A Final Look at the 2009 SCWW Conference with a Treat

By Ilmars Birznieks

On the whole the conference was a resounding success. The Keynote Speaker, Mr. Berry was excellent, just the right balm for struggling writers. For me, two workshops were especially interesting and, I hope, rewarding.

Sessions with good pointers and advice:

• Rochelle Bailey - “I’m Done! Or Am I? (What Happens After You Finish The Novel: Rewrites and Revisions)”
• Karen Syed - “Editing Essentials”

A couple of suggestions for future conferences:
• More directions on site for workshops.
• Improvement of food would help - the high cost of meals just did not match their quality or taste.

To finish our month-long series on the annual SCWW Conference, we are pleased to present Bonnie's poem which took second place in the Carrie McCray Memorial Literary Award Competition. This was a highlight of the conference for all of us at Cola II. Congratulations, Bonnie.

BORN AGAIN
By Bonnie Stanard


When I was a kid
we believers,
baptized in moccasin plagued river waters
and the glory of our own passion,

entered the second gate of heaven
in late August at homecoming,
a reunion attended by far-flung relatives
local disbelievers, nonbelievers
and even freeloaders.

The virtuous act of fasting
gnawed at our stomachs
which rumbled in concert
with the preacher’s booming voice.

We lusted after salvation,
everlasting life, and the patience
to wait for the amen
that would end our sacrifice
and free us to pursue the divine purpose
of picnic baskets, specifically, those packed in cars
parked outside in the shade.

The goodly preacher
did his best to separate us from our sin
and ended with a “Come to Jesus” song.
We streamed outside
to the sanctity of the yard
and tables of exaltation,
bowls of potato salad, butter beans,
okra and tomatoes, fried chicken and pickles.
In a state of grace we piled our plates
to vast and groaning heights.
In a fit of glory, we went back for seconds.
Hallelujah! Went back for coconut cake.
Yes, Brother! Cream puffs and banana pudding!
Praise the Lord! We been saved.

Conference Notes

By Suzanne Gwinner

My first SCWW conference was a blast! Not quite knowing what to expect, I left home with an open mind. After meeting writers who traveled from Missouri, Michigan, Illinois, Mississippi, and Arkansas to be there, I realized that this was a bigger deal than I had imagined. I asked one of them why she chose this conference, and she simply said, “It’s one of the best.” When I overheard some agents discussing how they’d like to come back next year, I realized this was a top notch conference.

On Sunday afternoon, after two and a half days of thinking about nothing but writing – no school work, no household chores – I drove home, satiated, feeling a little like one does after Thanksgiving dinner, full and thankful, recharged and blessed. Thanks to all of our members who produced this event.

Sessions:

Deciding which session to attend proved to be a dilemma at times. I listened to talks on Query Letters (Janet Reid, agent), Editing Essentials (Karen Syed, publisher), Point of View (Nikki Poppen, author, editor), Panel – Do I Need An Agent (Ahearn, Berry, and Nintzel), Panel – Young Adult and Children’s Market (Bailey and Root), Synopses (Stampfel-Volpe, agent). I found all sessions to be helpful, and as might be expected, some were more informative than others.

Personally I found it interesting to hear from the agents. It seems to me that they set the agenda for the market, but their words of wisdom – write for yourselves, not the market – were sincere. The highlight of the conference for me was when Janet Reid expressed interest in my “Ripley” story. Since she does not handle children’s literature, she referred me to Joanna Stampfel-Volpe. At this point Joanna is not looking for picture books, but she read the manuscript and suggested some revisions before I start submitting it. I was thrilled to have feedback from real agents!

An author/editor session that I found helpful was Nikki Poppen’s talk on point of view. Her tips for helping the reader identify point of view change were:
• use the new character’s name more frequently
• use the name in dialogue tags
• refer to the character’s actions, thoughts, feelings
• use spacers
• switch sparingly
• switch only twice per chapter

Critiques and pitch:

Jim Casada critiqued my essay “Pa’s Gun.” He was warm and friendly while reviewing his editorial comments, and I appreciated his professional, thorough critique of my work. I know this piece is difficult to pigeonhole, but he gave me some suggestions as to where I might send it when it is polished.

Rochelle Baily of Quake (the young adult division of Echelon Press) was scheduled to critique Jackie Writes, Ripley Writes. I learned in the session just prior to our appointment that she is not interested in picture books, but we still discussed the idea and she liked it. She suggested another southern publisher.

I can hardly wait until next year’s conference. Now that I know what to expect, I’m even more anxious to attend!

SCWW 2009 Conference Notes

By Janie Kronk

Here are the positive aspects of 2009’s “The Method, The Market, and The Muse” that stand out in my mind, regarding everything from the conference’s setting, its set-up, and it’s sessions.

