An Upside-Down POV

By Kim Byer

Betty Edwards, author of Drawing on the Right Side of the Brain, teaches her art students to turn photographs upside down in order to trick the mind’s eye while they’re drawing a portrait. Seeing an upside-down nose and philtrum allows the right side of the brain to accurately capture shadows and lines without the pesky left hemisphere insisting a nose is made up of two vertical lines with two dark circles along its bottom edge.

When I create a logo, illustrate a cartoon character or layout a Web page, I flip my designs upside-down to note spatial gaps, channels of white space and linear slants that I wouldn’t otherwise have noticed. This process is similar to editing. Of course in writing, turning pages or storylines upside down is a conceptual technique, not a physical act.  

In Naomi Epel’s The Observation Deck, she suggests flipping over ideas, plots, or character traits—in fact, seeking any opposite in your literal writing practice or story that allows you to write with a different perspective. Write on a computer? Write by hand for a day. Does your heroine always do the right thing? Have her screw her life up in a single, imploding paragraph. If you’re writing a non-fiction piece with point of view, give the opposite viewpoint. Or, put your outline in reverse: Start with the baby and end prior to the pregnancy.

Perspective-shifting devices work well for single creative sessions. In the next day’s session, when you’re back in the groove of your original storyline, you’ll find your right-side-up point of view refreshed and your focus renewed.

No Sweet Child of Mine…Gunning for the Rose in Cleveland

By Kimberly Johnson 

Axl Rose…grow up, man. For those who don’t know, Axl Rose refused to be a part of the Rock and Roll Hall of Fame’s induction for Guns N’ Roses. Axl ranted and vowed not to show up for the festivities. And he didn’t. And he later apologized.

 It’s well-documented that bad blood runs through the veins of Axl and the boys: Professional jealousies. Back-stabbing. Money. Women. The usual stuff. Full disclosure -- I grew up jamming to the LA rockers belt out monster hits like Paradise City and November Rain. I had to read this letter. I went online and found it on the LA Times newspaper’s music blog. My goal was to just read it but, I found myself reviewing it using the techniques I learned from the SCWW critique sessions, Toastmasters and from my experiences as a newspaper reporter. Here are some observations:


Observation 1: Never lose the reader. 

Drawing on my reporter’s instincts, the first sentence should provide enough information to entice the reader to move beyond that sentence. Plus, I like shorter sentences. Axl, man, you lost me.

When the nominations for the Rock And Roll Hall Of Fame were first announced I had mixed emotions but, in an effort to be positive, wanting to make the most of things for the fans and with their enthusiasm, I was honored, excited and hoped that somehow this would be a good thing. Of course I realized as things stood, if Guns N' Roses were to be inducted it'd be somewhat of a complicated or awkward situation.

Observation 2: Get to the point. 

It was four paragraphs into the missive before the disgruntled front man announced:

That said, I won't be attending The Rock And Roll Hall Of Fame Induction 2012 Ceremony and I respectfully decline my induction as a member of Guns N' Roses to the Rock And Roll Hall Of Fame.

In Toastmasters, a writer needs to state the main point early in the text so the reader can gain an understanding. Axl, this should have been the introduction.


Observation 3: Think before you hit 'Send.' 

Welcome to the Jungle. Axl was PO’d at Slash, Steven and Izzy. Sure, there were coded references:

So let sleeping dogs lie or lying dogs sleep or whatever. Time to move on. People get divorced. Life doesn't owe you your own personal happy ending especially at another's, or in this case, several others' expense.

Axl, everybody knows, once you put it in print, you can’t take it back.


Observation 4: Refrain from using “In closing.” 

After airing his grievances, the rocker ends it by using the overrated phrase. Try Toastmasters, Axl. The public speaking organization provides tips on implementing other words to close out a letter.

"In closing," Axl, try some Patience before you craft an open letter to your fans. Or better yet Try a Little Tenderness. It goes a long way.

Source: http://latimesblogs.latimes.com/music_blog/2012/04/axl-rose-pens-open-letter-to-rock-hall-will-not-attend-asks-to-not-be-inducted.html

Publish with an E-Zine

By Bonnie Stanard

If you’re writing short stories and poetry and getting wholesale rejections, you can take only so much comfort in knowing that many good writers had to get their start without the help of traditional publishers—James Joyce, Zane Grey, and Ezra Pound, to name a few. Unable to interest publishers, they set about printing their own work and were eventually picked up by traditional publishers.

If your objective is to be published and you’ve hit a dead-end by submitting to literary journals, what are your options? Assuming you have enough for a book, i.e. as many as 45 poems or 60,000 words (prose), you might go to Createspace or Xilibris or another POD publisher and bring out a collection of your work. However, what if you only have a couple of 2,000 word stories? Or a handful of poems?

Self publishing is still possible, as long as you opt for a different format. What I’m suggesting is that you start your own e-zine, no easy task, but do-able if you have the heart, determination, and time to devote to the project.

