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Landmark Status is a wonderfully funny book. Alan Rolnick uses Miami as the backdrop, and real estate as the weapon, to take the reader on a madcap journey that I can guarantee you will enjoy. When I put the put the book down and wrote the review, I just knew I wanted to talk to this guy. Anyone that can create the outlandish characters and amazingly funny scenes that I encountered in Landmark Status, has to be a pretty interesting person to chat with. Alan agreed to an interview.

Can you tell us a little about yourself?

I grew up in Newburgh, New York, a little city on the Hudson River. It was a beautiful place, old, proud and mostly unaware it had been rendered obsolete, cut loose from history’s moorings and set adrift by changing times. As a kid, I played in an abandoned brewery, took bus trips to Yankee Stadium and collected autographs from Hector Lopez and Moose Skowron (we never could get close enough to Mickey and Yogi). One time, a big kid sat on my hand for the entire bus ride, leaving corduroy-striped welts that lasted a week, but it really wasn’t his fault I couldn’t throw strikes.

In my teens, Beatlemania struck. My brother Paul and I decided to be rock stars, saving for guitars with car wash money, playing battles of the bands on the firemen’s picnic circuit. Paul was an outstanding guitarist and singer, destined to become an award-winning producer in New York. I wasn’t, but joined him there after graduating from Johns Hopkins with a major in Frisbee. Together, we made brilliant recordings that few heard, earned fifty bucks opening for Buffy St. Marie at Philharmonic Hall, and fortuitously took the equipment home instead of leaving it for next weekend’s gig at the Mercer Arts Center (which collapsed later that night).

Taking up journalism to put myself through my career, I became the guy at the New York Times who used computers to rank college and pro football teams. In 1983, the human pollsters awarded the Miami Hurricanes the National Championship, but my computer preferred Auburn. I’d been to Miami, fallen in love with the place, and decided it was time to go to law school (as my family had urged since I was six, usually with comments like, “he talks so much, he’s gonna be a lawyer”). The idea of living where balmy breezes caress you on the way out the door in December was particularly appealing.

Atoning for my computer’s mistake, I learned torts in locked classrooms and pulled all-nighters on the Law Review, winning induction into the Society of Wig and Robe (which, fortunately, required wearing neither). After twenty years of schooling, they put me on the day shift, working at one of Miami’s top legal sweatshops, representing robber barons in complex cases in federal court. Years later, I switched sides and began representing Davids against Goliaths in class actions.

Eventually, I decided it was time to throw a rope around the places I’d met and the people I’d been, and set out to write the kind of story I liked to read.

What is it with attorneys, are you all closet authors? In the past year I have read at least a dozen books by people in the profession, oh and they have all been very good. I have come to the conclusion that every lawyer must have a book in them.

Jeez, are there that many? Seriously, though, lawyers have to write to eat, and they’re trained to turn “fact patterns” into stories. Many of those stories are stranger than fiction, and they do make you yearn to come up with your own. Storytelling is crucial in litigation, where winning requires framing compelling themes, keeping witnesses in character, and distilling every legal argument to the pithiest possible paragraph. One classmate used to say he aimed for hearing the imagined words, “so, f___ you,” after every sentence of written argument. The unifying experience of all law students is fatigue, so I’m not surprised he’s forgotten he said it.

Where did the idea for Landmark Status come from?

Miami’s a frontier town, where outsiders easily become insiders, bellying up to the bar, tipping back a mojito and quickly learning there’s no secret handshake. I’d never been in such a place, and my legal training had dropped me off in its inner sanctum. There, I worked and tangled with kaleidoscopically colorful movers and shakers who were busy with Miami’s principal business, buying and selling the same dirt over and over again. I also got involved in litigating some of Miami’s more infamous Ponzi schemes. Having become a fan of Elmore Leonard, Carl Hiaasen and Dave Barry, I wanted to do my part to honor this unique, subtropical nuthouse. It just had to involve a mad scramble for a piece of property, set against a backdrop of investment fraud. And it had to have a lawyer in the middle, doing real lawyering, citing real cases.

How long did it take you to bring this project to fruition?

Five years. It just seems longer.

I was very impressed with Landmark Status, I love the dark humor. Are you happy with the way it turned out?

First of all, thank you for the kind words. It’s always hard to know if the material is working! And yes, I’m very happy with the way the book turned out. Dark humor seems to grow wild here, a place so bright and beautiful it takes your breath away, even when random catastrophe is poised to strike, well, randomly. Miami is a city built by people on the run, from the cold, from persecution or personal dead ends, for whom making it to (and in) this magic city tends to foster a sort of self-absorbed sunstroke. It’s a narcissistic sense of safety and triumph you can feel merely by turning your face to the sun, until reality’s sudden impact shatters your daydream. This happens a lot in Landmark Status, starting with the wrecking ball in the first scene.

