William Woodward
AUTEUR

William Woodward

Consider yourself officially warned, intrepid reader, for what follows is a most unconventional biography, otherwise known as Abstract observations on the Enigmatic Process of Storytelling. The more conventional bit is contained within the following eleven sentences: Mr. Woodward is forty-two years old. He lives in a little town called Blank Texas with his wife, son, three cats, three dogs, and six chickens. He lived in Dallas Texas for the first thirty-six years of his life, but had always yearned for the peace and quiet of the country, both of which, between the cats, dogs, and chickens, eludes him to this day.

Mr. Woodward is currently working on a fantasy/adventure trilogy called "The Lost Kingdoms of Laotswend." He has finished the first two books, and will begin the third when he feels he is unable to do otherwise. The first book is called, "The Eight Walls of Rogar." The second is called, "The Stair of Time." They are available for physical sale through Authorhouse, Barnes and Noble, and no doubt other, less established sources. They are also available for electronic download via Kindle Direct Publishing. And that's about it. As Mr. Woodward likely finds the details of his life even less interesting than you do, this concludes the conventional portion of the biography. All strictly sane people are more than welcome to stop reading here.

As for the rest of us: much to the aforementioned author's unending consternation, he is one of those people who writes because he is compelled to do so, regardless of monetary compensation or societal validation. During the initial creation process, he has the distinct impression that his flagging mind serves as little more than a conduit for the transference of information, the source of which hails from strange and distant shores, demanding his attention. If you should read one of his books, you can be certain of one thing above all else: he has poured the entirety of himself into each and every page, spending countless hours to make the story as good as his will and mental wherewithal are able--which is to say, not nearly as good as he'd like.

To him, the cadence and rhythm of the words are almost as important as the tale itself, each sentence possessing the "potential" to ascend to a higher literary plane, to, in essence, become more than the sum of its parts. What is writing, after all? We all know that, among many, many other things, it is symbols on a page which represent sounds. Fewer of us have thought of, or will agree with, this: when fortuitously penned, these symbols have the capacity to ring in the mind like music. On those rare occasions when everything comes together just right (often by chance), when the timing, volume, and pitch of the words swell into a kind of orchestral splendor, the text is given the power to stir the soul, making it possible for a sort of magic to ensue--the golden ratio of writing, if you will. In this way, a page of lyrical text literally becomes not just music to the ears, but also to the mind.

Now, before you go, Mr. Woodward would like to leave you with a parting thought: should you do him the great honor of cracking open one of his novels, the entirety of which was written in the dim and dusty confines of a cozy little study, try to do so with a glad heart, surrendering fully to that childlike wonder most of us once knew so well. For whether it's climbing to the top of forested mountains, or exploring the depths of subterranean ruins, Mr. Woodward firmly believes that this can transform the experience of "curling up with a good book" from merely entertaining, to sublime.
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