By Mayowa Atte
You:
A swashbuckling western; a memoir ferrying readers down the rapids of memory; a lush romance; a knock-your-readers-on-the-side-of-the-head mystery; a save-the-world-while-wearing-no-pants thriller; an amalgamation of fiery words. You are a manuscript in varying stages of completion, a bound revolution in Courier New 12pt.
Interested In:
An experienced, affordable and compatible editing service to spend long nights of literary delight, to search your soul and show you where you are most beautiful, where the light illuminates your depths best. An editing service to firmly but gently expose the cracks in your structure and/or the irregularities in your pace; measure the heat of your conflict; discover the shallow ponds of your characters; and brave the terrors of your punctuation. An editing service to make you better before the hurried scrutiny of a publisher’s eyes.
What to Do:
Date online.
The majority of reputable editing/literary services have a web presence. Typing keywords such as “Manuscript Evaluation Service,” “Manuscript Editing Service,” and “Manuscript Critique Service” into a search engine produces innumerable suitors. Visit as many websites as you can. Here is how to pick the right one (or many if you are not a monogamous manuscript).
• Services Provided: Different manuscripts need different things at different times. Do you need a critique, a developmental edit, a line edit, the whole shebang?
• Experience: The editors should be published authors, former or current publishing industry professionals, or have academic qualifications. In all cases, it is preferable that they have existing clients.
• Cost: Most editing services have tiered price structures depending on the service you buy. However, there can be large price differences between editing services providing the same service so shop around. Most services charge by the page. If you are a lengthy manuscript, you may prefer services that offer flat fees.
• Professionalism: Pay attention to the promptness of replies and callbacks, to methods of payment, etc. Professionalism can be a good indicator of competence and experience.
• Samples and Negotiation: Most services provide a written report at the end of their evaluations/critiques/edits. Ask for a sample to see if it fits your needs. Don’t be shy about explaining your needs and requesting that they provide feedback on specific areas you desire. You are in charge.
Having said all that, it is very possible that you will be sitting in a park somewhere one day, letting the wind caress your ink and ruffle your pages; then your dream editing service will run into the picture with a cute Labrador. This service may not have everything in yonder list, but it will feel great. Don’t be afraid to trust your gut feeling and give this editing service your number.
Here are some of the suitors I considered in my search for literary bliss.
• Michael Larocca at www.chinarice.org
• Allen Jones at www.manuscriptmedics.com
• John Tallmadge over at www.johntallmadge.com
• www.firstediting.com
Good luck.
Sunday, January 31, 2010
Sunday, January 24, 2010
Literary Impotence
By Ginny Padgett
I have an embarrassing condition…submission anxiety.
I revealed my secret to a couple of my fellow workshoppers, and they seemed amazed. “That’s silly,” one said. “You NEED to have at least 1,000 rejection slips before you can consider yourself a real writer.” “Just do it!” was the advice of another. “How can you read a sex scene aloud to us and be too shy to send a submission for publication consideration?”
Perhaps this is a silly situation. I am fairly confident in my wordsmith skills, in my ability to create realistic characters and vivid settings, and in making transitions for a good flow.
On the other hand, I get bogged down in descriptions, too much detail, and backstory dump. These stumbling blocks derail the progress of my story. Herein lies the crux of my writing dilemma, I think. Could my focus on the craft of writing be covering up the fact that I haven’t found the story I need to tell? Or maybe I have and haven’t found the magic balance of theme, plot, story line, character, and setting. I may need one of Shakespeare’s witches with bubbling cauldron to make this divination, or…
Should I follow Dr. Faustus’ Plan for Success?
Would a 12-step program help?
Talk therapy?
Keep writing and buy stamps and manila envelopes?
I know which option is the only answer, but I wish there were an easier way to overcome my literary impotence, brought on by submission anxiety and writer’s block (Yes, I suffer from that one, too!). Aaah…if only there were a little blue pill to painlessly pump up my inept ramblings and push them out as published works.
I have an embarrassing condition…submission anxiety.
I revealed my secret to a couple of my fellow workshoppers, and they seemed amazed. “That’s silly,” one said. “You NEED to have at least 1,000 rejection slips before you can consider yourself a real writer.” “Just do it!” was the advice of another. “How can you read a sex scene aloud to us and be too shy to send a submission for publication consideration?”