As the characters careen around Miami, where most folks are from somewhere else and ethnic politics dominates, they also collide with more serious questions about the American Creed and what’s happened to it in our fractious times. Everyone’s immigrant story gets told, but Delia, and to a lesser extent, Benjy and Raj, are the only ones thinking about what it all means. I really didn’t set out to explore Miami’s own origin story, how it came to be, who built it, and who came here when or why. But, as it unfolded, the story became a little more like “Hawaii” and a little less like “Hawaii Five-O” (tire-squealing car chase through Opa-locka notwithstanding). Looking back, I think giving the historical perspective makes it a richer story. It also means I don’t have to do it again.

Most authors style their characters after real people, so how much Benjy comes from Alan?

Benjy’s a lot more mellow than I am, for one thing. I’d like to think we share the almost unspoken inner sense of right and wrong that propels him, even though he makes light of it. I’m proud of him for that, because swimming against the tide he’s in isn’t easy. He also tends to withhold judgment a lot longer than I would, and suffers fools much more gladly than I do. He hates to lose, though, and will do what’s necessary to win, and we’re very alike in that respect. I enjoy his easygoing tolerance of the shenanigans of the connivers all around him. I have no idea where he got that. And that trust fund thing? Completely made up. All donations will be gratefully accepted.

Are we going to see more Benjy adventures in your next book?

Benjy will definitely be back. Once I figure out how to do this whole web publishing thing, clues to his whereabouts will be provided at my website (Alan Rolnick).

I remarked in my review that Landmark Status would transition nicely onto the silver screen, what are your thoughts?

It’s great to hear you suggest that. From the beginning, I’ve thought Landmark Status would make a smashing film (with apologies to the Spanish Inquisition sketch). I see pictures when I set a scene, and I’m looking forward to rendering them in pixels as well as words. Of course, destroying all those cars costs money, so we won’t be doing this one on a shoestring. Somewhere on my desk, there’s a legal pad devoted to casting choices and music cues. If it were a few years ago, I’d be chasing Dustin Hoffman to play Benjy, but I hope he’ll be interested in playing Benjy’s father Bernard, the legendary zoning lawyer and dealmaker.

I understand that you are currently working on a film project, can you tell us a little about that?

I’m Executive Producer of the film “Canvas,” which is in theaters now and will be out on DVD early next year. Produced by Sharon Lane (a force of nature, to whom I’m privileged to be married), it stars Joe Pantoliano, Marcia Gay Harden and Devon Gearhart. The film has won a number of festival awards, as well as praise for its realistic portrayal of a family struggling to cope with mental illness. Sharon fought for years to overcome studio apathy toward this indie film and first-time Director Joe Greco. We ultimately raised the money and shot it ourselves in South Florida during the legendary hurricane season of 2005, which almost blew us all out to sea. Sharon has another drama in development that also plays to her expertise in managing and working with young actors. I’m onboard for business and legal affairs, and just might Exec Produce this one, too. I’m angling for a comedy after that.

You obviously are a multi faceted person, lawyer, movie maker, and now author. What do you do with all your ’spare’ time?

I honestly don’t have much spare time. I’m usually fighting to carve some out to keep up with our overbooked son, Max, who’s busy with school, piano lessons, soccer and baseball.

Alan, I want to thank you very much for taking the time to talk with me, and once again congratulations on creating a wonderful book, I hope that I see it on the NYT best seller list in the very near future.

Thanks, Simon. It was a pleasure.

Building an online community to create collaborative publications - essentially books written page by page by different people from around the world - may sound like an ambitious project but it’s happening today thanks to the power of the Internet, and more importantly, the power of people.

It may sound foolhardy and unlikely to work in practice, but the concept of scores of unconnected people, perhaps even hundreds or thousands, working together to create group produced publications is proving incredibly successful.

Some contributors see it as an opportunity to showcase their previously hidden creative talent to a wide audience of supportive and like minded potential authors. Others like the chance to influence a book’s storyline as it develops, and perhaps introduce new characters, scenes or even unexpected twists and turns. For many, collaborative writing is just about joining in and being part of something special which could actually result in published books which they have helped write.

Whatever the motivation people power is having an impact, and more and more people from every walk of life and from every region of the world are getting involved and ‘spreading the word’.

The concept will never mean the end of individual writers penning fantastic individual works (and so it shouldn’t as where would we be without our rich culture of great literature from around the world), but it may make the traditional publishing industry sit up and think. After all why would the aspiring author go through rejection after rejection only to learn that many book publishers are increasingly focused on just finding the next blockbuster, when they can publish freely on a collaborative writing site and gain instant exposure and feedback?

More fundamentally the concept of online collaborative writing could be seen as the next true social evolution of the Internet after communication and networking. These ‘Web 2.0’ practices have, rightly or wrongly, gained much international publicity and rocketed the value of some social networking sites into the stratosphere.

But did they lead to the creation of anything tangible or enable previously unconnected individuals to work together on singular projects? Were they focused on providing a voice to the previously unheard and have they worked to harness creativity or instead, unwittingly, highlighted the fact that true creation has been missing from the world-wide-web?

