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Developing Your Creative Personality as a Writer Part II

 Jean Marie Stine  No Responses »
Jun 232011
 
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Last time I had the blog we talked about developing a creative personality for the mind in writing short stories

Publishing the hottest in classic and current erotica and erotic romance

The following is a high-octane problem-buster that will make child’s play of even the hardest brain-stumpers and grind down to a manageable size even the most insurmountable dilemmas. It is a development of ideas pioneered by Tony Hodgson, and others.

It’s based on the well-established finding from psychological research that the more different perspectives we bring to a problem, the more ideas we are likely to generate and the more complete our perceptions of it.

You’ve heard of seeing the world through ‘rose-colored glasses’, which cause one to see only the sunny side of things.

Imagine the effect of seeing the world through ten different pairs of colored glasses — one for each hue in the rainbow (and each different spectrum of our mental processes).

Regardless of how difficult the dilemma, you’ll have found the answer long before you’ve tried on the tenth pair. By examining a challenging circumstance through each set of ‘colored glasses’ (each different mental perspective), we achieve a complete, rather than a partial, view, and engage our minds to consider it far more deeply.

 

 

Here are the TEN COLORS

*White – cognitive, the way our mind functions when we are learning, thinking, increasing knowledge or understanding.

* Grey – factual, the way our mind functions when we are absorbing information, scanning for important and critical data.

* Yellow – opportunistic, the way our mind works when we view possibilities from a sunny cheerful, optimistic, positive point of view, and see how we can capitalize on and make the best of events and situations around us.

* Black – critical, the way our mind functions when we are serious, skeptical, analytic, seeing the potential problems on the road ahead.

* Green – creative, the way our mind functions when it sends up the shoots of fresh, new imaginative, creative, innovative new ideas.

* Brown – practical, the way our mind things when we are being down to earth, thinking things through logically, incrementally, objectively, within existing systems and assumptions.

* Blue – holistic, the way our minds work when we are looking at the big picture and engaged in strategic planning.

* Orange -molecular, the way our mind works when we are attempting to throw light on the individual parts of something, either to identify or place them.

* Violet – directive, the way our mind works when we are thinking about crucial aims, objectives, decisions, when we have arrived at a turning point or crossroads, and have to make a gut-level choice about what it is we truly want.

* Red – Opinionated, the way our mind works when we are offering our own view or seeking the views of others, and either arguing our position, debating another, or melding the two together to achieve a greater understanding or consensus.

Next time we’ll cover the last lesson from me on Developing your Creativity

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 Posted by at 12:19 pm  Tagged with: , , , , ,

PSEUDONYMS: WHEN TO AND WHEN NOT TO

 Jean Marie Stine, Write Sex  4 Responses »
Jan 282011
 
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WHEN NOT TO USE A PSEUDONYM AND WHY

When Bjo Trimble (justly famed as the “woman who saved Star Trek”) advised author and editor Ted White that she was thinking of using a pseudonym on a science fiction novel she was writing, told her bluntly, “Don’t. An author’s name is his or her stock in trade. It is what you want readers to be thinking of when they are at a bookstore looking for a book to read. The easier you make it for them to associate the name with a real person, the easier you make it for them to remember the name in the future.”

Ted White, then, was all for a writer using their real name rather than a pen name that would conceal their identity. It seems to work. When I go to the bookstore these days I am looking for Cathy Reichs, James Lee Burke, or the new Peter Robinson. All are real people with real names.

There are notable exceptions to this rule. Mark Twain, for instance. But there is not much confusion. Mark Twain lived so much of his life openly as Twain, that I would not be surprise if you, too, didn’t think of him first as Twain and then as Clements.

Clearly, this is not an absolute rule. None is. There exceptions. But consider carefully before deciding to make exceptions. Nothing less than your future writing career is at stake.

Consider: Suppose you create a pseudonym and then after writing several books change your mind and decide to come out as yourself and start writing books under your own name. Unless you are writing a completely different type of book now and will not be appealing to your former readers, you will lose some large percentage of your original audience, the one you developed for your pseudonym, and never gain it back. Changing horses in midstream like this is counterindicated.

WHEN TO USE A PSEUDONYM

There are three major justifications for using a pseudonym, when it may be and probably is to your advantage to hide your identity behind a made up name.

