PAW PRINTS
The Professional and Amateur Writers' Society
Kelli McBride, Editor July 1999
Volume 5 Issue 7
GREETINGS!
Kelli McBride
Here it is, July already. The deadline for
the PAWS’ Contest is August 2nd, just weeks away. Are you ready for
it? The Conference is 3 months away, but we’re working hard to make
it a success. Karen and Pat have designed a brochure with a registration
form. If you have names of people who may be interested in attending,
send them to one of the officers, and we’ll pass them along to the committee
chair.
NOTE: Please park in front of the church
this Monday night. The church needs the back lot for a study group.
This issue continues Linda’s series on grammar,
advice for taking care of that sagging middle of your story, and tips on
starting your own publishing business out of your home. There’s also
some great contests and market news – submit, submit, submit!!
I’ll miss this month’s meeting again because of
class. Send any club information to my e-mail address (kellimcb@chickasaw.com)
or snail mail address me.
Paw Prints articles are due August 5th.
Presidential Reflections
Linda Goodnight
It is one of the most beautiful compensations of this life that
no
man can sincerely try to help another without helping himself.
Ralph Waldo Emerson
Hi y’all,
When Emerson wrote the above quote, he must
have been thinking of writers. As a whole, writers are the most generous
and encouraging group of people, willing to freely share their insights
and expertise to whoever asks. I can remember so many times attending
a meeting, doubting my own abilities or heart-sore over a rejection, only
to receive an encouraging word, a pat on the back, or some tidbit about
the writing craft that sent me home fired up and ready to try again.
I truly believe it is that kind of thing that keeps members returning.
And best of all, when we encourage each other, we are strengthened in return.
Last month five talented visitors graced our meetings
and shared their work. I hope they found within our group the kind
of welcome and warmth that will bring them back to us as regular members.
We have much to offer, and in turn, new members bring a fresh approach,
a new enthusiasm.
Don’t forget – contest deadline is only a few weeks
away. Writers write, so you should have SOMETHING to enter.
See you at the meeting.
PAWS’
1999 OFFICERS
President
Vice-President
and Program Chair
Secretary
Treasurer
Historian/Reporter
Paw
Prints Editor
OWFI
Representatives
Research
Historian (Honorary) |
Linda Goodnight
Pat Millette
Doris Novotny
Karen Anderson
Elaine Carmen Wells
Kelli McBride
Linda Goodnight and Kelli McBride
Lorraine Stone |
Member
News And Reminders
Elaine Carman Wells' confession, “The Words I Can Never
Say: ‘Leave My Husband Alone,’” is published in this month’s issue of True
Confessions.
Kelli McBride’s first web review column, “The
Wild, Wild Web” appears in this month’s issue of the OK Corral.
Conference News
The annual PAWS’ conference is just around the corner
(October 16). To get us ready, each issue of Paw Prints for the next
3 months will have a biography of one of our speakers. This month,
the spotlight is on Lynne Murphy, writing as Georgina Gentry.
Romantic Times Magazine called Oklahoma native
Georgina Gentry "One of the finest writers of the decade," and the former
Ford Foundation school marm has the awards and sales to prove it!
Besides some fifty short stories, true confessions
and magazine articles, Georgina has published eighteen novels and three
anthologies. With more than four million copies of her books in print,
Georgina also holds the rare distinction of winning two Lifetime Achievement
Awards from Romantic Times Magazine. In 1996, Georgina was inducted
into the Oklahoma Professional Writers Hall of Fame.
An Edmond resident, Georgina is a frequent
lecturer at writers' conventions, including six national Romance Writer
of America workshops. Georgina's topic will be “The ABC’s of Plotting”
and “The O’Henry Twist.” (NOTE: O’Henry wrote short stories noted
for their surprise endings, like “The Gift of the Magi.”)
Ms. Gentry has three books on the shelves
in 1999: Eternal Outlaw; a reprint of her most beloved novel, Comanche
Cowboy; and coming in December, Apache Tears.
Program
Notes
Pat
Millette
Do you ever have trouble coming up with an idea for a story?
Well, according to Josip Novakovich, author of Fiction Writer's Workshop
many writers say that you can find a story anywhere. The greatest
source of fiction is experience. The experience need not be yours;
you may observe some else's struggle and use it for your fiction.
This month we'll look at what Mr. Novakovich suggests for finding
"SOURCES OF FICTION." After going over his suggestions we'll try a few
of his exercises and see how we can find and develop various sources of
fiction. Be sure to bring lots of paper and idea's we can all work
on. Oh, be sure to bring a friend along to introduce to the joys
of writing. Looking forward to seeing you on the third Monday
of the month.
