MoW (Month of Writing '24) 11/6/24

 I have been writing every day. Not updating here every day, but, yes - writing is happening. I am continuing to work on the fiction story, which might be a short story, novella, or longer. It is way too early for me to know how long it's going to be.

I suppose if I wasn't a pantser, I'd have a better idea of where I'm headed. But I am and I don't and that is fine.

No. I'm not going to post about the election except to say that it happened. If you know me, you know my feelings. 

So, back to writing. 

My total word count for this event is at 21,097 words! Hooray! Go, me! A reminder if you're reading this and are thinking, but, NaNovember didn't start until November 1st, how?? I'm doing it differently this year. If you go back to my November 1st post, there is more information. The Month of Writing event I'm doing this year is with 4 The Words (4TW) and tracking assistance (and group friendly fun) on a leaderboard at TrackBear. The 4TW event, Weathercraft Terrarium, started with a Halloween themed lead-in on October 28th, and it will conclude on December 10th. So my 21k words written so far is still a good number, but not as astronomical when it's been 9 days, not just 6 days. Also, I may as well include here that my goal this year is 70,000 words during the event. It is completely doable; last year I wrote a little over 100k. 

November writing continues to happen! 

This is the 4TW leaderboard in TrackBear on 11/6/2024. Participants are from around the globe, so our days and times vary.

Synchronous Moment: Writing in Our Time

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Writing in Modern Times? In Our Time? In the Age of _________, fill in the blank. I couldn't think of a better way to say it so I went with what I had.

This is one of those times when different aspects of my life are coming together with the same or a similar message. Meaning, in my opinion, pay attention.

I am now in week six of the seven weeks IWP online MOOC poetry class. The topics have been interesting and, while I am still not fond of the online classroom platform they've chosen for this round, it is still working. I just ignore what doesn't work and keep to my workarounds, and respond as I have been and read much more than I write on the boards - and it's fine.

Last week's IWP topic didn't resonate with me. It felt like a "duh" and I didn't get as much from it. I think some of that was because it had to do with "turns" in poetry and I think, as primarily a fiction and creative non-fiction writer, "turns" are commonplace in the stories. It was interesting to read about the different styles of turns in poetry, with some excellent examples and exposure to new poets, but it didn't spur me to write more poetry. And I will admit that the activity and busy-ness of the week also interfered with me jumping into it as heavily as I have been; so there is probably something to that as, well.

But this week's topic is inspiring. And right up my writing alley. And one of the video lectures mentions several of my favorite poets; the other video lecture talks about some of my favorite ideas and questions. I fell into this week's topic quickly and easily.

One focus of this week on the place of "anger" in poetry. "Anger" is a very general term - specifically they talk about politics and the personal. One of the "instructors" for this week put the question out on the boards if poetry can just be cathartic without leading toward a solution. It was a question to generate conversation and I think it will; it is still early in the week.

Another focus is on writing in the current times and all that goes with it - short and fast, hashtags, and the internet and tweets and posts; brevity. How does this affect us as poets, as readers? How do we physically experience our world and our work, our writing and our reading, with these new things. What does it mean to - or do we - embody this life with all of these things? When a "date" might be online and not in person. When we text or tweet or Skype rather than calling on the phone or stopping by or meeting in person in a coffee shop? Questions ... no answers.

Then I saw an interview with Charles Baxter for Tin House. And the section quoted reminds me of the topics and lectures and discussions this week in the MOOC. Which is what led to this piece of writing, although it took me this long to get to the point. Click through to read the whole interview, if you have a couple of minutes; if not, come back later and check it out.

Questions about time, our times, and writing.

"Everything now is supposed to go fast; everything is supposed to be so efficient. Since when was fiction supposed to submit to time-and-motion studies? Impatience and distraction are our great enemies and must be conquered somehow. We all know that some of our most profound moments happen with a kind of languor: pleasure and love and sorrow and prayer take their own sweet time." -- Charles Baxter, in conversation with Susan Tacent

Read the whole piece by clicking here: Urgency and Momentum: An Interview with Charles Baxter.

graphic from Tin House link for the Baxter interview

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Creative NonFiction? Yes, Please

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A friend and I have had discussions about the term "creative nonfiction." He asserts that all nonfiction is fiction and all fiction is nonfiction. He doesn't like the term, "creative nonfiction." That's his opinion and he's sticking to it - and I say that with a smile. It is one where we disagree, though I also wondered about it for a while, as well. It isn't that I disagree with my friend in terms of nonfiction and fiction overlapping, but I believe there is a place for this term. And I'm sticking to my opinion.

But as I'm returning to the M-book, I'm finding - again - that I love this term. Especially right now, when I need to write an important scene in the book but I am coming up blank.

Let me back up.  I will start with : What is "creative nonfiction?"