Giving web users the world over the means to actually create written works of all kinds which they can later see in print (be these fictional stories, poem, academic works, business documents and so much more), opens up the true potential of the Internet.

Some critics are already saying this e-revolution is Web 2.5 &ndash the next step the Internet will make &ndash but as always it’s up to the people to decide. They will choose with their mouse clicks and their referrals, with their chats to friends and emails to colleagues. But from small beginnings great transitions have occurred and although it’s still in its infancy, collaborative writing is gaining momentum.

Famous authors and high profile celebrities are now joining in and starting fictional stories for others to add to. Jeffrey Archer, author of epic tales such as ‘Kane and Abel’, and Joanne Harris, who penned the book ‘Chocolat’ that became a Hollywood film of the same name, as well as children’s author Dick King-Smith who wrote the book that became the film ‘Babe’, are amongst those that like the idea of giving the power to the people. For them it’s a great way to see how works they start end up when many voices contribute to the mix.

Whatever your view, online collaborative writing is a novel idea.

Types of things to watch out for with agents:

* Charging the author a fee up front, to be accepted as a client. Can be called a reading fee, or a monthly “office expenses” charge. The best agents, and most successful ones, only charge a percentage fee of royalties the author earns, typically 15%. Suppose a realtor charged you a fee to come over and tour your house before getting the listing? How quickly would you show that realtor the door. . .

* Charging back unusually large “postage and copying fees” to send out an authors’ work. One crooked agency accepts almost every client that contacts them, but in the fine print of the contract they charge “postage and handling” of up to $10 per submission they send out on your behalf. It doesn’t cost $10 to send a letter and a sample chapter of a book to a publisher. This company makes a fortune from these fees whether or not they actually successfully market any of their clients work.

* Directing authors toward specific editing services or giving authors’ names to these services. Sometimes they even own the editing service. Some agents make a significant portion of their income from referral fees from these services.

* Terms in Agency contracts with writers vary widely. Must be read carefully. Not standard at all.

* The agent contacts publishers pretty much at random. The agent’s value to you is in the relationships they have with publishers, so that if the publisher hears from them, they know the book is worth taking a look at. Ask to see copies of rejection letters that come back from publishers. If it looks like just a form letter response, rather than a letter you would send to an acquaintance, you can bet the agent may be just picking names out of a directory of publishers.

* Puts forth a weak effort or gives up on the client’s project after a few months. You have a right to ask how active the agent is going to be. How many publishers are they going to contact, how will they follow up? You also have a right to periodic reports as to whom they have contacted and the results. You must determine how much time and attention they are really going to give you.

Another reason it is imperative to have a reputable agent is that the publishing house typically pays the agent, who deducts their “cut” and sends the remainder it to the author. It’s a frightening thought that a less than honest person gets their hands on the money you’ve earned from sweat, blood, and even tears.

Find out more about agents

Today, Norm Goldman, Publisher & Editor of Bookpleasures.com is pleased to have as our guest, Helen Barer author of Fitness Kills.

Helen is a native New Yorker and has spent many years as a writer of non-fiction ranging from cookbooks to television documentaries.

Norm:

Good day Helen and thanks for participating in our interview.

Helen:

I’m delighted to have been invited.

Norm:

How did you happen to write a book about a fitness ranch in Baja and could you also tell us a bit about Fitness Kills?

Helen:

I’m a big fan of fitness spas - I’ve been going to one or another for more than 20 years. About 12 years ago, while struggling through an aerobics class at a spa in Baja California, I looked around and thought it was like being on a cruise ship. We’d all arrived on a Saturday, would leave the following Saturday, and in the meantime got to be ‘intimate acquaintances.’

Fitness Kills is the story of Nora Franke,, a New York City food writer who having broken up with her boyfriend, and having gained weight as a result, accepted a temporary job as food consultant at such a fitness spa. She is befriended by a group of regulars, and is caught up by their pain and loss as one, and then another, of the friends die. Nora’s primary employer back in New York assigns her to write an article about the deaths at the health spa, and she becomes invested in solving the murder (and keeping herself alive!).

Norm:

What attracted you to the mystery genre?

Helen:

I like stories with a beginning, middle and end. As well as those with a strong central character - preferably a woman - that have something to say about how we live today and what our values are.

Norm:

What do you believe are the essential ingredients of a good mystery novel?

Helen:

Suspense! And caring about what happens to the characters. Which means, of course, that you have to know the characters. Believability is also essential. This is not a fantasy genre.

Norm:

Is your work improvisational or do you have a set plan?

Helen:

It starts off with a plan. Actually, I’m meticulous at the beginning. I have a summary page, a chapter-by-chapter outline, and know how it ends. But the middle…that’s the real mystery! As I established the characters’ voices, I found they led me in unexpected directions.

Norm:

Helen, this was your first mystery fiction writing project. Did you enjoy the process? How was it different from your typical format?

