"Fill your paper with the breathings of your heart." ~ William Wordsworth

The Writing Life Too

And if you're reading this, it means you're not writing.

Tuesday, May 11, 2010

Sign up for Summer in Words

Folks, there are still spaces left for my Summer in Words conference, but they won't last. Here's the skinny:

Manzanita to host the 3rd annual Summer in Words Writing Conference June 25-27
                                                                  
 Manzanita, Oregon will be  the setting for the Summer In Words Writers Conference  (SIW) at the Center for Contemplative Arts. It brings together Northwest’s best-selling authors and writing instructors for a three-day program of workshops and events. The theme for this year’s conference is Deepening the Craft. SIW provides aspiring writers the chance to network, hear inspiring advice and instruction, and take part in a reading.  Cost for all three days is $215.00; single day pricing is also available.

This year's conference kicks off Friday, June 25th with Jessica Morrell’s Narrative Drive in Fiction and Nonfiction workshop followed by Finding Focus by prolific writer Polly Campbell. In the afternoon Polly Campbell will teach Compelling Details followed by best-selling author Larry Brooks’ workshop on Pacing.
Friday’s workshops will be followed by an open forum for writers –Out Loud—which gives writers a chance to read their latest works to an audience. It will also feature a raffle with proceeds going to Write Around Portland, an organization that helps people transform their lives through writing and The Center for Contemplative Arts which offers programs in Manzanita.

Saturday morning will kick off with Nail the Ending workshop taught by Jessica Morrell followed by Bill Johnson’s workshop Dramatic Truth. Saturday afternoon will feature a luncheon with keynote speaker  and best selling author Jennie Shortridge, Staying Afloat in a Turbulent Sea: Righting the Craft This will be followed Spirit of Storytelling taught by Bill Johnson and The Art of Arc by Jennie Shortridge

On Sunday, attendees can look forward to a Question and Answer session with Jessica Morrell, Bill Johnson and Jennie Shortridge on Building Your Writing Skills. Sunday will also feature  Marian Pierce’s workshop Finding Your Characters Through Dialogue.

Manzanita, Oregon is vibrant community on Oregon’s coast also known for its love of the arts and books. The Center for Contemplative Arts serves the region with a variety of arts offerings and personal and spiritual development courses.

Visit any of the instructors’ websites or blogs:
Larry Brooks: http://storyfix.com/
Bill Johnson: www.storyispromise.com,
Marian Pierce: www.marianpierce.com
Jennie Shortridge: www.jennieshortridge.com

The registration fee of $215 covers tuition for the three-day conference, Friday Continental breakfast, Saturday lunch and keynote. The cost for the Saturday lunch and keynote is $20. Out Loud, $10.

About Summer in Words: Founded in 2008 by Jessica Morrell (author of Thanks, But This isn’t for Us, Bullies, Bastards & Bitches, How to Write the Bad Guys in Fiction, The Writer’s I Ching, Wisdom for the Writing Life, Voices From the Street, Between the Lines, Master the Subtle Elements of Fiction Writing, and Writing Out the Storm) Summer in Words was created to provide writers with an intimate conference experience in an uplifting setting so that attendees are energized, enlightened, and inspired.

For the complete schedule or any information or to register, contact conference coordinator Jessica Morrell at jessicapage(at)spiritone (dot)com
 





Puffin Turns 70 and Chooses 70 Titles
Any time a book publisher turns 70, I say it's cause for celebration. And as a lover of lists (isn't everyone?), I've got to pass this one along from The Guardian  
And I'm so happy to see How I Live Now by Meg Rosoff  under Best, Best, Best because I've been raving about this book ever since I read it. 

The Best Mischief and Mayhem
The Twits by Roald Dahl
Diary of a Wimpy Kid by Jeff Kinney
The Hundred-Mile-An-Hour Dog by Jeremy Strong
The Secret Diary of Adrian Mole by Sue Townsend

The Best Weepies
Watership Down by Richard Adams
The Truth about Leo by David Yelland
Two Weeks with the Queen by Morris Gleitzman
Charlotte's Web by E.B. White

The Best to Cuddle-Up With
The Very Hungry Caterpillar by Eric Carle
The Bog Baby by Jeanne Willis & Gwen Millward
Peepo! by Janet and Allan Ahlberg
Hairy Maclary from Donaldson's Dairy by Lynley Dodd

The Best Blood and Guts
The Enemy by Charlie Higson
Dracula by Bram Stoker
Being by Kevin Brooks
The Hound of the Baskervilles by Sir Arthur Conan Doyle

The Best Swashbucklers and Derring-Do
Treasure Island by Robert Louis Stevenson
Captain Flinn and the Pirate Dinosaurs by Giles Andreae & Russell Ayto
Young Samurai: The Way of the Warrior by Chris Bradford
Robin Hood by Roger Lancelyn Green

The Best Heroes
Artemis Fowl by Eoin Colfer
Percy Jackson and the Lightning Thief by Rick Riordan
Young Bond: SilverFin by Charlie Higson
The Adventures of Huckleberry Finn by Mark Twain

The Best Characters
Charlie and Lola: Excuse Me But That is My Book by Lauren Child
Meg and Mog by Helen Nicoll & Jan Pienkowski
Angelina Ballerina by Katharine Holabird & Helen Craig
Fungus the Bogeyman by Raymond Briggs

The Best Sugar and Spice
Milly-Molly-Mandy Stories by Joyce Lankester Brisley
The Worst Witch by Jill Murphy
The Velveteen Rabbit by Margery Williams
The Princess and the Pea by Lauren Child & Polly Borland

The Best Animals
Spy Dog by Andrew Cope
The Sheep-Pig by Dick King-Smith
My Family and Other Animals by Gerald Durrell
Lionboy by Zizou Corder

The Best Friends and Family
Dizzy by Cathy Cassidy
The Borrowers by Mary Norton
Little Women by Louisa May Alcott
The Family From One End Street by Eve Garnett
Ballet Shoes by Noel Streatfeild

The Best Phizzwhizzers
The BFG by Roald Dahl
Matilda by Roald Dahl
Charlie and the Chocolate Factory by Roald Dahl
Fantastic Mr Fox by Roald Dahl

The Best War and Conflict
The Diary of a Young Girl by Anne Frank
Once by Morris Gleitzman
Goodnight Mr Tom by Michelle Magorian
Carrie's War by Nina Bawden

The Best BEST BEST BEST!
Stig of the Dump by Clive King
Anne of Green Gables by L. M. Montgomery
Finn Family Moomintroll by Tove Jansson
How I Live Now by Meg Rosoff
Junk by Melvin Burgess

The Best Fantasy and Adventure
TimeRiders by Alex Scarrow
Dot Robot by Jason Bradbury
Journey to the Centre of the Earth by Jules Verne
A Wizard of Earthsea by Ursula Le Guin

The Best Weird and Wonderful
Alice in Wonderland by Lewis Carroll
Five Children and It by E Nesbitt
The Wizard of Oz by L. Frank Baum
Peter Pan by J.M. Barrie

The Best Rhymes and Verse
Please Mrs Butler by Allan Ahlberg
Michael Rosen's A-Z The best children's poetry from Agard to Zephaniah
Talking Turkeys by Benjamin Zephaniah
Bad Bad Cats by Roger McGough