There’s an incredible slew of online journals, with new ones emerging continuously. Surf the web and take a look. Some e-zines provide no masthead and don’t name the editor or staff. More often than not, the only address and/or contact is email. You don’t even need a post office box to go in business. Take a look at some of the online publications at http://andromeda.rutgers.edu/~lcrew/pbonline.html.

Your journal will have more credibility if you publish the work of other writers along with your own. But of course you may use pseudonyms and nobody will be the wiser. One advantage of collaborating with writer friends is to dilute the cost and the work load. A writers’ group, such as the South Carolina Writers' Workshop, presents a potential pool to draw upon.

The cost for a web host may be as low as $5 to $10 a month, but there are other expenses, such as a domain name (+/-$35). If you don’t feel confident designing a web page, free software is available, such as KompoZer or Mozilla Composer, or you may step-up and pay for Dreamweaver (+/-$400) or NetObjects Fusion, and there are others.

As for getting a website started for your e-zine, here are several places with helpful information:
www.thesitewizard.com/gettingstarted/startwebsite.shtml
www.wizardofthewebsites.com
www.siteforstarters.com/starting-your-own-website-tutorial

You may want to read online reviews of web hosting services. Be aware that many of these reviewers are compensated by the companies they rank. The following two websites appear to take no such compensation:
www.webhostingreviews.com
www.webhostingjungle.com

The possibility exists to publish your short stories and poetry for much less expense than did Joyce, Grey, or Pound, but this doesn’t mean the work load is lighter.

Tips on Merchandising Your Writing

By Fred Fields

Experience is the best teacher. It doesn't have to be your own, and anybody's experience can qualify. That's why we study history. If we can find out how a particular problem was solved in 1350, AD, we may be able to solve the same problem the same way in 2012, AD.

The first important lesson I learned about writing and being able to sell what I wrote was that "how to" books sell a lot better than fiction. Anyone can write how to and sell it. But few ever become Louis L'Amour or Agatha Christie. I learned this at the SC Book Festival, the same day and the same place I learned about SCWW.

So I put aside my great American novel and wrote a book about how to play golf.

Being totally unknown, and having to compete with famous golf pros and authors, I really had no hope of finding a traditional publisher who would print and merchandise my book. So I took it to Kinko's for an estimate on the price of printing. It was about $6.00 a book, actually more reasonable than I expected.

My son-in-law recommended that I contact Amazon. They have a printing subsidiary called CreateSpace, which has a three page pamphlet online describing their service. It looked interesting, so I contacted them, liked their program even better as I got to know it, and subscribed to their service.

This is not a commercial for Createspace. Being a total ADD Type, I stopped looking when I found them. But there are several others who provide the same service, probably as well, maybe better. I just picked the first good deal I found.

I was able to have my book published and on the market within two weeks of completion. I set the price. I was a published author. I was very happy with the result.

Next problem, how to market the book.

Back to the SC Book Festival, where there was a seminar on merchandising. I spoke to the lady who gave the seminar, Shari Stauch, and later bought her internet marketing course. She taught me that there are sites on the internet that put people with inventory (my books) together with people who sell online and are looking for inventory. Her price was reasonable. I bought her service, used her advice, and this month, my royalties are triple her fee. I’m sure there are others who provide the same information, but she was the one I chose. (Still having ADD, I took the first choice.) And I hit it lucky again.

In closing, I am a very satisfied customer of self-publishing and internet marketing. My book is selling. You can find me at Amazon.com and on Google. In my own little way, I am a successful, published author. (Even a little bit famous.)

Boxing Dreams

By Laura P. Valtorta

The filming of the boxing documentary is indescribable. It’s living one of my dreams. I can’t sleep very well because I’m always planning the next step.

Aside from SCWW workshops, creative writing is solipsistic. I write by myself, counting on an unseen audience to catch my messages. But does the audience even exist?

With filming, I’m using questions and answers, faces, clothing, hairstyles, sound, lighting, action, and background to communicate ideas. I must collaborate with the director and production crew. Also the boxers.

Collaboration in art is something completely new to me. I look at the production crew and think that I’m depending on them, but I also have to convince them. This project, for me, is brilliant and important, but what will the other producers think? What about Milo (not his real name)?

Milo sat in on the first production meeting. I could tell he was skeptical. Whereas Cliff, the director, and I talked up the project, Milo sat at the table silently for thirty minutes, taking notes, with a frown on his face.

“He’s thinking like a producer,” Cliff told me later. “All he hears is that we start shooting on Tuesday.”

Among us, Milo was the only one who had boxing experience.

The filming started out smoothly. We interviewed boxers and their families at the gym. The background was noisy, but that’s what Cliff wanted. I felt excited about it. I could tell Milo was still skeptical. The sound would need some heavy engineering.

“Our emphasis might be on the next big boxer that comes out of here,” Cliff said.

“Our emphasis should be on Mr. Stanick,” I said. “He’s the heart of this gym.”

On the second day of shooting, Mr. Stanick’s interview came third, after a young boxer and a promoter. The boxer was good looking but young. The promoter was nervous. Both made some useful statements and revealed a good bit about the boxing industry.

