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Scribe & Quill ~~ Jan/Feb 2006
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Vol. 4 Issue 1
ISSN: 1098-6375
Section 1 of 2 Sections
~~**~~**~~**
MASTHEAD
~~**~~**~~**
* Editor & Publisher
Bev Walton-Porter <editor@scribequill.com OR scribequill@adelphia.net>
* Assistant Editor
Mindy Phillips Lawrence <mindy@scribequill.com>
* Humor Editor
Jaden Trinsic <humor@scribequill.com>
* Poetry Editor
Donna "Kai" Wilson <poetry@scribequill.com>
* Book Review Editor
Sonali T. Sikchi <bookrevieweditor@scribequill.com>
* Nonfiction Columnists:
~Joyce Faulkner <katieseyes@aol.com>
~Jill Vaile <jillvaile@scribequill.com>
* Fiction Columnist
Rick Chiantaretto <horrorguy@scribequill.com>
ON VACATION
* Romance Columnist
Cynthia VanRooy <romanceauthor@scribequill.com>
* Video Game Reviewer
Jonathan Porter <jonp@scribequill.com>
* Staff Book Reviewers:
~Pat McGrath Avery <patmcgrathavery@excite.com>
~Ilona Hegedûs <fairylona@yahoo.co.uk>
~Carolyn Howard-Johnson <hojonews@aol.com>
~Bobbi Linkemer <bobolink@accessus.net>
~Rita Porter <beepmybeep2@mchsi.com>
~Sonali T. Sikchi <sonali_sikchi@hotmail.com>
* Guest Writers:
~Ronlyn Domingue <ronlyn@ronlyndomingue.com>
~Christina Hamlett <AuthorHamlett@aol.com
~Cindi Myers <CMyersTex@aol.com>
~Derek Rydall <derek@scriptwritercentral.com>
~Pamela S. Thibodeaux <pthib-7@centurytel.net>
~Linda Vissat <lcvwriter@comcast.net>
~Kathy Watts <direwolf@stratlabs.com>
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
TABLE OF CONTENTS:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~Privacy Notice
~Editor's Note
~Reader Praise!
~Announcements
~Scribe & Quill Patrons
~ FEATURED ARTICLE:
Three Simple Rules for Self-Promotion
By Cindi Myers <CMyersTex@aol.com>
~SCRIPTWRITING CENTRAL:
* Whose Story Is It Anyway?
By Christina Hamlett <AuthorHamlett@cs.com>
* How To Analyze Your Script Like a Pro
By Derek Rydall <derek@scriptwritercentral.com>
~Scribes of Note ~ Virtual Quills
~FEATURED COLUMN: WRITING ROMANCE WITH A PASSION
POV: Whose Head Am I In Anyway?
By Cynthia VanRooy <cvanrooy@juno.com>
~FEATURED APPEARANCES/BOOK SIGNINGS
~FEATURED FICTION COLUMN:
Rick Chiantaretto <horrorguy@scribequill.com> is currently on vacation;
his column will return in the next issue.
~FEATURED COLUMN:
Tax Deductions for Writers
By Pamela S. Thibodeaux <pthib-7@centurytel.net>
~FEATURED WRITER'S ALMANAC:
Heads Up!
The Writer's Astrological Almanac
By Kathy Watts <direwolf@stratlabs.com>
~FEATURED ARTICLE:
Tips from a Slush Pile Find: How One Writer Got an Agent
By Ronlyn Domingue, Author of "The Mercy of Thin Air: A Novel"
~Book Reviews
* "Garfield's Train" by Feather Schwartz Foster
* "Lucky Enough" by Eddie Beesley
* "Jackpot" by Tsipi Keller
* "Blind Traveler Down A Dark River" by Robert P. Bennett
* "Trash Talk: an inspirational guide to saving time and money through
better waste and resource management" by Dave and Lillian Brummet
* "Pressed Pennies" by Steven Manchester
* "The Complete Writer: A Guide To Tapping Your Full Potential"
by Beverly Walton-Porter, Mindy Phillips Lawrence, Pat McGrath Avery and Joyce
Faulkner
~FEATURED HUMOR:
THE ACROSTIC BUG: Assume the Position?
By Linda Vissat <lcvwriter@comcast.net>
~Call for Submissions
~Featured Contests
~Professional Writing Courses
~The Last Word: Recommended Links for Writers
~Contact and Submission Information
~~**~~**~~**~~**~~**~~**~~**~~**~~**
PRIVACY NOTICE!
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Our e-zine is NEVER sent unsolicited. If you are receiving
Scribe & Quill, it is because you have opted to receive it in your inbox.
If you no longer wish to receive Scribe & Quill, you may unsubscribe by
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We respect the privacy of all our subscribers and we NEVER share your
information with other companies or organizations.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
NOTE FROM THE EDITOR:
~~**~~**~~**~~**~~**~~**~~**~~**~~**
First things first: I apologize for the delay in publishing Scribe & Quill.
I'm not going to go into a long song and dance about why or the extreme
details, but the end of last year my family experienced some personal events
that were unexpected, painful and forced me to put many things on the back
burner. I'm sorry if I let our readers down and I hope to make it up to you
this year by publishing more great content than ever before -- not to mention
improving the 'zine in small ways here and there. Most of all, I want to THANK
YOU ALL for hanging in there with Scribe & Quill through thick and thin;
you are, undoubtedly, the best readers on the planet! Now, back down to the
regular scheme of things:
Things are still busy on the personal writing front as the release of my first
solo book, "Sun Signs for Writers," nears. Writer's Digest Books (an
imprint of F + W Publications, Inc.) notified me that the tentative publication
date will be
In addition to the book releases, I will be travelling to BookExpo
In this first issue of 2006, we return with our regular slate of talented
columnists and staffers. In addition, beginning with this issue, you will find
a new section, Scriptwriting Central, that will feature book excerpts and
articles from scriptwriters/screenwriters who are working professionals in the
movie and television industries. Through a collaboration with Michael Wiese
Productions (http://www.mwp.com) and other writing professionals, Scribe &
Quill will feature authors who know what it takes to break into the biz and
write like a seasoned pro. Ever dreamed of writing a script and pitching it to
Next up, Scribe & Quill is seeking new voices for our book review section!