Perhaps this is a silly situation. I am fairly confident in my wordsmith skills, in my ability to create realistic characters and vivid settings, and in making transitions for a good flow.
On the other hand, I get bogged down in descriptions, too much detail, and backstory dump. These stumbling blocks derail the progress of my story. Herein lies the crux of my writing dilemma, I think. Could my focus on the craft of writing be covering up the fact that I haven’t found the story I need to tell? Or maybe I have and haven’t found the magic balance of theme, plot, story line, character, and setting. I may need one of Shakespeare’s witches with bubbling cauldron to make this divination, or…
Should I follow Dr. Faustus’ Plan for Success?
Would a 12-step program help?
Talk therapy?
Keep writing and buy stamps and manila envelopes?
I know which option is the only answer, but I wish there were an easier way to overcome my literary impotence, brought on by submission anxiety and writer’s block (Yes, I suffer from that one, too!). Aaah…if only there were a little blue pill to painlessly pump up my inept ramblings and push them out as published works.
Sunday, January 17, 2010
Trying to Get Unstuck
By Lisa Lopez Snyder
Earlier this week I got stuck in the mud. Over the holidays I started a story, and step by step I put my protagonist, “David,” in a pickle (purely intended, of course, and all as a result of the actions he took earlier). Faced with the consequences, he then had to make a completely new decision, and I was ready to wrap up the story. But I was leaving him without any options because I couldn’t decide what would happen next. He could certainly do something unexpected, but because he is a little boy, I couldn’t have him do something suddenly adult. What to do?
Have you ever been in this situation? Have you ever taken your main character on a wild ride, thoroughly enjoying it yourself, and then come to a curve in the road, only to ask, “Dang, what’s on the road beyond?”
I turned to a nifty little book I read about a year ago to help me figure out some possibilities. It’s called, Writing Great Short Stories, by Margaret Lucke, and I highly recommend it. Lucke breaks down all the aspects of writing the short story into easily digested bits with clear examples, tips and exercises. Lucke reminds us that “not every short story has a plot,” which describes my story exactly.
Lucke says while you may have a plot-less story, you still have to have a “story goal,” that is, your story must “evoke an emotion or mood, explore a theme, share an experience, or describe a person”-- all in an effort to “help the reader comprehend some aspect of the human condition.” In fact, each of the pieces of your story does not have to be “linked by chronology or cause and effect, but by similar emotional or psychological resonance or other things they have in common.”
She cites as an example Tim O’Brien’s The Things They Carried, where the author tells the Vietnam soldiers’ stories by cataloguing the various items the narrator’s fellow soldiers brought on their missions, including not only objects such as matches, morphine, M-16 rifles, and M&Ms, but the intangible items, including guilt and fear.
That said, I’ve already got some possibilities for David. I’ve been inside his head for the last month, and I know how he interprets the adult world. I’ll stay true to David’s perceptions and just let the reader explore them, all the while leaving the reader (fingers crossed), with the sick feeling of what could have--and just nearly--happened.
Earlier this week I got stuck in the mud. Over the holidays I started a story, and step by step I put my protagonist, “David,” in a pickle (purely intended, of course, and all as a result of the actions he took earlier). Faced with the consequences, he then had to make a completely new decision, and I was ready to wrap up the story. But I was leaving him without any options because I couldn’t decide what would happen next. He could certainly do something unexpected, but because he is a little boy, I couldn’t have him do something suddenly adult. What to do?
Have you ever been in this situation? Have you ever taken your main character on a wild ride, thoroughly enjoying it yourself, and then come to a curve in the road, only to ask, “Dang, what’s on the road beyond?”
I turned to a nifty little book I read about a year ago to help me figure out some possibilities. It’s called, Writing Great Short Stories, by Margaret Lucke, and I highly recommend it. Lucke breaks down all the aspects of writing the short story into easily digested bits with clear examples, tips and exercises. Lucke reminds us that “not every short story has a plot,” which describes my story exactly.
Lucke says while you may have a plot-less story, you still have to have a “story goal,” that is, your story must “evoke an emotion or mood, explore a theme, share an experience, or describe a person”-- all in an effort to “help the reader comprehend some aspect of the human condition.” In fact, each of the pieces of your story does not have to be “linked by chronology or cause and effect, but by similar emotional or psychological resonance or other things they have in common.”
