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Bringing the Words to Life

A writer’s goal, his reason for being, is to get the words down onto the page. If he’s lucky, the words and the story are good. If he’s exceptionally fortunate, someone makes the effort to read the words. So, what is the writer to think when a cast of talented actors and a crew of skillful filmmakers agree to invest their time to bring the words and characters to life? He thinks he’s the luckiest person in the world and witness to the magic of film.

Not too long ago, I spent a day on the set for the short film, Out of Touch. After writing the short story of the same name, an old friend and filmmaker suggested that the story would make a great film and he asked me to write the screenplay. Sure, why not, I told him, knowing it was a minimal additional investment on my end and not expecting much to come of the wishful suggestion. And then there I was, on the set and watching as these people who I had never met before, actors, spoke my words and brought the characters to life.

It was unbelievable.

I arrived on the set at 4:30 a.m. at a local bar up on the northwest side of Chicago. It was a Saturday morning and the bar had just closed an hour and a half earlier. The smells of the night still lingered in the air. At a time when the place should have been dark and dead, when the rest of the world was at home and dreaming, the place was buzzing and alive with crew and cast members preparing for the shoot. I was there, awake, but dreaming as well.

After I introduced myself to the cast and crew, I took my place in the back, out of the way and unnoticed, and I stood there for more than ten hours with my eyes wide and mouth open in awe as I watched the artists engage in their craft.

I feel I'm the luckiest person in the world and I want to thank everyone who was involved in bringing Out of Touch to the big screen. A special thanks to our director, Danny Ahlfeld, for making it happen. You are a fine and passionate filmmaker. I also want to thank Michael McDermott, Julia Kessler, Paul D'Addario, Ron Dean, Frederick Husar, Samantha Bailey, Tom Moore, Bill Boehler, George, Gene McElligott, Lauren Stasio, Zach Ruddell, and Gary Gordon. The filming was a great experience and I can't wait to see the final cut.

I’ll see you at the theatre!
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It's Been Quite a Ride


A lot has happened in the last few months, and I’d like to take a moment to share the highlights:

A Fine Line Wins Best Screenplay Award

My newest screenplay, A Fine Line, won the Best Screenplay Award at the 2014 Naperville Independent Film Festival (NIFF) Awards Gala on September 20th. It truly was an honor just to be nominated, but taking home the trophy was pretty darn cool. At the event, I had the opportunity to meet many film directors and producers and who knows, maybe we’ll see the screenplay produced into a feature film sometime soon.

Want to see the award presentation? CLICK HERE .

A Fine Line is a story about a struggling writer with a secret government past who is hired by a wealthy philanthropist to investigate an old and unsolved murder case. The best part: it’s all set in Chicago.

Audiobook of No Turning Back is Now Available – Narrated by Yours Truly

With my first novel, Recalled to Life, I hired a narrator and audiobook producer to create the digital audiobook for me. The narrator, Dan McGowan, did a wonderful job. This time around, for No Turning Back, I had to take a different approach. In No Turning Back, I accompany each story with my personal notes regarding the thoughts and ideas that inspired me to write the story, and I felt it would sound strange having someone else narrate those parts in the book. So, I decided to narrate and produce the entire audiobook myself.

I want to send out a big "Thank You!" to the entire Chicago Arts Press team who urged me to narrate the book myself and who helped to edit and produce the audio. It was a great team effort and I love the result. Consider listening to the audiobook edition, which is now available through Audible, Amazon, and iTunes. Check out the free sample at each of the sites.

No Turning Back Receives Honorable Mention

My short story collection, No Turning Back: Stories, received an honorable mention from the judges of the 2014 Chicago Writers Association Book of the Year Award. It’s a great honor to be a member of CWA and recognized along with the other award finalists.

If you’re not doing anything on Saturday, Jan. 24, 2015, consider attending the CWA Book Award Presentation event at The Book Cellar, 4736-38 Lincoln Ave., in Chicago’s Lincoln Square. I know I’ll be there to cheer on and support the winners.