I’m In The Middle Of Nowhere
Sherri Buerkle
(First published in SARA's The Love Letter.)
Horror! It churns in your head all day, ’til
finally, you rush to write out the beginning of a wonderful story. But
six chapters in, you blank out. What happened? Where are you going?
What do your characters want? What do you want? What do you do?
I hate to be the bearer of bad news, but there's
no one cure. Sometimes it's a story line better suited to a short
story. Other times it's a feeling. You've come this far so quickly, you've
not had a chance to really get to know your characters. Maybe you're plagued
with doubts about your writing ability? You feel like your imagination
has taken a holiday—for good! You're suffering a mental meltdown! Aaaaah!
Take a deep breath and slowly exhale. There is hope.
Hope: The plot line your characters have been walking
is your story's path. If the beginning of the path and the end of
the path are too close, you have two options. First, you may need
to rethink your story. A novella maybe your answer or a short story.
Second, you need trees. In other words, "trees" equate conflict.
If there isn't conflict there's no way to keep the reader involved. In
a good story, the trees should be so thick, they cover the path.
The thicker the woods, the more involved the reader must get in order to
navigate around the trees, get back on the path, and reach the end.
I think it's time to raid the squirrel's nest
and begin scattering acorns. With a little miracle grow called ingenuity,
the trees will begin popping out of the fertile soil of your mind and in
no time, you'll have a forest.
Beginning writers tend to forget that the
beginning of a story should hook the reader and the end of the story should
satisfy the reader, but the middle should make the reader's journey worth
their time—and money. A hardback novel sells for around $25 and a
paperback sells for around $6. To an avid reader, that's a large
chunk of outgoing cash. To build a good readership, it behooves you
to make your story as inventive and involved as you can. So let’s
dispel the myth that the middle is an ugly, tedious job and look at it
through the eyes of an artist.
How? You've just painted a beautiful picture of a child, but
it lacks the interest to pull the viewer over and gaze at it for any length
of time. What's missing? Contrast. Detail. Objects.
Scenery. Maybe another person in the background. How about
a touch of whimsy? All these aspects bring a painting to life and
all these aspects can do the same for your story.
Contrast: In painting, contrast is the play of shadow
and light. In a story it can be a paradox. Your hero hates his drunken
father, but drinks himself into a stupor one night to block out his troubles.
It can be the difference between the hero and the heroine. He's a pacifist,
she a Secret Service Agent. It can be the conflict between good and evil.
A college professor plagiarizes a student’s research paper and the student
takes a stand against him. Contrast and how the author resolves it
are what make a story worth reading.
Detail: A painting's detail makes the picture pop
out at you. It's what makes it lifelike. It's the difference between
Monet and da Vinci. A Monet is pleasing to look at, but its blurred colors
only hint at the scene; da Vinci doesn't hint at anything, but brings the
scene purposely into view. Strive to write like da Vinci paints.
Strong character portrayals make for a strong story. Lavish backdrops bring
the reader deeper into your world. Use your five senses to weave
a thicker, more vivid story.
Objects: Sometimes in paintings, the masters
will place focal points near the subject. Why? It creates interest. Looking
at a painting you'll ask yourself questions. Why is the object there? What
does that object say about the person? In writing the same is true. Objects
your characters hold dear reflect on their personalities. An old ratty
bathrobe may give a character comfort. A baseball cap can remind a man
of his father. Symbolism is fun in this area. A talkative cockatoo could
be linked to a woman who is the town gossip. A profusion of knickknacks
could imply a cluttered life. Though objects need not relate to symbolism,
if you do use them in that way, don't get carried away.
Scenery: A dark and foreboding painting preys upon
your insecurities. A painting of a gentle waterfall makes you feel
relaxed. Where you place your character is just as important. If you want
a happy feeling, you're not going to get one if you insist on a backdrop
of an inner-city housing development. If you're going for sinister, a sunny
backyard filled with children laughing isn't going to conjure up
that feeling for your readers. Unless you're going for a paradox,
such as a woman feeling the renewal of the spring sun on her face as she
contemplates her cancer- ravage body, I suggest you keep it simple.
People: Artists know, groups of threes are more
interesting than one or two. So too is a story where there is more than
one person your reader can invest in emotionally. Whether the person is
humorous, wise or irritating, they will act as a foil for your main characters.
It's more interesting if two people have a conversation where a third gives
advice, whether it's wanted or not. Sometimes it's just the fact
there is a bystander witnessing a personal argument that gives the scene
an added punch. Secondary characters are important. Don't overlook
their use to foreshadow a coming event. They may know of hidden dangers
your character doesn't know exist.