She cites as an example Tim O’Brien’s The Things They Carried, where the author tells the Vietnam soldiers’ stories by cataloguing the various items the narrator’s fellow soldiers brought on their missions, including not only objects such as matches, morphine, M-16 rifles, and M&Ms, but the intangible items, including guilt and fear.
That said, I’ve already got some possibilities for David. I’ve been inside his head for the last month, and I know how he interprets the adult world. I’ll stay true to David’s perceptions and just let the reader explore them, all the while leaving the reader (fingers crossed), with the sick feeling of what could have--and just nearly--happened.
Sunday, January 10, 2010
My Search for a Literary Agent
By Bonnie Stanard
Thank goodness for the internet! It makes my search more focused and less time consuming. Even at that, I spend a lot of time with Google and Yahoo. The site that I have found and use most often is http://www.querytracker.net. Agents and publishers I’ve met at the SCWW’s annual conferences have made encouraging comments about my work, but after several years, their words are beginning to echo as if empty.
In surfing the internet, I’ve arrived at several priorities regarding agents. Generally speaking, I look for agents with offices in New York City where the major publishing houses are located. Although computers make communication easy, even for agents in far-flung locations, it’s hard to underestimate the value of personal relationships in business dealings.
The most helpful web sites list the genres that interest the agents. Since the manuscript I’ve just finished is an antebellum novel, I look for agents interested in historical fiction. One of querytracker’s features is that it allows you to search by genre. Some agents list so many genres that it’s obvious their interest isn’t focused, making is likely that their expertise isn’t either.
Based on the agents’ lists of preferred genres, you can figure out what is selling. Nonfiction beats fiction hands down. And within fiction, the hot genres are fantasy and paranormal. The order in which preferences are listed is important. If the list begins with nonfiction or if it includes many nonfiction genres and few fiction genres, I infer that the agent has a nonfiction bias which may play to my disadvantage.
A new agency or a recently added agent catches my eye, for they are more likely to actively seek clients. However, this is a double-edged sword when applied to an individual. It could also mean you’re querying an inexperienced agent (and as many a blog will verify, a bad agent is worse than no agent).
If an agent doesn’t list any clients, it’s not a good sign. On the other hand, if the list is long or includes somebody like Annie Proulx, you can bet that the agent doesn’t need/want a novice writer. The same rationale applies to recent sales. If there aren’t any listed or if there are too many, the agent is either unsuccessful or too successful to be a good fit.
One of the things I like about http://www.querytracker.net is that it charts the agent’s responses to queries, including the percent rejections, partial requests, and full requests. Most agents will request manuscripts (partial and/or full) from one or two percent of the queries. If that percentage jumps to 10 percent, I become wildly optimistic about my chances and send my best query letter.
I’ve discovered that the trend is toward email queries. Many agents will no longer accept snail mail. I’m also discovering that agents often don’t send rejections. Instead, they simply don’t respond.
Several other websites that I use on a regular basis are (If a link is not active, copy and paste it into your address bar.): http://www.guidetoliteraryagents.com/blog/CategoryView,category,Agency%20Profile.aspx
http://www.1000literaryagents.com/index.php
http://www.invirtuo.cc/prededitors/pubagent.htm
Thank goodness for the internet! It makes my search more focused and less time consuming. Even at that, I spend a lot of time with Google and Yahoo. The site that I have found and use most often is http://www.querytracker.net. Agents and publishers I’ve met at the SCWW’s annual conferences have made encouraging comments about my work, but after several years, their words are beginning to echo as if empty.
In surfing the internet, I’ve arrived at several priorities regarding agents. Generally speaking, I look for agents with offices in New York City where the major publishing houses are located. Although computers make communication easy, even for agents in far-flung locations, it’s hard to underestimate the value of personal relationships in business dealings.
The most helpful web sites list the genres that interest the agents. Since the manuscript I’ve just finished is an antebellum novel, I look for agents interested in historical fiction. One of querytracker’s features is that it allows you to search by genre. Some agents list so many genres that it’s obvious their interest isn’t focused, making is likely that their expertise isn’t either.
Based on the agents’ lists of preferred genres, you can figure out what is selling. Nonfiction beats fiction hands down. And within fiction, the hot genres are fantasy and paranormal. The order in which preferences are listed is important. If the list begins with nonfiction or if it includes many nonfiction genres and few fiction genres, I infer that the agent has a nonfiction bias which may play to my disadvantage.
