard to promote your book.

Christopher Klim is the author of several books including and the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Professional Revisions – Level Three: Style

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. The revision process exists to recognize mistakes and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

LEVEL THREE: STYLE

When the story line is set and the character and setting details are brought into focus, concentrate on prose. A writer’s style of storytelling is evident from the beginning of the tale’s construction. It is an extension of his brain and the way he absorbs and interprets the world around him. With the arc of the story set, it is time to clarify the prose, as only he can do it.

Establish Consistent Tone

Tone refers to the quality and pitch of the prose. It is the emotional resonance of the story, albeit humorous, horrifying, or dramatic. Whatever the tone, search for inconsistent passages that sabotage the integrity of the story.

Simplify Sentence Structure

Always look to prune and clarify sentences. Be concise. One powerful phrase might replace a few fuzzier statements. At times, writers struggle for an exact description, circling the point with a collection of words. Take a moment to uncover the precise description in one brief phrase.

Vary Sentence Structure

The length and construction of sentences serve different purposes. Action scenes require crisp short sentences to maintain the pace. Long sentences serve panoramic scenes or deep introspection. Poetic phrases work for romance and comedy. See what works for your scenes. Play with the sentence structure.

Vary Paragraph, Scene, and Chapter Length

Changes keep readers attentive. Blocks of paragraphs of equal length create a visual monotony. I am getting sleepy just thinking about it. The same goes for scene and chapter lengths. Try a scene that is only one paragraph long or a chapter of just two pages. Search for variety.

Examine Word Choice

Root out vagueness. Replace words like something, anything, and everything with concrete nouns.

The thing about dessert is the calories.

The problem with dessert is the calories.

Select strong verbs. Replace verbs like was, is, would, should, and could with powerful and engaging verbs.

He was at the top of the corporate ladder, but he would rather be home with his family.

He fought his way to the top of the corporate ladder, but he missed his family at home.

Too many adjectives? Change noun and adjective combinations into one strong noun.

Tom drove the thin nail into the orange-yellow skin of the fruit.

Tom drove the brad into the ocher skin of the fruit.

Too many adverbs? Change verb and adverb combi-nations into one strong verb.

She slowly walked into the boardroom.

She sauntered into the boardroom.

Reduce compound descriptions. Use discrete words that relay the point. Observe the following passage:

A small, deep purple 3×5 note arrived in the mail. Joe recognized his former wife’s handwriting. She wanted him to return their children. She was coming to visit in a few days.

The passage might sound better as:

Joe’s ex-wife dropped him a maroon postcard: ‘I want the kids back. See you soon.’

Find the right word. Employ a thesaurus and dictionary. The appropriate word is out there for the taking.

Remove ‘said’ and ‘thought’

The person thinking or speaking in a story is often implied by his position in the text. Be creative. Use action or narration alongside the thought or dialogue to identify its owner. In the following example, use of  the words ‘said’ and ‘thought’ are unnecessary to identify Jane as the person doing the speaking and thinking.

Jane took the horse by the reins. “Git!” She dug in her spurs. I hope this old mare’s got enough left to make it.

Remove Instances of “Fine Writing”

Track down instances of fine writing and remove them. Fine writing occurs during wonderfully unnatural stretches of prose. It might be the flowery description of the chipped table in the office or the overblown insight to the human condition. When the writer pens these lines at 3 A.M., they often appear brilliant, but when they hit daylight, they are exposed like a pink bowtie. They are funny and overdone, when they intend otherwise. Readers will roll their eyes because the writer is trying too hard to impress.

Read Aloud

Reading the prose aloud identifies errant and clumsy passages. The writer stumbles over poor words, phrases, and sentences. Unnatural dialogue hits the ear like a spitball. Read your work aloud within the safe confines of your working space before exposing your errors to the public.

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Level Four: Presentation

Previous: Professional Revisions – Level Two: Struture/Content

Catch, Release

by Adrianne Harun
Johns Hopkins Press

book review by Christopher Klim & the Eric Hoffer Book Award

“It didn’t occur to us then how we carry the terrors of civilization within us.”

With this wonderful collection, Harun has accomplished two rare feats. First, she’s taken the Eric Hoffer Book Award grand prize with a work of adult fiction for the first time in its history. Second, and no less important, she’s delivered a cohesive story collection, when so many today seem hurried and uneven. Instead, Harun appears to be a master of the form. She threads interior monologue, which in longer works can become an endless slog, to reveal superb insight—instead of, well, just too much information.

“It’s all about loss,” the narrator of the title story announces. Flashes of humor balance heartbreak as the author explores tragedy: A wife tries to find her dead husband in the memories of a manipulative crone while her teenage daughter plots to teach her mother that “death can’t be called back.” A mother mourns her embattled relationship with her murdered fourteen-year-old daughter. Young sisters perish of an inherited blood disease, as their brother endures in exacerbation. A middle-aged bachelor struggles with losing his sister and his childhood friend to marriage. Parents wallow in self-absorption, leaving their teenage sons to struggle with maturity on their own. A gifted young African man immigrates to a new reality as a tissue donor to a dying child in London. Each story creates unforgettable impressions and memorable lines in a microcosm illuminated by the beauty and complexity of human emotion.