The Best Alternatives to Twilight

Beautiful Creatures by Kami Garcia and Margaret Stohl
Vampire Academy by Richelle Mead
The Luxe by Anna Godbersen
Along for the Ride by Sarah Dessen

Monday, May 10, 2010

A plot is a series of events deliberately arranged so as to reveal their dramatic, thematic, and emotional significance. ~ Janet Burroway

I want stories to startle and engage me within the first few sentences, and in their middle to widen or deepen or sharpen my knowledge of human activity, and to end by giving me a sensation of completed statement. ~ John Updike

The most appealing short-story writer is the one who's a wastrel. He neither hoards his best ideas for something more "important" (a novel) nor skimps on his materials because this is "only" a short story...A spendthrift story has a strange way of seeming bigger than the sum of its parts; it is stuffed full; it gives a sense of possessing further information that could be divulged if called for. Even the sparsest in style implies a torrent of additional details barely suppressed, bursting through the seams.~ Anne Tyler
Farewell

I'm still learning, you know. At 80, I feel there is a lot I don't know.

You have to be taught to be second class; you're not born that way.

Don't be afraid to feel as angry or as loving as you can, because when you feel nothing, it's just death. 


~Lena Horne

Sunday, May 09, 2010

Amanda Davis beginnings
Blue sky full of promise and yippee, the farmer's market near my house opens today. I want to bring your attention to an extraordinary writer, Amanda Davis. Trouble is, Amanda was killed in a small plane crash when she was young and also full of promise. She was traveling with her parents in their small plane a week after her first novel Wonder When You'll  Miss Me was published.  I first read her work when she won Story's Short Short Competition and have used her story "Prints" countless times in my workshops.Her short story collection is Circling the Drain.

No one new in the beginning, not even us. It was only after the field had been combed and the beds checked under and the basements cautiously explored. Only after pantries were rummaged, barns examined, and garages turned upside down. After sheds were emptied and nooks and crannies pestered with light. Prints

That was the year we forgot our dreams and woke, bewildered, muttering. It was spring when I noticed them turning in the sky, this way and that, drifting gently on a breeze. They looked lovely from a distance but somehow I knew it was a bad sign. 

It could mean only one thing: my ex-boyfriend was back in town. Fat Ladies Floated In the Sky Like Balloons 
Happy Mother's Day
"We are not born all at once, but by bits. The body first, and the spirit later; and the birth and growth of the spirit, in those who are attentive to their own inner life, are slow and exceedingly painful. Our mothers are racked with the pains of our physical birth; we ourselves suffer the longer pains of our spiritual growth." ~ Mary Antin
How to stay out of the rejection pile
The weather the past three days has been so sunny and warm and delicious that it's hard to describe.I traveled down to Eugene to give a talk to the Mid-Valley Willamette Writers--How to Revise without Losing it and today taught a workshop, The Final Edit (by the way, I'm giving the same talk and teaching the same workshop in the Ashland area on June 5).

Today as part of my workshop I had the participants bring in the first 2 paragraphs of a story to hear feedback from the group. I explained that a writer has about 60 words or so to  impress an editor. Then we tackled each writing sample, explaining what we liked about the piece and suggested ways to make it better. It was fun and energizing and elucidating.

Along with short story openings, I want to keep talking about this subject this month. My first suggestion is one you'll also find in Noah Lukeman's The First Five Pages. In this book Lukeman, who is an agent explains the mistakes that cause a manuscript to be rejected. The number one mistake that sends him around the bend is excess modifiers, and I agree with him. Nothing shouts that a writer is an amateur more than this sort of excess. Lukeman writes: “…the quickest and easiest way to reject a manuscript is to look for this overuse, or misuse, of adjectives and adverbs. Most people who come to writing for the first time think they bring their nouns and verbs to life by piling on adjectives and adverbs, that by describing a day as being “hot, dry, bright, and dusty” they make it more vivid. Almost always the opposite is true.” I can always tell if a writer is an amateur or unable to murder his or her darlings if the opening is larded with modifiers. You need to be able to justify every word in every word in every sentence. If a word doesn't have a job to do, get rid of it. If the  modifier isn't somehow surprising, fresh, or fabulous, dump it. And no adverbs. Ever. I'm serious as a heart attack about this.

And here is more information on impressing editors from the get-go at Guide to Literary Agents.
Meanwhile, keep writing, keep dreaming, have heart

Thursday, May 06, 2010

Short advice for the day:
Perfection= Paralysis
Raymond Carver on writing short stories:
"It’s possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things — a chair, a window curtain, a fork, a stone, a woman’s earring — with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader’s spine — the source of artistic delight, as Nabokov would have it. That’s the kind of writing that most interests me. I hate sloppy or haphazard writing, whether it flies under the banner of experimentation or else is just clumsily-rendered realism. In Isaac Babel’s wonderful short story “Guy de Maupassant,” the narrator has this to say about the writing of fiction: “No iron can stab the heart with such force as a period put just at the right place.”

Wednesday, May 05, 2010

Cheryl Strayed Wins Pushcart

I just learned the news that Cheryl Strayed, another Portland writer just won the Pushcart Prize for her essay, Munro Country, first published in The Missouri Review. I know I sometimes rave about writing and writers here, but folks, you need to pull up a chair, and pour yourself a cup of coffee, tea, or glass of wine and read this essay. It's so beautiful and powerful and true it just might change you. If you're a writer, it just might reshape your soul. A huge congratulations Cheryl, and well deserved.
Publish or Perish
Just got in from a quick walk. Almost sunset here and the sky is full of lavender and gold and clouds so crazy and far flung and huge, I can barely describe them. And everything is so wet and damp and cold and quiet. Not a kid or jogger or bicyclist or dog walker in sight. At first I thought I was imagining that it was as cold as it seemed because I was wearing a sweatshirt and jeans, but then I tested my breath in the air, and sure enough, there it was, puffing out before me as if it were early December.

I wanted to pass on this article in the New Yorker Publish or Perish  by Ken Auletta on the future of e-publishing.It's the one of the most thoughtful assessments  of the publishing industry that I've read.
It begins:
On the morning of January 27th—an aeon ago, in tech time—Steve Jobs was to appear at the Yerba Buena Center for the Arts, in downtown San Francisco, to unveil Apple’s new device, the iPad. Although speculation about the device had been intense, few in the audience knew yet what it was called or exactly what it would do, and there was a feeling of expectation in the room worthy of the line outside the grotto at Lourdes. Hundreds of journalists and invited guests, including Al Gore, Yo-Yo Ma, and Robert Iger, the C.E.O. of Disney, milled around the theatre, waiting for Jobs to appear. The sound system had been playing a medley of Bob Dylan songs; it went quiet as the lights came up onstage and Jobs walked out, to the crowd’s applause.

