PatronQuo.com Blog

April 25, 2011

Literary Match Bout Review: McBride Delivers Smackdown To Hoffman

Filed under: Match Bout Review — admin @ 5:31 am

From the opening paragraph of the short story Kill All Your Darlings, it’s quite evident that Tracie McBride has administered a sound literary beatdown on Kenneth Hoffman’s Up in Smoke – on stylistic grounds, if for no other reason.

But alas, there are quite a number of other good, solid reasons to prefer McBride’s tale over Hoffman’s.

Let’s start with the style. Up in Smoke opens with a considerable lack of sizzle. From the get-go, the writer introduces us to an apparently greedy prick of a step-brother who is noted as “droning” on about the money he feels he should have gotten from his deceased father’s will – “something about opening a business with other people’s money and having the bank foreclose on some recalcitrant properties.” You know – the kinds of things that you’d imagine greedy, pricky step-brothers “droning” on about once Pop is put in the ground and the will is unfurled for study.

Stylistically speaking, that’s pretty much how it proceeds for the rest of the trek through Up in Smoke. Early on, you’re given to understand that, though the deceased step-father was kind of coy about including his step-daughter in the will, the love between them was evidenced by their “wonderful talks” – you know, the kinds of wonderful talks that you’d imagine a loving step-father would have with his step-daughter.

And how exactly do we know early on – at least before he burns down the family homestead in an effort to collect on the fire insurance – that the step-brother is an evil, greedy prick? Because the author informs us as to how “his smile turn[s] into a smirk as he offer[s] his opinion on what [his step-sister] could do with the furniture,” and his “brow furrow{s]with annoyance as he rant[s] on about the missing stock portfolio belonging to her dad.” You get the picture – a bona fide smirking, brow-furrowed, ranting prick.

The problem here is that the author has repeatedly violated one of the cardinal rules of good story-telling:

    Show, Don’t Tell

By contrast, Tracie McBride not only seems to understand that rule, she has quite literally appropriated it – along with other cardinal literary rules – in service of her style in Kill All Your Darlings. As the tale proceeds, each mini sequence is in fact prefaced and underlined with a Cardinal Rule of Writing, the first of which is: Write What You Know.

And what McBride clearly knows how to do is to write – in a professional, polished, well-edited, and, yes, stylistic manner.

From the get-go, McBride introduces us to a Creative Writing tutor who appears to be somewhat uptight, affected, with perhaps a cucumber up his ass. How do we know this? Not because McBride writes things like, “The tutor entered the classroom with a cucumber up his ass.” Instead, she writes, “The tutor enters the room like a bantam rooster, taking small, quick, fastidious steps” – you know, as if he had a cucumber up his ass. And that, my dear readers, is style.

Here, McBride does not merely tell us that a female character is morbidly obese. Instead, she offers us the main protagonist’s point of view of a classmate sitting directly in front of her, whose ample buttocks look “like two different women spliced together,” “tracksuit-clad” and “spill[ing] out over the sides of her chair.” It’s Woman (or perhaps Two-Womens’-Worth) Versus Chair – and you’re left to wonder how long before that chair suddenly collapses under the heft of all that sweat-shop cotton and Taco Bell corn-fed flesh.

But not really – because that’s not really what Kill All Your Darlings is about. Style aside, I think it’s about an uppity, arrogant Creative Writing tutor who gets his comeuppance in more ways than one. Dramatically speaking, the comeuppance was a mite too tepid for my tastes, however.

The problem is that, in the race to impregnate this story with a fresh style, imbued with random amusing observations here and there about some of the protagonist’s classmates, the dramatic through-line is somewhat too thin to truly satisfy.

Yes, the tutor gets shot by a jealous lover, and there’s a court case, and condolence flowers are gathered (for the hospitalized tutor) and then ultimately given (by the protagonist) to the shooter’s defense lawyer. But in light of the stylistic choices made, along with the relatively short length of the piece, is this really the most effective way in which to dramatize that this arrogant prick of a tutor deserves whatever comeuppance he’s had?

Dramatically speaking, it would have been better if the “action” would have gradually unfolded solely within the confines of the classroom, over the course of a number of days perhaps. Rather than serving as mere palettes for the protagonist’s quirky observations, the other classmates might have also been weaved in as crucial agents in the tutor’s ultimate comeuppance.

Instead, McBride loses dramatic focus by taking us abruptly out of the classroom, making a poorly defined “jealous lover” as part of the thread, whose court case is a dramatic let-down because she is so abruptly grafted into the narrative.

In the end, though style in this instance carries McBride to an undeniable victory against Hoffman, what if one day Hoffman were to parry with a new dramatically focused tale about, say, “a woman whose multiple body piercings accidentally get magnetized, and she spends several days stuck to her fridge before someone rescues her”?

Now, that’s a tale with a clear, focused dramatic through-line – one that could potentially threaten to kill the bout standings of Kill All Your Darlings.

Fortunately for McBride, it also happens to be the tale formulated by one of the Creative Writing classmates in Kill All Your Darlings.

All of which means that McBride’s tale here is relatively safe from challenge so long as one of its fictional characters doesn’t suddenly decide to get himself a PatronQuo account and upload that Woman On Fridge story.

I, for one, would love to see how it all ends…

SHOW YOUR SUPPORT FOR…
“Kill All Your Darlings”
by Tracie McBride

BE THIS TALE’S PATRON
SHOW YOUR SUPPORT FOR…
“Up In Smoke”
by Kenneth Hoffman

BE THIS TALE’S PATRON

March 31, 2011

PatronQuo Literary Review of “Forgiven”

Filed under: Literary Review — admin @ 5:42 am

The author of the short story, Forgiven, wants you to know that yes, indeed, it is a wonderful life out there – even if we, the readers, must navigate a tempestuous sea of typos, sentence fragments, and expository dialogue to get his uplifting message of peace and salvation.

