As a result, Fred Hammond has become one of the most respected names in the music industry! Throughout his professional career, Hammond has maintained a reputation for excellence and few gospel artists can boast of the consistency of sales, radio airplay and concert appearances that Hammond has achieved over the course of his career independent of the cross-over boost. Since their inception, Hammond has served as producer on more than album projects, racking up numerous awards and nominations including the Grammy, BET, N.
Subscribe to our FREE email newsletter and download free character development worksheets! What advice do you have for writers who want to sell their stories? Package them as a novel! Just kidding but only slightly kidding.
There are tons of journals that publish short fiction. In the case of some magazines and journals, perhaps more editors and agents read them than the general population, and this, in a way, is like having submitted a book excerpt without all the angst of an actual submission and cover letter.
The journal and your work inside it vouches for you rather than you vouching for yourself; and if they contact you, you know they are interested in the work, rather than you having to scout them out.
At least in the world that some call literary fiction. I believe that writing short stories is a bit like writing poetry, in terms of the marketplace. You obviously want an audience for the stories—otherwise why write them at all—but you probably have to be satisfied with a small, albeit perspicacious audience.
That and very little money. For you, what characteristics make the most powerful stories? Many writers believe that voice, which is character-based, is the same as style, which I believe is more author-based.
Sometimes the piece itself has a certain voice all its own, but more often than not—especially in stories—the voice emanates from a character, usually the protagonist, and it is this strong voice which compels us to hear that character out.
Perhaps this amounts to saying that character is what makes for powerful stories, but I believe the two are different; great characterization is essential, but its the voice brings the character to life.
There is a certain inescapability to certain stories in which the author has found the right voice for the story or for the character; they are a bit like car wrecks or ambulance sirens: We all love strongly voiced narratives that take over our systems like a drug.
Resonance is also tricky to achieve. I think of it as an echo effect.
At some point the writer must ask himself in what way the story—as particular and specific as it hopefully is—is also universal, for all good stories are both particular and universal.
The problem is that the harder writers try for resonance by injecting it into their stories, the more it escapes them and becomes more like a Hallmark card—too sentimental and melodramatic. Both voice and resonance are hard to achieve, but once achieved, they go a long way toward carrying a story, and other story elements such as conflict, character, plot, etc.
Your stories feature potent characters entrenched in deeply felt, often intangible conflicts with faith, family, friendship, love, and self, etc. What advice do you have for writers who want to explore deep struggles through authentic characters?
But much good writing is about self-evaluation, self-observation. We simultaneously see ourselves in the world and see ourselves through the world.
Still, caring and seeing are not enough. Words and sentences must somehow translate, somehow mediate, our thoughts and feelings into characters and events.A man is hired to break into the government-installed control chip of a family’s daughter.
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