BOOK NOTES

by DiAna DiAna

Topic
I try to write about something I am familiar with. It makes research much easier. My first book was about how I started doing AIDS education in my beauty salon. I was the first hairstylist to do outreach on what they call a “grassroots level.” I tried to make it informative by giving advice on how to replicate my prevention programs. I tried to entertain people at the same time with how my work in the salon crossed over to educating people.

Motivation
I was at a conference years ago and had done interviews on TV and radio and had been misquoted many times. I met a woman who said that I should tell my own story instead of having reporters and interviewers do their take on it. She went on to say that many times history was one person’s take on what happened, and that was all that people had to go on. I thought about it for a long time and, after reading another incorrect story about my work, started to write.

Process
I purchased an ibook computer so I could take it on the road with me and I added to the story as things unfolded. It took me eight years to write the book. Every time I thought I had an ending something in the world of AIDS would unfold and pull me back into it.

At the time, I worked in my salon and did my writing on weekends or at night, usually after 12:00 am, but not after 2:00 am. I would start to get a little sleepy by then.

End Result

Looking for a publisher for a few years was getting annoying, so I looked into self-publishing. My biggest problem was that the company charged me to professionally edit my work and then announced that they had a hard time translating from my ibook to their PC. I did not see that as my problem after paying them $1,000.00. The book got published, but there were errors in it. I am not sure how to warn people about this process, but editing is just as important as the book itself. The company was bought out and went out of business.

If you're interested in writing, I suggest that you find something that is of interest to you and enjoy what you write about.

Thoughts on Writing

By Alex Raley

Faced with the frustrations of writing, I ask myself, "Why write?" Does anyone care that I write; aren't there legions who write better; is there anything new to say; shouldn't craft be perfected before writing is attempted; and what will become of all those printed words anyway? Shouldn't trees be saved and this nonsense of words on paper be stopped? The simple answer is that I cannot stop. My writing is not an addiction. Writing is my sustenance. I write to sustain life, to assure myself that I am here, that something in my life has meaning, if only for me.

My writing comes primarily from my own experiences or observed experiences, though one soon learns that writing stalls if it only retells the facts. Even memoirs need the emotional impact of the writer's imagination in pulling facts together in an interesting, cohesive manner. This is clearly demonstrated in Antoine de Saint-Exupery's Wind, Sand and Stars and Francine du Plessix Gray's Them. These authors' imaginations construct such powerful words that we flip pages as much for the writing as for the story.

Fictional writing is not so much a retelling of experiences as it is the creative reconstruction of experiences, often experiences not related in any way. Recently, I began a story with a prompt given to workshop participants. The prompt related to nothing other than the dialogue that arose from working it out. Later I tied the prompt dialogue to a fictional situation, one all of us have experienced or witnessed many times, in which the protagonist angers his wife by flirting with a beautiful female at a party.

When the wife reacts negatively, the protagonist decides he will do the walk if he is going to get all the talk, but then I was stuck. Where would the story go from that point? A visit with friends caused me to remember a situation in which the wife of a guy we knew left him for a woman. So I finished my story by having the beautiful girl take off with the protagonist's best friend's wife. In some manner, each element of the story is from my experiences. I tried to bring them together in a new way.

Writing poetry comes from my love of word sounds. From the time I was old enough to remember, there has been a word of nonsense syllables that rings in my ears. The word, if it is a word, seems to have no origin, except in my head, but I love the sounds. They excite me.

Poetry wants to clip along with interesting sounds, creating rhythms and cadences of their own, but poetry also wants to speak to that indefinable something deep within us that makes us who we are. I struggle to bring these elements together, most often without success, but the need for sustenance is strong. I cannot stop writing.

A Joke

From Ilmars Birnieks

Why do agents whine and complain about the volume of queries they receive? It's their work. If they didn't receive any, they would be out of work.

Virtual Pitch Fest

by Laura Valtorta

People who have a finished screenplay should try out Virtual Pitch Fest. It's a way to send your pitches (2-3 paragraphs about the screenplay) to producers in Hollywood and New York. Having done this for about 4 months, I can testify that it works, and it's legitimate. The writer chooses her target producers, agents, or managers from a list describing who they are and what they want to read. I advise writers to buy the Hollywood Creative Directory to double check who these people are. In about 3-5 days the writer gets a response. "No, thanks," or "Yes, email me the screenplay right away!" From about 30 pitches I have sent in, 12 or so asked to read the entire screenplay. Each pitch costs about $10. This pitching is fun and it's fast, and it beats flying to LA to make your pitches. Well, maybe not.