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Word of Art

Earlier this year, I submitted one of my poems, A Song of Reason, to the annual Word of Art program, produced in cooperation with In Print Professional Writers Organization. I’m humbled that Rockford artist, Jim Simmons, selected my poem as a basis for his artwork. His art and my poem were included in the published 2014 Word of Art hardcover edition.

A Song of Reason

I wonder what comes first, the
thought or the reason, the
melody or the words, and realize
I don’t think it matters,
as long as they come.

The composition of music, of life, is a
miracle best to be cherished,
rather than explained, or rationalized, or criticized.
But most of all, it must be nurtured.
The words and dots are the seeds to sow.
The instruments are the tools used to cultivate.
But it is the passion and the feelings and the love that
brings the words to the high heavens.

The artist feels the beat and
beats the feeling.
She makes note of the notes and
sings the song, right or wrong, and
gets it all out before there is no more.
It’s part inspiration, part perspiration,
part reflection, part projection, and
all introspection.

The path is clear, yet not without
a thousand doors, heavy doors, with
many locks and many keys.
The soul is untarnished and
the keys are there for the taking.

You can’t get it out unless you’re willing to go in.

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The Writer's Handful

Many thanks to acclaimed author, blogger, and educator, Patricia Ann McNair, for allowing me the opportunity to participate in her "Writer's Handful" discussion. Learn more at

May 5, 2014


Did you write today? If yes, what? If no, why not?

I did not write today, and it kills me to say so. I just released my new short story collection, and I am in the throes of a full-on, all-out publicity push. So, I set aside the day to promote my book, make some contacts, and set up some future publicity events. I certainly realize the importance of the publicity and promotion aspect of a writing career, but I’d much rather be in my office, writing. Only when I am getting the words down onto the page do I really feel a sense of accomplishment. It’s a good thing that I’ll be back at it tomorrow. I’m in the process of revising my next novel, A Fine Line, which is a crime mystery that’s set in Chicago, and my year-end deadline is fast approaching.

What's the first thing (story, poem, song, etc.) you remember writing, and how old were you when you wrote it?

It’s hard for me to think back that far. However, I can remember the first “real” short story I wrote after I made the decision to purse writing as a career. I wrote the first draft of the story, No Turning Back, in August of 2006. In coming up with the idea for the story, I tried to think about what might be one of the most difficult acts a person might be forced to do in life, and then, what would it be like if the person had to do it twice?

I was 43 years old at the time and I remember how excited I was after completing the draft. I read the story and revised it at least a dozen times and I really liked it. I also remember the criticism I received after sharing the story in a writing workshop. Instead of providing guidance on how to improve the story, the instructor suggested that I change the story, and quite drastically. I remember she said, “If it were me, I would change the plot altogether and . . .”

Well, needless to say, I didn’t feel very good after that discussion. I thought about the instructor’s comments and I re-read the story many, many times. In the end, I decided that I liked the story just the way I wrote it. I can live with that decision. It may not be the best story I ever wrote, but it’s important to me in that it really defines the beginning of my writing career. I’m happy to say that the story is included in my new short story collection—which also carries the title, No Turning Back—that was just released on April 29, 2014.

What are you reading right now?

I tend to have a number of different books going at the same time, and I’m juggling a bit right now. I’m reading The Tenth of December, the new short story collection from George Saunders. I’m also reading Brown Dog, the new collection of novellas by Jim Harrison. Lastly, I’m reading the new novel, Lost in the Ivy, by my friend and fellow Chicago Writers Association member, Randy Richardson. Each of the books is so very different, and I like switching back-and-forth between them based upon how I’m feeling on a given day. Diversity—it’s good for me.

What's the most important advice you ever received? (Writerly or otherwise.)

I am a student of The School of Prolific Writers. I find that I am able to learn the most from those writers who have come before me and who have produced the most successfully published stories. You can take your pick of your favorites and there are a lot of them, but they will all suggest the same advice: get the words down onto the page.

We can talk about writing, plan for it, and study for it, but in the end, the only way to become a successful writer is to actually sit down and write.

If your writing were an animal, what animal would it be? Because...