There are many books written on this subject - what it is, how to write it, books of it. There are pages and pages of websites. Many colleges offer creative nonfiction courses and their own interpretation of that label. Here is one example from UVM Tutor Tips:

Creative nonfiction merges the boundaries between literary art (fiction, poetry) and research nonfiction (statistical, fact-filled, run of the mill journalism). It is writing composed of the real, or of facts, that employs the same literary devices as fiction such as setting, voice/tone, character development, etc. This makes if [sic]different (more “creative”) than standard nonfiction writing.

Here is a another definition from Creative Nonfiction Magazine:

The words “creative” and “nonfiction” describe the form. The word “creative” refers to the use of literary craft, the techniques fiction writers, playwrights, and poets employ to present nonfiction—factually accurate prose about real people and events—in a compelling, vivid, dramatic manner. The goal is to make nonfiction stories read like fiction so that your readers are as enthralled by fact as they are by fantasy.

These two definitions are not really in contrast with each other, but they do have a different tone. And that, I
say, is one of the beauties of "creative nonfiction." "Creative nonfiction" can encompass a more straightforward travelogue and a personal travel memoir and an experiential poem.

And it gives some flexibility to fill in the blanks.

Like right now.

I don't remember this particular first date. I should, I know; but I don't. And that missing piece is one thing which comes up repeatedly in feedback on the M-book, comments asking where the scene is showing the first date. To help show the progression of the relationship.

But. I. Don't. Remember.

So that part will be a piece of creative nonfiction. A memoir generally does fall into the category of creative nonfiction, in my opinion, and some would say that some memoirists hide behind that label rather than telling the truth. Or that stories are deliberately slanted or exaggerated to cover up or twist the truth. For me, such as with the "first date" scene, if it stays in the book, it means I had to take what I know to be truth without a doubt, put it together with other examples of similar incidents and try to capture the sense of that first date with what might have been, within the context of the time and what is known.

It means I have to go to my body to remember what it was like and build the story from what I know to be true. Creative fiction and nonfiction put together to make a whole story.

Is it true? Yes. Is it fiction? Yes. Is it based on actual facts and experiences? Yes. Is it a good story? That is what I'm working to make true.

For this scene, I have to begin with a freewrite. Which will be followed with revision and rewrite. And, perhaps, in the freewrite, the memory will be triggered so that the percentage of facts is higher than the percentage of fiction by the time I get to the rewrites.
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A Week Off

This is the week my Monday writing group decided to not exchange work. Busy schedules, one person out of town, one using the time to catch up, me working both my regular stuff and some performance interpreting. Busy. Busy. Busy.

But with the two plays and the poetry work I'm doing, I also found I can't read fiction. This isn't a new discovery, but it is a new confirmation of this fact. When I'm interpreting a play, I'm working with that story, getting it and the characters and the production's presentation of those things in my head, in my body, on my hands. It's difficult to really focus on other stories when that one story (or two in this case) is primary.

Luckily, I've just discovered that I can read non-fiction. I can listen to audiobooks about writing, or other things. I find that my other listening habits change, as well. I don't really like listening to the radio - too much talking and extraneous noise. Sometimes usually favorite music CDs don't sit well, so I have to find something else.

These aren';t problems - just interesting facts to discover. What works while I'm in theatrical or performance mode and what doesn't.

I wonder where that fits for writing, as well. I know in the past that I've sometimes gotten particular artists associated with certain pieces of writing. Or found that particular types of music fueled some writing so I would line up those musicians' work when I sat down to write. Now all we have to do is collect our favorite songs on the digital device of our choice and we can add categories or whatever they're called in the particular brand of machine.

And when I'm not doing the writing, not working on feedback on other's writing, I think a lot about writing. Of course I am also listening to Stephen King read his book, "On Writing," about, well that's obvious - writing. So that's on the front line of my consciousness. But I have ideas and inspiration and want to write.

Yesterday I wanted to write a poem and the words were flowing - in my head. I was driving. On the freeway. And when I got to where I was going I had no time to make notes and some of it was gone anyway. But rather than get upset, I figure it will come back. If it was that good or that important, it will come back. And maybe the next version will be even better.

A week off. Ha! Of exchanging writing with my group - yes. Of reading or listening to fiction - yes. But not off from creativity nor performance interpreting nor regular work.

Just a slightly different pace.

And one punctuated by hobbling around on crutches. The update there is that my doctor said I could get off the crutches a week from the date of the injury and continue with the ice/rest/ace bandage care for an additional week. That's good news. The crutches really slow me down and are loud and make things awkward.