Though some might regard Forgiven as an uplifting Christian morality tale on the subject of forgiveness and repentance, it reads as an afternoon school special on how to secure a free admission ticket to the good side of the afterlife.

It begins with the mugging murder of a nice Christian fellow on the way home to see his faithful wife and two daughters. The manslaughtering mugger – aptly named Christopher – turns out to be a nice guy at heart. Turns out he needed the money to pay the bills for his uninsured, hospitalized father. Now, he faces a lifetime in prison and – he fears – a one-way ticket down below.

But then along comes Charlotte, the faithful widow of the murder victim. She brings Christopher the good tidings that he need not repent or atone for his sins after all. Turns out that’s already been taken care of, roughly two thousand years ago. As she instructs him, Jesus has already made the pre-payment on everyone else’s sins for all time, and that all he need do is to acknowledge the gift.

This is quite a revelation to Christopher, who immediately realizes that he need not bother weighing the scales of his murder rap against all the prior good deeds he’s done for kith and kin. As he notes:

“All the work I put in to help everyone was all for nothing. It won’t get me to Heaven. Only the blood of Jesus can get me there. I must believe that he has paid for my sins.”

This, at root, is the moral of the tale. And if you still haven’t caught on by the end of it, the author, Daniel Miller, appends his own commentary:

If you do not know Christ as your Savior, no matter how good you are, you will not go to Heaven.

To be clear, this is not just the author’s personal opinion. It is a concise, accurate statement of Christian theology that applies across the organized Christian institutional spectrum – whether you’re Catholic, Protestant, or Greek Orthodox.

It is also, fundamentally, at odds with the Old Testament – specifically, the collection of biblical writings from which Christianity ultimately bases its claims to legitimacy.

Leaving aside the historical fact that the Christian mission was spread for at least its first 1,500 years on the pedestal of the graven image – a big Old Testament no-no - at a time when most of its illiterate adherents were swayed more by the seductive pageantry of its marble icons than by the words of its Greek and Latin codices; leaving aside the fact that priests and ministers alike instruct that adherents must believe in the divinely incarnated Son of a godly Trinity, though the Old Testament boldly states, “The Lord is One. Thou shalt have no other God before Me;” and leaving aside the theologically inconvenient passage from Deuteronomy that states, “Anyone who is hanged on a tree is under God’s curse;” we must ask whether even the “salvation through sacrifice” doctrine is truly in keeping with the spirit of the Old Testament’s prophetic writings through which Christianity fundamentally bases its claim as the vessel of the “new covenant.”

If this sounds less like a literary review and more like a religious counter-argument, that is due to the fact that Forgiven reads less like a short story than as a theological primer on Christianity and the concept of forgiveness. And given the considerable time devoted to absorbing Forgiven’s view of the matter, I feel at least entitled to offer my review of its arguments.

At root, Forgiven is not really about the kind of forgiveness that comes through atonement and repentance, normally understood as acts of good will and charity toward the wronged party. That’s an Old Testament, Judaic notion. It’s also a notion that implies judgment and, ultimately, fear of God and the punishments that come from sinful and lawless acts of bad will toward one’s fellow man.

The author of Forgiven, on the other hand, is quite clear that this notion of forgiveness “through works” is ultimately fruitless and therefore irrelevant to the ultimate goal of eternal salvation – leaving aside, again, the uncomfortable fact that the Old Testament is rather vague on the existence of an afterlife for all, much less what it might be composed of.

To the author of Forgiven – and, in his defense, it must again be emphasized that he correctly states the foundational theological requirements of Christianity – one’s placement in Heaven can only be secured through the acceptance of Jesus’ personal sacrifice on the cross. Why should this be so? Because paradoxically, Christian theologians have determined that there can ultimately be no eternal salvation without some kind of sacrificial offering; hence, the notion of Christ as the sacrificial lamb offered in forgiveness for all sin, by everybody, now and forevermore.

This notion is paradoxical because the Prophets of the Old Testament, and ultimately, Judaism – which derives therefrom – moved well beyond the notion of salvation through sacrifice. Just prior to the destruction of the First Temple in Jerusalem by the Babylonians – almost 600 years before Christ – the Jews were first dispersed across the ancient world, now left with no legitimate means to practice their Temple-centered religion of animal sacrifice.

By then, the Prophets of both Israel and Judah had firmly rendered their opinions on the efficacy of ritual sacrifice in the face of everyday moral debauchery.

Here, for example, is the prophet Hosea’s pronouncement on the subject:

“For I desire mercy, not sacrifice.”

And here is the prophet Isaiah’s view of the matter:

“The multitude of your sacrifices–what are they to me?” says the LORD. “I have more than enough of burnt offerings, of rams and the fat of fattened animals.”

In case Old Testament Jewry still didn’t get the message, here’s a passage from the Book of Proverbs that put it succinctly:

To do what is right and just is more acceptable to the LORD than sacrifice.

In any case, almost 40 years after the death of Jesus, the whole issue of sacrifice became moot to the Jews of Judea and the Diaspora: the Romans destroyed the Second Temple, leaving the Jews with little more than the study and practice of the Law (otherwise known to Christians as the Pentateuch or Five Books of Moses).