1. Setting: The Chance to Retreat--But Not Too Far!
What can I say, it’s great to get out of town for the weekend. Myrtle Beach is a short enough trip from Columbia, and since I am not “marketing” myself as a writer at this point, this is purely a fun, stress-free weekend for me--a chance to relax at the beach and learn a few things. I enjoyed sitting on my ocean view balcony with my guitar (the wind off the waves loud enough to drown out the fact I can’t actually play) almost as much as I enjoyed the conference itself.

2. Set-Up: Less Paper in the Bag
Ever concerned about the environment, I was glad to see there was much less superfluous material in the goodie bags this year. The conference guide has been pared down from a binder to a simple folder with only the essentials, which was easier to carry around as well as being easier on resources.

3. The Book Nook: An Adventure
I also always enjoy book shopping at the retreat. It’s not as if there aren’t book stores right down the street from my house, but something about the limited and careful pre-selection of titles available at the “Book Nook” leads me to discover a few reads I really enjoy that I never would have picked from the glut of everything available at a mega-bookstore. This year’s fun finds include A Bad Day for Sorry by Sophie Kinsella, and poetry collections from regional authors Maureen Sherbondy and Paul Allen.

4. Sessions: Just Get the Drift
Not having a clear agenda in terms of what I wanted to learn and get out of the conference this year, I did much more drifting between various sessions than I have in the past. Having done so, I would actually recommend this as an effective strategy at a conference for a neophyte interested in learning more about the industry. You pick up tips. Most importantly, you see that all the agents, editors and publishers don’t always agree--some say resubmitting to them after you’ve been rejected is the kiss of death, others say why not. Some publishing houses work only with agented authors, some will not deal with agents. Although you get less out of each session by drifting around, you get a great number of snapshots contributing to the larger picture. Another interesting controversy between several of the faculty was the topic of the e-book. Is it the wave of the future, or are new books never to be replaced?

5. My Favorite Thing: Poetry Open Mike Night
I did not participate, merely listened, but for me this stole the show over any of the sessions. There was an air of festivity to the event, with writers from all over in the region coming together to share and celebrate their work. Writers, young and old, new and experienced, came together to read work that was funny, serious, and, in one instance, sung. My favorite piece was by Maureen Sherbondy (one of the fun finds mentioned above), a poem from her chapbook After the Fairy Tale called “Alice in AA.” To me, this event gave the conference a new light, and really underscored that we aren’t ONLY seeking to become better writers and achieve the ultimate goal of publication through these conferences--we are also participating in a rich creative culture that is very much an end in itself.

In Search of...

By Lisa Lopez Snyder

I’m always on the lookout for devices that help me move the story forward and create authentic characters. Two presenters at the 2009 SCWW Conference offered good suggestions for doing just that.

Science fiction writer David Weber gave tips on how to provide backstory without the “dreaded dump.” Not being a science fiction fan, I was put off by the fact that Weber used examples from his series (not a good idea for any presenter), but the tips he provided were helpful and could apply to any genre.

Here are the ones I’m already trying to put to use:

• Use dialogue between characters to explore something that happened in the past;
• Create a flashback where your character can describe his or her feelings or experience;
• Use your character’s motivations or weaknesses to explore the past; this might be done using internal thoughts, but take care to not go overboard;
• Find ways that action scenes can be used to insert backstory; and
• Spread the backstory throughout the book rather than all at once.

Karyn Marcus, an editor at Thomas Dunne Books, an imprint of St. Martin, talked about how to spin a draft into gold, but the most interesting part of the discussion was how to find “your voice.” Her advice for voice is something we’ve probably all heard a number of times, but bears repeating: “Do freewrites and let go of your internal editor.” That’s the only way to let yourself explore what your voice is, she says. (I would add: Experiment and mimic various writers. I once mimicked a Joyce Carol Oates short story and really surprised myself.)

Marcus also noted some of her picks among various genres that have unique voices:

• Mystery: Any of the Chief Inspector Gamache books by Louise Penny (“She uses a blend of point of view,” says Marcus. “I really feel like I know her characters.”)
• Memoir: Darkness Visible, by William Styron
• Creative Nonfiction: Many of Joan Dideon’s articles (Her pieces “play with perspective,” Marcus says.)
• Fiction: The Time Traveler’s Wife, by Audrey Niffenegger

If you found these tips helpful, what are you waiting for?

SCWW 2009 Conference

By Bonnie Stanard

At the SCWW Conference at Myrtle Beach last weekend I woke up each morning to sweeping views of the Atlantic. Breakfast was with writers talking about writing. Lunch and dinner I sat at tables of writers talking about writing. In the evening more talk about writing. Does it get any better than this?