I’m going to stick my neck out (did I really say that?) and say that my writing is most like a giraffe. I don’t think I necessarily do it intentionally, but sometimes when I am finished with a story, it seems that what I’ve written ends up being a bit outside of my comfort zone, that I’ve stretched out and reached beyond what I thought I might do as a writer. As a result, I might question myself on occasion. What will someone think of what I’ve written?

I write about ideas, topics, and things that interest me and that come to me based upon everything that I’ve crammed into my head over the years. I write what I feel I am supposed to write. In the end, it’s important for me to just go with it, to finish the story and share it. Every writer has likely encountered the situation where he or she has questioned the validity of his or her writing. I know I have done it, and I think it’s healthy. It’s good to evaluate yourself and your writing. However, you have to push your own boundaries. You can’t let what anyone says, or what you think someone may say, stop you. You have to keep sticking your neck out.

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By Way of Introduction

In anticipation of the release of my new short story collection, No Turning Back, I would like to share the introduction to the book.

It all started with a thought.

Over the years, I have often found that in order to get an idea to come to fruition, all I needed to do was think about the idea—that’s it, just think. The more I would think about an idea, the more my conscious and subconscious brain would join in to help develop and flesh it out. Thoughts would turn into other ideas, which would make me think even more, and before I knew it, I had a plan in place to make the idea a reality. That is how it has been with my writing in general, and with my short stories in particular: I get an idea, store it in my head to let it simmer a while, and write the story when it is ready.

Twenty-five years ago, I first considered becoming a writer and have been thinking about that idea ever since. My favorite authors—Bradbury, Crichton, Fitzgerald, Hemingway, Harrison, and King—had made me do it. Think, that is. Over the years, they had grabbed me and engaged me with their words and especially their short stories. They opened my eyes to the limitless possibilities of words and books. Particularly through the influence of their short stories, they urged me to keep reading, and by all means, to start writing.

I have always enjoyed the short story form. Unlike reading a novel, reading a short story impacts me more immediately. I love getting through an entire story in one sitting and then moving on to the next one. When reading a short story collection, I can get a fuller picture of the thoughts and ideas that the author has in store for me.

One book in particular—and a subsequent meeting with the author—set me on my way to becoming a writer. The book was Dandelion Wine, written by one of the greatest American authors, Ray Bradbury. I had read other Bradbury books, like Fahrenheit 451 and The Martian Chronicles, but when I read Dandelion Wine, which is actually a series of loosely connected short stories, it was the first time I could truly visualize the overarching story as I read it. It was the first time I became part of the story. It was the first time I experienced words and sentences strung together in such a unique way: literature with doses of realism and lyrics and poetics. He hooked me. I thought to myself, I want to be able to write a book like that some day. I’m a big dreamer.

In 2003, while in San Diego on business, I had the opportunity to meet Ray Bradbury. I had heard about a seminar he was conducing at San Diego State University and on a whim, I changed my afternoon plans to attend. His two-hour talk about his “love of writing” was truly inspirational, and his words made me wonder even more about becoming a career writer. Afterward, I met Ray, and he signed a book for me. He asked me if I was a writer, and I told him that I wanted to be one someday. He said, “Just do it,” and I replied, “Okay, I will.” Four years later, I became a writer. Although I had been writing for years, I made it official, with a total commitment to writing and to publishing my writing.

My fiction writing took off at a feverish pace. I focused mostly on shorter pieces, which allowed me to flesh out many ideas with a minimal investment of time and get the writing practice I needed. I get many ideas for writing projects, and I usually try to see if the idea is worthwhile by attacking it through a short piece, such as a poem or a short story. After that, if I still like the idea and the premise, I will consider it for a longer form.

For example, I wrote Letting Go—a story in this collection—as a way to explore the character of Sebastian Drake, to better understand exactly who he was and what made him tick. After I wrote the short story, I was more interested in Drake—and perplexed by him—than ever, and I needed to find out where he was going next. That was not a problem. He would not leave me alone, so I put him in Chicago, right in the middle of a cold murder case, and a year later I completed the screenplay A Fine Line, with Drake in the lead role. I thought that might be the end of his story, but that was not the case. Drake persisted, even insisted, that the story was not over, and he was right. I completed the full story of A Fine Line, in novel form, a year after the screenplay. I wonder where he will take me next.