By then, a great many pagans across the ancient world were becoming familiar with the God of the Jews, along with their holy writings, by then translated into Greek, the lingua franca of the Near East. And though the Jews came to preach that all righteous Gentiles – yes, even righteous pagans – would have a shot at eternal salvation simply by living lives of good will and charity, a growing early congregation of Gentile Christians started to feel excluded by the fact that their Christian Jewish counterparts initially required them to keep the laws of Israel – circumcision, dietary laws, festivals, etc. – before they could fully enter into the congregation of Christ.

And so along came a Jew by the name of Paul, whose mission it was to preach to the Gentiles. As Paul saw it, the Law at Sinai was now a “curse,” a burden that was superceded by the “sacrifice” of Christ.

Henceforth, on the strength of a few eyewitnesses to a resurrection, and on the basis of Jesus’ one year show of miracles in the Holy Land, Paul proclaimed that the Jews need no longer be beholden to that great display of authority that took the whole nation out of Egypt at the culmination of 400 years of bondage and unveiled the Law at Sinai before all of them. Rather, on Paul’s say-so – on the strength of the visions in his head – all of world Jewry was now supposed to abandon the Law in favor of salvation from a man-god seen during his lifetime by hardly any Jews at all, but who was later seen by a great many others, at least as represented in the form of countless graven images in churches and cathedrals throughout Christendom.

From this Judaic perspective, one can at least see why Paul’s theological claims seemed scarcely credible to well-informed Jews. From this perspective, one can also appreciate how Paul opted to peddle a kind of prepacked forgiveness and eternal salvation for all as the ultimate buy-in to the new faith. And indeed, it was – and remains – the world’s best sales pitch: Forget about guilt, conscience, judgment, fear of God, good will to all, and acts of good works (nice stuff, that, but not ultimately required). Just sit back and accept Christ into your heart. Accept that you are forgiven through his sacrifice…and enjoy eternal life in Paradise!

It’s the ultimate Get Out Of Jail Free card to all death row inmates, religious death squad members, and sociopaths everywhere.

But ultimately, it’s also a denial of God, a denial of His judgment, of His anger and fury at those who misbehave. It’s a denial by those who would much rather sit back and feel loved by God than to have their conscience tormented by the fear of Him.

To be sure, religious Christians alone are not guilty of this flight from the Old Testament God’s anger and judgment. In practice, religiously observant Jews today scarcely torture themselves over the question as to whether their everyday behavior courts the judgment and punishment of God, particularly so if they keep a good kosher home and are publicly esteemed by everyone in the community.

The Muslims, of course, took a page out of the Christian playbook and simply offered the buy-in of eternal life in return for submitting to a belief in the authority of Islam and the proclamations of its Prophet. Here, too, the question of righteous conduct is mostly irrelevant if one doesn’t believe.

And it is indeed ironic that while both Christianity and Islam embrace all believing peoples of the world, it is only Judaism that conceives of eternal salvation for all righteous-acting individuals, regardless of their religious beliefs.

Moreover, it is ironic that in the United States, so many otherwise believing Christians would most likely be repulsed by the Christian notion of forgiveness and salvation as put forward by the author of Forgiven. To such Christians, there is no salvation for a bad man, whatever his beliefs. To such Christians, only righteous individuals have a shot at gaining admission to Heaven. To such Christians, only those evildoers who repent and atone to the wronged party deserve forgiveness.

It might also be that many such Christians are also under the theologically mistaken notion that Jesus, as Son of God, is merely a holy person, but someone who is decidedly not on a divine par with God Himself.

Theologically speaking, such Christians are more closely aligned with the theology of Judaism than with the theology of Christianity as officially proclaimed at the Council of Nicea in the fourth century.

When Americans speak of a common “Judeo-Christian” heritage, this is the common heritage that is meant – with Jesus as a kind of moral exemplar, in line with the prophets of Israel, who challenged individuals to merit salvation through deeds, through charity, and acts of kindness.

It’s a heritage that gives its due to guilt, to conscience, to punishment, to judgment and fear of God. It’s the heritage best exemplified by the modern-day American moral exemplar, Martin Luther King, who electrified the civil rights movement with his fervent calls for freedom and justice, through his readings of the Old Testament prophets.

It’s a heritage that offers no salvation at all for materialistic CEOs, corrupt politicians, and manipulative religious hucksters. For a theology that challenges such individuals to repent and atone for wrongs committed against their fellow man, such individuals are ultimately doomed – for there can be no forgiveness at all without righteous acts of repentance.

In the end, a salvational theology fundamentally based on good deeds and righteous conduct does not allow otherwise powerful men to smugly forgive themselves, to judge themselves saved and to hide from judgment. Ultimately, it should make them fear for their souls and to doubt themselves – and the world will be a far better place for it.

Unfortunately, that’s not the theology subscribed to by the author of Forgiven and by millions of his fellow religious cohorts.

GREAT TALES DESERVE SUPPORT

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September 14, 2010

Update: Fiction Writer Match Bout Standings

Filed under: Match Bouts — admin @ 1:25 am

Whether the literary community wakes up to it or not, PatronQuo.com continues to blaze its trail of innovation online with its new Literary Match Bout feature. The PatronQuo Match Bout Standings chart is now up on the Stats page (the bottom chart). Here, you can view which tales have kicked the most literary butt in their respective match-ups. For greater detail, you can view each contender’s Match Bout Record Chart, along with accompanying comments.

Is there any fiction writer submission web site that is as fun and reader-friendly as this? Not in our book!