Finally, Mr. Stanick sat in the chair. I had a million questions for him, but I managed to pick the important ones. Mr. Stanick described his own 50-year history as a boxer/ trainer/ manager/ gym owner, his passion for the sport, and his devastation when one of his boxers got hurt. The crew listened and posed additional questions.

At the end, Cliff said, “Mr. Stanick, we’ll be taping several more sessions with you.”

Milo had a smile on his face. He said, “Now THAT was a good interview.”

Put Some Drama in your Writing

By Chris Mathews

As a drama teacher and part-time playwright for thirty-two years, I believe dramatic concepts can be applied to other genres. You can put more drama in your writing by understanding dramatic writing.

The Greek word for drama, translated, means to do. In good drama, action grabs the viewer’s attention, for, at the least, all good writing is interesting.

So what is dramatic action and how can it be applied to other types of writing? First, consider what action in theater is not. Dramatic action is not to be confused with action-packed, the sometimes mindless, extravagant thrills of the movies. Dramatic action has purpose. Characters want something, usually from another character.

A director, in analyzing a script, must analyze all of the characters. Director’s define the action of the play, as well as help each actor find what his or her character wants in the play. Actors choose the most active, transitive verb they can find. For example, Cyrano in Cyrano de Bergerac doesn’t just feel unrequited love, he wants to ravish Roxanne with his poetry (Roxanne is the object of Cyrano’s affections). If a character is not fully realized in your writing, try filling in this statement for him or her:

He/she wants + to + strong, transitive verb + object.
Cyrano wants + to + ravish+ Roxanne

Actors and directors look for strong actions because actions are playable; feelings are not. Even in short scenes of dialogue, check to see that each character has a strong, clear action. Actors are often told: you cannot play a quality, avoid the verb to be, acting is doing not being.

Show the character’s driving force through what they do, not just what they say, and the writing will engage the reader. If your writing lacks punch, it probably lacks dramatic action. If your story line is faltering, it may be because your characters are not committed to strong action. Make sure your character is doing and not just being or feeling.

In an even broader sense, conflict drives drama. If there are no opposing forces, there is probably not much drama. If your writing lacks punch, make sure there are forces pushing against each other. In theatre jargon, create obstacles, people or forces that thwart a character from getting what he or she wants.

Shakespeare mastered dramatic action. See how Iago plants the seeds for Othello’s destruction, tricking him with reverse psychology into believing his wife is unfaithful in the following passage:

Cassio, my lord! No, sure, I cannot think it,
That he would steal away so guilty-like, Seeing you coming.

Sometimes, writing can be drama-less because the stakes are too low. A teacher teaching a class could be quite boring, but a teacher teaching students who cannot learn because their home lives are in shatters has the seeds for drama (Freedom Writers). Make sure conflict thrives. To summarize, make sure your characters are doing not just saying, and that conflict drives your work.

The Time, the Space, the Noise and the Grace

By Kim Byer

I’ve spent most of my weekend changing a closet filled with turtlenecks and boots into one filled with tunics and sandals. This is my rite of spring: turning my clothes palette from black, gray, navy and brown to white, pink, tan and turquoise. And as I fold one last coat into a lumpy square and place it in the cedar chest, I complete my ceremony.

My chores are over. It’s time to write.

“Not so fast,” says my inner voice. “You need space!”

And so I clear my writing desk. I throw away torn tickets; I stack magazine clippings; I roll strands of used Christmas ribbon into small golden nests. I uncover an expanse of waxed, wooden possibility where I place my laptop. From my desk, I can see my entire backyard. The peach-plum tree is in full regalia, its giant arms waving in the wind, vivid with pink and magenta flowers. It demands my attention. After all, its parade only lasts for two weeks.

I walk outside—I know, I’ll write by hand.

I drag my chair across the lawn and my dog barks, wanting to participate in this unfamiliar game. My inner voice sinks inside the wake of a small plane flying above in the clear, afternoon sky. Lining the wires, the birds are chatty with travel gossip. Nearby, a lawn mower crawls across the new grass, moaning like a monster. My inner voice, agitated, yells, “You need quiet!”

By the grace of God or muse or some cosmic, mystic force powerful enough to quiet dogs, birds, airplanes and inner voices, I forget my excuses and settle into my writing. I scribble in cursive, my thoughts tumbling onto a blank page like Tinkertoys. I catapult sentences through the air with arrows, lines and sweeping X’s. Then, as the soft, beaming sun is slowly replaced by dancing, silver shadows, I circle several handfuls of cogent paragraphs and smile.

Werewolves, Cinnamon Bun Pirates, and Other Ghosts of My Writing Past

By Amanda Simays

My parents are moving out of the house they’ve lived in for twenty years. Which of my belongings do I discard, and which do I make them lug to their new house and store for me until God knows when? My attempts to weed out parts of my childhood bedroom over Christmas taught me a lot about my priorities. Stuffed animals, summer camp t-shirts, graduation paraphernalia? Toss without a backward glance. But my packrat tendencies kicked in when it came to really valuable stuff like old American Girl magazines, my collection of 1967 World Book encyclopedias…and anything I’ve written.