Whimsy: There's a dog chewing on a shoe in the background
of a painting. Why not make the dog nobly sitting beside the child
as if to protect it? "Where is the fun in that?" an artist would say in
defense of his playful puppy. Sadly, most popular novelists have
lost the sense of whimsy that can make reading a real pleasure. This is
especially true in a dramatic story. If there aren't any light moments,
the drama doesn't carry the weight it would otherwise. (You can't fully
appreciate a hero's sadness unless you know of his prior happiness.) I
believe authors are neglecting this aspect of writing because it
is so difficult to do.
Paint a story: Used in artful combination, these
six elements will bring your story to life, much like they do a painting.
Do you need all of them for a good story? No. But I honestly believe, to
achieve a great story, the more depth you create, the more a reader won't
want to put it down and will eventually mourn the end of your tale.
I look at it like this. A good story is like
an old-time striptease. In the beginning it's just a woman dancing with
a large feathered fan. But when that first glove comes off, you realize
this is no ordinary dance. One by one, her clothing falls to the
stage until the fan is the only thing separating you from seeing—well,
a lot. We know when she separates herself from the fan the show is over,
so as long as the fan flips and twirls, we've got something to look forward
to. She has developed her craft of illusion to perfection. You just know
any minute you'll see some flash of forbidden skin. When the song is nearly
over, she ducks behind the curtain and with one arm exposed, waves the
fan flirtatiously at the audience, and then drops it. She has successfully
entertained us without exposing too much and ruining the climax of her
act.
Exposing the story's elements bit by bit,
teasing the reader, promising them if they read just a little further they'll
know it all, that is your goal. The feathered fan should never drop to
the stage until you reach the end of the story.
That's entertainment.
Under
the Hood
Linda Goodnight
This month “Under the Hood” will continue its look
at ways to polish your manuscript. Last month we began a list of
weak words. Remember, you are the writer. The word choice is
yours, but sometimes these words need a second look.
HAD BEEN – passive
Jerry studied the various methods of wine making that had been developed
by his grandfather.
Jerry studied the various methods of wine making that his grandfather
had developed.
OF THE, TO THE, TO BE – more wordiness. Often unnecessary.
The door to the office...
The office door ...
Many of the children were sick.
Many children were sick.
He needs to be practicing.
He needs to practice.
BE/BEING – sometimes creates excess wordiness.
I suppose I should be thanking you.
I suppose I should thank you.
He was being nice.
He was nice.
COULD/WOULD – Decide if the sentence is stronger with or without the
word.
She could remember everything he said.
She remembered everything he said.
INSTEAD – Often unneeded.
He landed on the floor instead of the chair.
He landed on the floor.
THERE – weak word choice. Eliminate when possible.
If there are snake crawling ...
If snakes are crawling ...
SEEMED – qualifier. Use only when you want to create doubt.
Matt’s angry voice seemed to fill the room.
Matt’s angry voice filled the room.
WAS – could be passive. Determine if the sentence would be stronger
written without it.
His only regret was...
He regretted ...
Eight Profit-Tested Opportunities
for
the Entrepreneurial Publisher
Tom Williams
I started a new publishing business ten years
ago with a Mac Plus, a LaserWriter and two used desks. Four years later
my company was grossing in the high six figures.
I was publishing NCEast, a regional magazine; the
North Carolina Travel and Tourism Guide; Welcome to Wilmington, a full-color,
slick paper newcomer's guide to this major metropolitan area; Homebuyer's
Handbook, a real estate buyer's guide; Washington and Beaufort County Magazine,
a city magazine; and Renter's Helper Apartment Directories in nine mid-Atlantic
cities. Earlier I had published the Mecklenburg Gazette, a weekly
newspaper, and Dollarsworth, a free circulation shopper. I also published
both hard cover and soft cover niche-market books for local and regional
consumption.
Brains and Time, Not Cash
None of my start-ups, mind you, cost me one single
cent in out-of-pocket cash. Getting into publishing, I found, took its
toll in brain-power, time, and energy, but required little investment other
than that. Others may find this claim hard to believe. But it is true.
I have always been able to finance my books, magazines, and newspapers
with sweat equity and the ongoing cash flow generated by the project itself.
Who Can Succeed ?
Who can succeed in entrepreneurial publishing?
Anyone can. I am convinced that I could take my computer, a toothbrush
and a change of clothes, go to any town or city in the United States and
generate a substantial income for myself in entrepreneurial publishing.
What I can do, you
can do too. Among the successful independent publishers
I know are some who have backgrounds in sales; others come from the ranks
of graphic designers; some are free-lance writers who, tired of sending
articles in to other people's magazines, have decided to create publications
of their own. Some are simply management types with an idea they believe
in and the willingness to give it a try.
For the rest of this article,
click here.
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