Metaphors, Collaborations...and a Story

Daniel asked, “Is the ability to craft great similes and metaphors a gift, or can it be learned?”

My guess is that it's a gift. I've watched some people in the industry and been amazed at their ability to "see" the link between one action and another. I wish I could do that.

And his follow up question: “What are some good learning tips for creating great metaphors?”

Beats me. I've never been good at metaphors. (Or, in metaphor, "When it comes to creating metaphors, I'm a lawn chair." See? Awful. I hate coming up with good metaphors.) Maybe you could just learn to steal the good ones.

Lynn asked, “I've been asked to collaborate on a book with someone -- what are some of the legal necessities I need to keep in mind?"

It’s a random list, depending on the topic of the book, the audience, the authors… but here are a handful of suggestions:

1. What's the subject of the book?

2. How long will it be?

3. How many words/chapters are each person's responsibility?

4. What are the due dates for each?

5. Who gets to pitch the idea? (me? the partner?)

6. What's the split of the money? (50/50? 60/40? 70/30? In whose favor?)

7. Are both names on the cover, the title page, the copyright?

8. Who owns the finished product?

9. Who has to get permissions?

10. Who pays for permissions?

11. Will each writer warranty their work?

12. Will we promise each other not to create competing works?

13. Who takes the lead with the publisher on things like title, subtitle, cover, art, etc?

14. Is there a kill fee if the book is cancelled?

15. If killed, who owns the work that's been done?

16. Can either party withdraw? If so, how?

17. Worst case #1: does moral turpitude effect this?

18. Worst case #2: upon death, what happens to the writing?

19. Do we take disagreements through an arbitrator?

20. Is this is to be confidential?

Does that help?

Tom asked, “What’s the one writing story you like to tell at writing conferences?”

That's easy... In 1919, a young man who had been injured in the war in Europe moved to Chicago, picking one particular neighborhood in order to be close to the noted author Sherwood Anderson. The young writer, impressed with the critical praise heaped on Anderson’s Winesburg, Ohio, had heard the novelist was willing to assist beginning writers. The two men became close. They met every day to read together, exploring the writing of newspapers and magazines, and eventually tearing apart the inner workings of novels. The young man brought his own work to Anderson, who helped him see how he could improve his craft. Anderson even introduced the young writer to his network of publishing associates, and helped him publish his first novel, which was met with critical acclaim. Its title was The Sun Also Rises. The young man’s name was Ernest Hemingway. Sherwood Anderson then moved to New Orleans, where he took another young author through those same paces, even putting up $300 of his own money to help that beginning writer’s first novel get published. The novel was entitled Soldier Pay. The author’s name was William Faulkner. Anderson would then move to California, where he worked with a young writer by the name of John Steinbeck. Sherwood Anderson shaped modern American writing more profoundly than any author except Mark Twain. Most of the writing instructors of the late 20th Century were, in one way or another, disciples of Anderson. 

And the reason Sherwood Anderson was so committed to mentoring beginning writers? Because when he was young, a more experienced author by the name of Theodore Dreiser had invested in his own life and craft. It's why I'm a fan of beginning writers finding a Sherwood Anderson to help them develop.

Comments

[Livia Blackburne]

Loved the story about Hemmingway. And here's my favorite simile:

"The ships hung in the sky in much the same way that bricks don't." -- Douglas Adams, The Hitchhiker's Guide to the Galaxy

[Richard Mabry]

Chip, Thanks for sharing those inspirational stories about mentoring. I daresay there are numerous modern examples, both for writers in the Christian and general markets. And we need to hear them.

[Jason Black]

These people think it can be learned:

http://www.youtube.com/watch?v=NT6_PXXjU94

I'm not so sure myself... ;)

[Regina Merrick]

I guess the key is to FIND your Sherwood Anderson, and then to BECOME Sherwood Anderson for someone else. Great story, Chip. Thanks!

[Sharon Clemmons Thomas]

Ah ... what inspiration and hope this story brings. Thank you so much.

[Edwina]

I loved the story of Sherwood Anderson. My question is where does one find a Sherwood Anderson these days?

[Julie Surface Johnson]

In your own way, you're Sherwood Anderson-ing all of us through your blog. Of course, there's no substitute for one-on-one. I'm guessing S.A. used discernment and mentored those who showed promise.

[sgchris]

Indeed, really Great story.
But how do we find a Sherwood Anderson of our own these days?

[chip responds]

"How do I find a Sherwood Anderson of my own?"

First, don't think you have to land a New York Times bestselling author. Look for someone just a little farther down the path from yourself. Second, I encourage you to make sure you're a fit -- try to meet at a conference, or just go see him or her. I know plenty of long-distance relationships that work, but don't ask too soon. Make sure you have some relationship with one another. Third, know what you want -- "I'm looking for someone I can go to with questions about writing" or "I would love to have someone suggest how I can improve." Fourth, don't ask for the moon. The more successful the writer, the less time they probably have. So start small, and ask if you can get started, then see how it grows. Fifth, see this as a friendship, rather than a business relationship. We've all got plenty of business contacts. But all of us are looking for new friends.

[Brandt Dodson]

The Sherwood Anderson - Ernest Hemingway story is so well known it served as the basis for the movie: Finding Forrester with Sean Connery. Great movie. Great story.

[Heather Sunseri]

I just finished a Ted Dekker/Erin Healy book over the weekend where they compared flames from a burning house to the husks of a tomatillo. I got it. The comparison was clever, but I couldn't help but wonder, "Who thinks of that?"

Love the Ernest Hemingway story. Very inspiring.

[MGalloway]

Interesting, insightful story about Sherwood Anderson...thanks for sharing.

It would also be nice to have an editor like Max Perkins around, who guided Hemingway, F. Scott Fitzgerald, Thomas Wolfe, and others along early in their careers.

As far as metaphors...one way to create them is to start with words that have multiple meanings...especially ones that have a physical object as one of their definitions. For example: wall, hole, bridge, etc.

[MGalloway]

On second thought, scratch my metaphor comment above...I was thinking of something different.