In the weeks before, the book industry had been full of unaccustomed optimism; in some publishing circles, the device had been referred to as “the Jesus tablet.” The industry was desperate for a savior. Between 2002 and 2008, annual sales had grown just 1.6 per cent, and profit margins were shrinking. Like other struggling businesses, publishers had slashed expenditures, laying off editors and publicists and taking fewer chances on unknown writers.
More on Short Fiction
Gloomy skies again and temperatures are at least ten degrees below normal, warmer, sunnier weather on the way tomorrow.
This is from Roberto Bolaño's "Advice on the Art of Writing Short Stories":

Now that I’m forty-four years old, I’m going to offer some advice on the art of writing short stories. (1) Never approach short stories one at a time. If one approaches short stories one at a time, one can quite honestly be writing the same short story until the day one dies. (2) It is best to write short stories three or five at a time. If one has the energy, write them nine or fifteen at a time. (3) Be careful: the temptation to write short stories two at a time is just as dangerous as attempting to write them one at a time, and, what’s more, it’s essentially like the interplay of lovers’ mirrors, creating a double image that produces melancholy.

And a great opening from reader Liz Prato's short story A Clean Swath of Ice: "Carla didn't mean to get carried away with the Zamboni driver."

I ask you, how could you resist a story that begins with a Zamboni driver?

Tuesday, May 04, 2010

Captivating First Lines
As I mentioned here recently I used to be the Writing Expert at iVillage and during that gig met many talented writers and read a lot of writing that knocked my shoes off. Of course, I also taught a lot of beginners that were just finding their way with words, but that was okay too, because it taught me so much about what sort of guidance beginning writers need.

Again, as I've mentioned, one of the best writers during this era was Linda Easley. She lives in Missouri and often writes of the history of the Ozarks and has such a knack for language that it will make you sigh with envy. Here are some first lines from her short stories:

The old man heard a twig snap and turned, drawing his hunting knife as he moved, but he was too late. – “Rhymie Jeeters”

When I was five, I was in love with my Uncle Albee. – “The Grief Line”

Pitying eyes follow me everywhere. – “Betrayal”

That Norman is thin as a swizzle stick, all angles and elbows, as my granddad used to say. – “Something About Grackles”
See what I mean? Maybe we can talk her into posting some of her short stories since she recently started a blog.
Contact:
Folks, if you want to submit short story openings please contact me at jessicapage (at) spiritone (dot) com
And if anyone knows how to add a contact page at blogger, please let me know because I cannot find a place to do so. Thanks for your patience, Jessica
First Paragraphs of A Jury of Her Peers

Skies are the color of dull pewter this morning, temperature is only 38 F and my to-do list is still daunting. A reader Norma Kramer suggested the opening of Susan Glaspell's story A Jury of Her Peers. She wrote "The story still haunts me." What I notice about this opening is that there is a disturbance in the ordinary world that I want to learn more about.

When Martha Hale opened the storm-door and got a cut of the north wind, she ran back for her big woolen scarf. As she hurriedly wound that round her head her eye made a scandalized sweep of her kitchen. It was no ordinary thing that called her away--it was probably further from ordinary than anything that had ever happened in Dickson County. But what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted.

She hated to see things half done; but she had been at that when the team from town stopped to get Mr. Hale, and then the sheriff came running in to say his wife wished Mrs. Hale would come too--adding, with a grin, that he guessed she was getting scary and wanted another woman along. So she had dropped everything right where it was.

Opening paragraphs in any type of writing have a lot of heavy lifting to accomplish, but especially in fiction or memoir. In my book Thanks, But This Isn't for Us: A (Sort of) Compassionate Guide to Why Your Writing is Being Rejected I described the importance of first impressions on a reader:

Let’s think about how to seduce a reader. The best beginnings are like forces gathering, about to be unleashed on the reader. With the first words, the writer establishes his credibility, introduces viewpoint and voice, and makes the reader care about people and the story unfolding. Obviously this is a tall order for a few sentences or paragraphs to accomplish.Also, since fiction and memoir are based on adversity, typically an opening will show a character or person under stress and the story world starting to tilt off balance.

Effective openings set a story in motion, create momentum, tension, and suspense. They involve readers in the story and thus have immediacy. This means you’ll need to plan your first moves for maximum impact
*Openings also create involvement and sympathy for a character or memoirist depicted in the opening moments. If you’re writing fiction or memoir, start with a threatening change in a character’s or memoirist’s situation. This inciting incident starts the action, often opens a can of worms, and creates imbalance.
*Introduce the protagonist or memoirist or important characters, and give the reader his first glimpse of their core personality traits. These traits remain consistent throughout the story, are intricately linked to the plot, and are tested by the events, especially the troubles of the story. In fact, a plot (or memoir) will always showcase a protagonist’s primary traits.
*Use specific, sensory details to immerse the reader in the story world and situation.
*Use polished prose, figurative language, and other artful flourishes.

Keep writing and please send in more short story openings

Monday, May 03, 2010

More GREAT first lines
from short stories. They're like falling in love:

“A man without hands came to my door to sell me a photograph of my house.”
Viewfinder, Raymond Carver
“My lover is experiencing reverse evolution." Aimee Bender, Remembering
"Leroy Moffitt's wife, Norma Jean, is working on her pectorals." Shiloh, Bobbie Ann Mason
 "In the fall the war was always there, but we did not go to it any more."Ernest Hemingway, In Another Country
"This is one story I’ve never told before.  Not to anyone.  Not to my parents, not to my brother or sister, not even to my wife.  To go into it, I’ve always thought, would only cause embarrassment for all of us, a sudden need to be elsewhere, which is the natural response to a confession.  Even now, I’ll admit, the story makes me squirm.  For more than twenty years I’ve had to live with it, feeling the shame, trying to push it away, and so by this act of remembrance, by putting the facts down on paper, I’m hoping to relieve at least some of the pressure on my dreams.  Still, it’s a hard story to tell.  All of us, I suppose, like to believe that in a moral emergency we will behave like the heroes of our youth, bravely and forthrightly, without thought of personal loss or discredit.  Certainly that was my conviction back in the summer of 1968.  Tim O”Brien:  a secret hero.  The Lone Ranger. ..."On the Rainy River, Tim O'Brien 

If your first lines are anemic you might want to check out Donald Newlove's  First Paragraphs.  Newlove writes of the two styles that "rule writing in English, the stripped and the ornamental."  He represents both styles in this book, "Sometimes the ornamental style devours the writer's voice," he observes, "and often the stripped, a brief record of fact and sensation, is drained of voice."
Short stories
Blue mixed in with cirrus clouds and I'm still trying to figure out why my electricity just blacked out then came back on a minute later. I was up late last night working on my column (about short stories) for Willamette Writers. At about 2 in the morning I stepped outside for a few minutes and just listened to the wind whispering through the firs across the street and feeling the mist in the air. It felt like I'd stepped into some sort of mystery or alternate universe and I've got to do this more often when I'm awake in the middle of the night.

May is National Short Story Month. Well, sort of. It doesn't have an official sanction like National Poetry Month, but the folks at Emerging Writers Network are trying to make this happen. With that in mind, I'm going to be posting my favorite short story openings here and on Facebook.

If you have favorites, send them along and I'll include them. Also, if you'd like to see this blog opened up to comments, please let me know. The reason it's not at this time is that I'm afraid I won't have the time to respond to comments. I already have a big volume of e-mails and Facebook posts to keep track of...and well, I need to make a living. Suggestion are welcome.