The first is that using your real name on something tgat could cost your job or customers – in short income. You could be writing a series of thinly disguised books about real people you know or work with, who would fire you or stop patronizing your business if you published it under your own name. Or, it might be works that exposed secrets of, or made fun of, your industry, job, or profession, where the results would be the same. For that matter, if you are in a profession that takes it self seriously, like banking or academe, and you seem to be writing what your bosses and colleagues consider frivolous, like pulpish mystery thrillers, it could be seen as lowering your gravitas, and you might find yourself eased out the door. Or some other variant where putting your name on the book would place you in serious jeopardy of serious financial loss.

The second major justification for employing a pseudonym rather than your actual moniker is that it would cost you friends or loved ones. This is almost always a case where you are writing about friends, family and acquaintances, and presenting things they have said and done that are embarrassing, unattractive, or that even show them in a very bad light. Things that if written under your own name, and read by mutual acquaintances, would very likely lead to the person you were describing being recognized by everyone, causing the subject of the piece humiliation and likely generate furious anger at you as well.

The third is that you are writing something so inflammatory that that it might put you in danger of losing both job/income and your family/friends. These days that often comes down to erotica. Writers living in small towns, or whose friends, families and associates are conservative in bent, are making s sensible choice when they put a pseudonym on their works. Of course, in a sophisticated city like San Francisco or New York, the effect might be the reverse, and being known as someone who writes erotica may enhance the luster of one’s reputation. Whatever the reason, today, unlike the 1960s and 1970s, many authors proudly put their own names on their erotica.

Sometimes writers producing stories and books on more than one genre will use their true names for books in one genre and a pseudonym on books intended for a different genre. At one time it was considered that if a person was going to write mysteries, and say westerns, that mystery readers would avoid books by someone who also wrote westerns because they would think the author was not really serious about mysteries. And that readers of westerns would disdain anyone who wrote contemporary mysteries with urban settings because they would feel that a writer who could do that well could not possibly capture the authentic feel of the old west. Today, however, that seems to be changing. Increasingly, readers seem willing to accept what are called crossgenre writers, who excel at producing stories of more than one type. Elmo Leonard is accepted as both a western writer and a mystery novelist, while a number of major fantasy novelists are also accepted as authors of credible, realistic mysteries.

I will have a few words to say about choosing pseudonyms in my next post.

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 Posted by at 3:14 am  Tagged with: , ,

TITLES

 Jean Marie Stine, Write Sex  No Responses »
Oct 152010
 
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How important are titles? I hear this question at almost every writing workshop or panel I attend.

The answer is that titles are very important for books. Would you have ever wanted to read “Two Mules in Harness”? Or see the movie. Luckily, Margret Mitchell changed the title of her book to “Gone with the Wind” – a much more romantic and intriguing title. What is gone with the wind?, potential readers are likely to ask themselves.

Then there was the book about women who were daughters of alcoholics who fell in love with men who turned out to be alcoholics. All these women were obsessed with their men and would do anything for them and take any form of abuse from them. Publisher Jeremy Tarcher read the ms, and felt that the idea of women who would do anything and take any form of abuse was much larger and would appeal to a much larger audience than a book just about women with alcoholic fathers who chose men like dad. He put the author through six drafts (paying her extra to do it) and retitled the book “Women who Love too Much.” And since there is hardly a woman [or man] who doesn’t feel she loved too much at least once in her life, the book became a must have as millions of women wanted to know why they acted like that and how they could stop.

In case you don’t get the urge to purchase “Trimalchio in West Egg,” you may be surprised to learn that you have probably read it, or seen the movie, and may even have a copy of “The Great Gatsby” on your bookshelves.

Some titles practically guarantee big sales. Consider these titles, for instance, “Everything You Always Wanted to Know about Sex but were Afraid to Ask” and “The 7 Habits of Highly Effective People.” Or these recent novels “Angels and Demons,” “Rich Man, Poor Man.”

Titles can make or break a book. Because the title is often the first thing someone learns about a book. If it is captivating or compelling or raises a powerful question in the reader’s mind or makes a promise, one is more likely to pause and consider the book and that is 2/3s of selling a book to a reader right there.

A good title with a bit of sizzle or sell to it even makes it easier to find a publisher for a book. They know that if the title catches their interest, it is likely to catch a reader’s interest as well.