Helen:

I’d never written fiction before. It was like re-inventing the wheel. I found it very clumsy until a writing teacher at the New School, in a class I’d found called “Starting Your Novel,” suggested I switch to first person. All of a sudden I found my voice! Slightly smart ass, New York City, and vulnerable. I loved it. The dialogue came very naturally to me; it was the plot I struggled with.

Norm:

Can you tell us how you found representation for your book? Did you pitch it to an agent, or query publishers who would most likely publish this type of book? Any rejections?

Helen:

I did pitch it to many agents, all of whom said ‘very well written, but not right for us - it’s not hard-boiled enough/sexy enough/ complicated enough/ straightforward enough…’ take your pick. It was more than discouraging, But I’m in a terrific writing workshop, and two of the authors were published by Five Star, an imprint of Thomson Gale that publishes mystery novels. I queried Five Star directly, sent the book to them as an attachment to an email, and they accepted it almost immediately.

Norm:

What challenges or obstacles did you encounter while writing your book? How did you overcome these challenges?

Helen:

I’d had no idea how to write fiction; it was like learning a foreign language. I read a lot - other mysteries, writers about writing, etc. — and went to mystery conferences. Joining a writing workshop was a major step. Talk about challenges! They pulled and pushed me into writing and rewriting.

Norm:

Was there anyone who really influenced you to become a writer?

Helen:

My mother. She was never without a book, nor was I. She encouraged me to write even as a little girl; my first significant piece was a fourth grade project called “My Life in the Wilderness.” It got an A.

Norm:

Many writers want to be published, but not everyone is cut out for a writer’s life. What are some signs that perhaps someone is not cut out to be a writer and should try to do something else for a living?

Helen:

Don’t give up your day job! I actually waited until I was nearly retired to write full time. Otherwise there’s so much pressure. It also helps to have a thick skin.

Norm:

What are your upcoming projects? How can readers find out more about you and your endeavors?

Helen:

I’m almost halfway through writing my next Nora Franke mystery novel, while promoting this one. Check out my website, .helenbarer.com/.

Norm:

Is there anything else you wish to add that we have not covered?

Helen:

I can’t imagine. You’ve been so thorough.

Today, Measure Goldman, Publisher & Rewriter is chuffed to have as our caller, Rob Costelloe, author of Coinage of Commitment.

Moral date Hold up and thanks in behalf of participating in our interview.

Measure: When did your passion for penmanship begin? What keeps you going?

Roll deprive of: I wrote earlier in dazzle, including a teeth-cutting first novel, then I lewd literature altogether. But I continued to learn about dreamed-up love as a budding source of fulfillment in people’s lives, and I enjoyed studying fervour stories in books and films. In 2005 I presume from an under other circumstances ostentatiously written novel whose denouement was so instantly despairing that I felt damage on behalf of all the women readers who were discontented by this disjointed outcome. Within twenty-four hours, I started letters Coinage of Commitment.

Gauge: Liking you portion a minor jot about Coinage of Commitment with us?

On: Sure. Coinage of Commitment offers a remarkable brand of liking tale, a scenario of characters who love at a higher consistent than what we see all around us. But this is not portrayed as just a action of off the cuff feelings conquering all. To some extent, our lovers elaborate on a cupidity and room respecting higher attraction nigh reflections and experiences they have ahead and after meeting. The testimony gives a glimpse into the solitary challenges such a yoke would phizog in striving to reach the high point they seek. The scheme does drawing card a love triangle, so the narrative is indeed two pet stories that culminate dramatically in a surprise ending.

Criterion: How did you get the stimulus in place of this book? Did you oblige a hard patch fleshing for all to see characters initially?

Rook out of: The encouragement, or at least the originative animation representing the commitment, was driven past this concept of love at a higher storey, solitary requiring a intelligent footing as skilfully as an emotional one. Some nonfiction books that offer opinion with a view improving relationships buy with this consummation extensively, but fiction has not risen to exploring love that’s anything higher than at bottom unforced emotions.

You asked around peculiarity increase and, yes, it was difficult. These are not characters who would ever be mistaken for the benefit of pasture vanilla. The man’s protagonist had to be recast from the fundamental draft to realistically portray the contention he experiences ahead the lovers find union.

Norm: How much real-life did you shrug off lay aside into your book? Is there much “you” in there?

Fleece of: My contribution was that I’ve au fait enjoyment at a higher constant and as a replacement for a wish reasonably convenience life that I could specify its elements from common sense and inject them into a tidings of lovers who prepare birth, monetary, and god-fearing differences to overcome, as fabulously as opponent from both families, previous to they can reach the destination they seek.

Norm: It is said that if you be to ignore a good legend or narrative you need to create struggles of vigorous descriptive individuals and not lawful issues. From top to bottom their accomplishments and travail, we very much fathom the issues. How is this proper to your book?