I hang onto almost all of my writing, whether it’s in a notebook or a computer file. Partly because it represents a lot of hard work, but mostly because (to use a cliché), I’m scared to throw out the baby with the bathwater. What if, buried deep in the piles of writing rubbish, there’s a character, a line of dialogue, or even a phrase I might want to use someday?

During the creation of a 150-page novel I wrote when I was about fourteen, I also ended up with an 80-page rival document of deleted scenes. Most of the writing there I can’t see using in the future at all. There is, for instance, a long, digressive subplot about a pirate who’s so obsessed with eating cinnamon buns that even his name, Nubni Mannic, is “cinnamon bun” spelled backwards…and incorrectly. But the description of a character who has “greasy hair the color of a banana bruise?" Hmmm…worth hanging onto…just in case.

Even earlier in my past, my brother approached me with a request to write him a werewolf story, and his instructions were to “make it as scary as possible.” So I did, and it was very scary. You can tell how scary this story is right from the subtle opening:

Hi! My name is Billy. I’d like to tell you something. It all began four years ago when I was eight. One day I was packing for my camping trip with my mom and dad in the mountains. My family just got a new van and station wagon.

We were done packing and we were ready to hit the road. On our way we saw some blood on the road and some dead peoples heads. We saw some signs that said “DANGER."

The story just goes downhill from there, degenerating into a thousand-word gore fest. My brother and I read the story out loud to our dad, expecting him to shiver with fright and proclaim it a masterpiece of suspense. Instead, he was completely disgusted and gave me strict instructions to delete that story and never show anybody.

But I didn’t, and years later, I’m glad I kept it. At the very least, hanging onto very bad writing gives me reassurance of how far I’ve come in the course of my writing life…or lets me have a good laugh at myself.

Thoughts on the Loss of a Friend

By Fred Fields

Standard advice to a writer is to write about what we know. A familiar event in all our lives is the death of a friend or family member. Being such a passion-filled subject, it requires special care, and sensitivity, but it also requires honesty.

Recent events in my life have caused me to examine this very special subject with more interest.

In my life, counting schools and the Army, I've lived in seven states. Three were actually "home", West Virginia, Arizona, and South Carolina, and South Carolina has been home for me and my family for the last half century.

Last week, my family suffered two losses. On Monday, February 13, my mother's best friend from West Virginia died, and on Saturday, February 18, my best friend from Arizona followed her.

It is said that absence makes the heart grow fonder. As with many old sayings, we nod and say, "There's a lot of truth in that." But, there really isn't.

Mother and I were saddened by the loss of our friends. But we were not affected as deeply as were the locals who lived close to them. We both have many happy memories shared with them, but they touched our lives so rarely in the last few years, that their influence has been reduced to nothing but those memories, not often recalled. "Out of sight, out of mind," is another, truer aphorism.

I'm surprised at how casually my life is influenced by these losses. Time was when either of them would have turned my world upside down for a week. Today it's a call to the family, a condolence note, a call to mutual friends, "Include me in on the flowers and food." I'm astonished at my insensitivity, my lack of feeling.

Actually, my sympathy for the surviving families and friends is stronger than the sense of my loss of a friend. Sooner or later, we all die. We must expect that.

As I get closer to my time, my attitude toward death becomes more one of acceptance, and less of fear.

But it's not a happy thought.

My Letter to a Television Titan

By Kimberly Johnson

Dear Regis,
I miss you, man.
I miss our morning chit chat sessions. First with Kathie Lee, then with Kelly.
I miss our trivia games and our trips to the Caribbean.
I miss our eye-rolling digs at Gelman.
I miss our witty repartee with the entertainment elite: Clooney, Paltrow, Pitt, Washington.

So, when Gelman, Art, and the rest of the gang compiled a week-long farewell, I cried a little. The tears dried when I read your memoir, How I Got This Way. With a smile, I read how famous people (Bing Crosby, Don Rickles, and Joey Bishop to name a few) and not-so-famous people (Major Rankin and Major Flake, USMC) made indelible footprints on your life. As always, I enjoyed the poignant tales about your youthful days at Notre Dame.

The best part of the book, Reeg, is all that advice. I loved the way you dropped some serious knowledge about your interaction with each person you write about. It really goes to show that you can learn something from someone as you go through this long and winding road we call—Life.

Here are some keepers from selected chapters:
Chapter 14: Recounts your admiration for Notre Dame’s Coach Leahy: “Remember, whatever or whoever inspires or moves you enough to give you goose bumps at the time is very likely to mean more than you know over time.”

Chapter 18: Describes your optimism about Kelly Ripa: “People who sparkle tend to make you sparkle, too, when they’re near.”

Chapter 19: Showcases your takeaway from being around Donald Trump: “The bigger you build your dreams, the more likely you are to take heat from detractors. Forget about the heat and just keep building.”

Chapter 3: Reveals your 'aha moment' with Steve Allen: “When other people believe in you, they believe in you for a good reason. Don’t worry about that reason—just believe right along with them.”

