Or Best Offer by Beck Medina

Hello lovely readers! Some big things are coming up in the coming weeks so I wanted to give you all some updates (and apologies for not posting more often this week!).

Tomorrow I’ll be celebrating my birthday and maybe more importantly, the 29th will mark my 1-year blogiversary! I’ll have a special post that day so stay tuned! It’s also the same day as Dewey’s Readathon, which I’ll be participating in. If you are too, you can follow my updates on Twitter and be sure to let me know where you’ll be posting!

I wanted to leave you off this week with a short story review. I really enjoyed Beck Medina’s last book, A Fantastic Mess of Everything, so I was thrilled when she reached out for a review of her latest! As always, all opinions are my own 🙂

Also, I deliberately chose today to post this review because the major event in the story takes place on the same day. Plus it works really well for today’s #JABBR Instagram prompt: female authors. You can check out my feed here! I’m having a lot of fun getting into the bookstagram community (and getting much better at taking bookish pictures :P)

Read on for my review and see you back here Monday for another #MusicMonday!

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Guest Post: Sam Ball

Today’s guest post comes from Sam Ball, author of A Lady Of Sorrows. He’s sharing the theory he has developed for his writing, and it certainly sounds unique! Check it out below, plus more about his latest release!


Manipulating the Reader’s Memory and Perception of Time: A Theory

by Sam Ball

Ernest Hemingway used concise sentencing and stretched a word’s meaning to its breaking point. This created tension and immediacy in stories that may otherwise have seemed dull and meaningless. James Joyce pushed description to its limits with his epic Ulysses, a 265,000-word monstrosity that takes place over the course of a single day in the life of an ordinary man. Had Hemingway written Ulysses, there would likely be no exploring on a parapet, and we’d have only met Stephen Dedalus at the end, if at all. Five sentences would shrink to one, and Homer would exist between the lines, though the meaning would still exist. Had Joyce written Old Man And The Sea, seconds would tick by like hours, and you’d be driven mad by your suffering, suffocating on a putrid, viscous air from rotting marlin carcass.

I’ve extracted a theory of broader impact from a pairing of ideas in the seeming disparate styles of these two iconoclasts. By parsing words’ meanings, using rhythm, and, rather than avoiding lengthy phrases and sentence structure but employing them deliberately, you can add depth and weight, and give wholly different experiences – sometimes different stories altogether – to a reader, depending on their state of mind. Your story can grow and change, expand or contrast, without ever trading a word, on an empirical level. Unlike film, for instance, the written word isn’t bound by frames that go stagnant over time. Words, like the mind, are fluid. Books are interactive. They construct memories. In two parts, a theory I’ve developed, which I’ve put into practice in my debut novel, “A Lady Of Sorrows,” posits that, by writing with cadence and  structuring a prose in deliberate, multisyllabic peaks and monosyllabic valleys, a writer has the ability to force a reader’s recollection of events in a story and compose the passage of time.

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Author Interview: Steven Nelson

Author Steven C Nelson joins us today for this month’s interview! You can find all about his latest release, and some fun facts about the author himself, down below!

Plus, join us on Twitter tonight at 5pm CST for the opportunity to ask your own questions of the author! Just use the hashtag #AsktheAuthor and tag @bustamuse and myself @spinesinaline. More details on the Ask the Author page above!

cognitive-imageCognitive Debris by Steven C. Nelson
Genre: Short Story / Poetry / Prose

Throughout the years, you live and witness and experience. And all of those phenomena are recalled later in varying degrees of completeness and accuracy. These excerpts from life are periods of personal tumult, events that generated intense emotions, and accounts of others’ conquests that are so poignant you’ve never forgotten them, not one detail. They are variations of trite phrases that you’ve altered to help you better remember them, and fictional stories incubated in your imagination that you augment to become more complex and pleasing. They are funny things you used to say, a trademark phrase, a “youmark”-something everyone at the party expects to hear at least twice from you. You collect them and protect them because they mean something to you, and maybe only you-they are you. We all live with this cognitive debris, and how we interpret and react to the events of each day is filtered through the prism it creates in each of us. This is mine.

Get it here: Amazon | Smashwords

And now for the interview…

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