Harvey Stanbrough was born in New Mexico, seasoned in Texas and baked in Arizona. For a time, he wrote under five personas and several pseudonyms, but he takes a pill for that now and writes only under his own name. Mostly.
Harvey is an award-winning writer who follows Heinlein’s Rules avidly. He has written and published over 60 novels, 8 novellas, and over 200 short stories. He has also written 16 nonfiction books on writing, and he’s compiled and published 31 collections of short fiction and 5 critically acclaimed poetry collections.
To see his other works, please visit HarveyStanbrough.com.
For his best advice on writing, see his Daily Journal at HEStanbrough.com.
Wes Crowley and Otis "Mac" McFadden are lifelong friends. Wes is a year younger and has always looked up to Mac, so when Mac joins the Texas Rangers in the 1870s in the Texas Panhandle, Wes goes along as usual. But placing unequivocal trust in anyone is seldom a good idea. Come along as Wes finds himself in a place where one era hasn't quite ended and the next hasn't quite begun.
This is a quick guide that answers the most important and most often asked questions posed by authors who are considering self-publishing in either ebooks or print books (POD). It's free. Whaddya got to lose?
Harvey Stanbrough is the editor. This is an eclectic collection of twelve short stories containing professional and amateur detectives, strung-out criminals and a kindly neighborhood grandmother, a moonlighting real estate agent, absurdity, quiet terror and a great deal more. At times you’ll laugh out loud, and at times you’ll have to stop reading to let your heart calm down. Enjoy!
Edited by Harvey Stanbrough. Here you will find everything from humor to spirituality to fear; artificial intelligence and alter egos; Kirlian auras and clowns and otherworldly beings and circuitous, post-apocalyptic journeys; bakers, bassoons and sleep-induced space travelers; changelings and entwives; faerie gardens and forests tangled with vines; detectives and ghosts and a pixelated murderer.
Edited (not authored) by Harvey Stanbrough. Body-Smith 401 and twenty other stories is dedicated to the memory of Ray Bradbury, who passed from among us on June 5, 2012, after having taught many of us a simple truth: “Jump, and you will find out how to unfold your wings as you fall.” You were right. Thanks, Ray.
Avoid the most common errors this editor has seen over 15 years of freelance editing. This is a compilation of notes on punctuation, grammar, sentence structure, usage, etc. that cover the most common errors I've seen in over 15 years of editing. This, combined with The Seven Writerly Sins, would comprise what not to do if you want to be a successful writer.
There's a lot to be said for being who you are... storm chaser or just storm. Watch as a storm chaser in Oklahoma remembers who he really is and becomes an integral part of a unique electrical storm... being steered by aliens... then helps his ancient friends feed.
This book discusses manuscript preparation for submission to Smashwords, Amazon and Barnes & Noble. Includes screenshots, cover design tips, marketing tips and much more.
These tales range from the almost normal to the fantastic, from the tragic to the comedic, from dark to light and from dark tale to fairytale.
Interspersed among these tales is an extra story marked in chapters and not indicated in the table of contents. It is at once a story, a recollection, a history and a confession. It is truth and fiction, reality and fantasy. You decided which is which.
This compilation contains the full text of my shorter nonfiction works in a single book: Writing Narrative; Seven Writerly Sins; Creating Characters; Writing Dialect; Writing Great Beginnings; Writing Flash Fiction; and Self-Editing for Writers. You will not get Writing Realistic Dioalogue, Punctuation for Writers, and The Craft of Poetry. You must purchase those separately.
This is an eclectic collection of poetry. The first edition of this collection was the first-ever full-length original poetry collection published as an ebook back in 1999. Nominated for a Frankfurt Book Fair Award.
This book explores why and how authentic, realistic dialogue works to engage the emotions of the reader. In it, we discuss even the nuances and sounds of individual letters and words and the effect of those nuances on the reader, and explains why and how narrative is effective when used in conjunction with realistic dialogue.Includes a chapter on writing flash fiction.
This is single, long, autobiographical poem that is included in other collections of Harvey Stanbrough's poetry. This represents a sampling of blank verse that should appeal to those who seek poetry that is accessible on the surface.
The story of Little Red Cap (Little Red Riding Hood) retold in blank verse, revised to include the magic inherent in all of us and with no need for a woodsman to save the day.
These Selected Poems are not included in other collections of Harvey Stanbrough's poetry. These represent a sampling of blank verse poems that should appeal to those who seek poetry that is accessible on the surface.
This is an intense short story, a contemporary rodeo western psychological horror. What do a 1500 pound rodeo bull and a raven-haired Cajun beauty have in common? Maybe nightmares....
Stanbrough's poetry derives from the real world. If you want milquetoast poetry, this is not for you. If you want poetry that you have to "interpret" to understand, this is not for you. If you want brain-twisting reality and gut-wrenching emotional depth---if you want poetry that will make you get up and pour yourself a brandy---you want this collection
The structure of the poem, canto, stanza, and line, even to the molecular level, discussing how the sounds of certain letters or letter combinations in certain words affect the reader; whether and why the length or brevity of a line or stanza has a certain effect on the reader; how to construct sentences within the poem so they are most effective.
A realistic character is just like a real human being, and the reader should be able to identify with the protagonist, the antagonist, and a minor character or two as soon as he meets them. The more quickly the reader identifies with the character, the more quickly he will become engaged in the story line.
Punctuation for Writers is a completely unique approach to punctuation. It teaches writers to wield punctuation as a tool rather than treating it as just one more thing they have to look up and "get right." Once you've read and understood PFW, you will no longer need rules-regurgitating books. This thin volume makes "rules" obsolete. Includes an essential grammar refresher.
When writing narrative, there is very little room for error. All narrative must advance the story line, and it must do so as efficiently and interestingly as possible.
The beginning of a fiction should convey a sense of immediacy, a sense of urgency, that gives the reader no choice but to read the next sentence and the next and the next.