Chapter 22: Recollects your awestruck wonder about Yankees great, Joe DiMaggio: “Our quietest heroes, more often than you think, make the loudest impact of all.”

Chapter 24: Highlights your reflections on Steven Spielberg: “When starting out, it’s probably best to first demonstrate your prospective talent than to try talking about it—especially before that talent has had its chance to develop.”

The MFA's Place in Publishing: An Opinion

By Ginny Padgett

I’ve been perusing the November/December, 2011 issue of Poets & Writers magazine. I am astonished to find the numerous ads for MFA (Masters of Fine Arts) programs displayed here – one on nearly every page. Before reading this widely regarded resource, I was aware of one of today’s trends, namely to become published in the traditional manner, an MFA is the way to go. It made me think.

• Is academia the force behind the publishing business these days?
• MFAs are very expensive. Is that making writing an elitist’s profession with an elitist attitude?
• What literature, innovative concepts, and unique points of view might we be missing from those writers who cannot afford to go to graduate school?
• Would William Shakespeare or Charles Dickens get published today without an MFA entrée? Both were men of the people – far from academia – who dealt in the drama of every-day life.
• William Faulkner considered himself a Mississippi farmer. In fact, in a 1956 interview in The Paris Review, he said, “There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error.”
• Flannery O’ Conner was a recluse from Milledgeville, Georgia (even though her bio says Savannah).
• Does this raise other points you’d share as a comment to this blog? I’d really like to hear other thoughts. Pardon me. My egalitarian sensibilities are showing.

Once again, I suppose the debate goes back to “art is in the eye of the beholder.” Unless we’re writing for monetary gain (in which case get an MFA), the reward from our creative pursuits may be the personal satisfaction in quelling the need for self expression.

A Spark of Inspiration

By Deborah Wright Yoho

People we know spark a writer's passion. My mother has been a puzzle to me since earliest childhood. Her name was Rose.

Mom never downsized, having resisted all my cajoling to please, please deal with her three bedroom house crammed to the rafters with stuff. She was a hoarder, perhaps not interesting enough to be featured on TV, but bad enough. Since she died eight months ago, I have been dealing with her leavings. Mom, why did you do this to me?

I started with her kitchen. In the refrigerator, packed wall to wall, top to bottom, lived twelve packets of sliced cheese, all of it outdated, the oldest moldy package two years old. In a cabinet, I found nine cans of expensive Melitta coffee, six bottles of olive oil, and five jars of gourmet orange marmalade. Mom, you couldn't afford to stock up on such things!

I don't think she did. I realize only now her memory was compromised long before her last hospitalization. How many times had I helped her put away bags of groceries? How often had I struggled to find room in that fridge? Yet it had never occurred to me she had been buying duplicates of favorite items she had already stashed away.

My mother was a collector. Angels and elephants, tablecloths, costume jewelry, five different sets of Christmas dishes, knick knacks from our travels. But plastic bags, bread ties, dried up ballpoint pens, hundreds of clothes pins? She had been using an electric dryer since 1967.

In her basement, Mom saved all our Samsonite suitcases. A family of Air Force vagabonds with three kids, we had a lot of suitcases; none of them had wheels. She also kept all the curtains she ever hung in more than a dozen different homes. I won't discuss her clothes, except to mention 82 pairs of shoes.

My mother's last ten years weren't so easy. You could tell by her stuff. She saved four diabetes glucometers and three blood pressure cuffs.

I am by now expert at solid waste disposal and recycling. Half a dozen charities recognize my car when I drive up. I know which brand of trash bags is the strongest and how to organize a garage sale (I made $600). I survived sore muscles, sleepless nights, and long-distance arguments with my brothers. I now suffer from myopia, having focused for weeks on handling, cleaning, sorting, folding, packing, lifting, loading, and unloading.

I left her underwear drawer for last, unable to touch her fragile, lovely lingerie. Underneath her sizeable collection of lacy slips, I found my reward, a photo album I had never seen before. Clinging to the faded pages, my parents, circa 1946 - before the kids, before they were married, before the moves, before all the stuff.

Addicted to Children’s Literature

By Tiem Wilson

Okay, a show of hands…how many adults enjoy reading children’s literature? I’m talking not just Harry Potter or the Twilight series, but all genres of children’s literature. During a recent conversation with a coworker, she made an interesting comment. “I’m an adult, so I read adult books.” Well, that got me thinking about others like me.

First, I’ll throw out a couple of disclaimers. As a children’s author, I do read a lot of the literature for research purposes. I also read to keep abreast of what type of things my children are reading. Just like with TV, music, and video games, I need to be aware of what’s happening in their world. However, I find myself enjoying the stories more than the children.

I’ll also admit I am able to read more than the kids (my son, specifically) because they have schoolwork, homework, projects, etc. to occupy their time. However, I believe I enjoyed the 39 Clues series way more than the kids. I was also able to introduce new series my son would enjoy because I have read them myself. The added benefits are great family discussions and the stronger bond I build by understanding how they see the world during these stages of life.

I still read “adult books.”

Children’s literature is similar to looking through an old photo album at Grandma’s house. It can bring back nostalgic feelings.