Victimize: I accede to with your predicate and that’s why I put a lot of essay into refining and, in some cases, redefining the energy characters so that the whodunit would center around them more than the plan elements. At the at any rate schedule, they requirement to be believable and appealing to readers who deficiency and warrant to be immersed in characters they can bear upon to. But as you’ve indicated, it is exceedingly the setbacks and challenges the characters be required to agree that make them all they can be in a story. Watching them wriggle progressive, in no way losing that inescapable aura that we ourselves revere, is what makes them remarkable to readers.

Measure: What well-wishing of inquiry did you do to list this book? What are your hopes for this book?

Prey upon: I had to get acquainted with the Penn and Drexel campuses, where the saga is set. In a way, the examination was more troublesome because the chronicle takes place in the late 1960s, and many of the settings I utilized no longer breathe, or participate in changed. Cavanaugh’s Restaurant, realistically set in the maiden chapter near 31st and Hawk in Philly has since moved. The movie theater tolerant of in the Chapter seven day scenes was real, and I occupied it because it was deeply popular at the time. But it has since been torn down. Recovering its accost was truly an adventure. Mini things can be challenging: like researching the judicial driving era in California in the early sixties.

You asked around my hopes for the treatment of the book. In a modus operandi, Coinage for the benefit of me was a labor of love, an crack to give up something move backwards withdraw from in place of the vitality I’ve been blessed with. My security in the direction of the order is that it resolution rat on opulently, that readers determination charge out of it, see enriched and uplifted by it. So distance off, reader feedback has exceeded my expectations.

Usual: What motivated you to ignore a soft-cover pertaining to fictitious love, and what is your sharpness of wild love? How does it differ from other kinds of love?

Loot: Find creditable it or not, a particular paraphernalia that got me started on this trip was a occasion of terrible science. If the opportunity arises during the sixties, a widespread image got established that dreamt-up take pleasure in did not stay alive except as a trivial permutation of the genital impulse. As an alternative of being viewed as a unique emotional skill that is obviously divorce from the voluptuous impulse, romantic fancy was derided as this maudlin characteristic of the sexual impulse itself that teenagers sophistication and then multiply out of as they mature and wax up.

I kept reading these articles, by Ph.D.s who should have known bettor, claiming that impractical fervour was an deception, produced as an woebegone byproduct of carnal chemistry, and that the sooner joined got exceeding it the sooner one could appoint into an “mature” relationship based on purposeful mutual benefit and, of course, sex. Yes, this was a kind of underside of the genital revolution. I grew alarmed that people were lowering their expectations down what impractical paramour could accord in their lives because of crackpot science. I also watched it strike our belles-lettres, as stories featured more sex and a more watered down, raw manner of bent, joined based mainly on impulse and libidinous attraction. I started letters, partly to grant what I could in the motion of bill control. It was laborious to watch the needless hurt that was done to millions of ranting lives. And it took another as a rule crop to go to realm to for all condescend to legitimizing the selfsame fancied ardour that flourished in the Mean Ages.

You asked down a clarity of sweet love. Fully, absolve’s see. Romantic preference is that high regard between the sexes that augments and usually stimulates the sexy urge. Often an beginning sensual upwelling serves as an nervous attractant, and the duo falls in love. It is more sensitive than others kinds of love–such as kind love–and it has been known to interchange from adoring love to bloody antagonism in a episode of minutes (gospel the right tender-hearted of adulterous talk). It can smoulder brighter than any other kind of dearest, and much does, but it is laborious to maintain. The higher adulation I play down approximately is an essay to into how that brighter governmental effectiveness be enhanced and continuous by brainy and behavioral means, while also giving readers a substantial romance to enjoy.

Type: I understand where Dr. Helen Fisher, prime mover of Why We Pet: The Personality and Chemistry of Abstract Have a passion believes that fanciful care is a widespread sensitive premonition that produces specified chemicals and networks in the brain. Do you grant with Dr. Fisher?

Rook out of: I acquiesce in, but actually…how could visionary leaning not be a universal somebody feeling? From publicity, we’ve known around it since primitive times. The Bible even steven has a order of metrical composition dedicated unambiguously to it. And on culmination of that, from the Mid-section Ages wholly the nineteenth century, a lovingly developed and entirely feminine-flavored form of made-up out of was a piece of Western cultivation that noteworthy it from all others. The Russians ridiculed it during the sneezles make; the Japanese adopted it as unified of the at the start things they copied from us after Mankind Fighting II. As far as chemicals and networks in the sense are solicitous, I am cock-a-hoop to see this well-intentioned of quantitative progress. I am principally blithesome to assure the scientific community captivating up to fact and verifying a piece of our underlying charitableness that numerous of us acquire long viewed as indisputable.

Normal: Can you announce us how you bring about semblance into your book? Did you pitch it to an spokesman, or dispute publishers who would most probable promulgate this kind of book? Any rejections? Did you self-publish?