There were four sessions on Saturday and one on Sunday. As many as nine different topics were offered for a single session. Generally speaking, you could choose from topics on craftsmanship, genres, and/or the publishing business. There were also different formats to choose from--lectures, panels, and slush fests. I don’t have the patience for panels and slush fests, but if I were a beginning writer, this is a great way to get started.

Of the faculty that I saw in action, Joanna Stampfel-Volpe (on synopses) and Nikki Poppen (on point of view) were especially well prepared. Rochelle Bailey (on revisions) and Janet Reid (on query letters) were also good. As with any conference, some presenters were interested in meeting writers and others had variant interests.

Dinner each night gave us an opportunity to meet faculty members, all of whom sat at different tables. On Friday I sat at the table with David Weber. Noise was a problem, not just at my table but in the entire room, which made conversation across the table virtually impossible. On Saturday night I sat beside Jenny Bent and the noise wasn’t the problem. Steve Berry gave us a rousing stick-with-it speech, not too long, not self-congratulatory, but genuine encouragement.

I hope that next year the presenters will use microphones. Some of us writers don’t like to sit on the front row, and unfortunately the sound in almost every conference room echoed, and often I couldn’t understand what was said. This also affected questions and answers, especially if a question was asked from the front of the room.

Good news from the critiques and pitches with agents! Several Columbia II writers including Ilmars, Laura, Lisa, and Suzanne had positive feedback and/or requests for sample copies. Though I struck out with my pitch, I was consoled by winning second place in the Carrie McCray poetry competition.

Is It Art Yet?

By Ginny Padgett

Recently I saw a docu-drama based on the life of Georgia O’Keefe. Her Svengali cum husband, Alfred Stieglitz, delivered a line that stopped the action for me, complete with bells and red flags. He said, “It’s not art until someone rich pays a lot of money for it.” Of course this line was said tongue in cheek, but it started me thinking.

My thoughts went to writing and publishing. Is the same true with the literary arts? I was still mulling over this question when a week or so later at our workshop there was a discussion about this very subject.

The conversation went like this. Some modern writers have become millionaires from their book sales, but some of these books are like potato chips…not good for you but you can’t put them down. On the other hand Mayo mentioned he was reading Lolita. Although he found the subject matter distasteful, he relished the beauty of the written word and envied Nabokov’s mastery.

Of course, art, like beauty, is in the eye of the beholder. But after giving this is-it-art question some thought and listening to others, here’s where I stand.

I believe art happens when one has an idea that is meaningful to him and strives to convey the impact of that thought or feeling through his chosen medium. I also believe that when one creates art, our collective consciousness is enhanced, elevated, edified. Furthermore, when one practices his art in community with others, like we do at workshop, I believe we inspire each other, and our experience is greater than the sum of our parts. Because of this experience, we don’t need a multi-million dollar contract or even to be published in a small literary magazine to consider what we do as art.

I think this a high calling to which we have responded. We ply our art without an eye to a generous benefactor. We write because we love it; we have a point to make; we have something we want to get off our chests. For whatever reason, we use words as painters use colors on canvases. Perhaps there is no better art than the pursuit of it. So write on, comrades in ink. Let’s make some art!

Things I Learned at Pitch Practice

By Bonnie Stanard

Earlier this month six of us from Columbia II got together to critique our submissions to agents and/or publishers. Though we considered query letters and synopses, we spent more time on pitches. In advance, we decided to limit each pitch to ten minutes and to give scores of one to five to every presentation, five being the best score. In evaluating the pitches of others, we put away our writing sympathies and tried to listen as an agent would.

First of all, I found out that awarding a numerical score doesn’t work well for me. I didn’t remember the many implications attached to a single number. Did a “5” mean I’d publish the work without editing? Did a “1” mean I wouldn’t entertain a revision of the work? In the end, a number doesn’t say much and in my case, even less.

I arrived with notes and had a good idea what I was going to say, but no amount of writing is on par with looking into expectant and judgmental faces. Bottom line: open your mouth and entertain or die.

I discovered in the process of pitching my manuscript that, though I considered it completed, it wasn’t (how many more times am I going to find this out?). Since our practice session I have cut three more chapters.

PITCH SUGGESTIONS In listening to other pitches and comments about my own, I’ve arrived at advice for myself that I’ll share with you.

1) Provide basic information up front, including the genre. Suzanne began her pitch by describing the characters and plot. Maybe that would have been okay if she had been describing a main-stream adult book, but it was a children’s book. I was in a fog until she gave us that piece of information.

2) Stick to an arc in describing the plot. Try to get across the hook, development, and resolution of the single most important plot. I enjoyed describing details of my story that I thought were important, but my critics gave this as a reason for lowering my score.

3) Don’t shotgun the story with numerous names of characters and/or places. At the same time, give characters names that clearly indicate the gender. For instance, is “Ryan” a male or female? And if there’s romance with “Chase” is it heterosexual or homosexual?