A new agency or a recently added agent catches my eye, for they are more likely to actively seek clients. However, this is a double-edged sword when applied to an individual. It could also mean you’re querying an inexperienced agent (and as many a blog will verify, a bad agent is worse than no agent).
If an agent doesn’t list any clients, it’s not a good sign. On the other hand, if the list is long or includes somebody like Annie Proulx, you can bet that the agent doesn’t need/want a novice writer. The same rationale applies to recent sales. If there aren’t any listed or if there are too many, the agent is either unsuccessful or too successful to be a good fit.
One of the things I like about http://www.querytracker.net is that it charts the agent’s responses to queries, including the percent rejections, partial requests, and full requests. Most agents will request manuscripts (partial and/or full) from one or two percent of the queries. If that percentage jumps to 10 percent, I become wildly optimistic about my chances and send my best query letter.
I’ve discovered that the trend is toward email queries. Many agents will no longer accept snail mail. I’m also discovering that agents often don’t send rejections. Instead, they simply don’t respond.
Several other websites that I use on a regular basis are (If a link is not active, copy and paste it into your address bar.): http://www.guidetoliteraryagents.com/blog/CategoryView,category,Agency%20Profile.aspx
http://www.1000literaryagents.com/index.php
http://www.invirtuo.cc/prededitors/pubagent.htm
Sunday, January 3, 2010
Happy New Year!
By Celinda Barefield
So, here it is, New Year's Eve. I’m sitting here thinking about the year to come and everything that happened in 2009. At the same time I’m remembering something that was broadcast about tonight being a blue moon night. The song, “Blue Moon,” is stuck in my head. Well, of all things, it’s not that bad for New Year’s.
A blue moon only happens about every two-and-a-half years. Wow. Imagine how many New Year’s resolutions were accomplished and abandoned between this blue moon and the last.
What did you accomplish? Have you written that book yet? I know I didn’t. I wish I could say that I had, that the novel is complete and on its way to a publisher near you. Unfortunately it isn’t. It’s still sitting in my mind gathering dust, waiting to be told.
That’s my story. What about you? I challenge you in this new year to look at all your unfinished projects and those you did complete and then reflect on what is important. Set your New Year’s resolution. Even if you don’t totally follow through, what you do get done could be amazing. As a new blue moon rises, so will the feelings of accomplishment in knowing you’ve completed a number of goals.
Happy New Year! May 2010 hold something special for you and yours.
So, here it is, New Year's Eve. I’m sitting here thinking about the year to come and everything that happened in 2009. At the same time I’m remembering something that was broadcast about tonight being a blue moon night. The song, “Blue Moon,” is stuck in my head. Well, of all things, it’s not that bad for New Year’s.
A blue moon only happens about every two-and-a-half years. Wow. Imagine how many New Year’s resolutions were accomplished and abandoned between this blue moon and the last.
What did you accomplish? Have you written that book yet? I know I didn’t. I wish I could say that I had, that the novel is complete and on its way to a publisher near you. Unfortunately it isn’t. It’s still sitting in my mind gathering dust, waiting to be told.
That’s my story. What about you? I challenge you in this new year to look at all your unfinished projects and those you did complete and then reflect on what is important. Set your New Year’s resolution. Even if you don’t totally follow through, what you do get done could be amazing. As a new blue moon rises, so will the feelings of accomplishment in knowing you’ve completed a number of goals.
Happy New Year! May 2010 hold something special for you and yours.
Sunday, December 27, 2009
Less Than Sublime is an Almost Rhyme
By David Sennema
Call me crazy, eccentric, or an old fuddy-duddy if you want, but I've
got a problem with people who write verse or ads or songs that purport to rhyme but don't. I call them "almost rhymes" but nearly, faulty, flawed, defective, deficient or not quite, would do just as well.
Just listen closely the next time you hear someone singing a song
written in the last ten or twenty years and you'll see what I mean. Those turkeys are trying to pass off as rhyming all kinds of words that vaguely sound like each other. They contend, for instance, that comin' rhymes with gunnin', Atlanta with banana, hurt with work, cats with that, chill with build, and on and on.
Mr. Webster, who presumably still has some credibility as an expert in
the matter, tells us that a rhyme is "a piece of verse, or poem, in which
there is a regular recurrence of corresponding sounds, esp. at the ends of lines." I am here to declare that "th" and "st" are not corresponding sounds.