Following is a partial list of the Literary Match Bout Standings to date, recorded for those tales that have so far amassed at least ten different match bouts (rankings expressed as a percentage of matches leading):

1. Kill All Your Darlings – 90.91%
2. Craftsman’s Volley – 90.00%
3. What’s Become of Derian Mutzki – 84.62%
4. Baptism – 84.33%
5. In Real Life – 81.82%
6. Shhh! Don’t You Know? – 76.92%
7. Tales of The Hang Buddy – 58.33%
8. Over The Edge – 50.00%
9. Get Off The Couch, Ann Landers! – 50.00%
10. The Legend of Birdman – 46.15%
11. Goblin’s Honor – 45.45%
12. Yellow Roses – 40.00%
13. Bedtime Story – 36.36%

NOBODY EVER GOT KILLED AT A WRITERS DEATH MATCH

JUDGE ONE TODAY

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September 10, 2010

Frequently Asked Questions For Literary Match Bout Voting

Filed under: Match Bouts — admin @ 4:56 am

All the answers to the questions you have about our innovative new Literary Match Bout feature on PatronQuo.com: what it is, how it works, and why you should vote.

I. WHAT IT IS AND HOW IT WORKS

What exactly is a literary match bout?

A literary match bout is a contest between any two short stories or novel excerpts featured on PatronQuo.com. Visitors are asked to choose the best of two contending tales, and their vote is then tabulated in the respective Match Bout Record charts for those tales.

Who decides the winner?

Every visitor to PatronQuo.com is randomly assigned a literary match bout to judge. Each reader’s vote is tabulated and showcased in the Match Bout Record Chart for the contending tales (found at the foot of the page of every tale featured on the site).

Do I have to register, give my name, or join the site to vote?

No. Voting is open to all visitors to the site regardless of their registration status. For the purposes of voting, you need not register or provide us with any information about you. Voting may be totally anonymous.

Where are the match bouts listed?

Every visitor is randomly assigned a match bout to judge. Your particular assigned match bout will remain listed throughout the site until you have submitted your vote. On the home page and on other informational pages throughout the site, your assigned match bout is listed at the top of the page. On every story page that you browse (including the story pages for your assigned match), the assigned match will be listed at the bottom of the page.

Where on the site do I submit a vote?

At the bottom of every story page, there is a block with the heading Vote On A Match Bout. This block features the two contending tales that you have been randomly assigned to judge. Near the top of every story page, just below each title, there is also a link that will take you right to the voting block at the bottom of the page.

How do I submit a vote?

Under the heading Vote On A Match Bout, at the bottom of every story page, you will see the two contending tales that you’ve been assigned to judge. When you’re ready to vote, you click the radio button under the title of the story you choose, and then click on Submit Your Vote.

How many match bouts may I vote on?

You may vote on up to five matches per day.

Does my assigned match disappear if I check out other story pages throughout the site?

No. Your specific assigned match will remain listed on every web page throughout the site (at the bottom of every story page, and at the top of all the other web pages) until you have submitted your vote (at the bottom of any story page) for that assigned match.

Once I’ve submitted a vote for my assigned match, how will I be assigned another match to vote on?

After you have submitted your vote for the first match, just refresh your page or go to any other page on the site, where you will find your next assigned match listed at the bottom of the page (for all story pages on the site) or at the top (for all other pages on the site). Remember, however, that voting is always submitted at the bottom of a story page.

Why am I randomly assigned a match?

To ensure a fair result for all the participating writers. Specifically, we wanted to avoid a situation where friends and fans of certain authors would be looking to judge only the literary matches involving their favored writers. A random assignment of matches would also allow us to build a reliable chart of a tale’s overall reception with the public, which may have various uses that benefit both participating writers and casual readers on the site (see Part III – Why I Should Vote ).

Can participating writers vote on randomly assigned matches?

Yes.

II. MATCH BOUT RECORD CHARTS AND STATS

What is a Match Bout Record Chart?

Every short story and novel excerpt on PatronQuo.com comes with a Match Bout Record chart found at the foot of each tale. Each tale’s chart lists the all the matches for that tale that have been voted on to date. Match records are organized from greatest margin of victory to greatest margin of defeat. Every story title listed in a match bout chart is clickable so that you may read that story and view its respective Match Bout Record chart as well.

Where do you find the Match Bout Record Chart for each tale?

At the foot of each tale (just above the Match Bout Voting block). Near the top of every story page, just below each title, there is also a link that will take you right to the Match Bout Record Chart for that tale. For tales that have not yet accrued any match votes, no Match Record Chart will be listed.

What does it mean when a short story or novel excerpt is listed as “leading” in a particular match bout?

It means that more voters have voted for that story in that match bout than have voted for its contender.

What does it mean when a short story or novel excerpt is listed as “trailing” in a particular match bout?

It means that less voters have voted for that story in that match bout than have voted for its contender.

I just submitted a vote and a comment for a match. How may I view them on the Match Bout Record Chart?

Just refresh your story page or look up one of the contenders. Your vote and comment will immediately appear on the chart listing for that match.

Why do some tales have Match Bout Record Charts and others don’t?

For tales that have not yet accrued any match votes (whether for or against), no Match Record Chart will be listed.

Are there stats listed for the most successful overall Match Bout contenders on the site?

Yes, the overall Match Bout stats may be viewed alongside the other rankings and stats in the right column of the home page, and on the Stats Page (found on the toolbar of the site). The overall Match Bout site stats, however, will list the results for only those tales that have accrued votes for at least ten different match bouts to date. We set this threshold as we believe it represents a sufficient representative sampling of a tale’s comparative performance on the site.

What can I learn from a tale’s Match Bout Record Chart and from its overall Match Bout site ranking?

The Match Bout chart and overall rankings for a tale should provide you with insight as to how that tale is performing in comparison with a representative sampling of tales on the site. Ideally, as we grow, each chart should provide a Match Bout performance record of a particular tale as against all (or most) other tales on the site. From the writer’s perspective, such stats provide valuable feedback as to how the public is responding to that writer’s tale in its current draft (the writer may always re-submit a polish to improve that tale’s future standings). From the reader’s perspective, these stats will serve as a helpful vetting tool to key in visitors as to which tales are comparatively the strongest. (For other valuable uses of these stats, see Part III – Why I Should Vote ).

