The Book Killers: Weak Point of View

The Book Killers: Poor Revisions – Level One, The Opening

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.

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 in The Books Killers series: Poor Revisions – Level Two, Structure/Content

Previously in The Book Killers series: Poor Revisions – The First Look

 

 

Doc’s Dog Days: A Hickory Doc’s Activity Book

by Linda Harkey

book review by Kate Robinson

“‘Doc, you can learn a lot about a book by eating its binding.'”

Linda Harkey, a former educator and museum docent as well as a hunting dog enthusiast, writes children’s books about the beloved and oft-visited topic of canine capers, making the old new again by featuring a specific breed close to her heart—German short-haired pointers. In this third book of her series, the adorable black-and-white illustrations by Mike Minick are begging to be colored and doodled upon with markers, pencils, or crayons, making this both an educational and a fun diversion likely to be appreciated by kids and their caregivers, parents, and teachers.

The activity book serves as a transition from picture book to chapter book, with a flash story and a full-page illustration in each spread. A single spread can be consumed as a separate lesson, story, or creative experience. The reading level and subject matter pertaining to the German shorthair breed and their tracking and hunting abilities is somewhat advanced in some stories in comparison to the coloring book illustrations, so younger children will need reading and information assistance as they enjoy their coloring. Some stories are simpler, less informative, tighter, and more playful than others, so this volume ultimately has broad appeal to a wide spectrum of kids: young non-readers, early readers, and more advanced readers who can tackle the more difficult text and the concepts themselves. Some stories are left purposely unfinished for development by students, with extra space on the page and prompted via a final question. There’s also space in the coloring book illustrations for kids to add their own creative flourishes.

The anthropomorphic, dog-centric stories are heartfelt, light, and humorous, though occasionally a bit self-conscious and over explanatory, in the sense that illustrations typically play a role in “showing” some plot point in children’s stories. Therefore, there are few visual surprises since the text tends to reiterate and upstage the pictorial action. The tales are set in specific locales, mostly Oklahoma and New Mexico. So, in addition to visiting the daily lives and adventures of hunting dogs, readers will also experience regional and environmental information, such as the wildlife they encounter and descriptions of landscapes.

The dogs’ viewpoints are unique as they refer to their human couple at the Lazy Dog Hacienda as “Great One” and “Food Giver.” Readers will also enjoy the various quirks of each character, such as Sadie’s mealtime behavior and insistence that her food be served in a sectional bowl, or Zeke’s desire to carry around a blanket during hunting season. The storybook dogs delight in their surroundings just as real dogs do, investigating anything attractive or new to them, such as Food Giver’s ice cream bar, the reason Porcupine Pete has quills, or why the Lazy Dog Hacienda’s owl is mysteriously hanging upside down one day. Readers are invited to explore these phenomena creatively, and no doubt they will also enjoy recounting their own dog stories in response to the book’s tales. The universal appeal of companionship with dogs and curiosity about wild animal encounters, plus the invitation to process these creatively, is a big plus for this book as well as the series.

A 2020 Eric Hoffer Book Award Category Finalist

RECOMMENDED by the US Review

The Book Killers: Weak Point of View

The Book Killers: Poor Revisions – The First Look

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.

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 in The Books Killers series: Poor Revisions – Level One, The Opening

Previously in The Book Killers series: Wooden Characters

Surrounded by Others and Yet So Alone: A Lawyer’s Case Stories of Love, Loneliness, and Litigation

by J. W. Freiberg
Philia Books

book review by Kat Kennedy

“Loneliness, I realized, is the sensation of inadequate connections to others, just as hunger is the sensation of inadequate nourishment and thirst is the sensation of inadequate hydration.”