People often ask me how I came up with a certain idea or why I decided to write a particular story. Those are tough questions to answer. All I can say is that ideas come, at any time of the day or night, and it is usually something I saw or read or heard that inspired them. The ideas come, and when they do, it is prudent for me to jot them down so I do not forget them. I realize there is a reason the ideas come to me, and it is not up to me to judge the source. However, it is up to me to trust the source, because the ideas germinate from the combined experiences of my lifetime. The ideas are me. I think it is true that I do not have a say in which stories I write. I do not write a story because I think it will lead to fame or fortune. I write a story because I have to, because the idea nags at me and will not leave me alone until the words are down onto the page and the story is finished.

I took the title for this book from the final story in this collection. No Turning Back is actually the first story I wrote, and the story is about a man put in a predicament where the only option is to jump forward, into the unknown and on to whatever comes next. I had no prior intention, but as I was pulling together the stories for this book, it was clear to me that all of the stories were linked by a similar theme: that every day we come to a crossroads in life and going back the way we came is not an option. No Turning Back is not only a fitting title for the book, but it also provides a sound mantra for living our lives: don’t try to re-live the past, for the future has so much in store for us. Just keep moving forward.

In preparing this collection, I thought quite a bit about the stories and the sequence in which I might like to present them. I wrote the stories in this collection over a period of six years, from August 2006 to September 2012. In the end, it made sense for me to present the stories chronologically. However, I knew I did not want to start with the first story. That story, No Turning Back, holds a special place in my heart and I felt it best to end with that story. Therefore, we begin with the most recent story and progress in reverse chronological order to the first story written. We’ll jump into our figurative time machine and as we progress through the stories, we’ll take a journey to see where I came from. We’ll make many stops along the way to discover what might have been going on in my mind and my life at the time. I hope you enjoy the ride.

With this book, I wanted to produce something different, more than just words on a page. Of course, the stories are important, but I wanted to provide a broader experience for the reader. I have always been particularly fond of books that combined words with art as many of the early Dickens novels in my book collection did, with exquisite woodcut illustrations that graced the pages preceding a chapter. Unfortunately, that type of illustration is a lost art and is no longer financially feasible. Recently, I had been particularly impressed with the work of Joseph Mugnaini, the artist who provided many illustrations for Ray Bradbury’s novels and story collections. I thought it would be great to include illustrations in my book.

I set out to find an illustrator, and I was fortunate to meet Chicago actor and artist Kelly Maryanski, who read the manuscript and provided custom ink illustrations for each of the stories. I had talked with a half dozen artists, and I think she was the only one who really understood what I was trying to accomplish. I sent her the manuscript and waited, wondering what was going to happen next. Her approach was simple and straightforward. She read a story and then sent over an illustration for me to review. I received each illustration with anticipation and excitement, and every time I saw the newest one, I smiled. Every reader interprets a story differently, but Kelly and I were always on the same page. I think each of the illustrations is perfect, and each story now includes an original and thought-provoking visual interpretation.

I also felt I needed a book cover that would help to capture the essence of the book and set it apart visually. From the day I came home from the record store with Rush’s 2112 album as a teenager, I was hooked on my favorite band’s album art and the graphic artistry of Hugh Syme. When I thought about the cover art for this book, I felt the artwork had to be something special, much like 2112 and all of the Rush albums since, and I thought about how great it would be to have Hugh Syme design my book cover. No chance in hell, I thought. It was a pipe dream, but I figured, what the hell. I contacted him. I told him I was a fan of his work, and it would be an honor if he would design my book cover. He asked me about the book, and I shared with him the title, the story names, and a brief description of each story. He said “okay” and that was that. A week later, he sent me three designs. The first one was great, the second one better, and when I got to the third image, I knew I had found my book cover. He insisted that he be part of the entire jacket design and the final production, and it was a privilege to work with such a consummate professional. What an experience and what a trip it was.