If you love reading a variety of books and are able to write concise,
fair-minded reviews of both print and e-books on a regular basis, we'd love to
hear from you (and possibly add you to our staff)! Slots are limited, so please
contact our book review editor, Sonali T. Sikchi, at your earliest convenience
at bookrevieweditor@scribequill.com with BOOK REVIEWER in the subject line of
your e-mail. We will reply with information about our review guidelines and
answer any questions you might have.
It's great to be back in the proverbial saddle again and I appreciate all the
e-mails and calls I received about my mother's situation and her subsequent
admission to the health care facility. She is back home now, under in-home
care, and has improved a great deal.
I look forward to a fresh new year with Scribe & Quill where we will grow,
expand and improve throughout the upcoming seasons. Thanks for sticking in
there with me and I hope you have more writing success this year than you would
have ever imagined!
Until the next issue, write like a fiend.
Bev Walton~Porter, Editor/Publisher
scribequill@adelphia.net
http://www.bevwaltonporter.com
***
Mindy Lawrence, Asst. Editor/Advertising Manager
mindy@scribequill.com
~~**~~**~~**~~**~~**~~**~~**~~**~~**
READER SUPPORT FOR SCRIBE & QUILL
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We have the BEST readers on the planet! It's because of your encouragement that
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Here's what readers are saying about Scribe & Quill:
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ANNOUNCEMENTS:
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ADVERTISEMENT
~~**~~**~~**~~**~~**~~**~~**~~**~~**
CALLING- On the go readers and publishers
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1. How to visit a country a day with no clothes
2. How to get personal with the stars
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7. Little-known methods of water conservation
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FEATURED ARTICLE:
Three Simple Rules for Self-Promotion
By Cindi Myers <CMyersTex@aol.com>
~~**~~**~~**~~**~~**~~**~~**~~**~~**
When most writers set out to write a book, they're interested in telling a
story. Maybe they dream of one day being published and of sharing their story
with others. Few people think about having to go out and promote their work. In
fact, for many authors, the idea of self-promotion has them shaking with fear.
After all, many writers are introverts. We're most comfortable sitting at the
computer or with a notebook and communing with our characters. And many of us
were raised to be modest, to not talk about ourselves -- and above all -- to
avoid bragging.
If you find yourself approaching the idea of self-promotion with dread, you've
come to the right place. One of my goals for this article is to show you ways
to promote yourself and your work within your comfort level. After all, the
most effective self-promotion is that which is well done. If you're not
comfortable with something, you're liable to do a poor job. Poorly done
self-promo can be worse than none at all.
The first rule is only do the kind of self-promotion you are comfortable with.
Sure, stretch yourself a little. Try new things. But if something begins to
feel like a burden or you're losing sleep over it, strike it from your list.
Find something else you can do.
Rule number two is don't do something just because everyone else is doing it.
If your friend the author just spent $500 on custom postcards and postage to
mail them, don't feel that if you don't do this too, your career is in the
toilet. Don't compare your self-promotion plan with another author's. We each
do what we can reasonably do, and comparison is not only irrelevant but
stressful and often disheartening.
Rule number three: Free doesn't mean ineffective. I'm going to show you a lot
of free or very inexpensive promotion strategies that can be just as effective,
or even more so, than efforts that cost much more.
That's it -– three easy rules to keep in mind as you plan your self-promotion efforts.
Why should you bother with self-promotion?
1. Because your publisher may not promote you. Unless you're already a
mega-bestseller, chances are your publisher isn't going to be spending a lot of
money promoting you. If you're lucky, they may print up a few advance copies to
send to reviewers, or maybe even buy an ad in a trade journal. Many authors may
find their publisher does nothing beyond printing the books and (we hope)
spelling your name correctly on the cover. Thousands of titles are launched
into the marketplace each year with no promotion budget at all.
2. Because you can be effective -– within limits. Few people have the time
and/or resources to effectively self-promote to a national audience on a large
scale. But the techniques we're going to cover will help you make an impact on
smaller markets you've targeted. That means more sales and can help you
persuade your publisher to pitch in more on the next book.
3. To have some semblance of control. After you've written the book and turned it
over to your publisher, you've essentially given up control of your baby.
Working on self-promotion can help you maintain at least an illusion of
control. Now whether or not you're actually accomplishing anything is debatable
at times, but sometimes that illusion of control helps to temper the
helplessness and depression which plagues some writers.
Goal-Setting: The First Step to Success
Before you set out on any journey, you need a map. So the first thing I want
you to do is answer this question: What exactly are you trying to achieve with
your self-promotion campaign? If your immediate answer was, "I don't
know," then give yourself some time to think about it.
To help you set a goal, ask yourself Who am I targeting with this
self-promotion effort? For writers, our target audience is generally
booksellers or readers or the media. Different methods work for each of these
audiences. A news release can be highly effective in garnering free media
publicity but would fall flat with readers. Bookmarks might work well with
readers, but would be almost useless to the media. You have to know what you
want before you can even start thinking about what to do.
Back to the goal. "I want to sell more books," isn't narrow enough to
be of any use to you in this endeavor. Naturally, we all want to sell more
books or we wouldn't be pondering promotion in the first place. A better
question to answer might be, how do you want to go about selling more books? Do
you want to establish a relationship with booksellers? With distributors? Would
you rather deal with readers directly, establishing a presence with them? Do
you want a lot of media coverage? Reviews? Do you want it all and then some?
You can have a little of each of these, but keep in mind, scattering your
promotion efforts across the board -- readers, booksellers, distributors, the
media and everyone else who might help you Sell Books -- can be
cost-prohibitive, not to mention time-consuming. It can be done, but a narrow,
focused campaign is often more effective for and accessible to the new author.
There will always be time in the future to expand.