Alright, you may be saying, it makes sense that dreaming up a good title is important if you are writing a book, but is a great title essential for a short story?

Well, no, in the sense of selling it. But, yes, in another sense. Let me explain.

If your story appears in an anthology or magazine, it is the title of that anthology or magazine that will impact and hopefully sell the general public.

So in that sense, the title of your story doesn’t need to be great to sell an editor, because the title of any one story will not have any impact on the public buying the publication it is in. The perceived quality of the story is what sells the editor. If a story for an anthology is good, you can call it something as pedestrian as “Lesbian Encounter” or “Gay Story” and an editor will take it. And if they are busy and fighting deadlines, they may never think to retitle it.

On the other hand, if you want your story or stories to be remembered, don’t just make them memorable, because people often remember really good stories they read, but if the title wasn’t memorable, can’t recall it. In the long run, giving your story a memorable title may even earn you additional sales, as anthologists may remember it when looking for stories to reprint.

Harlan Ellison could have called his story “The Rebel” and any scifi editor would have been happy to buy it. But readers remembered the story forever, and it was remembered well enough to be nominated for and win awards, when he titled it “Repent, Harlequin, Said the Tick-tock Man.” He scored another title bullseye when he came up with “I Have No Mouth and I Must Scream.”

Or Richard O’Connell could have titled his story “Choice,” but who can forget “The Lady or the Tiger?”

As for Fitzgerald, who having heard it once can forget the title, “A Diamond as Big as the Ritz.”

So if you want your work to live and be remembered a cool, stick in the mind title will take a good story a long way toward immortality.

No matter how you look at it, or what the media, a good title is a good idea, and a necessity over all. It might not be essential for selling the story the first time, but it might go a long way toward helping sell it again. And again. And again.

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 Posted by at 12:10 am  Tagged with: , , ,

Writer’s Block

 Jean Marie Stine, Write Sex  4 Responses »
Jul 162010
 
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Sometimes you sit down to write, and you can’t think of a thing. Or what you do think of is so obviously poor it isn’t worth pursuing. If you have a deadline, or even if you are just wanting to write something for your own amusement, this can be panic inducing. In the first case because you need the money, and in the second because being a writer (someone who is able to write) is part of your self definition. If you can’t write, you may wonder, how can you think of yourself as a writer?

The not-so technical term for this is, of course, writer’s block.

This is a phenomenon that seem to affect authors primarily, although it can also be a problem for artists of other types, particularly commercial artists working against deadlines.

It doesn’t seem to be a concern for members of the general population at all. After all, you never heard of “plumber’s block” or “soccer block” or “grocery shopping block” or even “management block”, did you?

Even the most productive writers are not immune. One of the jokes among science fiction writers in the late 1950s involved Robert Silverberg, author of mysteries, science fiction, non-fiction, erotica and much much more.  He could turn out a novel in three days and a short story in an afternoon, and turned out such a flood of copy that for a while he was more productive than Georges Simone or Isaac Asimov (look them up if you don’t know).

At one convention I overheard authors discussing his productivity (and income) enviously, particularly several suffering from writer’s block. “It’s not all fun and games for Bob,” one wit interjected. “He had writer’s block, too!” the man paused for effect. “Last Tuesday from 11 a.m. till noon!” We groaned.

Although that was a joke, Bob did suffer from writer’s block much later in his career, feeling written out. But, predictably, he recovered and turned out several dozen more books. (Worse, not only was he prodigal, he was good, winning many awards.)

I am not going to discuss here the causes of writer’s block. It has been written about  extensively by authors and by psychologists.

What I propose to offer are some suggestions for getting the words and ideas flowing again when you are all dried up creatively from writer’s block. In short, you don’t have to wait until your block mystically lifts to begin writing again. You can put an end to it yourself  and get back in the writing/word/thought-generating groove in a reasonably short time.

1) Do some routine housework, paperwork, or physical labor. Sometimes you can be trying to think of what to write so hard consciously that it blocks the words you are seeking from trying to emerge on their own from the unconscious. Doing routine tasks, even walking, that require you to put your focus on your body and something other than yourself, can clear the consicous of interfering concerns about writing, and allow the sentences and ideas you are seeking to enter your mind on their own.