Consisting of five stories taken from the author’s work as a lawyer, this book offers a study in the causes of subjective chronic loneliness in those whose connections with other people “fail to provide the security, nurturing, and soothing care that others enjoy from their healthy connective networks.” In looking over his many years of case studies, the author narrows down the types of misconnections experienced by the chronically lonely into five categories: “Tenuous Connections,” in which the connections between clients are uncertain or unreliable; “One-Way Connections”—for example, unrequited love; “Fraudulent Connections,” wherein one’s relationship is based on deception and manipulation; “Obstructed Connections,” where one is prevented from being emotionally available; and “Dangerous Connections,” in which the relationship can cause devastating emotional and physical harm. For each of these misconnections, Freiberg includes a case study from one of his past clients to illustrate how people who are in relationships with others may still suffer loneliness because of the failure of their relationships to offer healthy connections.

The five case studies presented in this work are exceptional tales of the human experience. Some are heart-wrenching as they deal with innocent children who find themselves at the mercy of the adults in their lives. Others deal with the bizarre turns that life can take and the human capacity to see what one wants to see even to the point of denying an unmistakable truth. Each fascinating story is told through the voice of a master storyteller, which renders the text fluid and engaging while instilling its subjects with a humanity which elevates them far beyond a case study in a folder. One feels for each of these people as they navigate the legal system, gaining respect for the author and his role in helping them. There is much to learn about humanity, as well as the nuances of loneliness in the author’s work.

Freiberg has a unique position from which to address the issue of loneliness through the lens of litigation. He began his career as a social psychologist after obtaining his PhD at UCLA and spending a decade as a professor at Boston University. After receiving his J.D. at Harvard, he embarked on his long career as a lawyer. Having experience in both fields gives him a unique perspective on the modern phenomenon of loneliness and how it contributed to particular law cases on which he worked. This is the third of Freiberg’s books on the subject. The award-winning first, Four Seasons of Loneliness (2016), deals with four case studies from his law practice, one from each season of life. The second, Growing Up Lonely (2018), is a collection of papers, for which he served as editor, from the 2018 Symposium on Childhood Loneliness held at the Kennedy Center in Boston, MA. Each has received accolades from professionals in child psychology, with Four Seasons of Loneliness garnering the 2017 Independent Publishers Book Awards Gold Prize.

It is impossible to read these case studies without being profoundly impacted by the people involved. What Freiberg has done is to take the legal notes on each case and put a very human face on each one, all the while revealing his own deeply felt concern for his clients and their circumstances. This is a riveting read that will forever change the way one looks at chronic loneliness and the connections between humans.

RECOMMENDED by the US Review

The Book Killers: Weak Point of View

The Book Killers: Wooden Characters

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.

My Iroquois grandmother once asked me who I was. She wasn’t losing her vision or slipping into dementia. She had a keen eye on the horizon, like her young grandson, and kept a small gun beneath her shawl in case that horizon offered unexpected trouble. Listening to her was like bird watching. Rewards came with a quiet, patient effort.

That day, her question was completely lost on me. I was ten years old—a recent refugee from the city and living in a small tract housing neighborhood at the end of the woods. It was a so-called better life, but I was frightened by my change in circumstance. The steel and concrete was gone—no city buzz or crime. This was not a better life. I’d been dropped into the country, and along with a small band of friends—one relocated from Brooklyn and another from Newark, NJ—we roamed the birch forests. My grandmother noticed that I lacked the simplest outdoor skills, and even more so that I had no sense of how I fit in the world. Her question had asked me to begin looking inward for answers.

Often, when reviewing books and manuscripts, I encounter characters who appear to be lost in a story. They’re being forced through plots lines by their authors. They speak and move unnaturally because the writer hasn’t asked two basic questions of their characters—questions they probably hadn’t asked themselves in full: Who am? Why am I here? These questions were a gift from my grandmother, and I employ them until this very day. For creators of stories, they are fundamental. Let’s break each of these down.

Who am I?