SELF-PROCLAIMED WRITER

by Bonnie Stanard

Only in the last several years have I thought of myself as a writer. Somehow it always seemed pretentious to admit to writing, especially in the fields of fiction and poetry. In the past when working with newspapers or magazines (albeit small, regional ones), I could own up to being an editor—after all, my name was printed on the masthead. But as a writer, I’ve yet to see a book with my name as author.

FROM A DIARY, LONG AGO AND NOT SO FAR AWAY

For several years, I’ve been working on my third manuscript for a novel. My fascination with the Old South and Civil War began, I suppose, with the family legend of my father’s grandfather. A photo shows him to be a distinguished, white haired man with a vibrant mustache and a missing arm. The tale goes that in returning home after losing his arm in the Civil War, he was on a train robbed by the James gang. The robbers stole everybody’s valuables, except those of the Confederate soldiers.

Apart from that, years ago I read Tombee, the diary of Thomas Chaplin, who inherited a plantation on St. Helena Island in the 1840s. He described the crops he planted, his slaves and their work, talked of disputes with his sickly wife, castigated himself for drinking too much, and grieved over the death of his young daughter to marsh fever. The tone and detail make it apparent that he wrote the diary for himself. Theodore Rosengarten, who edited Tombee, provides an introduction that goes into the nooks and crannies of Chaplin’s life.

About five years ago, I reread Tombee. More recently, I went to Beaufort and found the plantation house, now privately owned. Looking on it and the landscape that was once Chaplin’s fields where his slaves tilled the soil was a near religious experience. Thomas Chaplin wasn’t a literary man and was undistinguished in his day. Yet he lives on in his house. His day-to-day existence persists in his diary. That it survived the War and was saved from oblivion seems more than serendipity. Maybe it was fate. I can’t seem to escape the notion that his fate and mine are connected some way. So I’m writing a story about a plantation owner on St. Helena Island, one who would have known Thomas Chaplin.

Writers

By Ginny Padgett

Recently I was asked, “Who is your favorite writer?”

“William Faulkner,” was my quick, word-association answer. I do think that is always the most accurate answer.

Afterwards, I asked myself if that answer was really accurate. After a brief mental review I came up with my three favorite authors: William Faulkner, Lillian Hellman and John Cheever.

Then I asked myself if that list was accurate. (I guess I talk to myself quite a lot!) After all, it had been quite a while since I had read any of them. So I embarked on a reading adventure.

I began with what I thought to be my all-time favorite book by my all-time favorite writer, Faulkner’s The Sound and the Fury. Yes, it still tops my list. His writing and characters are as rich and fecund as the Mississippi land he immortalized.

I read The Sound and the Fury for the first time in my late teens. It was the experience that dropped me to my knees to worship at the feet of the novelist and his calling. The skill of transporting a reader through space and time to that of the writer’s choosing via a bit of ink and moldy paper seemed like alchemy. That first reading impelled me toward writing.

Next I read Pentimento: A Book of Portraits, by renowned playwright Lillian Hellman. Superb! Probably my all-time favorite passage comes from this book. It’s a description of what the word pentimento means, which is an artist’s alteration in a painting. If you’re not familiar with this beautiful language, I urge you to seek out this book to see for yourself what a prose poet Hellman is!

Then, I read all of John Cheever’s short stories, for which he is most famous. I began with a slim volume entitled Thirteen Uncollected Stories by John Cheever. I discovered the reason they had remained uncollected for so long! I next launched into The Stories of John Cheever, a 700-page tome of beautifully crafted, laser-sharp commentaries of post-WWII middle-class America.

The adage about the power of the pen is as true as ever. In my opinion, the exigency to write should be the eighth addition to Abraham Maslow’s Hierarchy of Seven Basic Needs. Man has been compelled to record his experiences and their impact on the world around him since prehistoric times. Writing is what makes us human; that’s why we have opposable thumbs, for goodness sake…to hold a writing tool!

Writers hold up a mirror for self-examination. Writers grind the lens to sharpen our myopic vision. Writers have the power to change lives. Writers are gods among mortals.

So, now I’ll ask the question of you, “Who is your favorite writer?”