2) Play music that stirs your emotions. Whether its rap, r&r, classical, show tunes, or whatever, listening to music that jazzes you helps to get your feelings flowing, and these feelings often begin to carry writing-type thoughts along with them. Such music stirrs the unconscious, the sea out of which creativity flows. It’s a right brain kind of thing.

3) Find an image, maybe a photograph in an adult magazine, that has turned you on sexually before;. Sit down at your keyboard and begin to describe the specific element that turn you on the most.  Before you are through, you will likely find that the ideas you needed for your own project are beginning to run through your head. (Hint, there are strong links in the brain between seeing and thinking.)

3b) Conversely, if you are stuck on a specific sex scene, pick an image of what people would be doing in that scene. Often, looking at a picture of people engaged in the sex act you are trying to describe will start you thinking about differences and similarities between the image and what your characters would be doing. Soon the scene will be writing itself in your head.

4) Find and read an erotic passage in a book or story that you remember as really turning you on when you read it before. Reading it can also start you thinking about similarities and differences; in this case about what you are reading versus how or what you would write. Also, reading a passage you find sexy will likely get you aroused and when one is aroused the chemicals that are released into the blood stream trigger the brain to start fantasizing about sex. All you have to do is write those fantasies down.

5) If you are having troble beginning a sentence, paragraph or scene, take a different approach, begin somewhere you would not normally begin. If you are describing a man and a woman making love. Rather than opening with a description of the couple, or a specific sex act, try thinking outside the box. Begin with a description of the sheen of her stockings, or the dimple on his butt cheeks. Ask yourself what you wouldn’t normally do, stand things on their head. That makes writing interesting again, and your brain can’t help dreaming up a few lines to go with the idea and soon you are writing easily again.

I will offer more suggestions for overcoming writers block in my next entry.

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 Posted by at 2:08 pm  Tagged with: , , , , ,

“WHAT CAN I DO TO IMPROVE MY SALES?”

 Write Sex  1 Response »
Jun 042010
 
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“WHAT CAN I DO TO IMPROVE MY SALES?”

It’s an email I receive often from new ebook authors: “What can I do to improve my book’s sales?”

I, as a publisher, do what I can. We try to give books covers we have reason to think will help them sell. And sometimes titles we think have a similar quality. We also send out copies for review to various book review sites on the web. We take “cover ads” and banner ads and bookmark ads on many of those same sites. And we get writers the occasional blog or chatroom tour. Other than that, and the occasional promotional activity, there isn’t much more publisher’s can do.

The truth is that for the past several decades research reported in Publisher’s Weekly and other journals has consistently shown that a publisher’s promotional efforts and advertising don’t sell books, ebooks or print. Advertisements in the New York Times Review of Books, People, or wherever, don’t play any significant role in influencing someone’s decision about whether or not to buy a particular book.

So why do the big publishers spend so much money on full-page ads in various publications? According to the late Richard F. X. O’Connor, former marketing director for Doubleday’s book publishing division and for Walden books, the more successful progenitor of today’s Border’s chain, the big publishers take out big splashy ads to make their top-selling writers feel important and to show everyone that the publisher is successful enough to afford such ads.

So what does sell books? And here we are talking about all kinds of books, ebooks, paperbacks, and hard covers, be they mystery, romance, historical novel, presidential biography, self-help, or even erotica. One thing, O’Connor says, sells books and one thing only. Word of mouth!

Yes, word of mouth. Or, to put it another way, reader excitement. Readers are special people. There aren’t a lot of them, and they tend to hang out with each other so they have someone to talk about books with. They even tend to congregate with people who like to read the same type of books they do. Science fiction readers often have friends who also read science fiction. The same can be said for romance readers, who are often heard discussing the newest book by the bestselling romance author of the time.

So when a reader of contemporary fantasy, say, really likes an author or book so much, she or he can barely contain his or her excitement and has to tell someone else about it, so they tell other readers of contemporary fantasy. If those readers like it, they tell other readers of contemporary fantasy, and the word spreads very rapidly by mouth. Hence, word of mouth.

The same thing happens today on the internet, only much faster with Facebook, Twitter, blogs. I call this “word of web.” If someone is wowed by a book or author, they Twitter it, blog it, email it, and maybe Google group it; and if a sufficient number of other people read it and like it, the lucky author’s reputation and sales are on the way up.