What does it mean if a tale’s Match Bout standings differ from its money earnings from patronage?

Match Bout standings provide insight into the comparative mass appeal of a tale. Patronage earnings provide insight into a tale’s ability to motivate a pool of fans and patrons willing to step up and champion the work in question. Together, Match Bout standings and patronage earnings provide a more detailed, nuanced picture of a tale’s potential mass commercial appeal, which in turn can assist with marketing some of the better performing tales (see Part III – Why I Should Vote).

III. WHY I SHOULD VOTE

Why should you vote? Here are some of the compelling reasons why:

● Help build an innovative literary resource that allows your fellow readers to vet what’s worth reading.

● Help build an innovative feedback tool that enables authors to reliably judge how their work compares with others.

● Help contribute to a reader-sourced guide that will be used by literary agents and publishers to assess which tales have the most commercial appeal.

● Help in the discovery of new literary talent that might have otherwise been overlooked.

● Help to identify the better performing tales, which will in turn assist their authors in attracting patronage earnings.

● Help to build up a resource that you can come back to again and again to see how your favorite tales are progressing.

● Help in the creation of a compelling resource tool where the best of the best can come and duke it out in a way that will enrich readers and writers alike.

August 24, 2010

Funny New Death Match Banners To Spice Up Your Writer Websites and Blogs

Filed under: Match Bouts, PatronQuo Banners — admin @ 5:58 am

Now that we’re running literary death match bouts 24/7 for every tale submitted on PatronQuo.com, we thought it apt to roll out our new funky promotional death match banners.

Feel free to copy the codes below and decorate your web sites and book blogs with these sunny little messages from PatronQuo.com .

LITERARY DEATH MATCHES TO SUIT ALL TASTES

JOIN THE FRAY

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OUR LITERARY DEATH MATCHES COME WITH STATS, NOT BODY COUNTS

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NOBODY EVER GOT KILLED AT A LITERARY DEATH MATCH

WHERE EGOS COME TO DIE

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August 21, 2010

It’s Here! Match Bout Record Charts For All Novel and Short Story Submissions

Filed under: Match Bouts — Tags: , — admin @ 3:37 am

PatronQuo.com is setting the standard for all book and short story submission websites with its pioneering launch of a Match Bout Record chart appended at the foot of every featured tale.

A Match Bout Record chart is a reader-sourced tool that provides writers, literary agents, publishers, fans, and prospective patrons a valuable guide as to which short stories and novel excerpts most resonate with the public.

With a chart such as this, every participating writer benefits in some sense – even those whose submissions don’t resonate with most readers. Why? Because Match Bout Record charts exponentially multiply the opportunities of a story to be seen on many other pages throughout the site.

From that perspective, the goal is to find those potential fans who differ from the opinion of the majority, who have invested in the process enough to step up and champion the work of the writers they favor, perchance even to make their case with a gesture of patronage.

Writers, in turn, can act upon the valuable feedback they’re receiving in order to continually polish and refine their work, to better their standings in their chart, and ultimately to increase the opportunity that they will indeed find their core of devoted fans/patrons at the end of the process.

For literary agents and publsihers looking for the latest hot undiscovered talent to poach, the Match Bout records are an easy-to-navigate resource to vet the work that comparatively stands above the rest.

For readers looking for a valuable guide to read the best short stories and book excerpts online, the Match Bout Record charts – along with the money ranking stats – will help to navigate them to those tales that most engage their fellow readers.

But more significantly, for those readers who love the tale they just read, the Match Bout records and patronage rankings provide a call to action for fans to step up and become engaged with their favored writer’s work. They can offer patronage or promote the story they love by posting that story’s customized promotional banner to their own sites and other literary forums.

If, as a writer, you’ve ever truly wondered how your short stories and novels would stand up head-to-head in comparison with all the rest, PatronQuo is your dream site come true.

If, as a book-addicted reader, you’re looking for your next online literary fix, there is really nothing more addictive than searching through all the stats, charts, standings, and money rankings of the tales you just read and loved.

Just a few months out of the gate, and we’re already trailblazing an exciting new path online for fiction writers and readers everywhere.

Stay tuned for much more…

GREAT AUTHORS NEED GREAT PATRONS

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August 20, 2010

Great New Promotional Writing Banners To Post On Your Site

Filed under: Excerpt, PatronQuo Banners — admin @ 4:15 pm

PatronQuo.com now has a menu of eye-catching, brain-teasing banners for you to choose from in telling your fellow web browsers about this innovative new initiative to promote fiction writers online through patron contributions.

All you need do is to copy the code below the banner you’ve chosen to paste onto your site, your blog, or on any other literary forum you’re visiting.

It’s a fun way to spread the word to the rest of the literary community. Come grab a banner code…and post away!

GREAT TALES DESERVE SUPPORT

PATRONIZE A WRITER TODAY

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GREAT AUTHORS NEED GREAT PATRONS

PATRONIZE A WRITER TODAY

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WHERE LITERARY TALENT GETS NOTICED

SUBMIT YOUR TALES TODAY

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BUDDY, CAN YA SPARE FIFTY DIMES?

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WHERE PATRONS GET NOTICED

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SHOULD GREAT AUTHORS STARVE?

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DON’T GREAT AUTHORS DESERVE TO EAT?

CHOOSE WHO CHEWS

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WHICH STARVING WRITERS DESERVE TO EAT?