On Being a Hack

By Vikki Perry

I’m a hack: a writer of poorly formed sentences, underdeveloped characters, and plots that make very little, if any, sense. I admit it and accept it. This is a problem I face each time I put pen to paper or open a document on my laptop.

What does it mean to be a hack? I think being a hack is a little like being an addict--you can’t do anything about it until you admit you have a problem. Unfortunately, there are no “Hacks Anonymous” groups to help writers overcome this problem. The good news is that there are some things a writer can do to conquer this issue.

Write and revise. Accept yourself as you are, and let yourself write a really bad first draft. Spending a lot of time trying to write a perfect first draft is counterproductive for me. I find that I never complete anything if I worry about getting it right the first time around. Revision is the place where I fix the bad writing. I bet it will work for you, too.

Read books about craft. There are many books on craft out there and each one has a nugget or two of wisdom to impart. I’ve learned things from those books that I would have never learned on my own.

Join a professional organization. I joined RWA (Romance Writers of America) back in March, but if you’re not a romance writer, there is probably another organization out there for you. RWA offers online courses on craft and a monthly seminar at their meetings. I’m sure other professional organizations offer similar things.

Join a critique group. Last, but certainly not least, join a critique group like the South Carolina Writers Workshop. I have learned so much from bringing my work to be critiqued and from listening to others being critiqued. Everybody in the group brings something different to the table, and I’ve found the diverse opinions to be valuable when trying to improve my own writing.

What do you guys do to improve your writing?

Who Am I to Write Fiction?

By Mike Long
Columbia II Writers Workshop

I don't think I've ever felt that just anyone could write fiction. It seemed to me (still does) that a writer should have impeccable credentials to be taken seriously, either through training or experience. Therefore, an English professor running a creative writing course has a shot, but so does an ex-detective, even if he isn't as polished or articulate as the academician, and especially if he'd been involved in a few sensational cases.

Likewise, survivors of multiple marriages, shipwrecks, combat, and mind-altering drugs might be able to write well about love, hopelessness, fear and science fiction--not necessarily in that order. A twenty-five year old certified public accountant from East Bayonne, N.J., however, is probably going to struggle doing a bi-racial love triangle in Savannah in the 1870s, especially if he flunked U.S. history and never traveled. The same CPA easily could have a runaway hit on growing up on the fringe of The Mob. The lesson seems to be that drawing on one's own experiences is a step in the right direction.

That being the case, what the heck is a South Carolina stockbroker doing writing about Confederate soldiers going home to Texas? I'm not sure. Sometimes I feel like that CPA, and wonder if I will be taken seriously. On the other hand, I don't feel that I ever had much choice about writing this. You see, I'm a history buff, a gun collector, and I spent a couple of years in Vietnam. This started when I began to fantasize about what weapons I'd have carried if I'd lived in the 1860s, and then wondered what would have caused me to upgrade as the technology changed, and then figured how I could have afforded the upgrades. As possibilities presented themselves at all the wrong times, I found myself jotting down notes while driving, or at two in the morning, or, more often, at six a.m. on Saturdays and Sundays. As it became more than a gun book, it really "cooked," and I finished it, 400 pages double-spaced, in about six months.

Afterward, I bought books on writing fiction, joined the South Carolina Writers Workshop, and have spent the last year polishing it and reading form reject letters from agents. One of the "How To" books suggested paying for a formal editorial review, so I contracted with an editor in Charleston, S.C. For about one penny per word, the editor allegedly cleans up your grammar/spelling and points up your manuscript's strengths and weaknesses. My review isn't finished, but in the meantime my editor has been hired as the acquisitions editor for a small publisher in Charleston. She's asked if she can "submit" my manuscript to the publisher for possible publication in 2009, and of course I agreed.

More recently, she said the publisher "loved the premise" but has not read the manuscript, and that if it's accepted, I'll need an agent (the publisher will help with that), and I'll have to agree to a book-signing tour.

So, I still don't know if I'm being taken seriously. That line, "loved the premise," appears in several form letter rejection notices.

Guess I'll keep my day job.

A Few Words on Writing Them

By Meredith H. Kaiser
Columbia II Writers Workshop

One of my favorite books on writing is Parting the Curtains: Voices of the Great Southern Writers. Through Dannye Romine Powell's interviews with 22 writers, the rich variety of writing experience is revealed and celebrated. I read it every couple of years and underline newly recognized wisdom each time. Here are a few excerpts.

