Feb 08

Write This Not That

Completing a 100,000 word manuscript is a daunting task. Craft elements can go rogue and crash a well-intended plot. Months, and yes, years pass in the process of writing and editing. Babies are born. Children graduate from school. And everyone grows older except for the fledgling characters in the story. For many, even writers disciplined enough to attend writers’ groups, workshops or conferences, the hurdle of a completed manuscript is too high, at least initially. If the goal is publication, then contests are an opportunity to build a writing resume.

Ah contests, I remember them well – working each entry until the last minute before the midnight deadline, correcting stupid (and stupider) mistakes and editing phrases or lines to finish with the right word count or page number. For the price of a contest entry fee, you get all this nail-biting and neurotic sort of fun.

Fortunately, contests also provide a test market for your work, a marking to market of your ability. In other words, how do I compare to a pool of equally aspiring writers? Sometimes, the winners, especially in literary magazines, are so amazing I’m tempted to abandon writing and begin any number of long neglected chores like taxes, continuing education or even cleaning. Other times, the winning entries bring a jaw dropping, head scratching, and audible “huh.” Writing is the quintessential Olympic ice dancing event as opposed to the timed or measured track and field sport.

You can slant the odds in your favor. Creative pursuits require sound project management grounded in probability. For example, is it possible that I might get my first-ever written manuscript published? Yes, but it’s not probable. Can I hone my skills and compete in contests with a possibility of publication? More probable. A combination of strategy, research, practice and numbers makes small wins lead to bigger wins.

Strategy begins with contest selection. Highly advertised contests receive more entries. If my odds of getting struck by lightning are higher than winning – all ego aside – I’m skipping the contest. Contests held by non-writing organizations draw a wider range of writing levels and are better for increasing the odds of placing at the top. Note – the uber literary MFA types are less likely to enter a short story contest sponsored by Ducks Unlimited. Competing against unpublished writers, defined differently by each contest, is another viable strategy. Additionally, research can enhance strategy. I read the publications hosting the contest or writing samples of the past winners. If the judge is announced, I research (i.e. internet literary stalk) the judge’s style, education, publications and demographic factors that might make an entry emotionally connect with him or her. Know the audience. My writing improves from the research alone (if I’m not driven to binge cleaning by the past years’ winners).

Compared to the first two steps, practice is the easy part of the process. This year, my practice area is short stories, and in the coming blog posts, I will share more about short stories, contests, and publications. Finally, the contest process depends on the law of averages – the numbers. The more contests a writer enters (assuming strategy, research and practice) determines the likelihood of success. With that in mind, here is my plan for the coming year, and perhaps, your plan also:

  1. Search for smaller, less publicized contests.
  2. Compile a contest spreadsheet sorted by deadline and word count lengths.
  3. Assess your current writing inventory available for contests.
  4. Look for opportunities to experiment with different lengths or genres.
  5. Identify specific contest deadlines within the next three months.
  6. Research the publication, contest winners, and judges.
  7. Write. Edit. Edit. Write.

Submit. Wait. Submit again.

Feb 06

For Love of Books

“When I get a little money I buy books; and if any is left, I buy food and clothes.” –Erasmus

I don’t know when my love of books began, but I do know it hasn’t ended. Hence, I chose the moniker, Book Lover. It is difficult for me to walk past a bookstore without entering to buy a book or two. My book shelves overflow with murder mysteries, romance novels, science fiction stories, historical books, biographies, as well as “how to” books on writing.

Imagine my joy at seeing our two year old granddaughter’s delightful reaction to visiting a bookstore for the first time. Each of our subsequent visits to her city included a trip to “her” store. Alas, that bookstore is now closed.

Like fellow blogger, John McCarthy, I visit bookstores and libraries whenever I travel. Recently on a Holland America cruise to the Caribbean, I took pictures of the ship’s library which I’ve always visited and taken for granted. There are separate large sections of books for Travel, Best Sellers, Leisure, Large Print books, several game tables including one with chess pieces in place, magazines, 12 to 16 computers, and the librarian distributes a new Sudoku puzzle daily and a daily crossword puzzle or word search. The library amenities can easily satisfy travelers.