Fabulous first line:

"I’ve misplaced my soul,” you tell me.

"Men are always losing things,” I laugh. “Look under your bed, or behind the pickles in the refrigerator. Do you remember what you were wearing when you had it last?”
~ Your Better Half, K.W. Oxnard

Keep writing, keep dreaming, have heart

Sunday, May 02, 2010

I always try to think when I am writing of someone I do not know. The age of this unknown person is always either elderly and impatient in the way that elderly people can be impatient, or quite young, maybe too young to drive a car, 15, a difficult age, and impatient in the sense that the attention is always hopping to something else. I like to think that my principle task is to get that person's attention and not lose it, and the person has a million other things that they could be doing. If you turn your back on that reader and just amuse yourself, when you look back the reader will be reading another book or watching television or gone to the movies or fallen asleep.~ John Irving
"Creativity is the ability to move from one failure to another with no loss of enthusiasm." ~Winston Churchill
Bellevue Literary Review
Sky is clearing up and I need to create a to-do list because the week ahead is looking complicated. For anyone who lives in the Eugene, Oregon area I will be speaking at Tsunami Books on Thursday nigh, May 6t as part of the Mid-Valley Willamette Writers' series. My talk will be titled, Editing Without Losing It. I'll also be teaching a workshop on Saturday The Final Edit. Hook up with Willamette Writers for more info.

As I've mentioned, I want to use this blog to post contests, fellowships and such from time to time, so wanted to let you know about the Bellevue Literary Review which has a contest deadline of July 1 and features prominent judges including Andre Dubus III. Keep writing out there.

Saturday, May 01, 2010

25 Journalism Fellowships
Busy day and I really want a nap but I need to head into the kitchen and whip up a bean dip and a cactus salad for a Cinco de Mayo gathering. But before I forget, I wanted to pass along this link to 25 journalism fellowships. These days, we all need to keep building our skills....
Bullies, Bastards &Bitches 

Here I am working in the middle of the night again. I cannot explain this new schedule, and it makes the day that follows sort of unpredictable because I never know if I'll need a nap,  but I must say I get a lot accomplished during these sessions, although I miss the view of the sky through the window that my desk overlooks. 

You sometimes hear women talking together about difficult pregnancies and childbirths.  Months of back aches and nausea and heartburn and tiredness. Hours or days of break-apart pain in the delivery room. My book Bullies, Bastards & Bitches would fall under that category. I loved the idea of writing about anti-heroes, I wanted to urge writers to take risks with their characters,  to delineate the various types of characters in fiction, and discuss their morality and personality traits. Before I wrote the book I went on a big reading spree (I had finished writing three books in three years and also needed some downtime) and I read the George R.R. Martin  A Song of Fire and Ice series and learned so much from him about character arcs and how to make every character in a story vulnerable. If you haven't read Martin, even if you're not a fantasy fan (which I'm not), I cannot recommend these books enough.  

But I was treading into new territory so it was a book I couldn't research, but instead needed to devise my own theories and information; my editor at Writer's Digest, the talented and smart Kelly Nickells assigned me endless rewrites that pretty much drove me crazy but I'm sure made sense; and the copyeditor made changes that I didn't want changed, some of them leading to factual errors. Thus it was a painful birth and it's a book I don't look back on much, because I sort of associate it with those no-so pleasant memories. 

So it was with pleasure that I just found an email from a writer in Ireland, LP OBryan, asking for permission to include BBB in a line up of The 7 Most Useful Books on How to Write Fiction.  There are two books I haven't heard of in this list and am going to check into. If you write fiction, do buy books on craft. Do read them and reread them until the techniques you learn feel natural--they won't at first. And if anyone has a ticket for me to travel to Ireland to teach workshops there, you know where to find me. 

Meanwhile, keep writing, keep dreaming, have heart

Edgar Winners
Since summer is just around the corner (can you believe that it's already May?) here are the Edgar winners, or mysteries and crime novels that might be just right for your beach bag or suitcase.
Best Novel
The Last Child by John Hart (Minotaur)

Best First Novel by an American Author

In the Shadow of Gotham by Stephanie Pintoff (Minotaur)

Best Paperback Original
Body Blows by Marc Strange (Dundurn)

Best Short Story

"Amapola" by Luis Alberto Urrea in Phoenix Noir, edited by Patrick Millikin (Akashic)

Best Fact Crime
Columbine by Dave Cullen (Twelve)

Best Critical/Biographical
The Lineup: The World's Greatest Crime Writers Tell the Inside Story of Their Greatest Detectives edited by Otto Penzler (Little, Brown)

Mary Higgins Clark Award
Awakening by S.J. Bolton

Ellery Queen Award
Barbara Peters and Robert Rosenwald of Poisoned Pen Press

MWA Grand Master
Dorothy Gilman, best known for her Mrs. Pollifax series

Friday, April 30, 2010

Synopsis Tips
Lots of various colored cumulus this morning along with sun breaks. I never heard of sun breaks until I moved here--but it's a term that inspires hope. One of my Facebook pals has received a request for a full manuscript and synopsis. With his suffering in mine (his message to me read HELP!) I'm posting some suggestions for writing a synopsis here.

Dread is normal
First, if you’re not fond of writing a synopsis, this doesn’t strike me as abnormal. After all, you’re summarizing about 400 pages into the briefest possible form while introducing the major players and situation and somehow leaving no questions unanswered, while not disclosing everything that happens in the story. A synopsis is part bare bones of your story (however, not too bare), part pitch, and part illustration of your writing style. And every sentence matters and pushes the story forward.

Typically a synopsis completes a sales package that includes your first three chapters and sometimes a letter of introduction. Since at times editors read the synopsis first, it must be comprehensive, comprehensible, and compelling, forcing them to then peruse your chapters.Your synopsis will be read not only by an agent and editor, but if it passes muster, the marketing and art department will read it too. A synopsis will also be used in the publishing house meetings where decisions are made about what titles will be published in an upcoming season. In your synopsis these professionals want to see a thoughtful writer at work—one who has crafted an enthralling story, with a gripping main conflict and intriguing motivations in the main players. They also want to understand how the story moves logically from the inciting incident in the opening chapters to the end, with major plot points and turning points along the way.

These days there seems to me no grand consensus on the ideal length of a synopsis. If you’ve written a saga, chance are you might weigh in at 10 pages or more and if you’ve written a fairly simple tale, you might get away with a one-page shorty. Since most agents and editors are notoriously pressed for time and read so much for their jobs, the five page synopsis is appreciated by most. However, in the past the wisdom about length went like this: one double-spaced page of synopsis for each 10,000 manuscript words. If you wrote an 80,000 word manuscript you'd write an 8 page synopsis.

If you’re new to the task of synopsis writing you might want to read the back cover copy on your favorite paperback novels and the inside jacket of hard cover novels. Notice how enticing the copy is and how the story question is revealed. Notice too the verbs and the level of specific detail. Then make a list of all the major characters and events that you need to include in your synopsis.

Start your synopsis with a hook—as in When JAMES MALCOLM, an insurance adjuster, awoke in a strange basement wearing women's clothing, he knows it won’t be an ordinary day, but could scarcely have imagined that the clothes he wore belonged to MELINDA DAVIS who had been recently murdered. Wrongly suspected of her murder, Malcolm is forced to discover who murdered Davis and why and why he was fingered for the crime.