By the way, it was a thrill to pretend to be a publisher and pass judgment on the work of others. However, it was also sobering. This is about money, not art. It wouldn’t surprise me if agents ask themselves one question as they listen to us, “Will this book make money?” ” I’m wondering if my pitch will have more success if I somehow connect art with sales.

Creating the Lyric Essay

By Lisa Lopez Snyder

I recently discovered the lyric essay, which, as The Seneca Review defined it in 1997, is a “sub-genre that straddles the essay and the lyric poem.” The lyric essay, according to The Review, takes “an allegiance to facts” and merges it with poetic metaphor to describe an object, person or moment that is quotidian. For example, you might focus on a particular type of flower, a piece of animal bone in the desert, or like writer Joni Tevis does in the example below, a fossil.

With lyric essay, you’re essentially thinking and writing by association—as with poetry—and observing a symbolic act or observation, or a moment of epiphany. Outside of that it doesn’t conform to any standards, which, in my opinion, makes it very liberating.

As a writer who focuses on mostly fiction and thinks in terms of conflict and story arc, I have to admit, the lyric essay initially left me feeling a little like I was walking down a flight of stairs without rails. Unsteady, I was wondering, “Where am I going with this?” “Is this right?”

But after giving this form a try and studying some of the writers best known for this genre, I’ve come to enjoy putting motifs, images and metaphors together in a way that signifies a larger image rather than organizing words or images that “spell it out.”

Okay, so here are some examples, a couple of my favorite excerpts. Now, keep in mind, I don’t think these excerpts do lyric essay full justice, for, at least in my opinion, this type of prose is sometimes best appreciated when read in full—and out loud or in a whisper:

A fern’s dark print on shale. Ribbed clamshells pressed into a cliff of pale limestone. The compliant trilobite in all its variations, every bump and ridge preserved these two hundred million years, yet still capable of revelation, like a pair of sneakers hanging from the power line, pedaling the silent air.

-- “Fossil,” from The Wet Collection, Joni Tevis

Dark. Dark, but alive. Energized, expectant. Turbo-charged darkness. When does the first note of precolor appear?…Flemish grays and now, almost, a blue, where two fat stars hang in the east—companions at the slow birth of day, midwives—I should know their names.

-- “July 9, 5 a.m.,” from Seven Notebooks, Campbell McGrath

Give it a try sometime, then check out Brevity (http://www.creativenonfiction.org/brevity/) and The Collagist (http://thecollagist.com/), which both accept this intriguing form of prose.

Writing Stories That Fly, Part II

By Celinda Barefield

Now you have a book on how to write. The question becomes, how do I apply it to my writing? This can be seen as a downer for most writers. If it wasn’t hard enough getting just the right book to fix your problem, now you have to actually read it and apply the written word to your work. This might seem a Herculean task, but with these three steps it is accomplishable.

1. Read the book. Yes, I know we like to focus on writing, but sometimes it can be helpful to take a break and read something by someone else, especially if it will ultimately improve what we are working on. I know, it sounds crazy, but it is possible other people can help us.

2. Highlight the parts that catch your interest. Maybe they relate to a problem area, or maybe they were just funny. It could be an exercise, a quick quote, or even a smart how- to tip. The point is that you looked for help and are enthusiastic about writing again.

3. Apply your newfound knowledge. That’s it. The big secret of writing. If you take the time to use what you learn, your writing will get better.

Now, go out and conquer!

Plot Line for Doubts, Hopes, Fears

By Bonnie Stanard

Point of view (POV), like other literary devices, changes fashion as the art of writing explores new territory. The omniscient POV, which prevailed in the 19th Century with authors like Dickens, Poe, and Hardy, has given way to first person POV popular today.

Many critics claim that first person POV began as interior monologue, historically used by playwrights (i.e., soliloquy) and poets. It came to the novel in a big way with James Joyce’s Ulysses, an entire book written as the stream of consciousness of the narrator. Not many novels today are as immersed in first person as Ulysses, in which the narrator’s ramblings fail to identify other characters or places, leaving the reader to pick and sort for himself.

I am reading The Zahir by Paulo Coelho, which is a first person narrative, further defined as stream of consciousness POV. It is heavily invested in one man’s ruminations. The plot simply sets up the situation that the main character meditates on at length. In fact, aside from minor activities as a novelist (the main character is an author), the only plot so far is his wife's leaving him. From that event, the writer ponders his relationships with his ex-wife and current lover, his own sense of worth, his future without his wife, etc. He has just met the man who stole his wife, and I'm hopeful that something will happen.