CHOOSE WHO CHEWS

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GREAT WRITERS CAN’T DINE OUT ON TALENT ALONE

CHOOSE WHO CHEWS

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ADDICTED? SUPPORT YOUR READING HABIT

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SUPPORT YOUR READING ADDICTION BY SUPPORTING YOUR SUPPLIER

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August 18, 2010

Read Short Stories Online…and Vote For The Best

Filed under: Match Bouts — Tags: , — admin @ 5:48 pm

PatronQuo.com has now launched its Match Bout Function for all short story submissions. Now, every short story comes with its own Death Match stats, while every reader now has the opportunity to submit a vote for a match bout, along with comments.

Here is how it works: At the foot of each short story submission page, readers are invited to vote on a randomized match bout between two contending short stories on PatronQuo.com. Every reader gets a different randomized match to judge, and the match will continue to be displayed for that reader on every story page of the site until a vote is submitted.

The reader can judge up to five randomized matches in a 24-hour period.

In this first phase roll-out of the match bout function, you can see how well a story does by viewing the Death Match stats in the left column of the story page.

In the second phase, we will be tabulating the record of every bout for each story in a Match Bout Record chart, to be run at the foot of every short story, along with comments offered by voters.

This Match Bout chart will be an invaluable resource for participating authors, readers, and fans. The authors will be able to see how their stories measure up to any other story on the site, and the readers will be able to follow the progress of their favorite short stories. As votes also come with comments (though these are optional for the voter), the author will also get valuable feedback that may be used if the author decides to revise and polish their submission. Quite simply, it’s an online writing competition like no other.

For fiction authors, there is no better online resource than what is currently on offer at PatronQuo.com. Here is just a brief review of what authors get from their free participation on this valuable writers site:

* An eye-pleasing frame to showcase their short story submissions

* An opportunity to make money online from their short stories through the Web’s most innovative patronage model.

* Customized story badges that can be used to promote their short story submissions.

* A unique ranking system that draws in readers, and that encourages the cream to rise to the top.

* A Match Record that allows authors to comparatively “focus group” their short stories, to see how they measure up to the rest of the short story market as represented on PatronQuo.com.

There is no better way to read short stories online with this intense level of interaction between reader, author, and patron.

Come participate…and play your part in experiencing the best authors website online.

August 11, 2010

PatronQuo Spotlight On: Author/Patron Cori Jones

Filed under: Author Spotlight, Patron Spotlight — admin @ 1:44 am

She’s currently the highest ranking author and patron on PatronQuo.com – and she’s feeling slightly uneasy about all the patronage money that’s come her way in recent days for her novel excerpt submission Hanging Wasp.

According to Cori Jones, this unexpected surge of patron attention came soon after she pasted up her promotional story badge. Since then, Cori has made a decision to direct a portion of her earnings as patronage toward some of the stories on PatronQuo that she deems most worthy of her support.

We’ve tossed a series of questions at Cori to see what makes her tick as a writer, to discover how she feels about her sudden surge in patronage, and to query how her newfound role as a patron in her own right has changed her outlook as an author looking in from the other side of the patronage barricades.

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In barely three months since the launch of PatronQuo.com, you’re far and away the top-earning author on this site. What is it about your novel, “Hanging Wasp,” that you feel has drawn such passion from your supporting patrons?

My niece, Lila, who is actually a Harvard student—and bears no relationship whatsoever to any of the characters in HW [Hanging Wasp]— put it this way in an e-mail: “It’s a great combination of the blogs I’ve been reading and the old classics that I’ve also been reading. The gender comment in papers was right on and hilarious! I feel like your book/writing is a perfect combination of the two. Where you know you’re reading something worthwhile and well-written, but it’s also like reading the fun gossip girl type stuff — a rare, but wonderful combination!”

Comments don’t get much better than that! Seriously, I think a lot of the passion has to do with the first sentence. (“She figures she has an eating disorder, but what the fuck.”) Vinca’s interior monologue in the first chapter is kind of a bloggy verbal jazz that sucks readers in. I also think that a lot of readers enjoy the satiric element emerging in Chapter Two (and which continues throughout the novel), where I begin to poke fun at excessive political correctness. Here, readers meet the Assessor of Postmodern Pedagogical Processes and Learning Acquisition Coordination (APPPLAC), a self-appointed administrator at Gotham County Community College. She’s obsessed with a world-view which divides people into Oppressors and Oppressed, and Vinca’s not having any of her prissy self-righteousness.

Let me clarify something here: a lot of minorities–racial, ethnic, religious, or sexual—have been treated despicably by many power structures. But I find the tendency in present-day academia to use the evils of history as a justification for regulating language and behavior just plain wrong. It creates an unhealthy climate in which the oppressed become the oppressors. And what good does that do anybody?

It’s our understanding that you’re currently looking for agency representation for “Hanging Wasp.” Do you expect that your presence on PatronQuo.com might attract the notice of literary agents and publishers looking for promising literary properties?

That’s certainly my hope. But if HW finds a home, it might happen in a way and at a time I least expect. Successes seem to come like that for me. My Second Place win in NARRATIVE’s Winter 2010 Fiction Contest is a case in point. I completely forgot that I’d entered the contest!

Having funneled a considerable proportion of your earnings in support of other tales on PatronQuo, you’re also currently the top-ranked patron. What elements do you look for in deciding to patronize a tale?