Write in the present tense and the first time you introduce a character, type his or her name in all caps. A synopsis is written in the same order as the novel and is written in the style and tone of the manuscript—a witty, fast-paced novel requires a witty, fast-paced synopsis. If the story is literary, your synopsis will be more serious, but keep in mind that your dazzling prose goes into the manuscript, not the synopsis. Don’t leave major questions unanswered such as who killed the victim, as well as how Malcolm solves his internal conflict, and how the subplot was resolved after he lost his job when he was arrested. A synopsis keeps the reader’s interest, but it’s not a tease and is not written with cliff hangers and such devices. It’s particularly important to demonstrate that your ending provides a satisfying conclusion to the plot and ties up loose ends.

A synopsis demonstrates that your characters are in jeopardy and what is at stake and why this matters. It introduces your main characters and their conflicts and agendas. It is not a list of characters or character sketches, and it usually does not describe physical attributes of characters, although the main characters are given some sort of tag. For example, you might want to refer to a character as the leading citizen in a small Southern town, or a respected doctor or frustrated novelist. Antagonists are always introduced, but secondary characters are mentioned only if they are involved with the protagonist’s inner or outer conflict. A synopsis is also written with a careful attention to flow—ideas follow each other logically and one paragraph leads to the next. This means that transitions will be important in connecting the dots.  
Format
As for the format, use 1 inch margins on all sides and don’t justify the right margin. On the first page in the upper right hand corner write Synopsis. The next line is Genre: (with your story type followed on the next line by Word count: with the number of words. Type your name and contact information on the top left hand margin. All this information is single spaced. Don’t number your first page, but scroll down to about one third of the page and center your title in all caps. Then leave four lines after the title and begin with your hook. After the first page use a header or slug line on the upper left hand corner that looks like this: MORRELL/DOOMED FOR DEATH/Synopsis. The page number goes in the upper right on the same line as the header.

Now, here’s where things get a bit sticky. Some experts claim that a synopsis should be single-spaced, some suggest double-spacing. Jack and Glenda Neff and Don Prues, authors of Formatting & Submitting Your Manuscript, suggest double spacing. The best rule of thumb is that if the synopsis is over two pages, double space; if it’s one or two pages, single space. Do not use fancy fonts. While you might want to include one or two short dialogue exchanges to illustrate a point, generally don’t quote long passages of dialogue or excerpts from the manuscript. You’re summarizing, not copying. Also, when you introduce a new scene or plot twist, begin a new paragraph.

Finally, here’s a checklist that you might want to use to verify that you’ve covered all these points:
Have you printed it out and then edited it for spelling, grammar and punctuation mistakes?


  • Does the opening paragraph contain a hook that raises a question and forces the reader to keep reading?
  • Does the synopsis prove that the story is based around a single, dramatic question?
    Have you shown the protagonist taking charge of events, making choices and decisions, but also stumbling and dealing with internal conflict?
  • Have you introduced your main characters and defined their conflicts, desires, and motivations?
  • Are the protagonist’s dominant traits demonstrated? 
  • Have you covered the major scenes and plot points?Are reversals, twists and surprises depicted?
  • Is the setting and timeframe of the story clear?
  • Does the synopsis include the places in the story where the protagonist changes? 
  • If your characters are changing, are you briefly explaining why?
  • Have you shown the protagonist’s darkest moment that comes near the end of the story? 
  • Does he or she hit bottom or is there a moment of truth? 
  • Are emotional or internal changes evident during this dark moment?
  • Is the ending revealed and does it clarify how the main conflicts are resolved? 
  • Have you briefly explain what the protagonist has won or lost?

Thursday, April 29, 2010

Anatomy of a Scene Workshop in Olympia
Saturday, May 22
Times: noon-5:30
Location: Mud Bay Coffee, 1600 Cooper Bay Rd SW, Suite 630 Olympia, WA
Cost: $60 includes lunch and beverages (no outside food or drink allowed)
A scene is a miniature drama in which a single issue is decided in specific circumstances.” Philip Gerard

Scenes are basic units of storytelling that dramatize both everyday life and key moments in fiction and nonfiction. In scenes something significant happens, it has not happened before and will not happen again. A scene—an unbroken action― brings the story to a new place in the narrative, it offers something fresh and somehow stirs reader’s emotions Thus scenes are a means of perception and the intimate moments in the story that create emotional involvement with the reader. Fully rendered scenes are dramatic high points and help the readers see the events, but also experience them via their senses.
But crafting compelling scenes isn’t merely a trick of assembling actors onto a stage.  The best scenes and are built on character’s goals meeting opposition, and often include an emotional reversal. Our discussion will define: half scenes, sequels, action scenes, transitions, and set pieces. This workshop is suitable for fiction and nonfiction writers. We’ll also cover using scene cards, using setting to enhance drama, and the role of dialogue.
Participants will learn: 
*Which events in the story can be summarized and which are written in scenes.
*How scenes advance at least two things in the story—the theme, the plot, a subplot, or develop or change characters. 
*How a scene must be vital to the overall plot; suggests more scenes to follow; and tension and conflict in scenes is cumulative.
*How to move in and out of scenes quickly; when you need transitions and when to use cliffhangers.
*How to structure action scenes.
The Fine Print: Thanks so much for reading this notice. Please feel free to forward to anyone you think might be interested. The workshop requires pre-registration and payment. Space is limited, so you’re encouraged to register early. Contact Jessica at jessicpage@spiritone.com or phone at 503 287-2150 To reserve your place: Please send a check to Jessica Morrell, PO Box 820141, Portland, OR 97282-1141 A confirmation e-mail will be sent when your check arrives that will explain your lunch options, as well as an e-mail several days before the workshops to clarify last-minute details.
"Listen to your life. See it for the fathomless mystery that it is. In the boredom and the pain of it no less than the excitement and gladness: touch, taste, smell your way to the holy and hidden heart of it because in the last analysis all moments are key moments, and life itself is grace." ~ Frederick Buecher

Wednesday, April 28, 2010

Leads that linger
Dusk is falling and the sky has a purple cast. The weather changed about every fifteen minutes here today and included thunder and lightning and downpours. When I went to college I changed my major from psychology and pre-Law to English and Journalism. And the classes that have been the most helpful to me in my life were my journalism classes. I believe I've written about Paul Hayes my journalism teacher and Pulitzer prize winner on this blog before, because he taught me so much and I've inherited my suspicions of modifiers from him. In fact, he gave everyone in his classes an F on a story if we used very or quite in a sentence. So that lesson sunk in fast and to this day I cross out very and quite from my clients' and student's work.

But I also learned a lot about writing captivating leads that hook or pull in a reader. Leads, or the first sentences and paragraph, need to possess a certain magic and arouse curiosity in the reader. Here's one of my favorites from the April issue of National Geographic:

Aylito Binayo's feet know the mountain. Even at four in the morning she can run down the rocks to the river by starlight alone and climb the steep mountain back up to her village with 50 pounds of water on her back. She has made this journey three times a day for nearly all her 25 years. So has every other women in her village of Foro, in the Konso district of southwestern Ethiopia. Binayo drooped out of school when she was eight years old, in part because she had to help her mother fetch water from the Toiro River. The water is dirty and unsafe to drink; every year that the ongoing drought continues, the once mighty river grows more exhausted. But it is the only water Foro has ever had. 