Some of the tasks you will complete overlap the target groups, which is a great
use of your time and money. A profile in your local newspaper, for example, can
reach the media (be a great interviewee and they'll come back for more),
readers who will be intrigued enough to seek out your book, as well as
promoting your upcoming book signings, which will please the booksellers. On
the other hand, some promotional tools -- gadgets, gifts and giveaways -- might
only reach one target group: readers. Which is why establishing a goal is so
valuable.
Once you have a goal -- which isn't chiseled in stone, so don't let setting one
immobilize you -- it's time to think about your cash flow.
Setting a Realistic Budget
Let's begin with an assumption: Unless touted as the new mega-seller whose
first novel sold at auction for an astronomical, news-making advance, the
average new author probably is not rolling in bucks. Agreed? We would all like
bigger advances and lots of publisher perks (like an unlimited publicity
budget), but the reality in the publishing world generally mirrors that in the
business arena -- you start at the bottom and work your way up. That in mind,
getting the most for our PR dollars is of utmost importance. Determining how
much you can spend without breaking the bank should be foremost in your mind.
Because everyone's situation is different, I can't give you a definitive dollar
figure on how much you should spend. Instead, take the following things into
consideration:
1. What type of book did you sell? Is it one that will stay on the shelves
indefinitely, or a category romance with a shelf-life of six weeks? Take this
into account when planning how much money you will spend, and on what.
2. What is your royalty rate? In simpler terms, how much will you make on each
book sold? If you are making 25 cents per book, it doesn't make a whole lot of
sense spending 50 cents per book on promotional items. Even if each person who
receives a promotional item buys a book, you didn't make much money from the
sale, did you? Just to play devil's advocate, though, remember to think in the
long term. If you are publicizing to build long term name recognition,
sometimes you have to invest money up front before getting anything back.
3. How much do you realistically have to spend on your promotion? That doesn't
mean, if you feed your children noodles and ketchup soup for six months and
forego electricity, then how much can you realistically spend. The amount of
cash you devote to promotion should fit comfortably into your family's budget.
Really. Your book is going to sell even if you can't afford too much promotion.
There are all kinds of things you can do on the cheap. If you can't swing
gizmos and giveaways this time around, life will go on. Remember that.
Really take the time to look at your finances and goals and set a workable
budget before you start. It will save you time and heartache (and money!) in
the end. Set a realistic budget ASAP, then stick to it. Remember, if you can't
afford to do any self-promotion on a first book, don't sweat it. The world will
keep on spinning, and plenty of successful authors don't do one whit of
self-promotion.
Even if your budget is almost zero, you can be effective. The trade-off, as if
most things in life, is that if you don't have any money to spend, you will
probably end up spending more time. And while we're on the subject of time....
4. Budget your time as well as your money. Self-promotion can be a huge time
eater. If you have a family, a job and another book to write, you may find
yourself losing sleep and driving yourself crazy trying to steal time for
self-promotion. So be realistic about how much time you can devote to
promotion. If it's one hour a week, then mark that hour on your calendar and
commit to it. Don't kick yourself for not spending five hours a week. Do what
you can. The techniques I'm going to discuss will help you make the most
effective use of your time.
Timing is Everything
If your book is coming out next week and you're only beginning to thing about
promotion now, you might have to settle for launching a full-tilt promotional
campaign on your next book. Promotion isn't an eleventh-hour proposition. Don't
fret -- there are still some last minute things you can do, but effective
self-promotion must be started long before your book hits the shelves.
There are many advantages to setting a time-line. For one, you won't have to
keep a mental list of what you need to get done. If you are like most writers,
not only do you store the every day muck of normal life in your brain, but you
also have random characters camping out there, waiting for their turn on the
page. There is enough to remember without adding promotional tasks to the mix.
A time-line also serves to break down the rather daunting job of promoting a
book into easy to swallow chunks. Just as breaking a novel down into chapters
helps us complete a 400-page book without panicking, a promotion time-line
makes the task seem do-able. And, it is do-able, as long as you plan, plan,
plan.
So to sum up, determine your goals for self-promotion, establish your target
audience, set a budget for money and time, and chart a timeline for your
self-promotion efforts. You can do it. Now get going!
===
BIO:
===
Cindi Myers is the author of almost two dozen romance and women's fiction
novels. Her latest releases include "My Backwards Life" (Harlequin)
and "Learning Curves" (Harlequin Signature Spotlight. Visit her on
the Web at http://www.CindiMyers.com
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SCRIPTWRITING CENTRAL
Whose Story Is It Anyway?
By Christina Hamlett AuthorHamlett@aol.com
~~**~~**~~**~~**~~**~~**~~**~~**~~**
As anyone who has ever grown up with siblings can attest, there are always at
least three versions of any given incident: (1) their story, (2) your story and
(3) what really happened. Throw in the observations of other household members,
eavesdropping neighbors, casual passers-by and even the family pet and a single
incident can be interpreted in any number of different ways.
A screenplay is subject to the same level of viewpoint variety. It just depends
on whose rendition you—the author—would like it to be.
Let's say you've decided to adapt "Little Red Riding Hood" to a
feature film. In its original fairy tale format, the viewpoint is omnipresent;
we see the plot unfold from the narrator's third-person perspective. Although
Red herself is the title character, she's only knowledgeable of those scenes in
which she personally participates. Accordingly, her disclosure that she's on
her way to her grandmother's house can be construed as either a polite way to
get the wolf to buzz off or a carefully orchestrated set-up to dispatch a
relative she wasn't fond of anyway.
"Did I mention she's frail and helpless and lives alone?" Red tells
him. "Here, let me write down the address for you..." How would the
telling of the tale be different from the standpoint of the wolf? Certainly as
a creature at the top of the forest food chain, he wouldn't be very likely to
judge his acts as criminal behavior. After all, a wolf's gotta do what a wolf's
gotta do, right? Since his first opportunity to make a meal of Red didn't work
out, he resorts to his next available option: a granny-snack down the road.