Of course there are those who fudge the rhyming by indulging in a practice, represented by the horrible word, “assonance,” which is defined as “a partial rhyme in which the stressed vowel sounds are alike but the consonant sounds are unlike, as in late and make." Partial rhyme indeed!
Woe is me, what a legacy we're losing. Think of some of the great
lyricists of the past and what they were able to do with words. Do you
remember the Gershwins and their wonderful, lovely, rhyming words?
Or Cole Porter?
And then there was the poet Ogden Nash who won me over with this
little two-liner:
The limerick is often looked down upon as the red-headed stepchild of
verse, but the writers, often anonymous, knew how to rhyme not only the first, second, and fifth lines with each other, but also the third line with the fourth.
Here's another example of rhyming-with-a-smile by Ogden Nash.
Do me this little favor. If you're planning on doing some writing,
and that writing requires rhyming, let me urge you to stop by your local
bookstore and pick up a rhyming dictionary. It will make you a better person and save me a lot of grief.
Call me crazy, eccentric, or an old fuddy-duddy if you want, but I've
got a problem with people who write verse or ads or songs that purport to rhyme but don't. I call them "almost rhymes" but nearly, faulty, flawed, defective, deficient or not quite, would do just as well.
Just listen closely the next time you hear someone singing a song
written in the last ten or twenty years and you'll see what I mean. Those turkeys are trying to pass off as rhyming all kinds of words that vaguely sound like each other. They contend, for instance, that comin' rhymes with gunnin', Atlanta with banana, hurt with work, cats with that, chill with build, and on and on.
Mr. Webster, who presumably still has some credibility as an expert in
the matter, tells us that a rhyme is "a piece of verse, or poem, in which
there is a regular recurrence of corresponding sounds, esp. at the ends of lines." I am here to declare that "th" and "st" are not corresponding sounds.
Of course there are those who fudge the rhyming by indulging in a practice, represented by the horrible word, “assonance,” which is defined as “a partial rhyme in which the stressed vowel sounds are alike but the consonant sounds are unlike, as in late and make." Partial rhyme indeed!
Woe is me, what a legacy we're losing. Think of some of the great
lyricists of the past and what they were able to do with words. Do you
remember the Gershwins and their wonderful, lovely, rhyming words?
Embrace me, my sweet embraceable you,
Embrace me, you irreplaceable you.
Or Cole Porter?
You're the top! You're the Colosseum,
You're the top! You're the Louvre Museum.
And then there was the poet Ogden Nash who won me over with this
little two-liner:
Candy is dandy,
But liquor is quicker.
The limerick is often looked down upon as the red-headed stepchild of
verse, but the writers, often anonymous, knew how to rhyme not only the first, second, and fifth lines with each other, but also the third line with the fourth.
A collegiate damsel named Breeze,
Weighed down by B.A.'s and Litt. D.'s,
Collapsed from the strain.
Alas, it was plain
She was killing herself by degrees.
Here's another example of rhyming-with-a-smile by Ogden Nash.
THE TERMITE
Some primal termite knocked on wood
And tasted it, and found it good,
And that is why your cousin May
Fell through the parlor floor today.
Do me this little favor. If you're planning on doing some writing,
and that writing requires rhyming, let me urge you to stop by your local
bookstore and pick up a rhyming dictionary. It will make you a better person and save me a lot of grief.
Sunday, December 20, 2009
When Inspiration Fades to Intimidation
By Beth Cotten
Many years ago when I was in high school, I wrote a poem that was chosen to be published in an annual review of high school students throughout the city. The submissions varied and included poetry, essays, short stories, and other types of short literary works. The review itself was small and though I can’t recall with certainty, it seems there were less than fifty submissions that made it into the booklet. I believe the name of the booklet was "The Quill." All students whose work was selected were invited by the sponsoring association to an evening event to honor the participants and winners. We were asked to dress for the occasion, which translated into clothes you would wear to church. I was excited and proud to be included.
My English teacher had encouraged the students in my class to submit something. My poem was about a fawn, standing in a forest, alone on a misty morning. I can’t find a copy of the poem and can’t even recall the title of the poem, much less the poem itself. I do recall it rhymed and had about four stanzas. I kept it for many years in my hope chest with other "important" papers; one of which was the Certificate of Award for my poem.