There was one final element that I wanted to include in the book. I don’t know about you, but after I’ve read a story, I’m often left with burning questions: what was the inspiration for the story, where did the original idea come from, and what was going on in the author’s head while writing the story? The only way I have been able to get answers to these questions is if I’ve had the opportunity to meet the author in person. Such a meeting almost never happens, and even if it does, it’s hard to ask the questions. More often than not, the answers remain elusive.

I decided I was not going to be so elusive. There is so much that goes into the writing of a story, and because every story in this collection is so different, I thought it might be nice to share with the reader whatever was going on inside my head at the time. From the day I first started writing short stories, I got into the practice of documenting my story ideas, along with other thoughts, conceptions, and notes that pertained to the story. I did it for myself, to help me remember. However, as I went through my old notes, I was surprised to learn about my younger self and the mania that was coursing through my veins. Where did those ideas and words come from? I often wondered. The process of reviewing my story notes was a great opportunity to re-introduce myself to the individual who wrote the stories, stories that were—quite simply—distant memories. The notes brought the stories back to me in all their glory, and I hope the story notes provide for the reader a small glimpse into the mind of a hopeful author.

No Turning Back is a book quite different from my first novel, Recalled to Life, and even more drastically different from my first non-fiction book, The First 60 Seconds. I like that. Diversity is good for me. In the future, I have every intention of following my brain and my gut as I select new writing projects. So, you may be wondering, what’s next? My first crime novel, A Fine Line, is set for publication next year. Am I writing poetry? Yes. Are there more screenplays to come (hopefully to the big screen)? Absolutely. Will there be more short stories and novels? Yes and yes. What I do know is that I have enough ideas to keep me writing for at least another ten years. I cannot say I am certain of the order and form in which I will produce my ideas, but I can say, with absolute certainty, that I will write. I cannot fight it, I have no other choice, and there is absolutely no turning back.

Dan Burns
January 2014

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Looking in the Rearview Mirror

This month, I had the opportunity to talk with my publishers at Eckhartz Press. I’ve experienced a whirlwind of activity since the release of my novel in June, and the following interview provided an opportunity to briefly glance back at some of the highlights of the book publicity tour.

What has surprised you the most about the reaction to your book?

What I never expected, and what I truly love, is that I have heard back from so many readers with their very different and personal interpretations of the story and what it means to them. It’s so rewarding to be able to write a story, with my own intent and experience and perspective, and then to hear back from people where the story resonated with them in a similar manner. It’s just as rewarding when the reader experiences something very different from the book. I know that if I asked one thousand people to read my novel, there is a good chance that I would get one thousand very different and personal interpretations. That is certainly a benefit of writing fiction that I did not initially expect, and I look forward to hearing about every single one of those interpretations.

Do you have any good anecdotes from your promotional tour?

I had the fortunate opportunity to be at the Chicago Writers Association tent at the Printers Row Lit Fest this past summer. I had my book out on display and people were coming by to look and to talk to me about my story. I looked up, and I noticed a gentleman standing about five feet away, in the background, and he was looking at me and smiling. I returned his gaze, curiously. He said, “I get it. I get the allusion!” He smiled and nodded his head, pleased with himself, and then he turned and hurried away.

He was referring to the title of my book, Recalled to Life, and my indirect but intentional reference to the Charles Dickens classic novel, A Tale of Two Cities, and the message “recalled to life” that signified Dr. Manette’s second chance at life after being held captive in the Bastille prison for eighteen years. The gentleman at the Lit Fest was the first person to ever share such a revelation with me. I raised my arms and yelled, “Yes!” I wanted to climb over the table and hug him, but he was already gone and lost in the crowd. I thought that if anyone, he was the one person that needed to have a copy of my book. I hoped that he would come back, so that I could give him a copy, but he never did. Maybe he will read this interview and contact me so I can personally thank him and send him a book.

What have you learned about yourself and your writing since the book was published?

Being a writer is a humbling experience. Every single day I realize that I have an opportunity improve my skills as a writer. I have a responsibility to improve—a responsibility to the reading public and myself. Every writing project I complete defines my writing career at that specific point in time. But then there is always what comes next, and what comes next needs to be better.