I believe that I read all the stories in this particular issue-something I usually don't do, because I was so captivated by how water affects all of us and our profound dependency on it. For the past few years I have believed that the coming crisis on the planet wasn't going to be about running out of oil or energy, but water.  But this is the article and lead that I especially remember with all the details of how the women of Foro spend  their days fetching the precious water. The story is woven with striking details: When you spend hours hauling water long distances, you measure every drop. The average American uses a hundred gallons of water at home every day; Aylito Binayo makes do with two and half gallons.

The article described how the writer Tina Rosenberg, accompanied Aylito up the mountain on one of her many trips for the 50 minute walk, where there is often a wait to fill her water jugs at the series of black, muddy pools. The wait is especially long early in the morning, so Binayo usually makes her first trip before it is light, leaving her son Kumacho, a serious-faced little man who looks even younger  than his four years, in charge of his younger brothers.

Before I read this issue I was sometimes prone to long, hot showers. I have neck pain from a car accident and from sitting at this desk, so this is one of my small luxuries. Or, rather, it was. Since reading about Aylito and how so many people die from lack of clean water, my shower habits are pretty Spartan these days.
Other facts:
Nearly 70 % of the world's fresh water is locked in ice
Most the rest is in aquifers that we're draining much more quickly than the natural recharge rate
Two-thirds of our water is use to grow food
With 83 million more people on earth each year, water demand will keep going up unless we change how we use it.
 
If you want to help:
Water for the People
Water Advocates
Population Services International
Global Water Challenge
"If we cry more tears we will ruin the land with salt; instead let's praise that which would distract us with despair. Make a song for death, a song for yellow teeth and bad breath"
—Joy Harjo, from Mourning Song
Governor Appoints Paulann Petersen as Oregon’s Sixth Poet Laureate

(Salem) – Governor Ted Kulongoski has named Paulann Petersen of Portland to a two-year appointment as poet laureate of Oregon. Petersen will be Oregon’s sixth poet laureate since 1921 when Edwin Markham first took the post. She succeeds Lawson Fusao Inada of Medford, who held the post since 2006.

“Paulann Peters is the perfect choice to serve as Oregon’s poet laureate,” said Governor Kulongoski. “Her wonderful poetry and her commitment to sharing her craft with the people of Oregon through her teaching and service exemplify the kind person that is ideal to serve in this position.”

Paulann Petersen was born and raised in Oregon and spent half of her adult life in Klamath Falls. She is a widely published poet, with four collections – The Wild Awake (2002), Blood-Silk (2004), A Bride of Narrow Escape (2006) and Kindle (2008) – and several chapbooks to her credit. Petersen has received several awards, including Stanford University’s Wallace Stegner Fellowship in Poetry, two Carloyn Kizer Poetry Awards, and Literary Art’s Stewart Holbrook Award for Outstanding Contributions to Oregon’s Literary Life.

Petersen is a committed teacher who has taught high school English and led dozens of workshops schools libraries, colleges, and writer’s conferences across Oregon. Petersen is an active board member of the Friends of William Stafford, Oregon’s fourth poet laureate, and organized the William Stafford Birthday Celebration each January. That celebration has now expanded to 58 events, 40 of them in Oregon.

In February, the Oregon Cultural Trust and partners solicited nominations in a public process. A committee of writers, poets and cultural leaders considered 17 nominations submitted from around the state for the post. The poet laureate position is a collaborative project of the state’s five statewide cultural partners, Oregon Arts Commission, Oregon Heritage Commission, Oregon Historical Society, Oregon Humanities and State Historic Preservation Office, with funding from the Oregon Cultural Trust. The position is funded with a stipend of $10,000 per year for the poet laureate’s work, with an additional $10,000.

Tuesday, April 27, 2010

 Rigoberto González

The sky is clearing and the whole world is emerald, glistening, dazzling. Last night I went to Miracle Theatre to listen to the talented and multi-faceted Rigoberto González.  He's the author of eight books and to say he was inspiring is just so flat and, well, uninspiring. He's sort of force of words and observations and explorations of the heart. You can hear the Mexican-American border in his voice along with sorrow, laughter, anger, compassion.  

He began the evening by commenting on the recent anti-immigration law passed in Arizona and the vanishing Monarch butterflies, read an excerpt from his memoir Butterfly Boy, then read poems,  and finally answered questions in an interview and from the audience. He discussed the state of translations (when he was introduced, the representative of PEN Voices mentioned that in the US about 3 percent of the books read here are translations, compared to England where about 40 percent of the books are translations). When asked which authors he'd like to invite to dinner, he said he wanted to banter with Truman Capote and mentioned one of my all-time favorite books, Music for Chameleons and Arundhati Roy, the author of The God of Small Things. I bought a copy of one of his poetry books, So Often the Pitcher Goes to Water until it Breaks. 
"We are solitary—that's how we write and revise. But we certainly don't create on our own since we are constantly responding to our environment—
that which angers or inspires us."

Monday, April 26, 2010

Tell Us
Our lives are shaped by the written word.

Each month, Multnomah County Library is posing a question in a " Tell Us " feature that asks readers and writers to share experiences that have changed their lives. Selected responses are posted the following month in " Your Words " at www.libraryfoundation.org Don't miss the chance to write, before the end of April, about the person who opened the world of reading to you. Tell us who made you the reader you are today. Read Your Words this month for some of the heartfelt responses that describe a favorite childhood read.

Sign up to receive the "Tell Us" question each month on the foundation's website. http://www.libraryfoundation.org .
Visit Larry Brooks at StoryFix
I just received this note from Larry Brooks about a series he's putting together at Storyfix. It's sort of ironic because I was reading one of his posts recently and meant to recommend that you all stop by. Especially if you have problems with plotting. 
Hey -- just a quick note -- sort of a personally directed online press release -- to some of my writing and blogging buddies announcing that I'm launching a cool series on Storyfix.com that your readers might enjoy and benefit from.  I'm doing an indepth analysis and deconstruction of Dennis Lehane's "Shutter Island," which breaks down both the novel and the recent hit film.  Going deep on this one, as it's a great model that can teach us much.  Hope you'll stop by, and that you'll consider pointing your readers toward this opportunity.  T

Meanwhile, keep writing, keep dreaming
From Jayne Anne Phillips

This is from the Daily Beast interview  Jayne Anne Phillips Goes to War.
What is your writing process like?

I work via the high-tension-wire method, which is maybe going for long periods without writing while the tension builds up—when am I going to write this, am I going to be able to write this, what is this image about—and I’m thinking about it all the time, but I’m not really inside it, inside the writing.

In a way the pressure of being separated from the actual work is part of the process for me. I don’t know that I chose that, but it’s just simply a feature of the life I live which is a life in which I constantly multitask. It’s the demands of living a whole life—the family, the job, the emergencies.

You recently told the Los Angeles Times that you think it’s “heroic” to become a writer. Why is writing a heroic act?