So, when it comes to selling books, the object is not so much to merely expose the title or idea of a book to readers, many publisher’s are advertising or promoting many books, and a reader’s disposable income for book purchases is limited. What decides which books they are willing to invest their limited book budget in is an enthusiastic recommendation or mention by another reader of similar ilk. So when it comes to selling books, the focus should be on developing ways to generate reader enthusiasm for an author’s work.

While some readers can work up some enthusiasm for publishers, they never-the-less respond a lot more warmly and enthusiastically to authors than they do to publishing companies. That’s a no brainer.

So, in the internet era, a larger share of the burden of winning readers over falls on the author. Or, to look at it another way, today the internet provides incredibly powerful tools that allow an author anywhere in the world to have an unprecedented influence on the marketing and reader reception of their own books. And, more, via all the social networking tools, the author essentially can have something a lot like the direct, personal interaction of a bookstore signing or reading with readers every day.

When readers get to know an author personally, they are far more likely to buy that author’s work. The internet makes it possible for you to help readers get to know and like you. If they do they will share their positive regard for you with other readers, and you are on your way to becoming known.

If you want to create or build a loyal audience of readers eager to read each story or book that comes out, you must have an exciting site that makes people want to come back. You must use it to promote your books and yourself as a writer. Look up the sites of some successful authors of erotica and see what they are like. Emulate what they do. You can’t go wrong.

Once you have readers coming to your site, you want to communicate with them directly, give them a sense of who you are. This is your chance to establish a bond that will carry over into sales. That’s what blogs are for. In a blog you can share your opinions, likes and dislikes, and just about whatever of what you think of and about as you are willing to share. There are many sites that tell you how to build blog traffic. Look them up and follow their advice.

Twitter is also a powerful aid to selling your book, instantly sharing news about it through widening networks of people. And the use of Facebook or some variant like Myspace is also essential.

It’s no coincidence that the writers I know with the best sites, who work the hardest to make use of all their available internet tools have the best sales over all.

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 Posted by at 2:18 am  Tagged with: , , ,

GETTING MORE BUCKS FROM THE BANGS YOU WRITE ABOUT, PART II

 Jean Marie Stine  2 Responses »
Apr 232010
 
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This will be short but hopefully pithy. Here are five more tips.

1) Yet another method of getting more bucks for the bangs you write about is to link some of  your stories together into a series, and to write enough stories in the series to collect as a book.

This is a hallowed practice going back more than one hundred years. Books as diverse as Isaac Asimov’s Foundation series and Cheaper by the Dozen were created just this way.

Terri Pray, who writes for Sizzler Editions, has a knack for writing novelettes about series characters, who are often captured and forced to be sex slaves and are sold and pass from the hands of one master to another — each owner or captor the subject of an individual story in the series –  and then bringing it all together at the end through a developing story arc for a satisfying conclusion complete with her own version of a romantic happy ending bdsm-style.

2) Or to make it easy, you can forgo story arcs and just write otherwise unrelated adventures of a single character like Sherlock Holmes and then collect them into a book. This way you avoid having to hassle out a plot arc or happy ending. You could write a book about a woman named, say, Fay, who has a series of post-college sexual escapades with different men, and the collected stories could be called The Adventures of Fay, or the Exploits of Fay, or Fay Discovers Sex, or whatever. Anyway, I understand it worked out pretty well for the Holmes author.

This way you are at least assured of being paid twice for each story in the series you write.

If the book does well, you may make many times over what you received for writing the original stories.

3) Here’s another tip for squeezing more income from your work: Participate in public readings of erotica. If you live near or in a metroplex there are likely to be events like the SF Bay Area’s Perverts Put Out and Queer Open Mic, where writers of erotica read their work. Often they receive some small remuneration, but even when they don’t they are allowed to sell copies of their work; and if they get a decent discount on their books from the publisher, these writers can make $35-$100 a reading.

To get in on deals like this you will need a) find them and b) network. Also volunteer to read your work free at fund raisers where other authors are doing the same. That way you meet writers and the kind of people who put on events, making it far more likely you will get invited to any paid reading gigs than if you just sit home and wait to be noticed.

Through this kind of local networking, you will be in the best position possible for learning about local workshops, group readings, writer’s conferences, and the like. If you put yourself out a bit and ask, you will eventually get paid, or at least fed, gigs reading, teaching, etc. You may also learn about magazines and anthologies that are looking for erotica.