But what if he was trying to warn the grandmother that the woodsman who worked
in her neighborhood was, in actuality, a serial killer? Motivated by his
desperation to save the old woman's life, the only safe hiding place Mr. Wolf
could think of on such short notice was...in his stomach. (Doesn't the fact he
swallowed her whole suggest it was just a temporary plan?) What about the
character of the grandmother? Was she just a victim of her own naiveté in
opening the front door without first establishing who was there? Perhaps if we
heard the story from her side of things, we'd learn that Red's motivation in
bringing fattening treats every week was to hasten her elderly relative's
demise so as to inherit that sweet little cottage on a prime piece of real
estate. Annoyed with such duplicity, the grandmother hired a contract killer in
the form of a local carnivore, little knowing the latter had his own spin on
the phrase "meal ticket."
Last but not least, we have the woodsman who just happened to be wandering by
an open window in time to overhear the wolf's remarks about big ears and big
eyes. Recognizing that young Red had about as much on the ball as
What was his real motivation? Was it to dazzle Red into accepting an
on-the-spot marriage proposal? Was he already engaged in a clandestine
relationship with the grandmother and startled to discover their afternoon
tryst had been pre-empted by a wolf wearing her nightgown? Or were he and the
wolf secret partners in crime, preying on the confidence and ignorance of the
fairer sex to advance their own agendas?
We'll never know the answer, of course, since we only heard the story from one
side: the one that the author chose for us.
As screenwriters, you'll be vested with choosing just one side from many. How
you know whether you've selected the best one derives from one or more of the
following criteria:
LIKABILITY QUOTIENT
Audiences want someone they can root for, generally someone who is also likable
and with whom they'd enjoy having lunch or grabbing a few beers after work.
Film, after all, is the vicarious canvas on which audiences project their own
hopes, dreams, triumphs. In addition, their affinity for affable underdogs
allows them to reflect on the times in their lives that they themselves have
felt as if the odds were stacked against them. That's not to say, of course,
that you couldn't also craft a story with a perfectly likable villain at its
helm. As long as he or she embraces ambitions or relates experiences which will
resonate with a sympathetic audience, there's no reason a bad guy can't be
center stage.
DEGREE OF RISK
Who has the most to lose in your story? If a character doesn't put very much on
the line, you can't expect an audience to invest very much interest in the
outcome. We want to see what's at stake and we want to understand its
significance from the standpoint of the person taking the biggest risk to win
it, protect it, or just get it back.
DEGREE OF THREAT
Bond. James Bond. Why do we like to view events through the eyes of this
super-sleuth? Because he's all that stands in the way between evil-doers and
their schemes for world domination. Not only do we warm to characters who know
that they are a thorn in the enemy's side but also to those who unwittingly
witness criminal acts and don't know just how much trouble will be unleashed as
a result of their being in the wrong place at the wrong time.
QUEST FOR REDEMPTION
Last but not least, an audience's love for the underdog reflects their empathy
for those who learn to forgive themselves through acts that redeem past errors
and omissions. The firefighter who couldn't save the life of his own child, the
ballplayer who cost the home team a winning game, the woman whose fear of
driving kept her from getting a sick relative to the hospital -- these and
other characters whose mettle will be tested in a new crisis are always good
choices for the prominent point of view.
CONFLICT AND THE SOLAR SYSTEM
Once you've decided whose point of view should prevail, it's important to keep
the rest of your characters from hogging the limelight. Unlike real life, which
serves up daily a full plate of conflicts for us to juggle, a screenplay
centers on one specific problem -- the protagonist's -- around which everything
else must revolve.
The tendency of fledgling writers to mimic the complexities of reality by
putting in more than one conflict results in a scatter-gun script that misses
the mark on all levels. An ensemble script -- one in which there are multiple
characters with multiple dilemmas -- also reduces the chance of attracting a
name star for the lead. The reason is that the name star will expect to be
front and center for about 85 percent of it. Even a math flunkie can see this
translates to very little time left for anybody else's dilemmas to be examined,
much less resolved.
In order to put this requirement in perspective, think of your central conflict
as the sun. Think of Earth as your protagonist, subjected to moments of light
and dark pursuant to his/her invariable rotation. The rest of the planets are
supporting characters and extraneous issues in your protagonist's life. While
he/she is always aware of their presence and their respective proximity to the
central issue, a situation that occurs on Venus is only significant if it in
some way impacts what Venus and Earth both have in common; specifically, their
orbits around the sun.
Let's say your story is about an employee named Ernie who's madly in love with
Jan, his boss' daughter. She is, literally, the center of his universe.
Everything he does relates to his quest for a happily ever after.
While Ernie's life is peopled with a lot of colorful characters, you need to
resist the temptation to let Ernie wander off and schlep their emotional
baggage for them. Why? Because it detracts from his objective of pursuing Jan.
What you can let Ernie do is engage in peripheral conflicts that ultimately
advance his own cause.
For example:
* As a new employee, Ernie's abilities and reputation are under scrutiny. He
needs to make a good impression with the boss who, hopefully, will see him as
quality son-in-law material and ultimately give the relationship his blessing.
* He needs to vanquish a co-worker rival. Again, the actions in which he
engages serve the twofold purpose of impressing Jan and her father as well as
dispatching any competition.
* He needs to land a major account that will solidify his professional
standing, provide the financial wherewithal to support a bride and affirm his
own faith he can accomplish anything he sets his mind to.
Much as you might like to weave in back story elements of Ernie's prior
relationships, his estrangement from his older brother, his roommate's bouts
with alcoholism, his cleaning lady's impending deportation to Uruguay or even
the weekends he selflessly spends making recordings for the blind, none of them
have bearing on whether he gets the girl and makes that long-sought trip to the
altar.
===
BIO:
===
Former actress/director Christina Hamlett is an award-winning author and
professional script coverage consultant whose credits to date include 22 books,
118 plays and musicals, 4 optioned feature films and columns/interviews that
appear throughout the world. Her latest book, "Could It Be A Movie,"
is available through Amazon and through her publisher, Michael Wiese
Productions (http://www.mwp.com). Additional information can be found at
http://www.absolutewrite.com/site/christina.htm. She and her husband reside in
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Attention: Don't Miss the Free Writing Course
at the End of this Article!
~~**~~**~~**~~**~~**~~**~~**~~**
How To Analyze Your Script Like a Pro
By Derek Rydall
Founder, ScriptwriterCentral.com
"Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still."