Writing provides no guarantees. And writers who stay with writing do it for reasons that are larger than self.

We live in a culture that is so media-saturated. I think that writers are stemming the tide of the loss of meaning because writers invent or discover meaning inside what might seem random.

It’s very risky to write the material that’s most compelling to us—it should feel risky. I think writers have to overcome their own resistance to the material, their fear of the material, their fear of what they will find out about themselves or about the world every time they sit down to write. So I think in many senses it’s a heroic venture.

Sunday, April 25, 2010

"...The first impulse in writing is to flood it out, let as much run freely as you possibly can. Then to take a walk or go to the bank... and come back in a day or six months later. To read it with a cold eye and say, 'This is good. This is not. That sentence works. This is magical. This is crummy.' You have to maintain your critical sensibility and not just assume, because it was an extraordinary dream for you, that it will be a dream for other people. Because people need maps to your dreams." ~Allan Gurganus

Saturday, April 24, 2010

Reasons for Writing Fiction

Sometimes it seems that everywhere I go and everyone I meet is writing a novel.I’ve been puzzling about this, wondering if it’s like when you’re pregnant and you see other pregnant women wherever you venture. But then since these days I’m writing another book about how to write fiction, that analogy doesn’t quite work. All I know is that almost every email I receive from strangers and every gathering I attend is blooming with wanna-be fiction writers. Now, if you’re a serious writer you know that many of these hopefuls will not be published. I like to give people a leg up in the game, so I think writing fiction should start with desire, coupled with a deep understanding of the underpinnings of fiction. And fiction writing just isn’t for everyone. It’s a marathon not a sprint, and it requires a blend of skills that are nothing less than astounding. Thus, here are reasons you might want to consider for writing fiction:
1. Because you’ve been an avid and omnivorous reader since childhood when books whisked you away to faraway worlds, where you met ordinary and magical types, and were wrung dry with worry over fantastical or believable situations. This love of story has never left you and sometimes you feel so alive in the midst of the story that the everyday world exists as an irritant or interruption.

2. You love words and have a passionate and respectful involvement with them. Words excite you, give you a sort of high, and you’re always on the hunt for perfect language to match exactly what you need to say.

3. You love to write. This sounds like an obvious point, but some people prefer to have written and find most aspects of the writing game excruciating.

4. You’re able to spend long hours in solitude with characters and your imagination for companionship. If the alone part is too much of a burden, you can always drag your laptop to a coffee shop and the caffeine just might give you an edge.

5. You’re analytical and a problem solver and are part puzzle-meister, part engineer and can not only wrestle with story problems, but can also devise elaborate situations that unfold on the page and fit together like the hundreds of parts and gizmos of an airplane. You understand that characters including their back stories comprise the wings, conflict is the engine, suspense if the fuel, and the body of the plane is a situation where fascinating story people are embroiled without parachutes.

6. You’re not afraid to edit and revise heavily. In fact, you can unflinchingly hack out chapters, change the viewpoint if the one in use is not working and trim scenes, beginnings, middles and endings. On the other hand, when some aspect of the story is thin, you’re also able strengthen it and build in complications and subplots to increase conflict and prove your story world is a vivid and complicated place.

7. You’re capable of handling criticism and using it to better your work.

8. You’re in it for life. Fiction isn’t for dabblers and it’s important to understand that agents and publishers are interested in writers who are in for the long haul. They want to know you plan on building a market segment of faithful readers and you’ll deliver the goods to these readers again and again.

9. The more you read, the more you long to write your own stories. Sometimes this urge comes from dissatisfaction with books you’ve read, that “I can do this better’ feeling. Sometimes you want to write novels because other writers have sparked story ideas or the beauty of their language or depth of characters propels you to write your own.

10. You relish a challenge. Unless you’re climbing Everest or attempt other feats of derring-do, in writing fiction you push yourself more than you can in everyday life. You explore the truths, hurts and hungers of the human experience with more scrutiny. You enter the minds of madmen, the fears of children, the lust of lovers, the promise of redemption.

11. You’ve tapped into all the rich mythology and archetypes of humankind, that fascinating history of the human heart as told in stories. You believe the world is told in stories, and is built of stories. You dream in stories and when you’re in a bar or coffee shop, you’re inevitably telling stories to the guy in the next stool.

12. You find fiction writing therapeutic and cathartic, and like the mystery maestro P.D. James believe that “Through fiction I can deal with strong emotions by letting my characters feel them. You also find whacking a bad guy or three cathartic, and making love to the man or woman of your dreams almost as good as the real thing."

13. When you read and write fiction, all your childhood beliefs of Santa and fairies and kingdoms beyond the sea can be entered into. Let’s face it: life can be hum drum, jobs can be sucky, kids often don’t listen to our wisdom. Life also can also be frenetic, or demanding while fiction is simply magic. And life sometimes offers a short supply of magic. You’ve discovered in real life that happily ever after usually doesn’t happen, nor are bad guys punished and in fact, are often in positions of power. But in fiction often the scales of justice balance out and the plain Janes and Johns of the world, the ones with the wicked sense of humor and amazing Scrabble scores, also score the man or woman of their deep desires. Writing magic beats the heck out of folding sock and emptying the dishwasher and writing memos for a boss who you suspect can barely read.

14. You’re lucky. Ever since you and your best pal, Chris Schofield, a chubby asthmatic, won the three-legged race in fourth grade because the other teams toppled over on the wet lawn, most things you touch turns golden. You own a horde of door prizes, raffle prizes, radio show call-in prizes, golf tournament prizes, and a gleaming new Chevy won from the local mall lottery is parked in your driveway.

15. You’ve tried your hand at short stories, but the ones you craft are so long, textured, and involved that they need a novel format to make them work. reason of all: you have a story you’re burning to tell. It won’t leave you alone and fills your imagination with its potency and you’re convinced it belongs in the larger world, your characters starring in readers’ inner cinemas.

If these reasons fit, then join the tribe of fiction writers.Your tribe is filled with noble and potent people. Now, sure there are no-talent scum bags who get published, but the more published authors I meet, the more I’m astounded by how many are great and good humans. And if none of these reasons fit, well getouttahere—how many reasons in the world are there to write?.
“Write what you’re afraid of.” ~ Donald Barthelme
So here’s what you do: take your memories and present them to the reader. Take your passions. You take as much guilt and as little total depravity as you can safely mix in. You read. You steal. You want desperately to be a writer. You volunteer to nail your soft parts to a tree. You soak up everything. You take notes. You retire to your garret or your study or your office and you tie yourself to the chair with the belt of your bathrobe. And you write. You slowly go crazy, but you write. You drink lye, if that is what it will take, and you remember the nights and caves in Granada. Because you desperately want to be a writer. You do. You write. You write. And you write.  ~ Bill Brashler, The Total Writer

Friday, April 23, 2010

New words, 7 drops at a time.
Sky is changing to blue and the birds that have nested under the eaves are swinging in and out of the nest this morning, so fast that they're often a blur.