Not long ago, I read Shantaram by Gregory Roberts, a very different first person narrative. This book, given from the POV of a character named Lindsay, is plot-driven. We follow Lindsay as he arrives in the slums of Bombay where he falls in love, is imprisoned and rescued by a mafia don, and goes to work (and war) for him. The author introduces numerous other characters, and the interaction that results fashions the plot. Though we get some insight into Lindsay's thoughts, the book is driven by the events of his everyday life. Needless to say, this type of story can only succeed if the life is exciting.

Very close to the first person POV is third limited. This too is a popular device for delivering a story. In fact, the main difference between first person and third limited is the choice of pronouns for the narrator, whether “I” or “he/she.”

A number of contemporary writers are experimenting with POV. You can find books in which POV shifts from one character to another and from first to third person limited. Stef Penny, as an example, employs first person and third person limited POV in her novel The Tenderness of Wolves. What each POV character doesn’t know is revealed to the reader by other POV characters until the reader has more information and can solve the mystery before the “I” narrator who tells the story. Tension arises when the first person narrator makes mistakes because she doesn’t know what the reader knows.

The changes in POV technique are moving toward greater intimacy. The narrator is less likely to be the bard standing aloft his audience and describing the world as it is. He has morphed into a character in the story, one who experiences the plot and feels the bullets, if vicariously.

Niffenegger!

By Laura P. Valtorta

It took me three readings to understand how Audrey Niffenegger took a vain protagonist (Claire Abshire) dropped her into a completely implausible situation (time travel backwards and forwards) and made a wonderful book out of it. The answer is depth.

The main character in The Time Traveler’s Wife, (2003) who also narrates the story along with her time-traveling husband, is a beautiful, charming redhead with a pencil thin mouth (she describes it “like a geisha” in order to make a thin mouth attractive) who sounds a lot like the author. Claire first meets her husband, Henry, when she is 6 and Henry is 36. Henry has time traveled backwards. He has no control over his chronological fits.

Claire comes from a wealthy family. Like Audrey, she earns her living as an artist. But Audrey Niffenegger the author is not married. Both main characters, Henry and Claire, are grossly good looking and nauseatingly sexy.

What makes this story readable and irresistible is that it contains meaningful questions about chaos, determinism, the effect of time on personality, Patty Hearst, picking locks, running from the law, love, art, music, and books. These questions form the heart of the book.

If I met Claire or Henry in real life, I would run the other way. The characters are slop and the story is ridiculous. The author, however, has something important to say.

The Latest Addition

Meet A New Writer

SHANN FOUNTAIN CULO

Born in South Carolina, Shann Fountain Culo has been traveling all of her life. She studied abroad in both Spain and Germany and has visited 26 countries—many of them before age 21. She speaks Spanish, Croatian, and rapidly declining French.

After graduating from Sweet Briar College, Shann owned a multilingual staffing company, tried her hand at corporate gifts, and taught Spanish (with occasional travel sabbaticals in between) before becoming a writer. Now a full-time freelance writer, she is a frequent contributor to Travel + Leisure and Condé Nast Traveler, and her articles have also appeared in Hemispheres, Four Seasons Hotels Magazine, and several other publications.

Shann is the author of Moon Croatia & Slovenia (Avalon Travel Publishing, 2009, www.moon.com) and keeps her readers updated on the region on her Facebook page.

She also writes fiction and hopes to get published in that genre in the near future.

Shann's first posting follows.

Creating Setting

By Shann Fountain Culo

I suppose it’s my background as a travel writer but I love settings. I’ve also been known to love a movie mostly for its setting; films like Out of Africa, The Lover, and Children of Heaven are three that automatically come to mind. Done well, a setting can add to a story or a film, in addition to serving the purpose of grounding the reader in the story.

But without film or the luxury of nineteenth century writers to ramble for paragraphs about our setting, how do we convey a sense of place economically?

Travel writing has taught me a lot about techniques to convey a lot of feeling in a few words. Most of my assignments are short 150- to 200-word pieces where I have to describe a location, tell why the reader should go there, where they should have lunch, dinner, and stay the night, and give pertinent information (websites, phone numbers, names). I’d better be short.

When describing settings it’s important to use details a reader can resonate with. Most people haven’t lived in Mongolia but a boiling kettle over hot stones, dusty roads, and horses are all details your readers will relate to. Then you can add in a detail they don’t, like Airag, the national drink of Mongolia, describing its bitter, acrid taste.

It’s best to use a quick checklist of the senses when describing your setting. You don’t have to employ all of them, but maybe you never use taste or smell, for instance. Particularly useful are adjectives that employ a sense combined with an attribute like chocolate-box, gingerbread, sleepy, or buzzing.

Try using fresh methods for describing colors. We’ve all heard beet red or fire-engine red, but what about tin-roof red or crazy red. In one of the Harry Potter books, author J.K. Rowling describes green eyes as the color of “fresh pickled toad.” Amazing, I think. She not only uses an unexpected metaphor but one that adds to the character and theme of her book.