I try to make a conscious effort to improve my writing on a daily basis. I have a fairly extensive library of books on writing, and I find myself going to them often if I have a question or need help with something I’m working on. We have all heard that to be a better writer, you need to be a better reader, and I believe that statement to be indisputable. So, I read a lot of books across a diverse range of authors and genres. Ultimately, the best way for me to improve my writing is to just keep writing—a little at a time—on a regular and consistent basis. Only by getting the words down onto the page do I get the ability to read, review, and revise what I have written, and I find that the process of revision is often the best teacher.

I know that my writing is getting better, but it takes time and it’s a continual learning process. I also realize that much of what I wrote earlier in my career could benefit from another revision or two, and that’s okay. I can read a short story from years back and I can see where it is that I came from, and where I am at today in terms of my writing abilities. Every day is a learning experience, and it’s one of the great benefits of being a writer.

What is the question you hear the most, and how do you answer it?

Many people ask me if the story of Recalled to Life is autobiographical. I have come to think that the question arises most often because the story is so real, believable, and relatable. The story is not autobiographical but like everything I write, all that I have crammed into my head over the last fifty years influences it, and my head is chock-full of goodies. Everything I’ve read and learned and experienced, in some way, seeps into the stories whether I realize it or not.

One of the more wonderful aspects of being a writer is that I get to become other characters. I get to create a character and put that character in a situation, and then I get to put myself into the head of that character. I get to pose the questions and the character gets to provide the answers. The result is that the character takes me on a journey and it is often a journey that I never expected. Sometimes I get to lead the way and sometimes the character leads me. It’s an awful lot of fun.

Tell me why your book would make the perfect Christmas present.

Recalled to Life is a timeless story about family and the importance of taking the opportunity every now and then to put all of life’s distractions aside to focus on what is most important. Similarly, the holiday season is one of those times for us to take a break from work and all those activities that fill our daily lives. It’s a time to get together with friends and family to celebrate love and friendship, and when everything has settled down, to curl up with a good book. Why not bring Recalled to Life and the O’Hara family into your home and into the lives of your friends and family. They will be glad that you did.
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A Thousand Different Faces

Unless a writer writes solely for himself, for his own personal enjoyment, the goal of the writer is to get at least one other person to read something he wrote. If that one person, the reader, was to use her hard-earned money to purchase something he wrote, even better. If that single reader was to go even further and do something crazy, like actually read what he wrote, then hallelujah! And if the stars were perfectly aligned and it was “in the cards” and if that single reader made the effort to share a comment about the writing, then as a writer, he would have hit the jackpot, would have experienced the Grand Slam of Writing.

I know many writers who are not particularly interested in comments about their writing, and they are not interested in the posted reviews of their books. There are many reasons. For many of them, they cannot be interested, for to be open to the comments and reviews would be to open themselves up to a potential onslaught of emotional turmoil. Like the famous actor who does not watch his own movies and does not read the reviews from his critics, many a writer would simply prefer to focus on the craft of writing. I can understand that. I suppose that if the fortune—the advance—was paid and the product delivered and it was someone else’s responsibility to sell the product for profit, then maybe it is possible to just let it go and not care about what anyone might think. No, even then I think the writer always has to care.

I know that I care.

There is a truly, absolutely beautiful and unbelievably rewarding benefit to being a writer, and it is the realization that there might be one other person in the world who is willing to read the sequence of words you have strung together and who is willing to make the effort to make a subjective interpretation of those words. That’s the magic of the story and the wonder of fiction.

I know that if a thousand people were to read my new novel, Recalled to Life, there would likely be a thousand uniquely personal and subjective interpretations of the story. How cool is that! It may have taken me two years to get my words down onto the pages, to get my story into the hands of the reader, but in the end, it is still simply that—my story. However, for every person who reads my story, it becomes their story, for better or for worse. Because the reader was willing to invest the time to read my story, they have the right to internalize the story and subjectively interpret what I was trying to say or convey. Additionally, the reader has the right to say what she wants about the story. She has earned the right.

I want hear what my readers have to say. I need to hear what they have to say.