Shelby Foote, Civil War historian and novelist, recommended reading works of a great writer chronologically to watch him or her grow. He also said that writers who want to write better (who doesn't?) should read and reread the great writers of the past. "When you know where he's going, you can better perceive how he went about getting there. And that's what can teach you really about writing."

Novelist and short story writer Doris Betts said writers must be observant. "It's like being a child, because children can't tell what's important and what's unimportant, so they have to pay attention to everything. Well, writers are like that, I think. They are always just kind of -- I don't know -- watching and listening, and you just can't tell what you are going to use."

Essayist and novelist Walker Percy said, "The best thing about writing is to repeat the ordinary experience, and by putting that experience into language, it makes it available to the person who reads it in a way that hasn't been available before."

T. R. Pearson, author of humorous novels, said, "I don't have any inclination to hang around with people who write books. I know how I am, and I wouldn't want to hang around with me." He also said, "I'm sorry to say that I think writing is a semi-sick compulsion. An itch. It's not very healthy. I feel guilty when I don't write. I can remember, even as a twelve- or thirteen-year-old, sitting down and writing, and I can't even begin to tell you why. There was no prospect that I was going to win the Pulitzer Prize when I was thirteen. I don't know what I was doing."

I love this book because I recognize myself in many of its passages. And if someone interviewed me -- a wild-eyed woman, breathing through labor pains as I birth my first novel (I'm sweaty and scared to push, though I know out is the only direction this thing can possibly go!) -- I would say this: Writing expands my heart and it terrifies me. It's like that relationship you know is good for you, but tests you in all the ways you've avoided for so long. I've decided to say yes to it. What choice do I have?

FOUR GOOD BOOKS on WRITING

By Beth Cotten
Columbia II Writers Workshop

Most of the following books were written in the 1980s and 1990s; a paperback edition of The Weekend Novelist was released in April, 2005. No doubt there are newer books on the market, but I think you will find these to be useful and easy to read. I have read some chapters of each of them, but I still have yet to read them completely. I think my summer will be taken up by checking out these resources again. Enjoy!

Writing the Block Buster Novel: Author - Albert Zuckerman
Albert Zuckerman is a former novelist, TV writer, and teacher of playwriting at Yale and is the founder of Writers House. This book is a comprehensive look at all phases of writing a best-selling novel, from "Getting Started" to "Getting it Published and onto the best-seller lists." The book is excellent and should be read by anyone interested in publishing fiction. Currently available at Amazon.Com Be sure to check out the Writers House web site.

The Writer’s Digest Handbook of Novel Writing: Edited by Tom Clark, William Brohaugh, Bruce Woods and Bill Strickland.
A compilation of 37 writings by 30 authors, agents, editors, teachers and publishers. All of the material first appeared in Writer’s Digest Magazine and were compiled into this book with permission. The book is excellent and is also available, new and used, at Amazon.Com.

Show Don’t Tell-A Writer’s Guide: Author - William Noble
For those of us who stray into lecturing our readers instead of entertaining them, this is another very useful book. Currently available in paperback at Amazon.Com. Noble has written other writing guides, Steal This Plot, “Shut Up!” He Explained, and Make That Scene. All are also available through Amazon.Com. Check under used or textbooks by title.

The Weekend Novelist: Author - Robert J. Ray.
This is an interesting book, in that it is a 52-week program designed to help a writer produce a finished novel in a year, one weekend at a time. Some of us are very busy and at least I am inclined to use the excuse of not having time to write. The author says you can become a "real writer" if you only have time on the weekends. In 1994, when this book was published, the author had very successfully published eight "highly acclaimed books." The book is touted as a step-by-step program, the one Ray uses himself to produce a book from "the blank page to a completed novel." The book is also available at Amazon.Com, as is his 1998 book The Weekend Novelist Writes a Mystery.

EXERCISES to JUMP START "Show Don't Tell"

By Lisa Lopez Snyder
Columbia II Writers Workshop

Lately I’ve been focusing on exercises to help me show rather than tell something about a character, conflict or anything else in a particular scene. Here are a couple ideas I found useful:

1. First, write a sentence or two that describes the scene (and use action verbs). The sentences should answer the question, “What’s happening in this scene?”

For example:
John discovers his wife is having an affair with his best friend.