I think a strong, unwavering voice and writer’s ability to arouse my curiosity in the first paragraph are the most important elements I look for. By the end of that first paragraph I’m either drawn into a story or I’m not. If I’m not, it’s usually because of one of four things: 1)the story is building itself on a cliché (Translate: vampires? So OVER.); 2)the characters I meet are predictable stereotypes, like girly spies in Victoria’s Secret bras; 3)there’s a painful attempt at an excessively colloquial voice, which usually means that when the writer uses the present participle, he or she drops the “g” at the end and leaves it somewhere in Arkansas; or 4)the author hasn’t sufficiently edited the tale and there are glaring illiteracies.

I think when we’re deeply involved in the writing of a first draft—and images and ideas are coming faster than words—it’s very easy for any of us to have a “grammatical lapse.” The most important ability a writer can hone is the ability to edit, and I’m not just talking about grammatical editing here.

Now that you’re wearing two hats on the site – as an author and as a patron, as both a participant and as a judge – does it give you a fuller perspective as to what it might take for one’s work to stand out above the rest?

You know, it does. As I’ve been combing through stories with a patron’s eye and note the presence or absence of features I addressed in the previous question, I also realize that there’s a certain energy in a good story that leaps off the page. That energy is hard to define here, but I think it reveals to the reader an author’s long-standing commitment to craft and a deep confidence in the piece being presented. A piece like that is often just plain good, it sucks me in, and therefore it’s worth my while (and my money to patronize it).

Now that you have your PatronQuo badge available to market your posted writings on other sites, will you find it helpful in getting the word out about “Hanging Wasp”?

Absolutely! Look at what that badge has done for me already.

As the first writer on PatronQuo to break the hundred dollar and two hundred dollar thresholds, do you think you’ll be the first one to reach the thousand dollar mark?

No. I don’t think that’s going to happen. I’m fully aware that my luck may backfire. Newcomers to the site may be likely to turn up their noses and say “Who’s this Jones bitch with all her earnings? She doesn’t need patronage. I’ll patronize someone with few or no earnings, thank you.” That would be understandable, but it would also be too bad, since my goal in putting HW up in the first place was to get people to read it and (I hope) like it, not to fill its coffers.

What advice do you have for aspiring writers who would also like to attract patronage with their story postings?

Take my answer to Question #3 very seriously! Edit your work! (I teach Creative Writing, so I know what I’m talking about.) If you’re writing about something that’s been done many times before—a loss of innocence story, for example–don’t forget that thousands of other writers have preceded you.

I sometimes tell my students that, thematically, there’s nothing new under the sun to write about, but there’s always a new way of presenting it. Find that way. Also, ask yourself about the work you’re about to post: Are you proud of it? Do you think you’ll you be proud of it a year from now? A month from now? Tomorrow? Next week? In many ways, those questions are impossible to answer, but if they make you uneasy or raise any doubts in your mind, chances are you have more work to do on the piece.

Finally, go someplace quite and read your finished piece aloud. Always. You’ll catch things from grammatical errors to character or plot inconsistency that will elude you when you’re reading silently.

How much of an ego boost did your recent surge in patronage provide you? Be honest.

I think I was most purely thrilled with my first five-dollar patronage from PageReaders. But about the surge . . . . Okay, I was delighted and shocked. Frankly, I got a huge boost, but I was also a little dazed. And I was uncomfortable being suddenly so far ahead of anyone else. I felt as if the boost had thrown something off balance. I also realized that if I were a PQ [PatronQuo]writer who’d posted and had little or no earnings, I’d be pissed as hell.

Any upcoming writing projects for you that we should know of?

Yes. I’m trying to rework a novella I published over twenty-five years ago in a no-longer extant journal called Fiction Network. Back then, the title was Starring. It takes place in 1974-75, and the central character is an 18-year-old girl—a rather simple girl–from a small town in northern New York.

The girl, Annie, bears a striking resemblance to Patty Hearst (remember Patty Hearst?). The resemblance creates all sorts of “difficulties,” shall we say, and ultimately helps her come of age.

I started thinking about the piece a year or so ago, and it seemed incomplete. The language seemed flat, and Annie (who’s now named Morley) seemed to have a lot more to her than I’d given her credit for. So I’m going back to it now, and, rather than focus on the Hearst angle, I’m looking more at the American fixation on celebrities and the price each of us pays for that fixation.

I’ve been fighting for weeks with the God of Tone: I’ve tried several narrative approaches, probably because the girl is a lot brighter and more complex than she ever was in the original. Finally, after pissing (excuse me) around all summer, I think I’ve found a tone I can settle into. Of course, I would strike a right note just before the fall semester begins. Writing is so perverse sometimes! I can promise that this work will be a bit darker than HW.

If one of your patrons were to show up on your doorstep, destitute and begging for a hundred dollars and a bowl of barley soup, would you be more likely to help them out than, say, a down-and-out literary agent who previously nixed your query with a form rejection letter?

One never knows what one would do in a hypothetical situation. But I hope I’d help out the patron. I don’t begrudge an agent who rejects my work; rejection is, after all, part of the business of writing, and I’ve pretty much learned not to take it personally. But a destitute, hungry person whose basic needs—food and shelter—are being ignored is another story (so to speak). I think we human beings all have an obligation to help others. It’s too easy to forget that in a self-centered society such as ours.

SHOW YOUR SUPPORT FOR...
"Hanging Wasp"
by Cori Jones

BE THIS TALE'S PATRON

August 7, 2010

Tips To Sell Your Novels and Short Stories Online

Filed under: Promotion — admin @ 5:19 am

A powerful online marketing tool exists for ambitious fiction authors who are savvy enough and dedicated to spend the time using it in order to promote their novels and short stories.

PatronQuo.com has unveiled special story badges that its participating authors may post far and wide, to tell readers where their tales may be found online, while at the same time making a pitch for patronage.