-- T.S. Eliot, Four Quartets
WRITING IS REWRITING
As a screenwriter, you may use other script consultants to critique your
material, but inevitably you'll need to master the ability to analyze your own
work. This can be a difficult task, somewhat akin to trying to look at your own
face (without a mirror). If you are going to write at a level that sells,
however, you will need to rewrite.
And rewrite.
And rewrite....
But do not despair, you're in good company. Many screenwriters struggle over
evaluating their own work. I still have bloodstains on my office walls where I
pounded my head as I rewrote one script 16 times before putting it in the
market. I once spent so long looking at a single word that it lost its meaning
and was reduced to its original, primordial symbolism. Talk about a head-trip!
And it's not just screenwriters that suffer with this. The French poet, Paul
Verlaine, once said that a poet never finishes a poem, he abandons it. Marcel
Proust continued to correct proofs for "Remembrance of Things Past"
on his deathbed. Henry James rewrote some of his novels long after they were
published. And Oscar Wilde once proclaimed that he spent all morning adding a
comma and all afternoon deleting it. Boy, do I know that one!
So how do you analyze your own work without becoming an alcoholic or a guest at
the Mad Hatter's tea party? First, you have to accept the fact that you will
never have a completely objective perspective. Second, you have to learn when
to just grit your teeth and conclude that the work is finished -- even if you
have the uneasy feeling that more can be done. Honestly, I still feel that way
about almost everything I've written. It goes with the territory.
There are certain things you can do, however, to gain some perspective:
ABSENCE MAKES THE HEART GROW (LESS) FONDER
Writing is a love-hate relationship. We start out hating everything we're
writing, and end up blinded by love for every word we've put on paper (or the
other way around). In order to gain objectivity, we must get distance. Putting
your work away for a while -– sometimes weeks or months -– can allow you to
come back not so enamored by it. (Falling in love with a new piece of material
can also help.) It gives you a chance to read it almost as if it's someone
else's. This is the first, and perhaps most important, step for evaluating your
own work. If you find yourself getting hung up again, wanting to save all your
babies, stick it back in the drawer and move on to something else –- or send it
to a trusted friend or script consultant.
BACK TO THE DRAWING BOARD -- OUTLINING AGAIN
Deconstructing your script back to an outline form can make the process more
analytical again and give you some much-needed objectivity. It allows you to
see the basic building blocks and recognize if this house will really stand.
Then you can make the necessary changes in outline form before you go back to
script.
HAVE A READING
Getting a group of actors together to read your script aloud can be an
anxiety-producing experience -- but almost always an illuminating one. Hearing
the actors speak, and often stumble over, your dialogue, definitely gives you a
fresh perspective on it. You begin to see that some of your words don't fall
trippingly over the tongue, but cause the tongue to trip and fall over the
words.
After the reading is done, you can elicit feedback from the actors -– or the
audience, if you have one. But I must issue a word of warning here. Having a
group of actors give feedback on your script could be one of the most painful
experiences of your creative life. The first time I did it, the group ganged up
on me to proclaim just how bad the script was. It was downright ugly. AND THESE
WERE MY FRIENDS! Even my mom was part of the lynch mob! It dealt a crushing
blow to my fragile writer's ego. I promptly threw the script away, indulged in
the nearest libation, and curled up in a warm and cozy depression. A couple
weeks later, however, I emerged from the near-suicidal encounter with a ton of
insights and a much better script.
THE FAST "NO-BRAINER" READ
Your unconscious already knows what's wrong with your script, it just can't get
through the filtering of your conscious monitoring mind. So sometimes, just
riding over your script roughshod, writing every note that comes to you without
considering the absurdity of it, can result in some pretty insightful and
inspired comments. It might also result in some pretty brutal ones as well. But
that's okay. After the group therapy session you had with your script reading,
you're tough enough to take it.
THE HIERARCHY OF NOTES
One of the toughest parts about rewriting, once you've evaluated your script,
is knowing where to start. You're sitting there, staring at a big smelly pile
of notes -- scribblings and late-night ramblings on every page, legal pads
covered in blood and coffee stains. There's just no way to begin easily and
painlessly with that mess. So don't. Yet. Organize your notes from 'easiest' to
'most difficult.' In other words, at the top of the list will be the typos and
grammatical errors, then descriptive polishes, dialogue polishes, moving on
down to the more difficult character, plot and theme notes.
I know that a major time-management proposition is to begin with the most
important goal or task and stick with it until it's finished. But this ain't
time management, folks. This is art. It's not rational. So I believe it's
better to start with the easiest damn thing and get it done fast. Then move to
the next easiest thing and whip it out quickly. Now, with a little more
momentum, you might actually be willing to tackle the more difficult notes with
a higher level of confidence and a lower level of antidepressants.
A FINAL NOTE ON GIVING YOURSELF NOTES
Some of you will be way too eager to get your script out to every producer in
town -– even after the first draft. Your task is to develop patience. You've
spent this long on the script, what's another few weeks or months to make sure
you've got it right.
Just take a breath.
Put the script away. Rewrite it. Whatever you do, don't send it out there
knowing it could be improved, thinking "they’ll just fix it in post."
NO THEY WON'T. The only 'post' that script will see is 'compost,' because
that's the pile it'll end up on. So unless you want your work to become
fertilizer for someone else's lawn -- chill out, dude.
Then there are those of you who will resist sending your script out into the
seemingly cold, harsh world of
With a little luck, someone will decide to make that child their
own.