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These are a few of the pictures I took at the library on Holland America’s Eurodam cruise ship.

Every visit to a bookstore or library now reassures me that we haven’t yet reached the world depicted in Ray Bradbury’s Fahrenheit 451 or Markus Zusak’s The Book Thief where books are burned.

Where would we be without books?

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Feb 03

Deadwood Writers Voices 1 Year Anniversary

Editor’s Log 02/03/15

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One year ago, the Deadwood Writers’ Voices opened its first issue. There was no fanfare. But it was another momentous step that the group took in its journey along the writer’s path. A group of brave authors committed themselves to publishing  a monthly piece along the theme of writing. Backed by a dedicated volunteer crew of editors who work with the authors, we stepped into the unknown.

It’s not been an easy journey. We’ve navigated potholes and fallen trees blocking the way. Each challenge was, and continues to be, a learning opportunity for us. While there is much more work to be done, there are accomplishments to be celebrated.

Writing and Publishing Regularly

Commitment to writing on a regular basis is a common challenge expressed at different writer’s groups meetings and conferences I’ve attended. Anyone who attends a writer’s group can attest to hearing from others, or thinking it themselves, “I want to write every day and produce something monthly, but _______________…” Each of the contributors to DWV have set aside the excuses and submit work for monthly deadlines. Oftentimes, the writing goes through several revisions from conversations with their editor.

Increased Skills

Writing for a public audience has opened opportunities for these busy writers, who have other career obligations, to spend more time honing their skills. The results continue to grow with each post.

Writing More Frequently

We’ve gone beyond talking the talk to walking the walk. Many of these authors are writing pieces in addition to this monthly commitment. This has led to goal setting for 2015 where many are publicly committing to writing and contributing to other sources—in addition to maintaining their work with DWV.

Next Steps

As we shift to year two of DWV, the dialog has changed from let’s write and publish regularly to a desire to explore our voices beyond the topic of writing. We’re finding that we’ve much to say and even more to explore. This ranges from exploring different genres to marketing and tapping the power of social media for connecting DWV.

Beginning now, the topics that authors contribute is wide open. All genres and purposes are open. The Deadwood Writers’ Group has always been a learning community, in addition to providing feedback and reflection on participants’ work. This year, we have increased the number of regular contributors, adding new voices to the family. We will also have some guest writers to add their voices for enriching the experience. If you are interested, review our submission guidelines. Only a limited number of guest writers will be included this year.

Post comments on the articles, the authors will respond. Challenge them by offering topics you’d like to see them write about. Thank you for reading the Deadwood Writers’ Voices.

 

Jan 24

Help Wanted: Minions

I have a lot of stuff to do.  First on my list are the things I have to do to maintain my life.  Obtaining food/water, shelter, and clothing make up the basics.  It’s what people have been doing from the dawn of humankind.  If I don’t do the modern equivalents – work my job, buy groceries and clothes, maintain my house – I may very well become extinct.

Second on the list are the things I should do.  Guilt often goes hand in hand with the ‘shoulds.’  Losing weight, exercising, volunteering – all are well and good, but not easy to fit into a busy schedule.  That creates major stressors.  Cavemen had their stressors, too.  However, I think that once you managed to outrun the saber-toothed cat of the day, you could pretty much let it go and enjoy your mammoth meat without ruminating over whether or not it would make your thighs bigger.

Last on the list are the things I want to do.  You know, travel, hobbies, writing, entertainment, socializing, etc.; all the stuff that gets put on the backburner in favor of the ‘must dos’ and the ‘should dos.’  How ironic is it that modern life imposes so much overhead to the basics of obtaining food/water, shelter, and clothing that we don’t have more time for leisurely pursuits?  We have to obtain and maintain cars.  We deal with endless paperwork that must be read, filed, filled out, paid, and tossed or shredded.  Electronics are meant to be fun except when they aren’t because they’ve gone on the fritz and you have to deal with the problems.  The list of upkeep duties is long and large.