SHOW YOUR SUPPORT FOR...
"The Resurrection of Howard Stein"
by Malyndi Shaffer

BE THIS TALE'S PATRON

Effective online marketing requires a concise “call to action” that tells a visitor where to go and what to do. And since the Internet primarily runs on the fumes of catchy eye appeal, PatronQuo has specifically designed its story badges to achieve all these marketing goals for its participating authors – - a place to click and a call to action, presented in an eye-catching banner.


SHOW YOUR SUPPORT FOR...
"Jack's Inferno"
by Mike Lamb

BE THIS TALE'S PATRON

Very shortly, these special badges will be available and showcased on every short story and novel submission page, along with the accompanying code that may be copied and pasted on to other websites. What this means is that not only will each participating author be able to promote their own literary submissions with their customized story badges, but visitors and fans will also be able to copy the code for these badges and place them on their own websites. In effect, they’ll be posting the call for patronage on behalf of the writers they support.


SHOW YOUR SUPPORT FOR...
"The Book of Mark"
by Janet Lloyd Weber

BE THIS TALE'S PATRON

On the other hand, writers should be wary of any publicly open submission sites that seem to promise that anyone can passively submit their work and get discovered. Just as published authors these days need to expend considerable energy in nurturing a readership for the work the’ve brought to market – through public readings, touring, signings, conventions, interview sessions, and much more – online short story and novel submissions require extensive and proactive follow-up from their submitters in order to ensure that a growing audience of readers know where to find them.


SHOW YOUR SUPPORT FOR...
"Gram"
by John Prescott

BE THIS TALE'S PATRON

In a saturated marketplace, passivity and apathy pave a clear and definite path toward artistic frustration and, ultimately, failure. Successful writers know that writing the tale is only the start of the path to success. The main goal is to get noticed, and that doesn’t begin with fruitlessly sending out query letters that are sure to be rejected. First and foremost, a writer needs to build their readership. These days, the most direct and affordable way to do so is through online marketing. And on a very basic level, online marketing consists of little more than telling your intended audience where you are and what to do when they find you.


SHOW YOUR SUPPORT FOR...
"Wreck of the Marie Jenny"
by Mikel Classen

BE THIS TALE'S PATRON

All too often, aspring writers expend a great deal of time tending to the former goal (telling readers where they can be found) while neglecting the latter goal (telling them what to do once they arrive). If a writer is looking to actually sell their short stories and novels, a submission site that provides little more than a place to deposit feedback comments – and absolutely no other marketing tools or support for its participating writers – is likely one that will not fulfill the essential goals of an author looking to succeed in accruing an audience and income from their efforts.


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"Skin for Skin"
by Jonathan Papernick

BE THIS TALE'S PATRON

And while some submission sites do indeed provide authors all sorts of links for their profile pages, they often fail to provide participating authors the essential tools needed to market their posted work off-site.

And there’s the rub: The hard work of marketing one’s posted stories generally occurs off-site from where one’s stories are posted. What this means is that a writer can’t passively wait for readers to gravitate to their posted work. Successful authors get out to countless sites and start planting the many links they’ll need in order to build their web presence.


SHOW YOUR SUPPORT FOR...
"Kill All Your Darlings"
by Tracie McBride

BE THIS TALE'S PATRON

In recognition of that need, PatronQuo has furnished its authors with the tools they’ll need to begin pollinating the Web with crucial, eye-catching links to their story postings.

And that’s where the customized story badges come into play. Every time a story badge code is pasted into a comment forum of a literary group, a link is being built to the writer’s story page. Links, in turn, build search engine rankings for that writer’s story page while at the same time building multiple portals for potential visitors to stumble upon their work.


SHOW YOUR SUPPORT FOR...
"First Day"
by Andrea Helaine

BE THIS TALE'S PATRON

So, where does one post one’s story badges? Most writers are simply too wary to send out endless emails, asking bloggers and friends to post their badges. Yet there is a far simpler – and far less frustrating – route to building links.

The secret: Start joining online forums and and social networking groups dedicated to books and literature. Often, it takes little more than a few minutes to sign up with these groups. And once signed up, a writer can then begin the important task of posting comments on other profiles and in various discussion forums, taking care to introduce their work while pasting in the code for their story badge. Click, send, and repeat. A link is created in mere minutes, and on you go. No begging and no frustration.


SHOW YOUR SUPPORT FOR...
"Murder in the Shallows"
by Arlene Mason

BE THIS TALE'S PATRON

You might even take a leaf from many of the submission sites that tend to pepper your story submissions with their Pay Per Click ads. Instead, you might consider peppering your blog entries with your story badges – your very own free customized ads (and you don’t even pay for the clicks!).

It should be noted, however, that not all venues are set up for the pasting of story badge codes. Fortunately, there are a large number of literary groups that are established on a programming platform that does allow for the simple pasting of badge code into the body of one’s posted comments. In particular, the various literary networking sites that are part of the Ning Network – sites such as WriterFace.com. BookBlogs.ning.com, and BookMarket.ning.com, among others – are all standardized around the same programming platform, allow ease of use, and a similar posting experience. That, in the end, should save you time as you work toward amassing links to your posted tales.

Building your Web presence through these tools may very well pay off as you build your readership base, nurture opportunities to generate income, and eventually come to the notice of the publishers and literary agents who are looking for the talented authors with a proven record for attracting readers.

In the end, the clearest path to selling your novels and short fiction online lies with your sustained efforts to market yourself persistently and smartly. Toward that end, look upon your customized PatronQuo badges as powerful tools to wield in your online marketing arsenal.


SHOW YOUR SUPPORT FOR...
"Slow Motion"
by Joe Schwartz

BE THIS TALE'S PATRON

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