****
Get Your Free E-Course, "7 Deadly Mistakes Screenwriters Make When Using a
Script Consultant!" at http://www.DontGetScammedByScriptConsultants.com
(A $49 value)
===
BIO:
===
As a screenwriter, Derek Rydall has sold, optioned or been hired on assignment
for over 20 film and TV projects. He has developed projects for the producer of
Ghost, RKO, U/A, Miramax, Saturn (Nick Cage), and many indie producers, as well
as worked as a staff writer for Fox, Disney and Deepak Chopra. As a story
consultant/script doctor, Derek has helped writers, producers, actors and
directors turn books into screenplays, secure millions in financing, make
six-figure script deals, get hired to exec produce, direct, star in their
movies, obtain major distribution and win awards. And as an author, Derek's
book, "I Could've Written a Better Movie than That!: How to Make Six Figures
as a Script Consultant -- Even if You're Not a Screenwriter," is available
at Michael Wiese Publishing (http://www.mwp.com) or Amazon.com. For more info,
check out his site, http://www.scriptwritercentral.com, e-mail
derek@scriptwritercentral.com or call (661) 296-4991.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
SCRIBES OF NOTE
~~**~~**~~**~~**~~**~~**~~**~~**~~**
At Scribe & Quill a virtual quill is our way of congratulating scribes of
note who have made an article sale, published a book, snagged an agent/publisher
or have reported to us a number of other notable successes in
writing/publishing.
Our quills are virtual because they exist only in cyberspace. We honor the
recipients here with an old-fashioned pat on the back and publication of your
news so our readers can celebrate with you!
Have a success you'd like to trumpet to the rest of world? Send your triumph to
editor@scribequill.com with VIRTUAL QUILL in the subject line.
This issue's virtual quills are awarded to:
All the nominees and winners in the annual Preditors & Editors Poll. To
view complete results of the 2005 poll, please visit:
http://www.anotherealm.com/prededitors/perpoll.htm
Andy Byers (ajircc@juno.com) has published "The (Im)perfect Spy -–The
Inside Story of a Convicted Spy" through Vandamere Press. Autographed
copies are available from the author,
Stephanie Cage (scage@talk21.com) had two of her poems commended in the
Margaret Reid contest for traditional poems. In addition, her story, Within
these Walls, has been accepted by online sci-fi magazine AlienSkinMag.
Ann Durand, author of "A Promise to Keep," placed fifth in the
Romance Novel category of the 2005 Preditors & Editors Readers' Poll
(http://tri-studio.com/anndurand.html) Ann Durand writes a monthly column for
the writers' e-zine, The Muse Marquee, which was also a top ten finisher in the
poll (http://tri-studio.com/ResourcesforWriters.html). Durand's science fiction
novel, "Flight of the Gryphon," will be released by Double Dragon
Publishing in December 2006.
Rebecca Forster's (rebeccaforster@aol.com) latest legal thriller,
"Privileged Witness," was released
Kathe Gogolewski's (kgogolewski@sbcglobal.net) fantasy adventure novel for
middle grade readers, "Tato," placed third in the Mainstream Novel
category in the 2005 Preditors & Editors Readers' Poll
(http://tri-studio.com/kathegogolewski.html). Four other authors at TRI Studio,
LLC, (http://www.TRI-Studio.com) finished in the TOP TEN for the 2005 Preditors
& Editors Readers' Poll. Finally, Kathe and Ray Gogolewski were presented
with the Outstanding Member Award by the Publishers and Writers of San Diego
(PWSD) on December 17, 2005 (http://www.publisherswriters.org)
Ray Grant placed sixth in the Short Story category of the 2005 Preditors &
Editors Readers' Poll with "A Strange Feeling," as well as sixth in
the Best Poem category with The Ship (http://tri-studio.com/RaymondGrant.html).
Ray Grant's book of short stories, entitled "Flashes in the Pan - 50 Short
Stories for the Impatient," will be released October 2006 from Double Dragon
Publishing. (http://www.double-dragon-ebooks.com).
Martha Jette's (marthajette@yahoo.com) third book, "Glimpses 2" It
Could Happen To You!" has been published by Saga Books
(http://www.sagabooks.net). The book contains 90 true tales of the paranormal
on everything from ghosts and hauntings, to past lives, near death experiences,
angels, premonitions, ESP, UFOs and more. Martha has been featured on several
radio stations, including The Graveyard Shift, The X-Zone and Global Talk
Radio. Martha's book is a featured selection under our Scribe & Quill Book
Gallery (http://www.scribequill.com/Gallery.html)
Marilyn Peake placed fifth in the Best Poem category with her poem, Memory of
New Orleans. http://tri-studio.com/Guestpoetrypage4.html She also ranked eighth
for Best Poet.
Jonathan Porter (avsfan830@yahoo.com) published an article in the January 2006
issue of Yarnspinner & Wordweaver Newsletter
(http://www.redenginepress.com/Newsletter0106.pdf). He is a senior high school
student in Colorado. He has also completed his first, feature-length movie
script, "Adrenal." He is at work on his second movie script.
Barbara Raffin's (http://www.BarbaraRaffin.com) book, "Treasures of the
Heart," will be released this month from Whiskey Creek Press.
Lea Shizas, founder of the online critique community, the Museitup Club, edited
the January 2006 anthology release, "The Muse on Writing," published
by Double Dragon Publishing (http://www.double-dragon-ebooks.com) in large
print paperback and e-book formats. Eighteen writers contributed to the
anthology, including Kathe Gogolewski, Barbie Perkins Cooper, Marie Davies, Bob
Farley, Patricia Ferguson, Mike Kechula, William Koonce, Steve Lazarowitz,
Shelaugh McNally, Charles Mossop, Kevin Oxland, Robert Redmond, Shane Roe, Lea
Schizas, Mary Schneider, Pamela Shirkey, Alan M. Toback and Michelle Bailey
Webster.
Sonali T. Sikchi (sonali_sikchi@hotmail.com) contributed entries on medieval
writers and literature to two encyclopedias published by Facts on File:
"Encyclopedia of World
Writers: Beginnings to the 20th Century" (6/05, ISBN 0816061432) and
"Encyclopedia of Medieval Literature" (11/05, ISBN 0816054975).
Jade Walker's (maidenfate@aol.com) short interview was featured on the BBC
radio programme "Brief Lives." Readers may listen to the interview
here:
http://www.bbc.co.uk/radio/aod/networks/fivelive/aod.shtml?fivelive/brieflives
Kiva Wolfe (kivawolfe@yahoo.com) announces the release of "Red Flash"
by Draumr Publishing (http://www.draumrpublishing.com).