Writers are brave souls. We are downright precocious. We dissect the human condition and attempt to make sense of it. Genuine storytellers translate their findings about humanity into words. And it can only begin after we truly understand who these people are moving across the page. Sometimes we know because we’ve been thinking about them for years, but more often, we need to do the research. One surefire method is to perform a character sketch, an autopsy before they are dead and buried. Here are the absolute basics for each character:

Name – People have names, and so do your story characters. A name suggests ethnic background and even country of origin. It speaks of the character’s parents. All names mean something.

Body Specifics – Story characters possess genetic characteristics that follow them throughout life. These include their age, gender, height, weight, body dimensions, facial structure, hair, and voice. The list of physical details is endless. Memorable details stick in the reader’s mind better than a name.

Body Language – Psychology begins to enter when we discuss human body dynamics. How we position our bodies in space reveals our personalities and betrays our inner thoughts.

Presentation – Many of the aforementioned character details are a culmination of fate and circumstance, but the way a character presents himself to the world is a personal decision. Clothing, hairstyle, and speech pattern are cognitive decisions of character. They speak of social status, education, financial inclination, overall preference, and personality type.

Background – Characters don’t arrive in a story as fully formed people. They had prior lives. They grew up and experienced certain events. They acquired various skills. As in real life, a character is in large part a culmination of their abilities and experiences. You may not use any of this, but you’ll understand better what this person is capable of doing based on their history.

Psyche  – At this point, we have sketched a pretty good character from the outside, poking a finger or two into the interior. Let’s ponder two important questions. How does the character view the world, and how does the character place himself in it? Answering theses questions goes a long way to anticipating a character’s reaction to story situations.

Strengths & Weaknesses – Select strengths that will support the resolution of each character’s goals and desires, and select weakness that will sabotage their chances of success.  We all have positive and negative traits that govern our personalities. Major traits rule each character, for better or for worse.

Motivation – When sketching story characters, pass from the physical into the psychological and uncover their motivations. That is the most interesting detail of anyone you’ll meet. Why does an individual behave in a particular way?  By uncovering a character’s motivation, we not only understand them more fully, we predict their moves and plot an appropriate course for them in a story.

Why am I here?

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? Good story people take a stab at these questions. There is beauty and drama in the success and failure of answering them. Confusing, unpredictable people in life are individuals who don’t fully understand themselves. Wooden characters in stories are individuals who the writer doesn’t fully understand.

Not until decades after my grandmother’s death did I began the process of asking myself who I was and why I was here. I am a scribe, part of the ancient clan that reaches back as far as the Iroquois themselves. Scribes document history and try to make sense of the people and things that pass through time and emerge within it. While this isn’t my only avocation in life, it wasn’t long before I applied my grandmother’s two vital questions to my story characters. It was only then that I began to bring life to my characters and uncovered their stories in a worthwhile and authentic way.

 

Next in the The Book Killers series: Poor Revisions – The First Look

Previously in The Book Killers series: White Room

Shock Wave

by Florian Louisoder
Starry Night Publishing
book review by Kat Kennedy

“It wasn’t the future that took root in our present that day, it was the past…”

Forty-year-old deep-sea diver Scott DeSantis is en route to repair a problem with a wellhead deep in the Gulf of Mexico when he hears on the radio that Cuba is planning an underwater detonation of an atomic bomb. Scott’s ex-wife, Linda, a nuclear physicist for the Nuclear Regulatory Commission, is taxed with accessing the fallout from the incident. Suddenly, Linda is thrown into an encounter with an old nemesis, and Scott discovers that the woman to whom he was once married, the mother of his two children, is not the person he thought her to be. Linda finds that the incident has opened a vortex which she thought had long been closed, and she and Scott must travel far into a past with which Linda is very familiar in order to save their children from being caught in a time warp from which they may never return. Their lives are now on a trajectory that will change the world forever.