Using sound adjectives is helpful as well. We’ve all heard ‘the party was hopping’ but think about other sounds to describe a lively get-together. What about the vodka splashing against ice, the swish of a dancer’s hips, or the crackle of a stereo?

Foreign words can be tricky to use but quite effective under the right circumstances. An easy way to use them without being pretentious or confusing is to employ familiar words or words that can not be mistaken for their meaning by the average English-speaking reader. French words like fatale or succès or Italian words like bella or conforti come to mind.

Last but not least is to remember to use setting precisely and usually, sparingly. Exceptions to these rules would be when setting is integral to the plot (a terrible storm conceals a murder), the setting is important to reveal character, or the setting is a character itself.

Wherever you set your scene, have a journalist’s perception of the place. How would you describe it? What strikes you first? If you can see it in your mind, it’s likely the reader will as well.

Get Your Story Out the Door!

By Lisa Lopez Snyder

It’s easy to be daunted by the task of searching markets for your work. For sure, places such as Writer’s Digest offer great links to literary magazine Web sites, and there are probably more than a few services that you can pay to help you find a market to submit your work.

But if you’re looking for an economic alternative, let me suggest Duotrope.com. Listed among Writer’s Digest’s 101 Best Websites for Writers” (http://www.writersdigest.com/article/101-websites-2009-markets/?print=1), Duotrope.com is a free, easy-to-use online submission tracker that I discovered through a writing friend. Check it out:

1. Go to Duotrope.com. You don’t need to sign up for an account to try it (but go ahead and sign up; it’s free, after all!).
2. Search for your market on the Home page: For example, if you’re writing historical fiction, in the Genre box you’ll click on Historical Fiction; if you want to search for literary markets, click on Literary, etc.
3. Go down and click through the options in the remaining dialogue boxes (eg., poem/short story, simultaneous submissions/submission via electronic or postal, etc.), or leave them empty if not applicable or you want to broaden your search. You can even search publications that accept submissions online, which saves trees, time and money, and who isn’t for that?
4. At the end, click Submit.

You’ll get a list of markets, along with titles and links to a Duotrope.com page that summarizes the publication, along with links to the publication’s official Web site. Once you’ve signed up and submitted your work, you can log onto Duotrope and add the stories or poems you submitted to the various publications. Just click Add Submission. It tracks all your submissions, which you can review all sorts of ways, such as by story/poem title and date of submission.

Be sure to also sign up for the weekly newsletter (see link at top of web page) and you’ll get a weekly email update with new market listings and re-opened submissions and upcoming deadlines for publications that have themed issues. This email does on occasion ask for donations to help keep the site up and running (it’s operated by a few published writers and former editors—see the About and FAQs links at the bottom of the site). It’s optional, but after the rush of excitement you get from having your own submissions tracker page and, you’ll want to send these folks a donation.

There are other search functions in the database too numerous to discuss here, so the best way to find out is to simply pull up the Web site and check it out yourself.

What you won’t find on Duotrope, however, are contests, and I welcome any feedback on this blog from someone who knows of a contest submission tracker.

Happy submitting!

Male Writers

By Laura P. Valtorta

Men. What are they seeing? What are they feeling? Why is Woody Allen a sports fan? They act so bombastic and inscrutable that I must read their fiction to understand them. Here are three of my favorite writers:

RICHARD FORD. For the past 20 years he has led us through the life of character Frank Bascombe, the hero of the books The Sports Writer, Independence Day, and The Lay of the Land. He won the Pulitzer Prize. He also has written several short stories, some of them in collections. His latest short story appeared in The New Yorker magazine about a year ago.

When Richard Ford came to speak at USC as part of the Jeanette Turner Hospital program, I wondered if he would be snobby after so much success. He is a Louisiana native who writes about New Jersey, a child dying, two divorces, and growing old in the real estate business. Funny and poignant. I thought maybe he wrote about himself. Turns out, Frank Bascombe is not much like Richard Ford, who has been married to the same woman for many years, has no children, and divides his time among homes in Colorado, New Jersey, Ireland, and Louisiana. His talk was entertaining and never condescending. He seemed happy with himself and his life.

Richard Ford is short and compact, unlike his writing which is sprawling and unedited. He is about 60, has clear blue eyes and is part Native American. He talks to his fans; he talked to me! As the studio executive once said about Carole Lombard: “Me likee.”

HARUKI MURAKAMI (say it fast) is the master of existential fiction. I can’t get enough of him. Luckily, all of his novels and short stories have been translated from Japanese to English.