Joy V. Smith (Pagadan@aol.com), author of "Building a Cool House for Hot
Times without Scorching the Pocketbook," is among the Top Ten winners in
the Preditors & Editors annual poll. Seedlings (from the shared world
anthology, "Magistria: Realm of the Sorcerer) is #8" (tied) in the
SF/Fantasy short story category; and her interview with Lyn McConchie (July
2005 issue of Expressions) is also #8 (tied) in the non-fiction article
category. Crystal Quest, the sequel to Seedlings, is upcoming in
"Magistria: Shards of the Goddess."
~~**~~**~~**~~**~~**~~**~~**~~**~~**
ADVERTISEMENT
~~**~~**~~**~~**~~**~~**~~**~~**~~**
http://www.boomerwomenspeak.com
Visit baby boomer women expert, Dotsie Bregel, at the #1 site for her
generation of women. Her site offers a safe and therapeutic haven for baby
boomer women to share what's on their hearts anonymously and without judgment.
Wise, warm and witty women with kindred spirits share thoughtful insights every
day.
Join Sue William Silverman, author of "Because I Remember Terror 'Father'
I Remember You," in the forums at http://www.BoomerWomenSpeak.com during
the month of February. Sue is available all month to talk about child abuse,
addiction, writing and the path to publication. Sue teaches at the MFA Writing
Program at Vermont College. For more information about Sue, visit her site,
http://www.suewilliamsilverman.com.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
QUOTABLES
~~**~~**~~**~~**~~**~~**~~**~~**~~**
"You may be able to take a break from writing, but you won't be able to
take a break from being a writer."
--Stephen Leigh
(Thanks to Jade Walker (maidenfate@aol.com) for this quote)
***
"Nothing reveals more about the inner life of people than their
arts."
-- Diane Ackerman
~~**~~**~~**~~**~~**~~**~~**~~**~~**
ADVERTISEMENT
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separates the professional writer from the amateur.
MPL Creative Resources can help you achieve accurate, professional copy by
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ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø
Scribe & Quill ~~ Jan/Feb 2006
Section II
ø,¸¸,ø¤º°`°º¤ø,¸¸,ø¤º°`°º¤ø,¸¸,ø
ISSN: 1098-6375
~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED COLUMN:
WRITING ROMANCE WITH A PASSION
POV: Whose Head Am I In Anyway?
By Cynthia VanRooy <cvanrooy@juno.com>
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Fiction writing is about people. Romance fiction is about two people in
particular, your hero and heroine. The story is told from their point of view,
so understanding and effectively using point of view is basic to romance
writing. Given that fact, I thought point of view would be a good place to
launch this column.
POV (or Point Of View) can sound technical to a new writer, but it simply
refers to the character whose perspective the story events are told through.
Readers see, hear, feel and experience events as that character would—and only
those things that character would experience. In a romance this is usually the
hero or heroine, with possible occasional side trips into the POV of a
secondary character.
In other words, if you’re in the heroine's POV you're not going to mention her
creamy skin or silky hair unless she's looking at herself in a mirror—and is an
incredibly vain person. You're seeing the world through her eyes, so you see
only what she would see. Describe the hero's coffee brown eyes and broad
shoulders. J That's what your heroine sees.
In the short scene below from my book, "Blue Skies," our couple is at
a formal dinner dance. It's written from the heroine's POV. There's a slight
problem. Can you find it?
She felt a small flash of annoyance. "What have you got against
dancing?"
"Nothing. Let's do it." He drew her back into his arms and stepped
out as the music began again.
A tiny line appeared between her brows at the resignation she heard in his
voice, but at least he was holding her.
Got it? It's the tiny line between her brows. She wouldn't be able to see this.
The hero could, but...we're not in his POV. I didn't write this; it's something
the copy-editor inserted. I went ballistic when I saw it, but c'est la vie.
This one is a simple fix. Replacing a tiny line appeared between her brows with
she frowned with concern brings the POV fluctuation back into line.
POV congruency also means that you the writer describe those things a
particular character would experience in a vocabulary that character would use.
You're in his or her thoughts. If your character is a high school dropout, you
wouldn't use language more appropriate to a Ph.D. An unfortunate example of
this mistake turned up in the first scene of an unpublished (it still is)
manuscript I was asked to critique. In the scene, the only two characters are a
belly-scratching, beer-guzzling, good-old-boy deer hunter and his dog. They are
alone in the back country, the hunter leaning against the fender of his truck
congratulating himself on the buck he has just illegally bagged. Suddenly there
is the observation of dust motes dancing like ballerinas in the beam of
sunlight slanting through the trees.
Huh? Who is supposed to be having these thoughts -- the good old boy or his
dog? In an effort to sound literary, the writer managed only to sound silly.
Being disciplined about POV will help you avoid embarrassing lapses, like this
one, into purple prose.
Some new writers think they must change POV every time a different character
speaks. Not only is this not necessary, it's not even desirable. However,
writers fall into one of two POV camps. There are the purists who prefer to
write in one character's POV for the duration of a scene, and sluts who change
POV so often the reader's head spins. I started out a slut, head hopping so
frequently my characters had no chance to become individuals. I gradually
developed into a purist because I discovered I wrote more powerful books that
way.
If you're in the heroine's POV and the hero is angry, you don't need to leap
into his perspective to show the reader this. Have your heroine recognize the
hero's anger through his expression, body language, and manner of speaking.
Granted, this is a little trickier than just saying, John was furious, but
handling the tricky stuff well is what makes better writers better. The
following paragraph in the hero's POV is also from "Blue Skies." Note
that the scene never waivers from this POV. The heroine has just said something
unfairly insulting to the hero.
"I don’t deserve that remark, Gina."
He watched her wrestle with her conscience, saw the guilt come and go on her
face. Her gaze veered away from his and he waited to see if she had the guts to
acknowledge the truth of his words.
At her continued silence his mouth twisted in disgust.
Yada, yada, yada (I'm sparing you unnecessary story detail)
He got as far as the kitchen door when Gina stopped him.
"Wait."