Arthur Plotnik is a contributing editor to The Writer magazine, a former publishing executive, and has written a slew of books about writing and language. If you haven't read his columns or books you're missing out on an amazing resource. Here is an excerpt from his book  Spunk and Bite: A Writer's Guide to Punchier, More Engaging Language and Style which explains how vocabulary boosts can energize writing--or overload it. He writes: "For special purposes, a writer's word can be anything from firkin to floccinaucinihilipilification. But to earn a place in an author's working vocabulary, a word should be at least one of the following:

  • Precise: tor (hilltop rock heap)
  • Concise: mulct (defraud, as of money)
  • Euphonious: fanfaronade (bluster)
  • Onomatopoetic: williwaw (violent squall)
  • Forceful: fulgent (dazzlingly bright)
  • Evocative: mojo (charmed object)
  • Fun: cachinnate (laugh immoderately)
  • Fresh: nimiety (an abundance instead of, say, stale plethora)
What if a word is likely to be outside the reader's active or half-known vocabulary? Then even undefined, it should lend some special aura, some majesty or exoticism, to the context. Perhaps the unknown word reveals itself by sound or placement--steam purled (flowed in curls) up from the pavement--or begs to be looked up, like scumble (to soften brilliant color). In my grapefruit parable, I planted what seemed to be three such words: jessant (shooting upward), virescent (tending toward green), and attar (a perfume obtained from flowers). Did they add a certain flavor, or merely squirt in your eye?"

For more from this chapter go to Choice Literacy. You might also want to check out this interview.
I told you he was the real deal.

Thursday, April 22, 2010

An Uncivil War
As some of you might know, I used to teach on line at iVillage years ago, and during that time worked with some amazing writers. I was especially happy to meet writers like Lani Diane Rich before she was published and help her launch her best-selling writing career. I've stayed in touch with some of these writers such as Linda Easley. Linda is the kind of writer that gets every detail and word just right, and, oh, her characters! They practically walk off the page and into your kitchen. I don't know, somehow her characters strike me as belonging in the kitchen. Anyway, I just learned that she has an ebook novel An Uncivil War out now about a woman struggling to survive during the Civil Warn.I'm planning on buying it and wanted to recommend anything this woman writes. In fact, I can still remember her stories ten years after I read them and my memory is not that great.
"I sometimes teach classes on writing, during which I tell my students every single thing I know about the craft and habit. This takes about 45 minutes. I begin with my core belief - and the foundation of almost all wisdom traditions - that there is nothing you can buy, achieve, own, or rent that can fill up that hunger inside for a sense of fulfillment and wonder." ~ Anne Lamott
"Like it or not, when you're a writer, there's no escaping the writer's life . . . when it comes to the feelings, obsessions, and just plain worries that accompany any writer's efforts, there's no getting out. Regardless of career experience, advancing age, and sizeable amounts of therapy, there's no 'cure' for the writer's life. As soon as writers commit to the writing of a thing, they embark on a journey through both an external world of crises and triumphs and an internal world of feelings and belief systems." ~ Dennis Palumbo
Funds$!
Generally I'm against exclamation marks, but I've been realizing that it's time to start passing along information about funding and residencies for writers.Especially in these recessionary times or whatever you want to call it when there doesn't seem to be enough money to go around.  So here's my first link for you. I plan on passing along more, along with a reminder that the online version of Poets & Writers always lists contests and grants for writers. If you have information to share, please pass them along.

As for residencies, here's one for those longing for the woods:
Andrews Forest Writers Residency. Application Date: May 15, 2010
The H. J. Andrews Experimental Forest offers one-week residencies to poets, fiction writers, and creative nonfiction writers in September, November, and December in the Oregon Cascades, 40 miles east of Eugene. The residency is open to writers whose work “reflects a keen awareness of the natural world.” Residents are provided with a three-room apartment, which includes kitchen facilities, access to the forest research site, and a $250 stipend. Submit three sets of up to 10 pages of poetry or 15 pages of prose, a one-page project description, and a curriculum vitae by May 15. There is no application fee. Visit the Web site for an application and complete guidelines.
Andrews Forest Writers’ Residency, Spring Creek Project, Oregon State University, 101 Hovland Hall, Corvallis, OR 97331. Charles Goodrich, Program Director.


Keep dreaming and inspire others to dream also.

Wednesday, April 21, 2010

Advice to A Young Writer
1.If possible, be Russian. And live in another country. Play chess. Be an active trader between languages. Carry precious metals from one to the other. Remind us of Stravinsky. Know the names of plants and flying creatures. Hunt gauzy wings with snares of gauze. Make science pay tribute. Have a butterfly known by your name.

2. Do not be awed by giant predecessors. Be ill-tempered with their renown. Point out flaws. Frighten interviewers from Time. Appear in Playboy. Sell to the movies.

3. Use unlikely materials. Who would choose Pnin as hero, but how did we live before Pnin?

4. Delight in perversity. Put a noun into the dictionary. Now we recognize the Lolita at every corner, see her sucking sweetened milk through straws at every soda fountain, dream her through all our fantasies.

5. Burn pedants in pale fire. Accept no fashions. Be your own fashion. Do not rely on earlier triumphs. Be new at each appearance.

6. Age indomitably, in the European manner. Do not finish your labours young. Be a planet, not a meteor. Honor the working day. Sit at your desk." ~ Vladimir Nabokov
From: Nabokov: criticism, reminiscences, translations and tributes by Alfred Adler

Tuesday, April 20, 2010

PEN World Voices, April 26
Thanks to an exciting collaboration between Literary Arts and the Miracle Theatre Group, Portland will participate for the first time in the PEN World Voices Festival this month. In 2004, PEN President Salman Rushdie decided that the organization needed to do more to create cultural understanding in post-9/11 America. The result was PEN World Voices, a festival of international literature that gathers hundreds of writers from around the globe to participate in panels, conversations, and readings in New York City. 


Now, six years later, Portland begins what we hope will become an annual tradition when Literary Arts and the Miracle present Rigoberto González on Monday, April 26 at 7:30 pm at the Miracle Theatre. Rigoberto is an acclaimed poet, memoirist, novelist, and critic. He is also the author of young adult and children’s books. For this event, Rigoberto will be reading from his memoir Butterfly Boy, winner of the American Book Award, and from his poetry collection, So Often the Pitcher Goes to Water until It Breaks,selected by Ai as part of The National Poetry Series.  In an in-depth on-stage conversation, he will also discuss his life, his creative process, and his work, including Fifteen Years of Latino and Latino Writing, the recently released (March, 2010) Camino del Sol anthology of poetry, nonfiction and fiction which he edited for The University of Arizona Press. 


I hope you will join us for what will be a unique literary evening.  And please spread the word.  (Tickets are $10 and can be purchased online at HulaHub or at 503.236.7253.
Just for fun
Up in the middle of the night working and I ran across this listing  that's just for fun...or to impress others at your next literary shindig.  How to impress Chimanda Ngozi Adichie I especially appreciate the Chuck Palahaniuk listing since I get it wrong every time.

Monday, April 19, 2010

"The writer is something of a shape-changer and trickster, someone a little more treacherous, eccentric, and unpredictable than she at first appears, because she is continually buffeted and transformed by an inner life invisible from the outside. She may speak to you in complete sentences about what her day was like, but inside another life is being lived, one full of beauties and monstrosities, upheavals and transgressions." ~ Eric Maisel