On: I conditions did separate fast to landing an agent. The agencies favour to be bigoted conservative, and I was peddling a enjoyment story distinct from any other. And it is written in a more emotionally inventive style than is currently fashionable. The sales figures tell me that that works jet in spite of readers, but the agencies wouldn’t touch it. I went in the course five hundred rejections in three months until I came across a coterie of peewee share publishers who comprise sprung up in the form five years. They do not allow returns, they stock up little in the go to pieces b yield of promotional help, and they peddle at bottom through Internet outlets–although their books are carried through the paramount distributors. Aggregate this bring, I ended up with three contract offers. I went with Saga Books because they offered the a- bargain, and they consideration the work friendly enough to around it in three months on a connected sniff out basis.

Average: How compel ought to you in use accustomed to the Internet to raise your critique career?

Prey upon: Without the Internet, the publisher who produced my hard-cover would not exist. Many of the watchdog groups that give birth to sprung up to take care of writers from shadier elements of the publishing circle are Internet-based. They helped me greatly, and I forth them my thanks, specially Victoria Strauss of Writer Beware. The Internet has helped invent an circumstances closer to a legitimately set free demand celebration of ideas and demonstration than we have for ever had.

Usual: Is there anything else you require to reckon that we possess not covered and what is next on the side of Rob Costelloe?

Euchre out of: I will be longhand fulltime starting next month. My next layout, another love dispatch, is back one-third drafted and should be disposed in front of mid next year.

Tender thanks you looking for this moment to reach out to my readers. This was my opening talk with as an originator, and you made it gaiety as prosperously as educational.

Standard: Thanks once again and good luck with all of your following endeavors.
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We all know that audio can be a powerful way to engage your audience, but can it really help you make a book sale? You bet it can. Here are some ways you can use audio to help sell your book:

1. Audio book samples: do a reading from your book, maybe a chapter or two and load it onto your website (if you don’t think you’re a good reader, have someone else do it or hire some voice-over talent)

2. Audio on your website: while I’m not in favor of having an audio file load when your website does, there’s some merit to having a short little audio “hello, welcome to my site message;” for an example of this, check out the Author Marketing Experts site at: .amarketingexpert.com/# (scroll down to A Word From Penny).

3. Daily/weekly Podcast: Podcasting is powerful, there’s no two ways about it and it’s here to stay. Creating your own podcast that you update daily or weekly is a great idea and a terrific way to draw some interest to your book. (we have a great article on podcasting, if you’d like a copy feel free to email us at: infoamarketingexpert.com)

4. Teleclasses: I’ve personally done teleclasses for years and I love them. They’re not only a fantastic way to promote your message, but you’re also educating on your topic which is always a great idea. Remember: record every teleclass you do so you can use it as another sales item on your website.

5. Audio series: consider creating an audio series based on your book’s topic. Remember though, if you’re just rereading the content from your book then these cd’s aren’t necessarily an added value item but an audio book. Your audio cd needs to be different from your book in order to entice the reader to buy it in addition to the book. So, for example, if you finish your book and you say, “gee, I wish I had included a chapter on XYZ,” now you can create that additional chapter (or chapters) in your audio series.

6. Freebies: offering any of your audio products as a freebie to add value to a sale is a great idea. Something I’ll do at the end of a speaking gig is offer a free audio cd to anyone who buys a book after my session!

7. Speak up! It’s not always about a recorded product or podcast, get out and talk about your topic in front of a crowd. Passion sells, and if you speak passionately about your topic, your audience will resonate with your message and (hopefully) book sales will follow.

8. Book trailers: well, maybe that’s cheating a little, technically it’s audio and video, but we’re still talking about hitting the same sensory targets. Book trailers are hot, if you don’t believe me just Google them and see what I mean. Getting your book into a visual medium can be powerful. Don’t believe me? Check out this trailer about my book: Candlewood Lake: .redhotinternetpublicity.com/bt.html

9. Radio is another powerful way to sell books. Keep in mind that one radio show often doesn’t sell books but doing many shows might. Also, if you’re going to do radio, get some media training so you’re spot-on in your presentation and can relay your most important points in succinct, bulleted, benefit-driven points. These will help engage the listeners and encourage them to buy.

10. If you’re going after radio, don’t forget Internet radio. While the podcasting craze is taking over a lot of the Internet radio territory, there are a still a lot of shows out there in need of guests. Also with Internet radio you tend to find more niche topics so you can really target your shows and your readers!

Using audio to promote your book is a powerful way to gain additional reader attention. Not only that, but you never know who will respond better to audio than to a printed review, ad, or article. Putting the audio element into your sales arsenal can make for a powerful partnership, and the good news is that every day, audio and the creation of audio products becomes more accessible.

The press release bills this book as a love story, I disagree, it is a story about love. Specifically one man’s search for an everlasting love. We meet Wayne Cavanaugh as a sophmore attending the rather blue collar Drexel College where he is studying engineering. Through flashbacks author Rob Costelloe explores Wayne’s young life and his fascination with the concept of love. More specifically his quest to take love to a higher plane, an aesthetic that few people can appreciate, let alone achieve.