Overall, this collection is as it should be—deft, deliberate, dashing, delicious, and direct—but again all too rare in the form today. Harun makes sense of both the small and large issues of life through turns of language that at times bring us into confidence and during others refuse entry. It’s a lot like a conversation with someone we badly want to know—plain truths and blind alleys of understanding that require close attention yet an openness to enjoy the moment.

RECOMMENDED by the US Review

Professional Revisions – Level One: The Opening

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. The revision process exists to recognize mistakes and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

LEVEL ONE: THE OPENING

The opening is the first scene in a story, albeit a very crucial scene. It introduces the main character, her hopes and desires, and the point of view. Those are story basics, and not until they are known does the story get rolling.

The tricky part about drafting an opening is that this is the time when a writer knows the least about the characters and plot. Most writers agree that it takes roughly 100 pages to understand the main characters. This often invalidates earlier characterizations, and as a result, character desire and behavior seem unfocused or incorrect. Some writers toss out the first 100 pages and start over. That is a drastic measure, although it is common to labor over the first fifty pages and definitely the first twenty-five.

When revising, the opening must be arresting before I proceed. Everything falls out of the first line. Some writers say that the first line gives away the ending. Indeed, the open-ing scene starts the journey, and if it must change, the entire story path might change along with it. Try to get the opening in order before addressing the remaining story. You may return to tweak the prose, but it will be structurally sound before you edit the rest.

Chapter II of Write to Publish covers the important elements of story openings. Below is a checklist for review. The first three items are vital to the success of launching a story.

Introduce the Main Character

Show Predominant Point of View

Reveal the Story Question

Preview the Setting

Create Action

Set the Tone

Shorten the Time Line & Create Order

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Level Two: Structure/Content

Previous: Professional Revisions – The First Look

 

Professional Revisions – The First Look

In this series, editor and author Christopher Klim takes you through a multi-level approach to revising your work. Excerpts taken from Write to Publish: Essentials for the Modern Fiction and Memoir Market.

All fine writing is the result of rewriting. I don’t know who coined that phrase, but it is certainly a fact. The first draft is the art of writing. It should be accomplished as uninhibited as possible, held apart from the unforgiving conscience of the self-editor. The style of draft work varies between authors, from a bare bones outline to pregnant prose. Revising the draft involves the craft of writing. Prose is expanded and contracted, and elucidation is achieved. Writers spend most of their time rewriting. They make up for their perceived deficiencies in talent and level the playing field.

Another important precept of writing is that all drafts are bad. Bad is a general category, ranging from not too bad to pretty damn bad. In draft work, writers sometimes deliver lines that are pretty damn bad. An honest writer admits that the draft process is an inescapable flirtation with disaster. As he attempts to elevate his prose, he sometimes misses and suffers a bad fall. This is expected. The revision process exists to recognize the fall and mop up the mess, and readers never witness the accident. Readers seek the ease of flawlessness.

THE FIRST LOOK

Revision requires time and space. Allow time to forget the prose and return with the fresh eyes of a reader. After a story is drafted, put it aside and work on something different. This is also true during the revision process. The prose be-comes so familiar that the writer anticipates the words before reading them. When I spend too much time with a piece, my eyes see earlier versions, regardless of the words on the paper. I’m reading in my mind, instead of the pages in front of me.

Juxtaposing the cathartic process of draft work with the labor-intensive act of revision creates balance in the day-to-day life of a writer. Take a break during the draft of a story to write a nonfiction piece to completion. While performing lengthy revisions, pause to design your next creative project. One process feeds the other. It is a lot like absorbing and releasing energy.

After giving the draft work a rest, read it through with little or no pause. Prepare to be both surprised and embarrassed with the words on the paper. A writer delivers stunning lines in the draft, gems that pass from revision to revision untouched. A writer also drafts lousy prose – inappropriate, limp, or downright goofy phrases. Both good and ugly writing leap off the page. Keep the good, knock down the ugly, and aspire to elevate the mediocre.

This book introduces the elements of a solid story and methods for obtaining them. Try to embrace a few techniques, while modifying others to suit your storytelling approach. The following section details a process for draft revision. Take what you can use and incorporate it into your own revision process. Make note of the revision aspects that you like the least. Those are probably areas where you need work.

Christopher Klim is the author of several books including the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

Next: Professional Revisions – Level One: The Opening

The Book Killers: Weak Point of View

The Book Killers: Wandering Plots

In this ongoing series, Christopher Klim, author and senior editor of the US Review of Books, takes a look at common errors that undermine books.

Perhaps the worst killers of books, albeit fiction or nonfiction, are narratives that lead nowhere fast or, even, those that meander over long periods of time. It’s a primary violation of the contract with the reader: a book that says nothing or accomplishes little. For a period leading up to the 1990s, the bookstore shelves were brimming with beautiful prose seeming to serve either the author or a higher sense of literature. They gained prizes and put us to sleep faster than a late night PBS documentary. They helped to kick the industry in the gut and, in the end, to transform mainstream publishing into what it is today, for better or worse.