Since I became of member of SCWW, I have thought occasionally of that poem. I have even put together random thoughts about "poetic" issues I might choose to write about. But after trying to put these ideas into a written format, and reflecting on some of the poetry which our members have written and read to us during our workshops, I feel a sense of hopelessness to even begin to tackle such an effort. We have some TERRIFIC poets in our midst! Look at those who have had their poetry published! Their writings are beautiful and sensitive and inspirational. As I listen to these works, my enthusiasm fades to hesitation and my inspiration to intimidation.
Many years ago when I was in high school, I wrote a poem that was chosen to be published in an annual review of high school students throughout the city. The submissions varied and included poetry, essays, short stories, and other types of short literary works. The review itself was small and though I can’t recall with certainty, it seems there were less than fifty submissions that made it into the booklet. I believe the name of the booklet was "The Quill." All students whose work was selected were invited by the sponsoring association to an evening event to honor the participants and winners. We were asked to dress for the occasion, which translated into clothes you would wear to church. I was excited and proud to be included.
My English teacher had encouraged the students in my class to submit something. My poem was about a fawn, standing in a forest, alone on a misty morning. I can’t find a copy of the poem and can’t even recall the title of the poem, much less the poem itself. I do recall it rhymed and had about four stanzas. I kept it for many years in my hope chest with other "important" papers; one of which was the Certificate of Award for my poem.
Since I became of member of SCWW, I have thought occasionally of that poem. I have even put together random thoughts about "poetic" issues I might choose to write about. But after trying to put these ideas into a written format, and reflecting on some of the poetry which our members have written and read to us during our workshops, I feel a sense of hopelessness to even begin to tackle such an effort. We have some TERRIFIC poets in our midst! Look at those who have had their poetry published! Their writings are beautiful and sensitive and inspirational. As I listen to these works, my enthusiasm fades to hesitation and my inspiration to intimidation.
Sunday, December 13, 2009
The Latest Addition
Meet A New Writer
KIMBERLY JOHNSON
Kimberly Johnson, a former journalist, has written for newspapers with articles focusing on health care, and education. Currently, Kimberly pens book reviews and gardening articles for a local magazine. Kimberly’s writing background includes stints as a technical writer for a software company, marketing assistant for a nonprofit agency and food columnist for a weekly newspaper.
In the education field, Kimberly taught business courses, computer classes and career development seminars at a job training center. She helped adult learners answer the age-old question “How Do I Get a Job?” through career counseling. Kimberly is a past member of Toastmasters where she held leadership positions.
Future Goal: To create a writing lab to educate the community on basic writing skills
Theme songs: "Back In Black" by ACDC; "Ain’t Gonna Stop" by James Otto
Favorite Authors: Jonathan Kellerman, Lolita Files, Elmore Leonard, Stephen J. Cannell, Janet Evanovich, Kwei Quartey
Kimberly's first posting follows.
Finding Your Audience
By Kimberly Johnson
"Heck, I can’t find them. Am I doing something wrong?”
Finding an audience for your creative composition or your nonfiction narrative can be irritating. It’s like searching for matching socks in the laundry basket. At times, the writer avoids the chore of sorting through his basket and matching up the right reader with the right content.
So, the writer grabs the nearest socks and ties them together by musing, “My book is for the science fiction crowd.” “They understand my work.” “I don’t have to explain it.”
That’s a pretty large crowd. How do you appeal to all the science fiction readers…or match up the right socks.
Try these three steps:
Step 1: Ask the important questions.
• Who is your audience?
• What do you want them to know, believe, or feel after they read it?
• When and where will they read it?
• Why will they read it?
• What does your audience believe?
• How do you establish rapport with the audience?
Knowing your audience allows the writing process to become easier, according to the University of North Carolina, Chapel Hill’s Education Center. This simplifies the decision when it comes to tone, setting, character development and dialogue. If you select a target audience, the reader can relate or even enjoy the different perspective. Keep in mind, if you do not have a target audience, you may miss your intention or message. Your reader will not have a stake or a “buy in.” Think about it….if the editor doesn’t get it; will the buying public get it?
Take note: Melissa Donovan of Writing Forward adds that agents and publishers depend on a well-defined audience. “Publication is the point where your art shifts into business mode. It’s the stage when you say, ‘I want to do this for a living and make money doing it.’ That means you’re going to have to sell and anytime you’re selling anything, you need to know to whom you’re selling it.”
Step 2: Don’t assume the reader understands your material.