Now, I know I am not alone. Whatever the reason, surely there are others who enjoy reading children’s literature just as much I do. You don’t even have to be a parent or librarian. The Napping House and The Miraculous Journey of Edward Tulane were favorites of mine long before the kids came. So, who’s with me? Raise your hand if you are addicted to children’s literature.

A Unique Point of View: WOLF HALL

By Bonnie Stanard

Currently I’m on page 425 of Wolf Hall by Hilary Mantel, a 532-page book that has been critically acclaimed and won the Man Booker Prize. This is my second attempt to read Wolf Hall, and it remains to be seen if I’ll finish it.

It’s the 16th Century and Henry VIII is king. The plot revolves around his efforts to banish one wife and marry another at a time when England is in the clutches of the Roman Catholic Church.

The protagonist, however, is not Henry VIII, but ambitious, brilliant, and politically astute Thomas Cromwell. The reason I put the book aside originally is because, on the first page, I became confused about the point of view (POV). However, even after I resolved that issue, Mantel doesn’t make this an easy read and here’s why:

I. First things first, POV:

After about 25 pages I figured out that Cromwell alone is telling the story in third person limited POV. Sounds simple, but here’s an example of what will have you scratching your head:

She imagines everything is about her, every glance or secret conversation. She is afraid the other women pity her, and she hates to be pitied.

This passage shows you how tricky the POV. Because you’re told what “she” (Jane Rochford) imagines, fears, and hates, you think you’re in Jane’s POV. But no, you’re in Cromwell’s. He knows what Jane imagines, he knows what she fears and hates, and he’s telling this to the reader. He speaks for her, as if he can read her mind. In fact, Cromwell transmits the views of many of the characters, and it’s up to us to realize that these are Cromwell’s thoughts, even though the context makes it appear to be the inner machinations of other characters.

On first blush, the passage below seems to belie third person limited POV. The descriptions of Cromwell appear to be views other than Cromwell’s. This is another example of Mantel’s complexity. Cromwell is telling us what other people think of him:

“Thomas Cromwell?” people say. “That is an ingenious man…” He is the very man if an argument about God breaks out; he is the very man for telling your tenants twelve good reasons why their rents are fair.

II. The quotation marks challenge. Take a look at this excerpt:

He asks the doctor where he comes from, and when he says, nowhere you know, he says, try me, I’ve been to most places.

It’s not as if Mantel eschews quotation marks. There must be a reason why some dialogue is in quotes and some aren’t. Again, dialogue with no quotation marks:

So, Thomas, he says, if you know the king’s had Anne, get a letter to me the very day. I’ll only trust it if I hear it from you.

Without quotation marks, the pronouns “I” and “me” play havoc with POV. First person pronouns shouldn’t appear in the narrative of third person limited POV books. It is left to us to figure out that “I” and “me” refer to another character (the cardinal), not the narrator Cromwell.

Even when Mantel uses quotation marks, she often omits identity tags. As a consequence characters drop in and out of scenes without identification. And Wolf Hall has about a hundred characters. You’ll spend a good deal of time referring to the list of characters in the foreword.

III. The pronoun challenge:

His glance follows the duke as he bobs and froths; but to his surprise, when the duke turns, he smites his own metaled thigh, and a tear…bubbles into his eye.

The book is abounding with flighty pronouns lacking obvious antecedents. The above passage is not as confusing as some scenes involving three or four men. While you’re trying to figure out who is saying what, Cromwell is explaining the inner thoughts of some “he.” The third person singular pronoun will drive you crazy.

I recommend Wolf Hall for its innovative POV. Hilary Mantel has a style unlike any other writer. Critics, with good reason, compliment her erudition and craft. However, this doesn’t make reading Wolf Hall easier.

Good Versus Evil

By Michelle Gwynn Jones

Not all novels require the presence of a villain, but a story can’t have a hero unless there is someone, or something, to overcome. When a story requires a villain, that character needs to be believable.

Villains vary in size, class and sexual preference. In any group of people, from a kindergarten class to a gathering of world leaders, there are the good and the evil.

If the protagonist and the antagonist are the two main characters they need to be equally represented. A villain should have a well thought out reason for why they do what they do or want what they want. Depending on the type of story the villain might need friends or minions. The job and lifestyle the writer chooses should enhance the character, not hold them back. If the reader is to follow the path of the villain, the character must have a few good qualities, no one is going to believe a person who is all good or all evil. Even the bomber running around the city blowing up buildings without any discernible pattern should still stop to open the door for an elderly neighbor and help carry the packages to their apartment.

Just as with the good main character, your villain must have a backstory. Many readers have trouble believing that the villain was just born evil. The backstory should reveal a traumatic incident that turns them from good to evil, like when Anakin Skywalker revenges his mother Shmi’s death by killing all the Tusken Raiders and taking his first step from Jedi apprentice to becoming Darth Vader. That incident should logically bring the character to where they are today, even if only logical to someone with evil in their mind and heart.