While beautiful prose can be stunning in tight space—for example that which is found in better poetry—a book requires readers to stay focused for the long haul in a world with an increasingly shorter attention span. Sooner or later, the much-maligned concept of plotting will enter the writer’s thoughts, and if every book is a journey, plotting is having clues about the trip.

A story journey begins when a character asks: What do I want? Born out of internal or external pressures, it is the genesis of hope and desire. It is the bridge from that first ancient question: Who am I? Crossing that bridge poses the second ancient question: Why am I here? Strong characters take a stab at these questions. There is beauty and drama in the success and failure of answering them. In a strong plot, the story questions are presented as early as possible. Readers align with the desire of the main character and prepare for the trials and tribulations of satisfying it. When it is obscured by fuzzy plot direction or too much background information, the story is regarded as going nowhere or wandering. Those are apt descriptions.

What is drama? To paraphrase Alfred Hitchcock, drama is life without the boring bits. He understood drama. Did you ever see a boring Hitchcock movie? He sketched storyboards—sequential depictions of characters in action. He left nothing to chance, maintaining an eye on the dramatic core of each scene. Some accuse Hitchcock of being calculating and manipulative. Yes indeed, and we thank him for it.

So in the spirit of Hitchcock, who by the way was a guidepost for a young Steven Spielberg, let’s employ the Scene and Sequel technique. It’s a method that can be applied to any book to make its plot stronger.

The Scene

A scene is the basic unit of a story. It is one step in the journey. It can expand over multiple chapters, or more than one scene can exist within a chapter, but a scene is easily removed from the entire story line and analyzed for its merits. When analyzing a scene, look for its dramatic core.

What is the objective? The main character in the scene is trying to accomplish something. This is a sub-goal of the character’s greater story desire. Answering this question gives the scene focus, not to mention an agenda.

What is the problem? A known complication hinders the objective. This may be a personal flaw or problem developed in the story line, but the character cannot reach his objective, unless the character acts upon the problem.

Where is the conflict? A person or thing threatens resolution of the objective. While solving the problem, the character encounters dramatic opposition from another source, thereby threatening a positive outcome.

What is the outcome? At the climax of the scene, the character’s objective is answered in some fashion. The answer progresses the story line and changes the character’s mental, emotional, or physical state.

The Sequel

A sequel appears after a scene. It is an opportunity for the character to digest the previous action. There are three major aspects of a sequel.

Cognition: what does the character think about the previous scene? This is the character’s perception of the recent events.

Emotion: how does the character feel about the previous events? This is the emotional response.

Decision: what will the character do next? The character brings sense and reasoning together to make a decision.

The scene and sequel method is a tool. When a writer approaches a scene, he or she considers who is in the scene, what they are trying to accomplish, where the scene takes place, where it fits on the story line, where lies the dramatic core, and how everything will end up. The scene sketching method above assists the understanding process. Employ it when stuck in a scene that lacks drama. Its pointed questions will expose a scene’s particular weaknesses. Refocusing a scene/sequel or eliminating it entirely—don’t be afraid to cut when necessary—will strengthen the overall plot. It might just save a plot from dying.

Next in The Book Killers series: White Room

Previously in The Book Killers series: Dead Dialogue

Last Stories

by William Trevor
Viking

book review by Christopher Klim

“He slept and waited still, but he knew in dreams that only angels were is solace.”

William Trevor posthumously delivers his final collection of stories in the aptly titled, Last Stories. Widely considered a master of the short form, Trevor does not disappoint in this assembly of late and mostly unseen work. We’ll dispense quickly with the accolades, which include prizes short and tall and at least ten New York Times bestsellers, some of which occurred in a time when the public has nearly ceased reading literary works and especially short stories. It suffices to say that more than one writer, during Trevor’s eighty-eight years, today works in the short form because of this author, and this trend will no doubt continue.

Trevor inhabits his characters, running the nuance of their thoughts without the navel-gazing of too many modern writers. These are not always likable people. We are appalled by their humanity, we blush at their foolishness, and we sometimes desire to close the book on them, but we have to know. These are not archetypes. There are no heroes, and we won’t be bowled over with pyrotechnics or punched by absurdity, but the characters will resonate and linger. Trevor appeared to love people for all their warts and wants. This and his entire body of work proves it.

During his narratives, the author throttles with expert control. Whether it be the express train or, as seen more often, the local crawl, all of this is taking us somewhere, most often to Trevor’s patented final twist. Unless you’re familiar with his work, it’s difficult to explain exactly how he does it. We should anticipate a final shift during the read, but it takes us by surprise. When his insights are laid bare, he exists without another word. This economy is part of his craft. We’re left with the feeling that we’ve been given the privilege of entering a Trevor live character sketch and suddenly a story pops up around it.

So that’s the crash course in William Trevor.

In honor of Mr. Trevor and in keeping with the spirit of his work, we’re going to keep this review short, and without knowing whether Trevor was a tea toddler or not, we raise a glass of fine whiskey to a glorious life in letters. We hope you pick up this latest work or one of his other exquisite collections. You couldn’t pass a summer’s day in better fashion.

RECOMMENDED by the US Review