If you network on the web too, you may learn about opportunities beyond the local for making additional income from your writing. I, for instance, will be participating in an on-line course in writing erotica later this month for which I will receive some small remuneration.

4) If you have any personal area of expertise, you can also profit from creating and teaching your own on-line courses in writing via Google or other sites. One male writer I know teaches courses in writing believable male characters to women authors of romance novels. Using Facebook, Linked-In, Twitter, etc., and emailings to various writer’s groups, you can drum up quite an income once established.

5) Dream up an anthology idea and place it with a publisher. Anthologists traditionally get half the royalties, the other half is split among the authors. Use one of your own older stories in the anthology, and come out even further ahead.  Sascha Illyvich came up with an idea for an anthology of gay male romance stories set against a background of starships and the spacelanes. I accepted the book as soon as he described it. I once spent a week reading through old science fiction magazines and emerged with an anthology titled Future Eves: Classic Science Fiction About Women, By Women. I also put one of my stories in it. It’s a pretty standard practice among anthologists.

If you keep these ideas, and the ones in my previous blog on this subject, you will at least double your earnings from your writing. Work hard at them and you can triple or quadruple it.

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 Posted by at 12:31 am

HOW TO MAXIMIZE YOUR INCOME FROM WRITING EROTICA

 Jean Marie Stine  17 Responses »
Mar 112010
 
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Many books, websites and courses tell you how to write and sell erotica. But they stop there. The fledgling writer is left with the impression that these two steps are all there is to it. In short, that successful writers of erotica earn enough to live on by simply writing and selling an erotic tale, and then moving on to the writing and selling of next one, never looking back.

Most of us would be starving to death if that was, indeed, all there was to it. Try it yourself and you will soon discover, via starvation, how absurd this idea is.

In fact, for many of us, especially those who write erotic short stories and novelettes, writing and selling the story are only the beginning of wringing the maximum income from it. When my friend Harlan Ellison (primarily a short story writer, whose example, while he does not write erotica, is germane) finishes a story, he first sells it to the highest paying magazine market he knows of. Then, a year or so later he sells it to some anthology it seems right for. A year or so later he puts it in a collection of his own stories. Next, he typically sells it to a magazine that pays it lower rates but whose contents page would be enhanced by a story with his name on it. Later other anthologists may also purchase the story. These steps sometimes transpire in a different order, but you get the general idea. He gets paid four or more times, usually more, for each story he writes.

That’s why when I sell a short erotic story the first time, if the magazine or anthology wants any kind of exclusivity on it, I insist on a one or two period of exclusivity, after which they can still keep the story in their anthology, but I can sell it wherever I like. At the very least, I absolutely insist on being able to put it in anthology of my own stories, after a one or two year period. This is, in fact, how many short story writers enhance their income and manage to pay the rent/mortgage.

The situation isn’t the same with novels or book-length collections of your own work, of course. Naturally, the publisher of a book wants exclusivity during the time they are marketing it and making it available to the public.

But there are still several ways you can leverage more income from your erotic novel/s.

Does your publisher have a strong presence (distribution to Amazon, B&N, Sony, and other major book selling sites) in both print books and ebooks? And what about audio? If they appear to be weak in one or more of the above, see if you can reserve those rights for yourself. Then search the web for information for publishers who do have strong distribution in those areas, and try to interest them in the rights you have retained.

Here’s another tip. The more books, novels or collections, you write and have out, the more copies of each individual book you will sell. If you only have one erotic book out and a reader buys and likes that one, all you can have is one sale. But if you have six books out, and a reader buys one for the first time and likes that one, that reader will inevitably come back for more. Resulting in one to five additional sales.

At my site, SizzlerEditions.com, we have seen this over and over. A new customer will come in and purchase a book by, say, Terri Pray, who has just written her 50th book for us. In a day or two and, sometimes even just a few hours later, they come back and buy a half-dozen more and they keep on coming back until they have read them all. And then they may discover another writer at our site they like and do the same. And from then on, they tend to purchase every new book by these authors.

The same is true of series. If you write six stand-alone books, each will sell better than if you had just written one book. But if all six are part of a series, and a reader likes the series, you have virtually ensured the reader will buy all six.

These are some of the key ways you can maximize your income from writing erotica. There are others. But, we will deal with those in a later installment of this blog.

Jean Marie Stine, http://SizzlerEditions.com

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