Though I'm really not even complaining about that. There is irony that the sprain and complications and crutches happened right now; right when I would have said - no, it's impossible, I could never slow down or be limited in action or movement during this time. No. But I am. It is. And I'm getting through. With a few adaptations. But I'm getting things done and "it's all good," as They say.
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Port Cities Review has Launched

I don't know if you remember, not too long ago I sent out an announcement and a link to Port Cities Review. A new literary publication which is worth your time to read and worth your energy to submit to if you're a writer.

It has officially launched. Hop on over there and take a look for yourself... and check out their submission guidelines.

PORT CITIES REVIEW

Ideas and Inspiration

I recently read an article - no, l'll admit, read part of an article - about the benefits of distraction for writers. The author did say that we need to minimize distractions *while* we're in the act of writing, but distractions in the rest of our lives can lead to discoveries of new ideas or characters or colors or noticing a smell - the list of potentials is long.

Those "distractions" are what help our stories come alive and keep the reader engaged.

Recently I've been having some of those "distractions." And trying to take notes of them when can. Sometimes the notes don't make sense out of context. One recent example I put out into the world as a twitter post; and when looked at it, the punch was gone. So my challenge as a writer, then, when those glimpses and smells and bits of overheard conversation flow into my awareness - distract me- to put them into a story or poem or scene so they have a new context where they make sense.

Yes, distraction isn't always bad.
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"Make Your Living As A Writer"

Yesterday a friend called me sent me a text message to see what I was up to. He was going for coffee and thought he'd see if I was available. I was - about 45 minutes later after I woke up and took a shower. So I replied, he waited while I put on my shoes and headed over. We spent some time talking. Drinking coffee drinks. Talking.

We're in the same profession - which is not writing. Although we are both writers. He writes stories, yes - but his passion is writing scripts: radio, film, theater.

So we were talking about writing. And talking about the future - the future of our writing. And he talked about if this were the past we might be living in Paris, living with other writers and our lives would be writing and sleeping and eating and writing. And talking about writing. He's a bit of a romantic that way - and, yes, we might. We know others like us. (My partner pointed out, when she and I were talking about it later, that we'd still need wives to take care of the day to day life things while we did our writerly things. True. She's an historical realist that way, yes.)

Not for the first time - but he and I had the discussion about options of making our living as writers. I brought it up because, if you have Gmail or another email program which does this you already know, online email programs bring advertisements with them. There are little bots they send out to scan your email subjects or content and then you get ads (text only or with full visuals, depending).

A quick aside: one thing which strikes me as funny is that when I'm in my Gmail junk folder, there are Spam recipes advertised at the top of the screen. It makes me laugh. And some of them? Wow - pretty outrageous!

Back to writing. So my Gmail ads frequently are about becoming and interpreter or translator, and about writing. Very often there are teasers about "You can earn your living as a writer" or "Write from Home" or somesuch.

I think about articles and nonfiction pieces. I think about getting an MFA. I think about other writerly things and yet. I don't think I'm ready to give up interpreting. And I don't like researching how some place wants me to word what it is I do so they will accept it. I want my writing to stand on its own merits. I could debate this here all by myself: the pros and cons, the whys. My friend and I spent a lot of time talking about this. I think about hours of research to find the publications which want what I might want to write about and then the hours writing the queries and proposals. And then the research to write the articles. And then the writing.

Hmm.

Yes, for now, I think I'll keep my day(night) job. Which I still like. Which I know how to do and I do it well.

And I'll keep writing what I want to write because I want to write it. Not because I have to write it to pay the mortgage.

And I believe that diversity is a good thing.

Maybe, for me, "make my living as a writer" would be better said as "make my living and be a writer."
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Submissions

I've been keeping a calendar of submission deadlines for myself and a few writing friends. As I was adding a few upcoming deadlines I decided to make it more widely available. Below is what the page looks like - feel free to come back and check it at any time. I will be making updates to the calendar as I find submission opportunities. Feel free to send some my way! The page also has a couple of submission websites (Duotrope, Poets & Writers, CWROPPS (a Yahoo resource group for writers); I know there are more - and I can add more links.

The views should change month by month; and the information will be updated as I make changes and additions.

Here is what you will see on the submissions page when you click on the link above!

      SUBMISSIONS CALENDAR      

Feel free to look through this calendar of upcoming submissions. These are from resources across the web, through email, from friends, and so forth. I am not endorsing specific publications, submission opportunities, or contests (unless I specifically say so!) - these are some that caught my attention, that friends have submitted to or passed along to me, and so on. I will also put some other links below the calendar so you can look at other resources. There are many publications out there and many good resources to see what's happening. I keep my own calendar of upcoming sources I'm interested in submitting to, so I thought I'd share it.

If you have a Google/Gmail account and would like to have this information show up on your calendar, you can subscribe to it by searching for Writing Vein Salon calendar in Google calendars, or you can click on the specific submission announcement and then click on "add to my calendar."