Louisoder has written an intriguing piece of science fiction based on time travel. He incorporates the legend of Atlantis by having one of his main characters be an inhabitant of the city who must return to close the vortex opened by the novel’s antagonist. The descriptions of Atlantis are fascinating, as told through the character of Linda, and much of the book takes place in the fabled city. Along with the struggle between good and evil is the philosophical question of how one would change the past, if allowed, in order to produce a better future. This is a very entertaining read with some surprising elements woven into the narrative. It is a must for anyone interested in stories of time travel or the legend of Atlantis.

The Intrigues of Jennie Lee: A Novel

by Alex Rosenberg
Top Hat Books
book review by Joe Kilgore

“She needed to lament, to weep, to howl. It felt to her that, somehow, she had killed her lover, her partner, the person she cared for most in the world.”

Exceptional storytelling is ever-present in this continuously involving tale of historical fiction. Filled with famous characters such as Lady Astor, Winston Churchill, Lloyd George, Walter Reuther, and more, the novel sweeps readers into a world of hidden agendas, secret betrayals, public posturing, and private assignations that made up British politics in the late 1920s and early 1930s.

This is first and foremost the story of Jennie Lee, a young woman in Parliament dedicated to helping poverty-stricken and long-suffering constituents. To do so, she has to match wits with powerful politicians and master manipulators more concerned with staying in charge than changing things for the better. Lee is a heroine who feels like today’s woman in yesterday’s times. She defies convention in both her public and private life, refusing to let society or suitors dictate how she conducts herself. When revelations and loyalties challenge her strength and resolve, she repudiates the idea of doing what’s convenient for doing what’s right. But she is mightily tested when she’s pulled into schemes that threaten to overwhelm her.

Rosenberg is an excellent writer who captures the tenor of the times. He fills his tale with particularly interesting political duels that equal the internal battles going on within his protagonist. His prose is potent, and his dialogue never feels too contemporary for the period. Some may take exception to the actual changing of certain events. But just as film director Quentin Tarantino sometimes sacrifices historical accuracy for dramatic impact, Rosenberg employs vividly exciting action when opting for fiction over fact. That’s one of the things that makes novels such as this one a treat to read.

RECOMMENDED by the US Review

White Seed: The Untold Story of The Lost Colony of Roanoke

by Paul Clayton
Amazon.com Services
book review by Gabriella Tutino

“He was playing his part in all of this, pretending that they could make a go of it in this God-forsaken place.”

Maggie Hagger is just one of many passengers leaving England and making her way to Chesapeake, Virginia, in 1587 as one of the future citizens of Sir Walter Raleigh’s colonies. Raleigh’s Virginia promises the start of a new life to Maggie and others—like the newly appointed Governor John White, as well as Captain Stafford and his soldiers—but first, they must survive the journey to the Americas. Yet Maggie and the other colonists soon learn that settling down in Chesapeake will be much harder, as tensions between the Native American tribes there and prior English settlers still exist. Labeled as one of America’s oldest mysteries, the failed colony of Roanoke is at the heart of this novel, which explores the possibilities of what went wrong and what happened to the inhabitants.

Readers do not need to be history buffs to enjoy Clayton’s tale; it is well-researched and presents many of the political and economic issues at hand without being overbearing on context. On a surface level, the journey to the Americas is a chance for colonists to establish a new life overseas. Beyond that, a successful establishment of the colonies would grant more power to Sir Walter Raleigh and England, who were in direct competition with Spanish explorers, as well. The Spanish believed that gold from the New World would be the key to riches and success, while England’s goal was to establish outposts for trading goods. The author emphasizes this point, particularly when Fernandes—the sailor and navigator hired to help bring the English to Chesapeake—dumps the colonists in Roanoke to continue his search for “prizes.”