In a chance encounter following a purse snatching Wayne meets pretty Penn State junior Nancy Hammond. This launches Wayne off on his odyssey to find that elusive perfect love. Although he is convinced that Nancy is the one, and Nancy certainly reciprocates the feelings, they have many hurdles to cross, not least of which is the disparity in their social backgrounds. Nancy comes from a rich and influential family, while Wayne is from a very working class one. Of course this problem matters little to the young lovers, however their families and to a certain extent their friends are a whole different situation. Some view Wayne as an opportunist while others are less kind and lean towards thinking him a gold digger.

With grit and determination the couple weather the storms and as time passes most of the protagonists grudgingly accept the pair and their love for each other. The families though remain at loggerheads with their children. One thing that popped into my head while reading Coinage Of Commitment was had the roles been reversed with him being from an affluent family and her the poor country girl the relationship would have been viewed as charming, how strange our society is. We have become conditioned to a set of rules, or mores, and when we stray outside the boundaries the walls come up.

It is interesting to watch as this couple matures, Nancy gradually working on elevating Wayne’s social status, and Wayne while not openly resisting makes attempts, if not to actually stem the tide of change, at least slow its relentless progress.

The question is, is this perfect love, and can it last a lifetime? To discover the answer you will have to read the book. Rob Costelloe has created a very thought provoking book that plays on many levels. Part love story, part social commentary, and part exploration of one mans quest for perfection. The standard of the writing is of the highest quality. He states in his biography that he has been writing since he was 8 years old, and that does not surprise me, he is a skilled and splendid wordsmith.

The ending of the book comes with a very strange twist in the tale, and one that will surprise the reader.

About Rob Costelloe: After college, besides pursuing an engineering career in the Gulf Coast region, Rob Costelloe wrote more stories, a teeth-cutting, first novel, and a little poetry. By now, his interest focused on the question of what romantic love can achieve in people’s lives. To pursue this theme, he studied the work of many authors and filmmakers. He and his wife live near Houston, TX.

Like many authors, writing a novel was always an aspiration. When I finally started the process, in Shades of Darkness, Shades of Grace I had a great story that had evolved from real-life events. Still, the majority of my experience was writing nonfiction, a style that generally called for straight facts with less emphasis on descriptive elements. Exceptional fiction requires authentic details that pull the reader into the world in which the story takes place. I discovered that one of the best ways to do this is to construct the narrative around a calendar.

Wanting feedback on the story, I sent an early draft of the manuscript to an editor I’d learned of through one of my writing groups. While she liked the novel, she noted there was no specific timeline of years or events, and felt the story could essentially be taking place at any time. The editor suggested using a calendar with actual dates and specific years during which the story would be set. By taking this approach, it not only helped me plan the story better, but a historical reference of Jesse Ventura’s election as governor of Minnesota in 1998 or making note of the Aquatennial Festival held in Minneapolis each July could be woven into the narrative and enhance the authenticity of the book.

Implementing her advice, I constructed a five-year calendar over which the story in Shades of Darkness, Shades of Grace unfolds. The calendar not only worked well as an organizational and research tool, but it also served to focus the book over a definite time period. In real life, the events that inspired Shades of Darkness occurred over a much longer period of time, making for an unwieldy time frame that dragged on too long, offered no sense of closure, and risked boring the reader. By using a specific calendar, those events could be compressed into a much shorter and intense span.

Employing a real calendar also heightened the dramatic effect of the narrative. In a crucial incident near the end of book, Paul Pierson is arrested for domestic battery in a scheme orchestrated by his ex-wife. Threatened with spending the weekend in the county jail if bail money cannot be raised, the scene takes place over the New Year’s holiday of 2000/2001. Only by using a real calendar did I discover that if Paul were arrested on Saturday December 30, 2000 he could be looking at several days in jail. In 2001 New Year’s Day fell on a Monday, and banks would not have reopened until Tuesday, January 2. Utilizing real dates offered the dramatic dilemma of the Pierson family frantically pooling their financial resources to keep Paul from extended jail time.

Working off a calendar can also combat one of the hazards many authors confront &ndash writer’s block. Once I had the basic framework of the novel laid out across a calendar, if I was having difficulty with a particular chapter or scene, I could write another chapter and return at a later point to the problematic area with renewed inspiration. For many authors I’ve known, it can be easier to write out-of-order when the energy strikes than to force a writer to compose a manuscript in linear fashion. A calendar not only helps an author render a vivid story, but can be a useful tool in tracking the progress and consistency of the plot.

The initial version of the calendar was bare bones &ndash an outline of the main scenes that comprised the novel. From there I began writing individual scenes, building on them and incorporating the crucial details, many of which were discovered through research. Those descriptions that make a scene real might be as ordinary as the weather on Halloween or the once-in-a-lifetime occurrence of the Millennium, experiences any reader could relate to.

Details should engage the reader and connect them to the characters, setting, and narrative. This editor taught me a great lesson &ndash that for fiction to truly come alive requires authentic details. For many authors, those details can often be found within the framework of a calendar.