Other publication submission resources on the web:

Duotrope
Poets & Writers
CRWROPPS Yahoo Group


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"All the Pretty People" by Ariel Gore

I've had Ariel Gore's newest book, All the Pretty People, for a couple weeks, but just got time this weekend to read it. And I couldn't put it down. I had to put it down a couple times - but didn't want to.

I love this book. Her voice is authentic, the stories are funny and sad and connect to the human spirit, and her writing is witty and inspired.

From the early promo:

(The dirt on '70s suburban hippies!)

(The inside story on confused queer love in the '80s!)

This book has it all--love, shame, carob, suburban violence, Barbie envy...

Award-winning editor and memoirist Ariel Gore is exploring beauty, shame, Barbie-envy, '70s California pop culture, '80s love, and first cigarettes with a new novella of flash-memoir stories.

As spoken-word pieces, the stories in All the Pretty People have been wowing audiences from Portland to San Francisco to Albuquerque and beyond.

Here is a link to Ariel's website, where you can purchase this fabulous book,All the Pretty People !
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Razor's Edge for 9/17/10

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Today I'm going in a different direction. I would like to start a conversation here about where to put our writing energies. I know we have different goals and projects - but I also am guessing that everyone has been faced with having to make decisions about what to write, when, where. I am also interested in what non-writer creative types have to say on this issue, as well. I know my partner, who is - among other things - a visual artist, has to make decisions about what medium to use, what venues will further her goals as an artist and what will feed her creative fire. I imagine that dancers, musicians, playwrights - anyone who creates - has choices at one time or another.

Let me know.

Let's have a conversation.

My writer friend, Christi Craig, addressed this issue when looking at the feeding and care of her blog. You can read her post at Writing Under Pressure.

My thoughts and questions are below: please post your thoughts as a comment, or email me directly!

Part A: Does anyone have any experience with - or knowledge about, know someone whose done - Bright Hub, or similar online sites? Here are a couple of links for the "seeking writers" and the main
BrightHub.

I've seen some of these sites, or searches for writers, before; this one just came up on WOW as searching for writers.

Part B: This is more a theoretical discussion - or the business of writing discussion - about where to put our writerly energies. Related to the above question, yes, but also in general.

Related to these online "hubs" (and there are a bunch of them) - is it worth one's time to write posts?

As a fiction and memoir/creative non-fiction writer (guess I should throw poetry in there, too!), is it worth my time to do some journalistic writing? Or will it be a detraction from the writing I like to do and the projects I have in process?

One "Plus" is that it *might* generate some income. And, certainly, I would like to get some income from my writing. And the paying markets for fiction are highly competitive. Maybe doing what I'm doing (interpreting) is the best route for income generation, rather than doing writing that is fine, but not where my energies are when I write. I like to write stories and memoir and overheard stories (are those memoir or fiction? *grin* - honestly, they become fiction when I write them because I have to fill in the missing details and I often change some of the exact details because I wouldn't want to be labeled as snoopy; or am I just being observant?).

One "negative" is, as I just said, writing the articles could detract from the other writing. If I'm spending a lot of time generating content for a website that I could use for writing -- where is the balance?

Does that type of writing give me energy to write or steal it? Is there the danger that that type of writing become the same as other jobs and diminish - or, shock, even ruin - my pleasure with writing?

What do you think?

Or, does anyone know of an independent wealth stream I can join that does not involve pyramids, uplines, money orders to foreign countries, or otherwise taking advantage of people? :-)
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submit: Reading Local is seeking submissions from Portland writers

Reading Local is seeking short fiction and nonfiction from Portland writers

Arthur Smid is helping Reading Local Portland find short stories to publish.

From Arthur:

"By seeking out emerging talent, requesting stories from established writers, and accepting submissions, the online literary journal at Reading Local Portland will create awareness among writers of their contemporaries and build an audience for new work. The goal is to provide an online page of Portland-based literary fiction and narrative nonfiction.  

Beginning in September, Reading Local will publish one new story (up to 1,500 words) each week from writers living in the Portland area. We are not able to pay contributors at this time. Authors retain all rights and own their work. Send your story (up to 1,500 words) with a brief bio (and link to your website) to smidarthur(at)gmail(dot)com."

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Discussion: Pen Name?

There is an interesting thread that started in my writing group just over a week ago. I've been thinking about it since it was posted, and just took the opportunity to reply. One member brought up the topic of using a pen-name - to use one or to not; and when or why.

Here is my reply to the thread. I'd love to get your opinions on using pseudonyms. What are your pros and cons? When would you use one or not? Post a comment and let me know. note: this is not a question for writers only; artists, photographers, actors, dancers ... let me know. To be You or not to be You, that is the question.

My post from the discussion thread in my online writing community:

I've thought about a pen name off and on since I've been writing. As a teenager I did pick out a pen name - I don't think I ever submitted anything under it ... and I still remember it, although now it seems pretty lame - it was a 70s name after all *grin*.  