The best way to meet Haruki is through the short story collection, Blind Willow, Sleeping Woman. Reading and re-reading the same stories. They draw the reader along. The characters are rich, the metaphors come to life. The intrigue is that these stories are difficult to understand. "The Poor Aunt" is a good place to start. The narrator doesn’t just feel like he has a poor aunt on his back. He actually does, which makes life cumbersome. I see the poor aunt as a metaphor for depression. The other stories are more complex. What happens in “Birthday Girl?” What does “The New York Mining Disaster” have to do with New York? Why the obsession with cats?

Haruki Murakami has written an autobiography called What I Talk About When I Talk About Running, which doesn’t shed much light on his stories but says a lot about being Japanese and loving jazz.

TOM PERROTTA. This writer is not someone I want to meet. He is too preppy and reminds me of the frat boys in college. He probably drinks beer and uses pick-up lines. He might think he’s good-looking. Maybe he is.

What strikes me about Perrotta’s writing (Election, Joe College, Little Children, The Abstinence Teacher) is that he has mastered the art of creating characters through alternating points of view. In The Abstinence Teacher, he writes from two minds: a woman, a sex education teacher, who wants to be able to teach freely about birth control in public schools, and a man who has been “saved” by a fundamentalist Christian Church. The characters clash. Perrotta makes them both likeable. How does he do this? He understands how women think. How? Maybe men and women are not so different after all.

The Thing

By Brian Butler

How many times have you sat down to write with that blank receptacle before you and yet nothing to plug into it? A common occurrence for many of us, I am sure, yet the passion to write continues to lure us. The void stares back at you, emotionless and cold, but still begging for input, silently crying for existence. And you possess the power to grant it, to create something out of nothing. Much like mad scientists, we as writers are drawn by the ability to conceive our own Frankensteins, giving birth through our fingertips.

When words are put to the page, the creature begins to take on unique characteristics, traits only this monster owns. As days pass and it is fed more and more words, it begins to stand on its own. It grows from its barren space to a starving infant craving nourishment and attention. It feeds relentlessly. Spawned from the depths of our brain, it becomes one of our offspring, developing a distinct personality blended from our experiences and imagination. We start to care for this…thing.

The monster continues to grow and becomes its own entity, gorging on our time. Its greedy voice speaks to us on an unconscious level as it evolves. We respond with all the love such a child needs to develop into a healthy adult. But soon, it becomes too large to contain.

To retain command, we assign schedules and ration its intake to keep the beast from spinning out of control.

The creature rebels.

It is used to over-indulging, taking all we can give. It has had no set of laws to follow to this point. With a life of its own, the progeny stops communicating, punishment for the application of rules. Alone, we slump into a state of apathy. The roles have reversed, and now instead of us being the care-giver, we look to our creation to fulfill our needs. We look for it to give in return.

But it doesn’t. It won’t. It can’t.

It is up to us to continue the relationship, to reconnect and finish what we started. Without us, creations such as these will never reach maturity. They will sit dormant in drawers and in closets and in dead computer memories. They will become abandoned orphans whose creators were too cruel to put them out of their misery.

Be a good parent. Stay in touch with your brood. Feed them incessantly at birth to bring them to a healthy life. Then mold them with subtle refinements. Yes, rules are necessary, but do not let them confine you or condemn your offspring. Instead use them as guidelines to bring your creations to success, where they can survive on their own, and be introduced to the world, not as a monster, but as a beautiful work of art for all to adore.

A View Point on Point of View

By Alex Raley

Just when I think my brain has finally gotten a grip on writing, something jars the hold. Early in my writing attempts I heard repeatedly that writing in the first person, especially long pieces like a novel, was so difficult as to be avoided at all costs. You know the problems – how do we avoid portraying only one dimension of a situation? whose head are we in? how do we give the reader a glimpse into the feelings of the various characters?

While on vacation recently, I read five novels which were published within the last five years. All of them used the first person singular. In each case, there was a hint of memoir, but you knew that this was not the recounting of facts from someone’s life. There was a compelling story to be told and enjoyed. The story was filled with interesting descriptions of places and events. Most remarkably, “I” appeared just often enough to remind you of who was telling the story and, in at least one case, a principal character was not the narrating “I”.

At our state conference last year a reviewer told me that my short story was about the male character and not the female character. I had tried to make the female the main character. While the reviewer did not specifically tell me to let the male tell the story in first person, I said, “Umm.” The rewriting is going smoothly with the fearsome “I” occasionally presenting problems. Now if I can just write with a minimum of “I’s”, I may be able to make the story what I want it to be.

Another dictum for us as writers is to make sure that the reader knows who is your main character. That does not seem too complicated, but I have found myself trying to write a novel in which several characters are “main.” It was important to me that the reader know the feelings and thoughts of several people who were affected by the story. Letting the principals each have a section of the book in which they were portrayed seemed like a reasonable solution. I was well into the process of redirecting the novel, when I read Orpheus Lost by Janette Turner Hospital. In that wonderful book, Hospital even helps the reader by giving chapters the names of characters so that we know the seminal person or event.