I was a member of a writing panel a few weeks ago, and the hundred-plus people in attendance were discussing book reviews and their importance to the writer. I shared that I felt reviews were important as a learning tool for the writer, that only by reading or hearing what people think about a book can a writer truly understand how well he did in communicating the story. Only then can a writer hope to improve. The reader’s perspective matters. The reader’s perception of the story matters, because for the writer, perception is reality.

I also said that the writer’s job—at least this was true in my case—actually begins when the book is published. I want people to read my book, and more important, I want to talk about it. I want the discussion to begin and I want to talk to everyone who will provide me the opportunity. I want to see their faces. I want to hear about every one of the thousand different interpretations of the story or any part of it. I need to “get out there” and make that happen.

I commented more about not only the investment, but also the effort that the reader puts forth to sit down and read a book. It’s a big effort, and I think it is my duty as a writer to show my appreciation for that effort. The effort means a lot to me. The last thing that I mentioned to the group is that the effort is so important to me that I would give a hug to any person who read my book, regardless of the feelings or comments—positive or negative—that the reader may have or express. For any person who is willing to make that investment, that effort, it’s the least I can do.

Let the national hugging tour begin . . . Read More 
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Leaving the Nest

Eventually, the day comes when you need to step out, take the leap, and try to fly all by yourself. Your wings may be tender and your heart may be cautious, but you must be brave and you must take on the challenge, for to sit back and wait any longer would amount to an unbearable punishment.

The time that has lapsed and that has brought us to this moment has been memorable and not without challenge, not without pain. There are memories that ring true and clear as though they just happened, and there are others that have faded into the mosaic fabric of the story. There has been mostly joy in every step taken along our newly created path. Love and passion and determination have been part of the journey, and while we have come to the end of one leg of the journey, a new leg is only just beginning.

I can remember clearly when the dream first came. The dream quickly turned into a plan, which laid the foundation for a course of action to transform the dream into reality. Many challenges and roadblocks arose along the way, but with swift and conscientious determination and action, we prevailed. It took years, but it was time well invested. There was no other option.

There was much learning along the way. Friendship and support presented itself from around every corner we turned. There was questioning and criticism, most of it positive, and all of which served as a driving motivation to succeed. Nothing could stops us. Sometimes there was doubt in the eyes of the facing person, but even that was a force, a propellant, that steered and guided us to where only we could go.

The time has come. With toes up to the edge, the vision is clear out to the horizon. Whether it stays that way is anyone’s guess. The wind blows strong and I can see it beginning to lift you. There is no point in thinking about or fearing what is below. All that matters is what is beyond where you stand now. Your wings are stronger than you think, and your experience is enough to take you where you need to go. Believe it. Step off, headstrong into the world, and take on every challenge and opportunity that comes your way. Embrace everything. The winds of life will carry you as long as it sees fit, and will gently land you where you ultimately need to be. It’s all about the journey, the flight, and the people you see and talk to and impact along the way.

Enjoy the ride, and I’ll be there when you land. Read More 
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We Become What We Think About

Over the past years, I’ve often found that in order to get an idea to come to fruition, all I needed to do was think about the idea. That’s it. Just think. The more I would think about an idea, the more my conscious and subconscious brain would join in to help develop and flush out the idea. Thoughts would turn into other ideas, which would make me think even more, and before I knew it, I had a plan in place to make the idea a reality. It was the motivational speaker Earl Nightingale (someone I knew from a past life) who coined the phrase “We become what we think about,” and those words have rung true for me throughout my life, especially when it comes to being a writer.

Twenty-five years ago, I had my first thought, an idea, about becoming a writer, and I’ve been thinking about that idea ever since. My favorite authors—Bradbury, Crichton, Fitzgerald, Hemingway, Harrison, and King—had made me do it – think, that is. Over the years, they had grabbed me and had engaged me with their words and their stories. They had opened my eyes to the limitless possibilities of words and books. Essentially, through the influence of their stories, they had told me to keep reading, and by all means, to start writing.