Keep in mind the setting and the goals of the main character and the villain. The hero’s response to the villain must be proportional to the threat. If the villain is an international criminal running his mercenaries for personal gain it may be all right for the main character to kill them off one at a time. However, this may not be true if the story is set in the small town of New Grace, South Carolina when the main character is taking down the evil leader of the Parent Teacher’s Association of the local elementary school. While the protagonist may do evil to succeed in their mission, it is rare for a book to be successful if the protagonist becomes more evil than the villain.

As a writer you can’t let yourself be intimidated by your own villain. If your villain is trying to take over the world, let them plan and scheme, don’t hold back because you can’t understand why anyone would want to do that. When the villain is a serial killer but the writer can’t actually bring themselves to write a murder, or describe a murder scene, the reader will never be convinced the killer is a worthy adversary for the protagonist.

Whether your villain dies or goes to prison, turns good or stays evil, the story must be completed. Even the villain that lives on from one book of the series to the next must be thwarted in their scheme in order to rise again with an even better plan.

I Think These Chopsticks Are Broken...And I Still Don't Have a Title for My Food Blog

By Kimberly Johnson

The other night, I munched on Kung Pao Chicken from a local Chinese place. I like chicken. I like chopsticks. Between you and me, those things were broken.

First, I fought to get my fingers wrapped around them. Then, when I did get the two sticks to cooperate, the piece of meat wouldn’t act right. It kept missing my mouth. Finally, I couldn’t get the right amount of chicken, rice and other stuff balanced on the chopsticks.

I threw them into the brown paper bag and grabbed a fork.

I have another problem: no title for my blog. Got suggestions? Leave a comment. My goal is to write about real Southern food, not the New South cuisine…stuff like grits with lots of butter, chitlins and hot sauce, hushpuppies and ketchup, and a fried boloney sandwich with mustard. I want folks to know that this is good food, not hillbilly fare.

I brainstormed for catchy titles (Cooking Queen of the South, Sweet Tea & Butter Biscuits, Just Like Grandma Made). I perused Paula Deen’s website. I even surfed the food blog directories. All I got was surf toe—it was painful.

I sought professional help. It led me to some good advice for creating a title.

Tip 1: Answer these basic questions: Can people relate to the title? Is the title short and to the point? Does the title conjure a concrete view or an abstract vision? If your title answers these queries, you are the biggest winner.

Tip 2: Be mysterious. The title is a preview for what’s to come in

Tip 3: Be Like a Kardashian. Create drama, but use it with caution. If your title sparks a controversy as way to attract viewers, make sure to support your position in the full post. Be prepared for strong reactions.

Tip 4: Avoid the switcheroo. AKA: the bait and switch. You want viewers to be intrigued with the title and the text. Don’t be accused of selling false goods based on the title.

Tip 5: Be useful. A viewer reads your blog because she has a problem (Can’t cook rice) or she wants to improve (Make chicken noodle soup like Nana ). Solve your reader’s problem, not create one.

Sources: www.novel-writing-help.com, http://dukeo.com, www.problogger.net, http://weblogs.about.com

The Latest Addition

Meet a New Cola II Blogger

KIM BYER

Atop one of my high school essays, in looping red ink, my English teacher warned me of the dangers of "cutesy phraseology." That was over thirty years ago, yet I still find myself dipping my pinky in the inky black waters of darlings. I love to play with words, perhaps a bit too much. I’m new to the Columbia II Writer’s Workshop, where I’m learning to love the bomb or kill my darlings or something equally sinister.

When I’m not reading, making up stories or blogging on PaperApron.com, I am cooking, photographing food, eating, shopping or designing. To earn a living, I design web and application interfaces for corporate clients. I live in downtown Columbia with my husband Rich, my cat Servo, and my indoor prancing pony (a.k.a. Golden Retriever,) Mazy.

Kim's first post follows.

A Writer's Winter Feast

By Kim Byer

Beyond a beautiful piece of art or the occasional puppy, a new book is my favorite Christmas gift. During the holidays, my bedside table swells in waves of books, precariously stacked and teetering. At night, donning reading goggles, I dive in head first to read Swamplandia! by Karen Russell, Little Bee by Chris Cleave, and Knives at Dawn by Andrew Friedman. Beneath this stack, an undertow of old favorites: A.M. Holme’s Things You Should Know and several colorful spines highlighting the venerable editions of New Stories from the South, edited by Shannon Ravenel.

In the morning, new interior design books inspire my day: Design*Sponge at Home by Grace Bonney and The Perfectly Imperfect Home by Deborah Needleman. Beside an afternoon fire, I listen to Ten Thousand Saints by Eleanor Henderson, narrated by Steven Kaplan. Little in life is more luxurious than getting lost in a good story on a winter afternoon.

As writers, we are passionate readers. We read not only to enjoy the suspension of disbelief, but also to listen to our muse sing along to the cadence of a well-paced story. We appreciate a hook that leaves us hungry and a plot twist we wish we’d thought of first; we are amused by an odd simile and pained by a mischievous typo in a published work.

Winter is the most wonderful time to feast on words. Unlike summer’s pink-hued and thin paperbacks, winter kindles our intellect with thick bound classics and historical memoirs.