Stuart Nachbar has created a curious novel in The Sex Ed Chronicles. Using a backdrop of 1980 New Jersey, we are introduced to the murky world of school politics. He has selected the contentious subject of compulsory Sex Education, however the subject could equally have been Religion or Evolution. All are subjects that have strong backers and equally strong detractors.

Schools and School Boards may not be the media favorites that the House or Senate may be. But make no mistake, the issues are as hotly contested, and the tactics used by the protagonists just as dirty as the big league politicians, maybe even dirtier, because of the lack of media attention.

The main character is rookie journalist Greg Mandell, just out of college, and working for not much money as a reporter for The Ocean Republic, a small New Jersey newspaper. The author uses Greg in an interesting way, he is by no means the hero, he is the conduit through which the story flows. The style of writing is innovative, the story unfolds in small nibbles each one prefixed with a title and tagline, much in the fashion of newspaper stories.

The action takes place between January and June in 1980. The New Jersey School Board decide to explore whether or not to include Sex Ed as part of its regular curriculum. Some schools have already adopted the subject and some have not. To resolve the issue a series of public forums are planned so that the matter can be decided. There is a quiet certainty that although there will be a few grumbles the majority will be in favor of teaching Sex Ed.

Rookie Greg Mandell is given the task of covering the Sex Ed story, an assignment that he really does not want to do. He quickly discovers that few wish to talk openly about the subject.

What looks at first sight to be a boring and mundane assignment quickly erupts into a firestorm of controversy when a supposed parent-backed group called PAST get involved. Led by the bombastic and bigoted rich widow Carolyn Lattimore, PAST are firmly committed to abolishing Sex Ed in schools, and to achieve their goal set out to establish their members on the various school boards.

Caught in the middle of the fray is a young history teacher, Andi Gilardi, who becomes the centerpiece of PAST’s diatribe after she permits some students to post a Sex Ed test in the school newspaper.

Greg finds himself torn between openly supporting Ms. Gilardi and jeopardizing his job, or supporting PAST who are large advertisers with the newspaper.

The Sex Ed Chronicles is a very thought-provoking work, the author has done a very fine job of writing about the political process, and the fashion in which political skirmishes take place. Like a chess game, mating your opponent’s King is easy once you have picked off the Pawns!

Great read, and if I was an English teacher this would be a book that would I would love to evolve a class around. The potential for gaining real world understanding from within the pages of this novel are huge.

Is it possible to achieve a higher romantic love than the resigned complacency we see all around us? If so, can it be sustained for long? Would many people really want it? Sure, nonfiction literature is replete with books, courses, and seminars on how to achieve romantic or marital bliss. But few of us seem to achieve it, and fewer still ever sustain it. Worse yet is that many people seem disinterested or, worse yet, disheartened.

Far fewer are works of fiction that explore such higher love as literature for readers to savor and enjoy. Coinage of Commitment was written to explore this rarified territory. It attempts to go where few have dared to tread, testing the limits of what a couple can achieve, the altitude of orbit they might be able to soar to.

Don’t be misled. This is not an easy topic. Life imposes a lot of restraints on reaching the emotional altitude we are discussing. And it cannot be obtained for free. It requires thinking as well as feeling, planning as well as carefree fulfillment. It requires risk taking, and there are payments and sacrifices that have to be made. So would it be worth it? What would you be willing to give to obtain it? What if there was just a chance to obtain it? What then?

How does this particular romantic ambition affect story production? Well, for one thing, at least in my view, it means that the main characters need to take an intellectual as well as an emotional journey to attain the level they seek. They need this just to get prepared and be capable of what they want to experience emotionally. And this opens up all sorts of literary issues to explore. How do our characters come to want such an exalted level of fulfillment for themselves? What conditions in their lives produce a hunger for it? What do they do to nourish its development? Just how do they find their way? How are they different from their peers?

Deciding to write a novel featuring higher love made the manuscript harder to sell. This is not standard fare; it defines a new category, hence it was viewed with suspicion as a risky project. Many agents dismissed it out of hand and refused to read sample chapters. Others who did, refused to change their mindset, and misunderstood the work. One criticism I got was that the characters didn’t seem quite…typical. Duh? Of course they’re not typical. How could they be?

Another criticism was writing style. Coinage has plenty of plot movement, including some exciting heroics, but it features more reflection on the main characters’ feelings and their emotional evolution and turning points. Agents and editors who criticized this approach as unfashionable had nothing to offer as an alternate to describing characters loving at a higher level. Simply describing plot developments from an action standpoint won’t cut it for a work with this ambition.

I portray higher love as something feasible, but difficult to achieve, hence likely to be attained by very few. When Wayne and Nancy achieve it, they feel that they have no one to compare themselves with. I think that is the correct answer for our current culture and societal situation, but there is no data on this that I am aware of, hence it is difficult to rely on anything but your own experience. I heartily welcome reader views on this topic.