One book in particular, and a subsequent meeting with the author of that book, set me on my way. The book was Dandelion Wine, written by one of our greatest American authors, Ray Bradbury. I had read other Bradbury books in my earlier years, like Fahrenheit 451 and The Martian Chronicles. But when I read Dandelion Wine, it was the first time I could truly visualize the story as I read it. It was the first time I had become part of the story. It was the first time I had experienced words and sentences strung together in such a unique way: literature with doses of realism and lyrics and poetics. I was hooked. I thought to myself, I want to be able to write a book like that some day. I’m a big dreamer.

I forged ahead with a renewed passion for reading, devouring anything I could squeeze into an already hectic daily schedule. I began reading instructional books on the craft of writing and publishing. I began the process of preparing myself for the inevitable day when I would become a writer.

In 2003, while in San Diego, I had the fortunate opportunity to meet Ray Bradbury. I had heard of a seminar he was conducting at San Diego State University. On a whim, I changed my afternoon plans and drove over to the campus. His two-hour talk about the “love of writing” was truly inspirational and his words made me wonder even more about becoming a career writer. Afterward, I met Ray and he signed a book for me. He asked me if I was a writer, and I told him that I wanted to be one, some day. He said, “Just do it.” And I replied, “Okay, I will.”

Four years later, I became a writer. Although I had been writing for years, I made it official, committing myself to my writing and to the publication of my writing. My fiction writing took off at a feverish pace, but I was quickly distracted. Years earlier, I had come up with an idea for a non-fiction book that would just not leave me alone. I couldn’t stop thinking about it. Instead of fighting it, I decided to satisfy the idea and the urge, and I wrote The First 60 Seconds, my first book. The book was published in 2009 and I had the great opportunity to tour around the country to talk with people and to help people realize their next great career opportunity. The book was the perfect ending to a twenty-year business career.

When I got back to my fiction writing, I focused mostly on shorter pieces, which allowed me to flush out many ideas and allowed me to get in some practice using the many skills necessary to write a good sentence. It was hard work, and it still is. I get a lot of ideas for writing projects, and I usually try to see if the idea is worthwhile by attacking it through a short piece, such as a poem or a short story. After that, if I still like the idea and the premise, I’ll consider it for a longer form.

For many of the ideas I get, I simply can’t say for sure where they came from, or why I felt the idea was necessary to pursue any further. In 2009, I came up with an idea for a story about a man whose life was turned upside down when a distant family member came back into his life. I thought about starting off with a short story, but for some reason, I was able to visualize the idea clearly in my mind. Given my love of movies, I decided to write the story first as a screenplay. By the end of the year, the screenplay was finished, and the story of Recalled To Life was ingrained in my mind. I wanted to move on to something else, but I just couldn’t stop thinking about the story.

In 2010, I embarked on a journey to turn the screenplay of Recalled To Life into a novel. The adaptation usually goes the other way, from novel to screenplay, but the process made sense for me—start small, flush it out, and if it still makes sense, go bigger. I continued to think about the story for the next year and the additional words and story lines continued to flow. In April 2011, the novel was completed, edited, and ready to sell.

No one tells you that the hard part of writing happens after you’ve finished a project, but it’s true. Once it’s written, a book needs to be published and promoted and sold, with many of the related tasks the responsibility of the author. So my thoughts turned to publication. Every day I thought about how to publish my book. Thoughts turned into ideas, which turned into plans, and in August of 2012 I was fortunate to sign a publishing deal with Eckhartz Press, an up-and-coming publisher in Chicago.

On the day I received the final publishing contract, I sat at my desk and read through the details one more time. I signed the contract and scribbled the date—8/22/12. As my pen came up off of the paper, I paused. The date seemed significant, memorable. At just that moment, I heard a faint bell ring and I looked up to my computer screen to find a pop-up reminder from my calendar. Inside the pop-up box was, “Ray Bradbury’s Birthday.” I had put that annual reminder in my calendar the week after I met Ray in San Diego. I’ve used that reminder to send him a birthday card every year since, with the exception of this year, as he didn’t quite make it to his 92nd birthday.

Was it a coincidence that I signed a contract to publish my first novel, Recalled To Life, on the birthday of my favorite author, friend, and mentor? Or was it something else, like a good omen or someone looking down on me on one of the most important days of my life? Deep down, I think I know the answer.
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