I, too, considered at one time going with pseudonyms for different genres. But I figure now, with the easy access information age, what's the point? Pseudonyms are pretty simple to discover - although I'm sure there are authors hiding that we don't know about yet :-) .  

I like the concept of a "brand" and can see that - and isn't that what the 'platform' age of writing is about (ooops, is my bias showing?!!). I could see doing that if I was doing a couple of really disparate genres that might not mix well. Or not.

And when I first started venturing into memoir - oh, the shock! No, I can't do that. I have to change the names and change my name... But the reality is - and I just saw an article yesterday that said a similar thing - that people believe my fiction more than they believe my memoir; some of the feedback I've gotten on some parts of the memoir are things like "but she would never do/say/feel/react that way..." - but I did. And in the fiction, there are comments like "it's so real".

And I read some other famous author who said that memoir is that one person's perspective and others in the same situation may have experienced it differently. And I have only to look at my mother and her twin sister - they have pretty different perspectives on some things from their childhood and they are identical twins and were raised together. So, if someone hollers about things in the memoir - well, it's MY story.

So I decided that I would probably just be me - even though "Dot Hearn" doesn't roll off the tongue, is awkward, harsh, not memorable ... But it's me writing. Sometimes I just sign things Dot.

Sometimes I want to get rid of the last name - change it; I don't want to carry around my family name. But haven't found anything that sticks with me. Maybe if I ever come up with a line of greeting cards I'll brand them with something else. Or start writing erotic noir stories. Maybe.

And maybe I like being complex. Or maybe I'm just being rebellious against the notion that I have to make myself into a character in order to succeed as a writer and need to build a platform around an image. Can't I just be me and write the stories - letting them speak for themselves? Do I have to be slotted into a mold?

I am trying to build my writing business name, that's how I'm "branding" - but I think I'll keep with my name as the author, as the writer. At least for now.

drawing from "Words With No Names" on wordpress

Short Story Contest

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Just a week left on this one. I stumbled upon it in someone else's blog. A no fee, open topic, open genre (except no erotica) literary fiction contest.

Lady Glamis (Michelle Davidson Argyle) is having a short story contest; below is an overview of the guidelines. Click for the full details , including the prizes.

(1) Contest is open until June 1st.
(2) Open to all genres and subjects except erotica.
(3) Stories up to 7,500 words.
(4) One entry per person.
(5) Email entries to annie.louden [at] gmail [dot] com with SHORT STORY CONTEST and the name of your entry in the subject header. Paste your story into the body of the email, with your name, contact email, word count, and title.
(6) Winners announced on Wednesday June 3oth.
(7) Stories are judged for: quality of prose, creativity, and the ability to engage the reader within 7,500.

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Letter to my Writing Group

I try to present myself as calm - in control, not easily excited. Confident.

Then yesterday I passed a personal milestone. I've been submitting more writing to publications - a couple I've tried before, either rejected or published, as well as some new ones. Yesterday I sent off a piece to a publication I've been wanting to submit to for the last couple years, but didn't feel quite ready. But yesterday - I did it. And immediately sent a letter to my writing support/critique group to announce my submission. Below is a copy of that email, showing that I am not always the cool and confident writer.

Shared with a smile.

= = the letter = =

subject: eiiyieeye!!!

I just submitted my piece to Tin House!!!! I'm so excited and wondering why I hit the SEND button and.... wow. I did it. Submitting to Tin House has been a long time goal. And it's funny, because the piece I sent -- was the one recently not selected at Glimmer Train; and what's funny about that (or sad, depending on your point of view, I suppose) is that when I sent it to Glimmer Train, I was thinking of Tin House (I have the last two issues of both at home). I was visualizing Tin House and thinking that piece fit the publication well, yada yada. Then, after I submitted it and I went back to make sure it had actually uploaded (I do online submissions as much as possible), I realized that I had been thinking of one but submitted to the other.

No big deal.

But a few minutes ago I actually sent this in to Tin House. (Their submission window closes on May 31st.) Me. To Tin House.

squeak: yay.
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Slowing Down

Editing a novel is not speedy. For me, I have become a master at quick writes, at free writes, at putting down quickly what is in my head and it usually makes sense. Yes, it needs some editing.

And, once in a while, it's pretty good just as it comes out, and needs only minor tweaking. At least I think so.

That's for the short writes.

In 2008 I wrote 59,000+ words in 30 days. That was impressive and felt good. I liked the story. I was delighted and excited by the ending. I promised to put it aside, let it age and rest - like the apples in the drawer (thank you, Bonnie), wait until it was not breathing so hard (thank you, Mama C). And I did.