What’s a person to do?  I’m thinking having minions is the answer.  I admit to being somewhat inspired to this thought from seeing the trailer for the cartoon movie “Minions.”  Having a bunch of these lovable goofs doing my bidding sounds kind of fun.  However, the “Despicable Me” movies notwithstanding, minions have a bad reputation given they are usually depicted serving the needs of evil masters set upon ruling the world.  The Merriam-Webster online dictionary defines a minion as “someone who is not powerful or important and who obeys the orders of a powerful leader or boss.”  See that?  It says “powerful leader or boss” not megalomaniacal madman out to become overlord of the human race.  A secondary definition is “one highly favored.”  I know I would certainly appreciate someone who does all the stuff I don’t want to do.

So, I’m putting out the help wanted sign to bring in some minions.  The salary: zero.  I mean, a minion will do the job just for the satisfaction of serving the leader – right?  I won’t require any evil deeds to be done, but if it makes a minion happy I can produce an evil laugh when assigning him or her to shred my finance statements.  I can wear grey suits while my cat, Calder, sits in my lap being stroked as I give orders.  See?  This can work!

Care to apply?  No experience required.  Leave comments for more details.

Jan 23

How Important is the Title?

What weight should we give to the title of a novel?

If the sum of a book is 100%, is the title worth 20% or 80%? On the one hand, if the title isn’t catchy then potential book buyers may never pick it up. All the efforts the author has put in will never be tested. What a waste for both author and reader. On the other hand, if the title is too convoluted readers may not understand the direction the author is taking them. Like a four-star chef, authors want readers to finish their creation. Putting it aside half-finished is worse than having never started. It is the difference between telling the waiter, “I’ll try something else, thank you,” and telling your friends, “I’ll never eat in that restaurant again.”

This question has been weighing heavily on my mind for the past few months as I turn the final corner on writing Knock Softly (working title). I’ve asked a few fellow writers – those who are in my writing group and have read the manuscript so far – to think of something better. Nothing is sticking. I try not to fret about it, tell myself it’s not important until you finish, but that finish line is now in sight and the fret is turning into sweat.

Let’s look at the responsibility of a title. That’s right, a title has responsibilities. First and foremost it has to succinctly sum up your story. It also has to be catchy enough to cause a reaction. It should say either “pick me up” or “not for me.” But is that all? Shouldn’t the title also come into to play at the end of the read? Shouldn’t the reader be able to see that title again on someone else’s shelf and be able to recall the entire story? Have an engaging conversation with that person over the book? Gone with the Wind does that. So does Hunt for Red October and To Kill a Mockingbird, and numerous others. That’s my dilemma with Knock Softly. I want a title that will recall the entire tome when next you see it again.

I came up with Knock Softly strictly as a constant reminder to myself that no main characters die in this story – there are things worse than death. Cancer is the villain. Curing our heroine is the story’s master thread, and keeping that central to the other events in the story hasn’t been difficult. Those other events include our heroine’s infidelity and a tortured past life she’s kept secret from her husband and children. Only mitochondrial DNA can save her now. To get it, her husband must delve into her dark past. Her desire to die with her secret is almost as strong as her will to live for her children and the child she carries. Knock Softly doesn’t convey any of that.

In Knock Softly, we have a mother of two, pregnant with another man’s child and suffering stage-4 cancer. She refuses to abort the baby, even though it increasingly diminishes her own chances of survival. Her husband rides the full length of the emotional rapids as he discovers there is so much more to the woman he married.

I don’t have the answer to my question; what weight should we give to the title of a novel?

I suspect it’s a squishy number, based on how strong the author’s own name is. Steven King could call his next novel Untitled and it would sell out. I doubt 100 copies would sell if my name were on it. For someone like me, a mild-mannered suspense writer whose day job is composing coherent internet ads in forty characters or less, I suspect the title is worth nearly half of everything written. It is in advertising, and in selling newspapers.

Now taking good suggestions for A.K.A. Knock Softly. Anyone?