The introduction is the place to cultivate your relationship with the reader. The introduction provides you a chance to introduce the reader to your style. The reader feels secure that you are being “up front” with him. He becomes familiar with your style, quirks and all. The reader can decide whether he or she wants to forge the relationship or…move on to another writer.
Step 3: Identify your target audience.
According to Karl Wallace at Hunter College’s Reading and Writing Center, the writer should create a profile list or database outlining the targeted reader. For example, ask yourself: What type of education, economic, or social background does your reader need to understand your text? Is your book focusing on senior citizens? How do you plan to keep loyalty if you have written other books?
"Heck, I can’t find them. Am I doing something wrong?”
Finding an audience for your creative composition or your nonfiction narrative can be irritating. It’s like searching for matching socks in the laundry basket. At times, the writer avoids the chore of sorting through his basket and matching up the right reader with the right content.
So, the writer grabs the nearest socks and ties them together by musing, “My book is for the science fiction crowd.” “They understand my work.” “I don’t have to explain it.”
That’s a pretty large crowd. How do you appeal to all the science fiction readers…or match up the right socks.
Try these three steps:
Step 1: Ask the important questions.
• Who is your audience?
• What do you want them to know, believe, or feel after they read it?
• When and where will they read it?
• Why will they read it?
• What does your audience believe?
• How do you establish rapport with the audience?
Knowing your audience allows the writing process to become easier, according to the University of North Carolina, Chapel Hill’s Education Center. This simplifies the decision when it comes to tone, setting, character development and dialogue. If you select a target audience, the reader can relate or even enjoy the different perspective. Keep in mind, if you do not have a target audience, you may miss your intention or message. Your reader will not have a stake or a “buy in.” Think about it….if the editor doesn’t get it; will the buying public get it?
Take note: Melissa Donovan of Writing Forward adds that agents and publishers depend on a well-defined audience. “Publication is the point where your art shifts into business mode. It’s the stage when you say, ‘I want to do this for a living and make money doing it.’ That means you’re going to have to sell and anytime you’re selling anything, you need to know to whom you’re selling it.”
Step 2: Don’t assume the reader understands your material.
The introduction is the place to cultivate your relationship with the reader. The introduction provides you a chance to introduce the reader to your style. The reader feels secure that you are being “up front” with him. He becomes familiar with your style, quirks and all. The reader can decide whether he or she wants to forge the relationship or…move on to another writer.
Step 3: Identify your target audience.
According to Karl Wallace at Hunter College’s Reading and Writing Center, the writer should create a profile list or database outlining the targeted reader. For example, ask yourself: What type of education, economic, or social background does your reader need to understand your text? Is your book focusing on senior citizens? How do you plan to keep loyalty if you have written other books?
Sunday, December 6, 2009
The Latest Addition
Meet a New Writer
MAYOWA ATTE
I have always written bad poetry, reams of it. Lucky for us all, I discovered the joys and frequent frustrations of writing prose two-and-a-half years ago. Since then, I have been working on my first, and still untitled, novel. It is about the relationship between an expatriate returning to her homeland; a denizen who is trying to flee that same land; and the land itself. Conveniently this land is my homeland, Nigeria.
My other addictions include the Los Angeles Lakers and exotic cars.
When I am not a tights-wearing-metaphor-wielding-writing superhero, I am a senior consultant on a large software project in Columbia.
Mayo's first posting follows.
Sacrifice and Robotics
By Mayowa Atte
You have a story, a dollop of your inner pudding that you have decided to share with the world. You have outlines, notes, character bios, plot sketches and countless late night/early morning/during showers/during meals/during anything ponderings. More importantly, you have words -- a line or ten thousand of blessed prose that you are sure will destroy the reader’s world and make it anew. There is only one problem; you can’t seem to write enough, can’t make significant progress, can’t finish.
Why is it so hard to finish? Two dragons guard the road to writing productivity; the first is a lack of time to write. With day jobs, night jobs, families, friends, church, lovers and pets it’s a miracle that anyone ever finishes a draft. The other is the writer’s mental attitude; there is enough time to write but you don’t feel like writing. Maybe you are like me and your writing productivity mirrors your love life, or you want to spend your one free hour watching the Lakers. The truth is that there will always be something else, someone else, and someplace else that needs or demands your attention.