I also thought I would get it edited before 2009 NaNoWriMo started. Which I didn't. And I was okay with that. Maybe 2009 would be an even better story and I'd want to get that one ready for publication first.

It wasn't. I did pass the 50k mark well under the deadline; but the story didn't "wow" me like 2008. And I never got to the ending. I feel that story still hasn't gotten to the point; about another 25k will bring it to where it needs to be.

But the 2008 novel kept calling me.

So, I have returned to that novel. Editing. Yes - as other writers in Ariel Gore's Literary Kitchen know, I have edited small pieces and submitted them for feedback here and there.

Now is the time, however, to delve deeply. To look at the whole novel, scene by scene, and page by page. Look at where it sings and where it growls. Feel where it flows and where the rapids are too rough for clear passage. Find those contradictions and the gems.

And it is very slow. I was talking about it with writing partner, Jenny, today. It is going to take time. A lot of time. And it will be worth it, she promises. *wink*

Quick write master meets methodical editor.

Okay. I'm ready; notecards in hand and a draft copy being printed as I type.

One step. One bird. One day.

I can do this.

Star Crossed: ARIES RISING - and book giveaway

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Bonnie Hearn Hill is a full-time writer and former editor for a large daily newspaper. She is the author of INTERN and five other adult thriller novels, and she teaches online and leads a successful writers' workshop in Fresno, California. She also mentors writers and speaks at many writing conferences. Bonnie has been on tour this month for her newest book, Aries Rising, the first in her Star Crossed Series, from Running Press/Perseus Books. She agreed to stop by here at The Writing Vein for a talk and some Q&A. At the end of the discussion are instructions about how you can win a free copy of her newest book.

Without further ado, here is Bonnie Hearn Hill :

"What do you do after you write The end?"

That’s what Dot asked me to discuss on this post. I like the question because when I speak at conferences, I always say that true writers, regardless as that indefinable something we call talent, are finishers. You can’t see your writing in print if you don’t finish, and you’ll never see it in print if you rewrite for the rest of your life. I’ve known writers who got so attached to their manuscripts that they became best friends with them. The writers continued revising for 10, 15 years. No way were they going to send their literary best friends out into the cold, cruel world.

Okay. Let’s say you have finished a manuscript. You have the baby in your hands. First of all, congratulate yourself for being a finisher. Most people who begin novels don’t make it through to the last page. They can complete class assignments and prompts. They might even be able to finish a short story. But a novel? Yikes.

I always remember the advice Archibald MacLeish gave to poets. Leave the poems in the drawer. Like apples, they’ll either ripen or rot, but, either way, they need time away from you. So, yes. Give the novel a week or so to rest, and give yourself some well-deserved time off.

When you open that drawer, you need to look at your poem, story, essay or novel with the cold, critical left-brain eye of an editor. If possible, read it aloud where no one can hear you.

Does your novel have a clear genre, and does the word count match that? Are you showing and not telling? Do your scenes contain conflict—organic, not sock-em-in-the-face conflict?

Now, ask yourself if this is a big story or a little story. Is it regional (my first novel was), or would it appeal to a large readership? Don’t be modest. To paraphrase my grandmother’s advice on a different subject, it’s as easy to love a rich book as a poor book. Still, you have to love the book you’ve written, and you have to know your market.

By now you should know if you need to approach small and regional presses directly, or if you need to find an agent.

Okay, Dot. Let’s hear your questions about the next step.


Q: The question about the scene having conflict fits with my "next step" questions. I've had a discussion with a couple of the writers in my writing group about what constitutes a "scene." We discussed the order of scenes and what defines a scene. And that sometimes information needs to move around from the order in which it was written and may or may not need to be chronological. How to keep that organic conflict in scenes.

A: Someone wants something. Someone else opposes it. You need goal, opposition, dialogue, action, conflict, resolution. If you don't understand this, you'll write dreaded events instead of scenes. If someone asks you scene goal, and you say, "I wanted to show the reader..." you aren't writing scenes. You need to be able to say, "My character wants A, and the antagonist in this scene wants B."

Q: Bonnie, your question, "Does your novel have a clear genre, and does the word count match that?" leads me to another question: What are the guidelines for word count / genre equivalence?

A: It depends on what you're writing--and, as a writer, you must know that, preferably before you begin. I went from 80,000-plus thrillers to 50,000-60,000-word YA books. Weird how I can pack so much into the latter.

Q: Once I know the target word count for my story, how much flexibility should I allow in the editing process from the rough draft to the version submitted? (Example: am I still within range if my first draft has 10k more than the target?)

A: Great question, but don't allow for editing. Write it the way you write it, complete with proper word count. If they cut you down, they will give you suggestions for building up.

Q: You also asked, "Are you showing and not telling?" -- This is a common topic in many writing workshops. But I'm wondering if there are any key phrases or other hints that would alert a writer that she is relying too heavily on narrative? And is there a "too much" in terms of showing - or does that also vary by genre?