Clayton captures early colonial and early Native American life well. The novel is full of rich detail about many of the tasks of building or maintaining a society, and there is a sense of excitement as the colonists get settled and get their bearings, even though the future is uncertain. The author sets up the novel in a clever way that has the reader rooting for both the members of the Roanoke colony as well as the Croatoans. The relationships between the colonists and the Native American tribes on the land is a delicate one, and the author does a great job at showcasing the many different attitudes that exist between the three groups of inhabitants there: the Croatoans, the Secotan, and the colonists. Tension exists between all three due to acts of violence, fear, and power. But there is also love, as well as alliances, as exhibited by the blossoming relationship between Maggie and Manteo, the Croatoan interpreter.

This is a story about ambition, power, and survival, and the slow and steady decline of morale and trust in each other is fascinating and horrifying as it plays out page by page. Hope and survival are at odds with each other as the colonists make attempts to carry on civilly, but many of their efforts are futile once the soldiers’ mutiny is complete. The end of the novel is especially haunting, as the author hints at what may have transpired to cause Roanoke to disappear.

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, da Vinci Eye, and Medal Provocateur; 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.

Start Finishing: How to Go from Idea to Done

by Charlie Gilkey
Sounds True
book review by Yousra Medhkour

“You have to lose yourself in the project only to find you’re a different person on the other side, for as we create, we’re creating ourselves.”

When striving toward achievement with any sort of project or goal, most are all too familiar with getting sidetracked or lost along the way. Whether it be dwindling motivation, a lack of time to focus on the things that matter to you because of family and work obligations, or procrastination, Gilkey provides a detailed plan of getting the gears into motion and finishing the projects you’ve started—more specifically what he calls your “best work.” This concept of best work is a powerful one because it highlights that the projects you want to do are the ones that will fill you with meaning and purpose in life. Your best work isn’t just a task to check off on a list once complete, but a means for you to thrive.

To explain what best work is and the habits you need to break or make for it, Gilkey divides his book into three parts that include a total of ten chapters. The importance of the book’s structure is that it allows the reader to dive into any section of their choosing, depending on what they want to learn. In other words, if a person skips a few chapters or starts in the second or third part, one is still bound to gain knowledge that will help a person better strive towards finishing their best work.

One of the aspects of this book that makes it engaging and helpful is that it’s not just a list of steps to follow. Rather than providing lists to follow robotically, Gilkey shares practical advice that takes into account that the reader is human. He says, “Doing your best work will thus require you to constantly be on the verge of failing,” because if it wasn’t your best work, you wouldn’t be putting your capabilities to the test. It wouldn’t be easy. There will be downfalls, and you will—more often than not—be your worst enemy or obstacle that gets in the way of accomplishing your best work.

In fact, Part One of this book is not just a guide to getting around external barriers but also a motivational discussion that focuses on the internal—how to convince yourself that you are capable of more than you often give yourself credit for. Following the whys of our woes and how to get past the obstacle of ourselves, Part Two is where Gilkey begins to layout methods to getting your best work out into the world. Though he provides an influx of advice, what strings it all together is his detailed look at both goal-making and organization. Without these two factors, reaching the finish line is extremely difficult. He describes how simple things such as adding verbs to your to-do list, splitting a task into smaller chunks to make it less daunting, and more can make an incredible difference. Gilkey even explains how environment, sound, and smell can have an astonishing impact on getting work done. All of these factors sizzle down to organization, whether through schedules (as discussed in Part Three), your surroundings, the people you choose to be your supporters, etc. Essentially, Gilkey accomplishes showing rather than telling as he uses his experience, both as a leader in the Army and through his research and interaction with clients.

Moreover, even the aesthetic of the book’s layout portrays more than its face value. Every page is crisp and neatly designed, largely thanks to the plethora of white space both around and between pages. It makes the book look inviting rather than intimidating, emphasizes the sense of organization that Gilkey says is key to success in any project, and makes it easier to read because of the lack of visual distractions that some other books might have. Gilkey’s conversational writing style also makes it easy to read as it carries his points across without a stutter.

The 2020 Eric Hoffer Book Award Grand Prize Winner

RECOMMENDED by the US Review