Then write this scene with dialogue, description, etc., as if you were watching it on film. Visualize it. Write without stopping. Look it over, then revise and revise.

For example:
Joan looked up from her book as John entered.
He slammed the door behind him. “What’s this?” he demanded. His hand shook as he held up the crumpled letter, his face red and feverish.
Joan let the tattered book fall from her lap. She felt her body freeze. “I--I can explain.” Her voice was thick and slow.

2. Another idea: Visualize your scene, then, without stopping, write down all the visuals and textures that make up the scene.

For example: tattered curtain, blue couch, crumpled letter, face turning red, open door, light rain, dark clouds, narrow hallway, steamed dumplings, rusted teapot, etc.

Then write a scene that connects these elements with your characters, using action and dialogue, and see where it takes you. Don’t feel you need to use everything you wrote down.

MAKE MISTAKES FASTER

By Janie Kronk
Columbia II Writers Workshop

It was the first time walking into a library ever made me feel afraid. The feeling was incongruous with the stillness, the patterned order of the shelves, the delicious book-smell. Still, my heart pounded. It wasn’t nerves exactly. There was another fear at work as I walked into the room where the writers’ group met and asked, “Can I just observe?”

See, I was not a writer, and I was certain I would be found out.

Although I wrote frequently, the bulk of this writing consisted of opening paragraphs of abandoned stories. Each time I started a piece, I quickly became disgusted with my flat characters, childish tone, eventless plots. I’d look at the paragraph, think, “Can’t I write better?” and lay it aside. I was afraid of the mess I would make if I continued.

I’d forgotten my writing professor, who always gave as his first assignment: “Write a crappy story.” i.e., Get over yourself and just write, or you’ll never get better. I also ignored such advice as, “Don’t be afraid to make mistakes—mistakes are how we learn.” Or, if important to learn quickly, “Make mistakes faster.”

The advice was sound, but thinking of joining a writers’ group and revealing my literary shortcomings gave me the willies. My concern was a grown up version of, “But what if the other kids are mean to me?” I expected frowns at my presence, and jeers at my audacity in wasting their time. In one of my nightmarish speculations, someone actually threw a tomato.

Fortunately, none of this occurred. At the meeting, I relaxed upon finding a group of talented, welcoming individuals. They didn’t seem to mind my coming. No one threw anything.

The next time I went, I would have to read. I assumed there were only so many times I could show up without any writing before my intentions were questioned. Spy from another workshop? Literary voyeur? Not wanting to appear suspicious, I compiled a pastiche of story-beginnings found on my hard drive. I hoped their juxtaposition would evoke some meaning, like images in a surrealist film.

This tactic proved unsuccessful. “It seems like a couple different stories,” someone said. “It’s interesting, but I’m wondering—where is it going?”

It took several more pastiches with similar feedback before it clicked: these weren’t problems with the pieces, but with my writing in general. I analyzed other things I had written. In all instances, my compositional structure was inexplicable, my plot lines often absent. Aha! How had I not seen the obvious? While I’d known the pieces were riddled with mistakes, the mistakes had been like shadows to me, impossible to pinpoint and wrestle with. With the groups’ feedback, I could suddenly see the bodies these shadows indicated. I had a goal.

Sharing work is intimidating, but also fulfilling when there are people interested in listening, and helping. It’s also necessary at times, getting us past current mistakes and on to the next—and the next, and the next. The good news about the process is twofold: we get better, and no tomatoes get thrown.

Laura Valtorta

Laura Puccia Valtorta works as an attorney in Columbia, South Carolina. She specializes in Social Security disability, employment law, and family law. Her books Family Meal and Start Your Own Law Practice are available through amazon.com and barnesandnoble.com. She has published travel material for the Rough Guides, and short stories in Aethlon and The Distillery. Her husband, Marco, is a professor of computer science at the University of South Carolina. She has a daughter, Clara, and a son, Dante

Bonnie Stanard

When I was in college a professor encouraged me to write fiction, but I was so dense I didn’t realize it until years later. Career choices at the time didn’t include “writer.” Even today, I’m surprised at the number of colleges offering majors in creative writing. (How are those graduates supporting themselves?) I’ve been published in literary magazines for the last five years and have made $5.

There’s no rhyme or reason to my writing habits. On some days I’ll work at the computer for 10 hours. Other days I compose long emails, shop eBay, clean the garage, scan photos, and otherwise fizz away my time instead of writing.