A: Somewhat, but most books are scene-driven. If you see large hunks of gray with no dialogue or conflict, you probably need to back and restructure.

Q: (a) By approaching small and regional presses directly, does that imply self-publishing?

A: Absolutely not. It just means you'll probably take less money to reach a smaller audience.

.......(b) Or simply smaller, limited runs and the PR, sales, and so on being done by the author and her friends?

A: Yes.

.......(c) And, speaking of self-publishing: any thoughts on whether that is a good idea for the regional stories?

A: Not for fiction.

Q: There are also different types of self-publishing and are there any recommendations of how to (1) choose a self-publishing type (POD, electronic, local small press, regional publisher, etc), and (2) choose the best fit within the type (example: how do I know if a small local press or printer is right for me?).

A: You're writing fiction. Try to stay away from this. Some nonfiction books may succeed by way of self (not vanity) publishing. For fiction, you need either a small regional press or a literary agent working for you. Don't pay anyone money to publish your book. That's vanity publishing.

Q: If I choose to go the agent and big press route, when do I start looking for an agent?

A: As soon as you know your book is close to perfect. See my comments about the apples in the drawer.

Q: Where do I look for an agent?

A: Publishers Lunch is a great place to start. Also consider visiting a writing conference. You should consider author referrals if you know published authors, and as of today, you know at least one. Let's discuss more in depth once I've gotten through the rest of your questions.

Q: Does the formatting of a manuscript vary by publisher or are there common guidelines I should follow in preparing it for submission?

A: Most use Chicago Style. Double space. Indent paragraphs. Times New Roman, 12 p, no widows or orphans.

Q: If I decide to go the agent and big press route, what is a realistic timeline from my final draft completion to publication?

A: Finish the book first. You could see it in print as soon as six months later or as long as a year or more. Aries Rising just published, yet I sold it in June of 2008.

BONNIE: Thanks for letting me hang out with you today. Hope everyone enters to win the book and iPod Touch.

DOT: Thank you, Bonnie, for stopping by and sharing your experience and wisdom. This has been fun and informative. And I look forward to the rest of this series. I'll be posting a review of Aries Rising as soon as I complete the book (very soon!). It has been a delight so far and I'm looking forward to more adventures of Logan and her friends.

The book giveaway: Post a comment in response to this discussion below by April 2nd. We will select one person who responds to receive a copy of Star Crossed: Aries Rising. Even if you're not a writer, you can enter the contest and join in the discussion - or simply leave a comment with your Sun sign.

For the iPod contest, you need to link to a review you've written or a fan badge page, which you need to do at starcrossed.contest@gmail.com.

Star Crossed: ARIES RISING
Love is in the Stars!

Aquarius Logan McRae is a high school sophomore in Terra Bella Beach, CA and has been working all semester to impress her teachers in order to get into the summer writing camp she desperately wants to attend. But when this ordinary girl finds an extraordinary book, Fearless Astrology, her life is changed forever. Applying what she's learned about the zodiac, she lands her own column in the school paper and a date with the hottest guy in school!

But when Logan threatens to catch the members of a secret society called The Gears, who have been vandalizing school property by reading the stars, she quickly learns that she is in over her head. Will Logan be able to catch The Gears, save her love life, keep her newspaper column, and get into the writing camp of her dreams all through the use of astrology?

Genre: Young Adult
Paperback: 304 pages
Publisher: Running Press Kids (March 2010)
ISBN#: 0762436700

Coming in May 2010, Star Crossed: Taurus Eyes

upcoming workshops

.

...from Portland Women Writers....

Poetry, Perception and Play with Dawn
6 Wednesday Evenings, March 10 - April 14
Time: 6:30-9:00pm
Location: NE Portland


Wednesday Morning Writing Practice with Dawn
8 Sessions, March 24-May 12
Time: 10:00am-12:30pm
Location: SE Portland, Sellwood

Tuesday Morning Writing Practice with Dawn
8 Sessions, March 30-May 18
Time: 10:00am-12:30pm
Location: SE Portland

Wednesday Evening Writing Practice with Rhea
8 Sessions, April 7 - May 26
Time: 7:00pm-9:30pm
Location: SE Portland

Sacred Story Writing with Dawn
6 Wednesday Evenings, April 21 - May 26
Time: 7:00-9:00pm
Location: Multnomah Village

One-Day Events

Inner Fire: Spring Equinox
a writing and spirit workshop with Rhea
Saturday, March 20
Time: 1:00-5:00pm
Location: TBA

Embracing Change: Transforming Fear into Power
an astrology & Sacred Story Workshop
with Emily & Dawn
Saturday, March 27
Time: 10:00am-2:30pm
Location: Multnomah Village

Writing our Stories of Motherhood
with Traci Schatz & Dawn Thompson
Saturday, April 17
Time: 10am-12:30pm
Location: SE Portland, Sellwood

"Voices Against Violence" zine submission deadline extended

Great project still needs submissions.