How do you finish then? How do you reach the half-naked pleasure of that last page? The answer lies in Sacrifice and Robotics. To slay the first dragon, you take one of the many other things that require or demand your attention and you sacrifice it. You wake up an hour earlier every day or stay in instead of going out with friends. You sacrifice a favorite TV show or order takeout instead of making dinner. Maybe you tell your boss that you absolutely have to reduce your overtime (please proceed along this path with caution).
To slay the second dragon, you find your best writing atmosphere (place, time, noise level, etc.) and you write in that atmosphere on an unbreakable schedule (using time carved out with your sacrifices). The goal is to make writing robotic, more than a habit, but an automatic, ingrained activity that you perform whether or not you are in the creative mood, regardless of the state of your love life, or how happy, restless, horny, sad, bored…anyhow you feel. Sacrifice and Robotics.
Why will you sacrifice the things and people that are dear to you? Why will you turn the writing you do for pleasure into another must-do task? The answer lies in another question, why are you writing? Why must you tell this story? Do you need to right a social wrong? Do you want your bodice ripper to be a national guilty pleasure? Do you want additional income or a cadre of adoring female MFA students? Whatever your reason, it has to be strong enough to make these sacrifices worthwhile.
It is impossible to make all these sacrifices or adopt every good writing habit but one or two is doable and will bring immense benefits. On most days in August, I left work on time, went straight to the same coffee shop and wrote for a few hours before going home. That month, I went way over my food budget, gained seven pounds (lost my gym time), frustrated my boss and alienated a few friends and romantic interests.
I wrote more in those 31 days than I had in the previous eight months.
You have a story, a dollop of your inner pudding that you have decided to share with the world. You have outlines, notes, character bios, plot sketches and countless late night/early morning/during showers/during meals/during anything ponderings. More importantly, you have words -- a line or ten thousand of blessed prose that you are sure will destroy the reader’s world and make it anew. There is only one problem; you can’t seem to write enough, can’t make significant progress, can’t finish.
Why is it so hard to finish? Two dragons guard the road to writing productivity; the first is a lack of time to write. With day jobs, night jobs, families, friends, church, lovers and pets it’s a miracle that anyone ever finishes a draft. The other is the writer’s mental attitude; there is enough time to write but you don’t feel like writing. Maybe you are like me and your writing productivity mirrors your love life, or you want to spend your one free hour watching the Lakers. The truth is that there will always be something else, someone else, and someplace else that needs or demands your attention.
How do you finish then? How do you reach the half-naked pleasure of that last page? The answer lies in Sacrifice and Robotics. To slay the first dragon, you take one of the many other things that require or demand your attention and you sacrifice it. You wake up an hour earlier every day or stay in instead of going out with friends. You sacrifice a favorite TV show or order takeout instead of making dinner. Maybe you tell your boss that you absolutely have to reduce your overtime (please proceed along this path with caution).
To slay the second dragon, you find your best writing atmosphere (place, time, noise level, etc.) and you write in that atmosphere on an unbreakable schedule (using time carved out with your sacrifices). The goal is to make writing robotic, more than a habit, but an automatic, ingrained activity that you perform whether or not you are in the creative mood, regardless of the state of your love life, or how happy, restless, horny, sad, bored…anyhow you feel. Sacrifice and Robotics.
Why will you sacrifice the things and people that are dear to you? Why will you turn the writing you do for pleasure into another must-do task? The answer lies in another question, why are you writing? Why must you tell this story? Do you need to right a social wrong? Do you want your bodice ripper to be a national guilty pleasure? Do you want additional income or a cadre of adoring female MFA students? Whatever your reason, it has to be strong enough to make these sacrifices worthwhile.
It is impossible to make all these sacrifices or adopt every good writing habit but one or two is doable and will bring immense benefits. On most days in August, I left work on time, went straight to the same coffee shop and wrote for a few hours before going home. That month, I went way over my food budget, gained seven pounds (lost my gym time), frustrated my boss and alienated a few friends and romantic interests.
I wrote more in those 31 days than I had in the previous eight months.
Sunday, November 29, 2009
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.
Sunday, November 22, 2009
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!
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!
Sunday, November 15, 2009
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.
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.
Sunday, November 8, 2009
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?
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?
Sunday, November 1, 2009
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.
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.
Sunday, October 25, 2009
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!
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!
Sunday, October 18, 2009
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.
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.
Sunday, October 11, 2009
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:
-- “Fossil,” from The Wet Collection, Joni Tevis
-- “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.
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.
Sunday, October 4, 2009
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!
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!
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