The intellectual and emotional capacity of some writers inspires me with awe. How could Charles Dickens have a head big enough to hold all that information? Or more recently, Saul Bellow? Or Jeffrey Eugenides today? I like movies almost as much as books and admire well-written screenplays—Pan’s Labyrinth, Crash, Short Cuts, Miller’s Crossing, and Memento to name a few.

I’m working on an antebellum story inspired by Naguib Mahfouz’s Palace Walk, a book that illustrates how cultures can brutalize people.

Leigh Stevenson

I have been writing long enough to recognize a cliché, but not as long as some of the other writers in Columbia II. When we are discussing a work, I take my time and try to make comments that will be helpful. There’s a quote by C. Day-Lewis that sums up why we write. “We do not write in order to be understood, we write in order to understand.”

Lisa Lopez Snyder

From the Midwest to the Midlands

The smell of freshly-cut grass always evokes stark memories for me—mornings nudging thick brown earthworms with small sticks as they ooze their way across sidewalks after a hard summer rain, afternoons zipping around the neighborhood streets on my bike under the shady arms of red oak and maple sugar trees, evenings playing kickball in the cul-de-sac down the street from my house.

Those are some of the hallmarks of my Midwest childhood summers. But there is another one: it is my 12-year-old self sprawled on a creaky lawn chair on the back patio, notebook in lap, scrawling stories prompted by the tales of Tom Joad and his family as they loaded their meager possessions on a rickety car, leaving drought-stricken Oklahoma behind for the promise of jobs in California. Or writing poetry that mimics the same excitement that Robert Frost described when he passed the Mortenson's pasture – “Blueberries as big as the end of your thumb.”

Today what the smell of freshly-cut grass arouses is no different, except yes, the setting is different, and occasionally, it’s a notebook computer rather than the paper kind, in hand.

Bryce Smith

I’m writing a spy novel, rather rewriting. How many times do we have to rewrite before a story is ready to go? My plot is a complicated one. Sometimes the workshop tells me that I’ve explained too much. The next meeting, I hear that I haven’t explained enough. It’s not easy to figure out how much information has to be in the story.

Alex Raley

Alex is a retired educator living in Columbia, SC. He earned degrees from Troy University, University of South Carolina, and Columbia University. His wife, Arletta, shares his passion for family, friends, church, and literature.

Alex’s poem, “Boxes,” was selected as Best of Issue for Catfish Stew, 2006. His poem, “The Cocked Hat,” was published in The Petigru Review, 2007 “These Old Hands” in 2008 and “Expectation” and “The Encounter” in 2010. In 2010, his poem, “Choices,” received Honorable Mention in the Carrie McCray Memorial Literary Awards. His short stories have also been published in Catfish Stew and The Petigru Review.

Vikki Perry

If I didn’t write, I would probably be in a padded cell.

My name is Vikki Perry and I was seven the first time that I was bitten by the fiction bug. It was a short fiction, mystery story with a surprise ending involving red Kool-Aid instead of blood. I still remember the joy that I felt when I put that twist in at the end and I knew that I wanted to write more. From that moment on, characters, plots, and scenes have lived in my head and the only way to exorcise them is to put them on paper. I’ve done it with varying degrees of success, but hey, it beats the padded cell.

Ginny Padgett

I’m a 58-year-old South Carolina native, married with two grown sons and have a degree in advertising and public relations from USC. I’ve worked as a copywriter for a television station in Savannah, several ad agencies in South Carolina and Georgia, as well as doing some free-lance work here and there. Recently, I’ve done a little technical writing on a free-lance basis. I’ve taught piano lessons and worked as a pre-school teacher when my boys were small. The largest part of my adult life has been spent in the nurture of my children, the most important job I’ve ever had.

I wrote my first play when I was 12 years old. It received poor reviews from my cousins. “She’s dead in the garden!” is an infamous line from a scene that is still remembered at family reunions. I started a TV screenplay right after college, but I didn’t develop my idea. A few years later, I was astounded when The Golden Girls debuted. That was the premise of my screenplay. Over the years, I’ve started several novels and dismissed them as rubbish.

2010 was a big year for me. I had an essay read at "The Devine Art of Survival," a dance performance by UNBOUND Dance Company (seen in Columbia and in Charleston at the Piccolo Art Festival). I also had an essay and short story published in The Petigru Review.