We are always told that writers learn by reading. This summer I have reaffirmed that notion. Looking for help? Read, read, read.

First Impression (Why I Wish I Could Write My Life)

By Celinda Barefield

OK, I was originally going to write a follow up to my last article about how to integrate a good writing guide into your work, but in light of recent events, I’m changing my topic. I will do the follow-up at a later date. Instead, I’m going to write about meet-and-greets.

The big challenge here is: How do you get your main characters to meet? This is where setting, motive, and actions come into play. There are many types of meet-and-greets ranging from preplanned stalkerish to randomly weird and everything in between. Maybe one of the characters sets it up. Maybe it’s an act of fate. Sometimes it can be pure coincidence. It is up to the writer to decide. The point is that they eventually do have to meet.

My favorite type of meet-and-greet is the Meet Cute. If you are familiar with old romance comedies, you know what I’m talking about. In a Meet Cute, two people are looking for similar things. For example, a girl and a guy are in the men’s suit center. The girl only needs a jacket, the guy just needs a pair of trousers, but the clerk has to sell the set. They both blurt out their requests at him at the same time and realize that they can solve their problem together. This is a Meet Cute, a random act that leads two people to meet, and in most cases fall in love.

Another type is the Serendipity meeting. After spending a large amount of time almost side by side, two individuals finally encounter each other via a random act of fate, most often years later. An example is a guy and a girl live in the same apartment building but on different floors, they work in the same office building again on different floors, and they frequent the same deli for take-out but at different times. It is not until they are both on vacation in Maui that they run into each other waiting at a taxi stand in the middle of a thunderstorm. They fall in love and realize that they were close for years and never knew it.

As writers, we do not have to write a good first impression. Take Pride and Prejudice for example. Here we have a great meet-and-greet in which the two lovebirds get the totally wrong impression of each other. Mix-ups like this make or break some stories. So choose your first words with care. The thing to remember is until it’s published you can always write a new first impression unlike in real life when you’re stuck with the ones you make.

The Latest Addition

Meet A New Writer

David Sennema


Dave was born in Grand Rapids, Michigan, graduated from Albion College, and then spent the next two years at Fort Jackson, South Carolina, courtesy of the U.S. Army. He met his wife Marty on the stage of the Town Theater in Columbia, where he got his start in arts administration as the first director of the Columbia Music Festival Association.

He became the first director of the South Carolina Arts Commission in 1967, and in 1970, went to Washington, D.C. as associate director of the Federal/State Program of the National Endowment for the Arts. In 1973, he was invited to Springfield, Illinois to become the founding director of the Community Arts Management Program at Sangamon State University, and later returned to Columbia as director of the South Carolina State Museum.

In his retirement years Mr. Sennema has taken up short story writing and was announced as one of twelve winners of the S.C. Fiction Project in June, 2009. His short story, “Harley Takes a Chance” will be published in The Charleston Post and Courier newspaper in September of 2009. Mr. Sennema and his wife Martha are also authors of the book, Columbia, South Carolina – A Postcard History, published by Arcadia Publishers in 1997, and can be found in bookstores in the Columbia area.

Dave's first blog entry follows.

Planning to Improvise

By David Sennema

As a barbershop quartet singer one of my favorite things to do is what barbershoppers call “woodshedding” a song. No printed music is used. The “lead” sings the melody, and the tenor, baritone and bass improvise in an effort to create four-part harmony.

Many years ago I played the trombone, and during my college days I jammed with a small ensemble. Jazz groups are known for improvisation and that’s what we were doing, although I must admit that it was at a very basic level.

And then there’s theater. One of the methods that drama teachers use in training actors is to give them a topic and have them improvise a scene.

So what does all this have to do with writing? I started writing short stories before having had any formal, or even informal, training. I just sat down at the computer with the grain of an idea and started typing. I was improvising and the computer keyboard was my instrument. I finished a few stories that way, but in the meantime I began to read about how one is supposed to write short stories.

“You must have a plan before you sit down at the computer,” I read. “I always write the ending first so I know where I’m going” some authors wrote. “It’s best to outline the entire story before proceeding,” others suggested.

Such pronouncements gradually wore me down, and I began to feel like an undisciplined clod, so I started following their advice. I made lists of characters that would appear in stories, noting some of their distinguishing features. Then I either made an outline or wrote a narrative summary of the entire story. And only then did I sit down and start writing.

I have been writing short stories for only about a year, and so I make no pretense of having any expertise whatsoever. I can only say that having tried two different approaches I prefer the “improv” method and I think I’ve had better results going that route. However, I am loathe to completely ignore the advice of proven authors, so as I move forward I will probably experiment, trying different combinations of the two approaches.