At the beginning of each year, we rush out of January’s gate with good intentions of healthier eating, cardiovascular overhauls and literary conquests. Easily discarding our first two resolutions, we are determined to maintain our third. We scour the book reviews and journal picks, making our lists and checking them twice. We linger in big box bookstores sipping pumpkin lattes and secretly filing titles behind our ears, which we’ll check later on Amazon, hoping for a deal. We download eBooks and update wish lists. We sit in dark theaters thinking snarky, hideous thoughts about a screenwriter’s adaptation, and upon leaving, say too loudly to our companion, “The book was much better.”

Back at home, we curl our legs under a crocheted throw and snack on a delicious sentence, nibble away at a chapter, and munch through an entire mystery without stopping for a sandwich. Thanks to writers, we are satiated in the exquisite cerebral feast we call story.

So, what exciting and wonderful stories are stacked on your bedside table?

Here are my recommendations for a five-course feast of online book resources:

www.Audible.com: If you love listening to books as much as reading books, you may want to try this audio library. For a fifteen-dollar subscription, you can listen to one book per month. If you are familiar with audio book prices, you’ll appreciate this deal. Discounted specials allow you to purchase additional books for less.

www.Goodreads.com: This free site allows you to collect and share book reviews. It helps me remember what I’ve recently read as well as find new books through fellow readers’ reviews and ratings. Are you a member? Add me to your friend list.

www.Gutenberg.org: Project Gutenberg is an iReader’s dream. Over 36,000 eBooks are available for free download. Through its affiliates, an astounding 100,000 books are shared.

New York Times Book Review Podcast: Authors, editors and critics discuss books and the literary scene with Same Tannhaus, the editor of the NYT Book Review. Listen to the mp3 episode of your choice or subscribe to the podcast.

www.PBS.org, Arts & Entertainment section, subtopic Literature & Writing: Although DVR and TiVo may be two of our favorite acronyms, we still miss some of the best book talk on TV when we don’t program these devices. Going online to the PBS site can fill the void. The site offers one stop clicking for all of your video feeds and literary needs. Check out Jeffery Brown’s thoughts on "The Year (2011) in Fiction."

Welcome, 2012!

By Ginny Padgett

I’m sure it’s been a busy holiday season for you, no matter your religious persuasion. Holidays have an underlying benefit that may not be readily perceived or not often considered. Holidays force us to change up our routines, to see family and friends that may not be in our daily loop, to decorate our homes for the season and temporarily change our surroundings. At this time of year we may reassess our priorities and make resolutions to improve ourselves during the year ahead.

And here is my point. I challenge myself and you to give ourselves permission to luxuriate in writing every day. When I say, “write,” I mean the entire creative process – not just the act of putting words on paper. Sometimes when I write, it looks like I’m sleeping. I could be thinking about what my characters will do next or a plot twist, or maybe just listening to them talk. I am frequently surprised by what they say. This quiet attention helps me know them better.

We have hectic lives with many demands. In the day-to-day melee, I’m guilty of letting my writing slip to the bottom of the to-do list. Right here, right now, I am saying that I’ll keep my writing current in 2012. I’m telling you in hopes you’ll hold me accountable, and I’m asking you to join me in this pact.

The Girl with the Dragon Tattoo, American Version

By Laura P. Valtorta


Lisbeth Salander does not care what the world thinks of her, nor would she ever fix coffee or breakfast for anyone. She is the hero of Stieg Larsson’s bestselling novel, Man som hatar Kvinnor (Men who Hate Women). The American screenwriter, Steven Zaillian, fails to realize this, while the Swedish screenwriters of the 2009 film, Nikolia Arcie and Rasmussen Heisterberg, got it right on target.

Everyone should read all three books and see all three Swedish movies before they watch the American imitation.

The American film hands too much power to Michael, Lisbeth’s counterpoint. It was LIsbeth who solved the mystery of the bible verses in the book, not Michael. The American film turns that around.

The American director, David Fincher, also takes away one of Lisbeth’s key scenes. When Michael comes looking for Lisbeth, who has been hacking into his computer, he confronts her in her tiny, messy apartment sleeping with her longtime lover, Miriam. In the Swedish version (and in the book), Lisbeth stands there staring hard at the intruder. She does not care what Michael sees, and she allows him to drink spoiled coffee, which he spits out into the sink. The American story has Lisbeth ashamed of her lover and practically cowering, as Michael chases Miriam out. The Swedish Lisbeth would never allow that.

The real Lisbeth would never make breakfast for Michael, either, but strangely, that happens in the American film after they make love for the first time. In the Swedish film, Michael makes the breakfast and Lisbeth wolfs it down.

The worst indignity of this American imitation film is when Lisbeth asks permission to execute the murderer. In the book, Lisbeth allows him to die, but Michael chastises her for it afterwards.

Great acting saves the American film, despite the misogynistic screenplay and bad directing. Thanks to Rooney Mara and Daniel Craig, this film is worth watching. Even Robin Wright is fun to hate. Lisbeth’s costumes are excellent as well.