The editors

have extended the deadline for the Voices Against Violence zine to Feb. 2nd. Here’s the original call out[inserted below]

What we’ve got so far has been great, but I’d like to see some responses and issues still not addressed and artwork.

Included topics can be: healing from trauma, transformative words used as a healing mechanism, enabling healing, life after trauma, self-help guides/resources, self-healing, dancing as means to healing, healing through narration, forgiveness (do we need it?), & collective trauma.

Here is the original call for submissions, which includes more information:

Call out for Submissions

Voices Against Violence Zine is accepting submissions for our next issue. Please send in your essays, poetry, letters, personal accounts, artwork & photography to be included.

What is the Voices Against Violence Zine? A small zine-diy style, with work from people of color, indigenous folks, trans people & queer survivors of domestic violence, sexual violence and sexual assault. Included topics can be: healing from trauma, transformative words used as a healing mechanism, enabling healing, life after trauma, self-help guides/resources, self-healing, dancing as means to healing, healing through narration, forgiveness (do we need it?), & collective trauma.

Voices Against Violence zine is to be used as a community teaching tool, as a jump off for discussion and creative outlet and for conversations that need to happen.

Voices Against Violence is part of Café Revolución, with help from Philly’s Pissed. Check out their downloads.

Send submissions in English, Spanish, tex-mex, spanglish or any combination* via email, either in text in the body of the email or attached in .txt format to noemi.mtz (at) gmail dot com.

In the subject enter voices against violence submission. Include a brief bio, your mailing address, website if any. Mention your zine or any upcoming projects you’d like. If you prefer to remain anonymous, let me know or include a pen name. Email any photos, artwork as an attachment.

*translations would be cool but not necessary.

The editor, Noemi, of this zine is a skilled writer and all around awesome person I met through Ariel Gore online workshops. Submit if you have something and feel free to contact Noemi with any questions.

Manuscript contest

AWP Award Series series begins accepting submissions in January

The Association of Writers & Writing Programs (AWP) is a nonprofit organization of writers, teachers, colleges, and universities. AWP sponsors an annual competition for the publication of excellent new book-length works—the AWP Award Series. The competition is open to all authors writing in English regardless of nationality or residence. The Donald Hall Prize for Poetry is an award of $4,000 and publication for the best book-length manuscript of poetry. This competition is open to published and unpublished poets alike. The Grace Paley Prize for Short Fiction awards the winner $4,000 and publication. Winners in the novel and creative nonfiction categories receive a $2,000 cash honorarium from AWP and publication. The Award Series conducts an evaluation process of writers, for writers, by writers. AWP hires a staff of “screeners” who are themselves writers; the screeners review manuscripts for the judges. Typically, the screeners will select ten manuscripts in each genre for each judge’s final evaluations.

Go to the AWP website for more information, including formatting and other guidelines.

character sketch

Before I could even see if the person was male or female. Before I could see the neon green running shoes or the shiny incredibly fake red fur of the hat and the just as equally fake, glowing in its whiteness, fur brim. Before any of that, what I saw through the window of the coffee store, were twinkling tiny Christmas lights, shimmering and glowing as if they were hanging outside in the wind.

But they weren't.

I blinked and looked again. Yes, the lights were moving now. Yes, the lights were surely on a person unless the coffee shop had decided to install and human sized mechanical dancing skinny tree of some kind. Because I couldn't see any branches and the sign behind which the lights were peeking out was too thin for the tree to have any volume at all.

But the glare on the window prevented me from seeing who or what the lights were hanging on and why they were now dancing. I opened my car door, got out, and stepped back to close the door. That was the moment the neon green shoes came in to view. Then a peak of the red hat from over the sign.

A couple people moved closer and I saw blue jeans approach the counter and the barister laughing. As I approached the door, I could see clearly that the laughter was of familiarity and fondness, not fake like the Santa hat or mocking like the evil grinning elf hanging by a thread in the window.

Two young children rushed in the door just ahead of me and ran to her. She laughed with them and talked and then their mother came a few minutes later.

When the woman with lights sat at a table, the children came to her and listened to her stories. Other customers came and went and many of them approached her, greeted her, and listened as she explained her upcoming volunteer gig, or the one she had to turn down, or the friend she was going to deliver a meal to tomorrow.

A not quite jingling presence whom almost everyone seemed to know.

Confidently sitting at the table, working in her pencil puzzle book. sipping coffee and juice. With a smile and a story for every interruption.

Happy to be sitting here in the middle of the comings and goings. Happy to greet another face and know somebody cares.