He turned impatiently. She stood in the middle of the room gnawing on her
bottom lip, her fingers knotting and unknotting in front of her, then dropped
her chin. "I'm sorry," she said quietly.
"For...?"
She raised her head and the pain in her eyes was so real he almost let her off
the hook.
How does Gina feel in this scene? Guilty, ashamed, regretful?
How do you know? You were never in her head to hear her think. You know by what
the hero observes about her body language and manner, the look in her eyes.
You can stay in the same character's POV for an entire chapter and yet the
reader can be perfectly aware of how every other character in that chapter
feels. Through your point of view character, you will be able to convey the
emotions and thoughts of all your other characters if you can pinpoint the
physical actions that give away those thoughts and feelings.
Become a student of body language. Watch television with a notebook and pen and
make note of how the performers portray sadness, surprise, happiness and anger.
Have you ever been in the mall and seen two people arguing. You couldn't hear
them, but you knew what was going on, didn't you? Analyze why.
You aren't committed to staying in one character's head for the whole book.
That would be frustrating and boring for you and the reader both. Just don't
change POV randomly.
Why not? What's wrong with changing?
I'm glad you asked. When a reader becomes emotionally engaged in a book, he or
she enters into the story. The writer has hypnotized the reader into participating
in the illusion of the fictional world. The reader understands the book world
isn't real, but in order to fully enjoy the story, he or she chooses to
temporarily pretend otherwise, or to suspend their disbelief, as this state is
referred to in book-writing circles. (See, you just learned something else.)
Every time you shift the reader from one character to another, they are jarred
out of their suspension of disbelief and reminded they aren't actually living
in the fictional world you've created, they're only reading a story. Do that
often enough and they'll stop reading your story. Scene changes or new chapters
are the best and least disruptive places to change POV.
Settling into a character's head and staying there awhile will also prevent you
from writing generic heroes and heroines. Deep POV gives the reader a chance to
really identify with a character, something you aim for as an author. Even Nora
Roberts, famous for her frequent changes in POV, lets the reader stay in one
character long enough to become thoroughly hooked.
Here's a quick way to check how well you're staying true to your characters'
POV. In your current WIP (work in progress) use pink and blue highlighters --
all right, I'm a sexist -- to highlight things in a couple of your scenes that
are unique to your hero or heroine's POV. You should have nice, long runs of
one color or the other. If your pages look more like checkerboards, you'll know
you have some work to do!
===
BIO:
===
Now that you've written the book, does the hardest part seem to be getting an
editor to read it? Let award-winning romance author Cynthia VanRooy, published
in both print and electronic formats, teach you in her information-packed
e-booklet "The Secrets to Query Letters That Work" how seasoned
professionals, even unagented ones, circumvent the slush pile and get their
fiction in front of the decision makers. For more information, click on
http://www.cynthiavanrooy.com.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED APPEARANCES/BOOK SIGNINGS
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Multi-published author, Rebecca Forster, will be hosting a launch party for her
latest novel, "Privileged Witness" on Saturday, February 18, 2006
between 2–4 p.m. at Borders Books located at 550 Deep Valley Drive, Rolling
Hills Estates, CA 90274. Phone: (310)-544-4678
****
Feather Schwartz Foster, author of "LADIES: A Conjecture of
Personalities" and "Garfield's Train," will be appearing at the
following venues during the month of February:
Mon. Feb. 13 - 1 PM - Historic Richmond Town Women's Auxiliary - Staten Island,
NJ (LADIES)
Tues. Feb. 14 - 11:15 (EST) - KBMW RADIO, Wahpeton, ND (LADIES)
Sun. Feb. 19 - 2 PM - Trinity Women in Mission - Morris Plains, NJ (LADIES)
Tues. Feb. 28 - 1 PM - Somerville Civic League - Somerville, NJ (LADIES)
~~**~~**~~**~~**~~**~~**~~**~~**~~**
ADVERTISEMENT
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Join the danz
Http://danzmacabre.com - the blogtion revolution starts today, with horror in
the mix!
~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED FICTION COLUMN
By Rick Chiantaretto <rick@facadeofshadows.com>
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Rick is currently on leave. His column will return soon!
~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED COLUMN:
Tax Deductions for Writers
By Pamela S. Thibodeaux <pthib-7@centurytel.net>
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Writing is more than creating the Great American Novel; writing is a business
and a business requires record keeping and tax preparation. Many have already
begun gathering information and getting things in order. Most will wait until
the last minute then be in a panic. Don't be one of them, be PREPARED!
IRS rules state that you can claim a loss for business expenses even if you're
unpublished as long as you can prove you are actively pursuing a career in
writing and as long as the expenses are considered necessary business expenses.
Most writers will use a Schedule C or Profit and Loss statement to file their
business tax. This form is found in your 1040 forms and instructions book or
from your local IRS office. You can file a 1040 form with a Schedule C and
still take standard deductions in lieu of itemizing. Use your social security
number and your name unless writing under a pseudonym then it's your name DBA
(your pseudonym). The Principal Business or Professional Activity Code (711510)
is listed in your 1040 book under the Performing Arts section.
How do you prove you're actively pursuing a career in writing and what are
necessary business expenses? Here are a few examples:
1). Send letters to agents, editors, publishers. Postage is deductible as well
as return postage on your SASE. Do this via e-mail? Print out a copy of your
e-mail query and their response.
2). Office supplies (paper, ink, envelopes, business cards, etc.) are valid expenditures.
If you have an office set up in your home you may be able to claim a portion of
your rent or house note and utility bills for the use of this room. Also, long
distance phone calls that are writing related are deductible as well as
Internet service fees if you're using the Internet to develop your craft and/or
promote yourself and your work.
3). Membership dues, conference fees, hotel expenses, gas mileage and meals are
all deductible expenses -- even for unpublished writers.
5). Fees related to the creation, development and maintenance of your Web site
are tax deductible.
6). Professional fees and services (CPA, Tax Consultant, professional
evaluation or critique, attorney fees, etc)
How do you keep track of all those expenses?
Spreadsheets and receipts. Keep receipts in a standard manila envelope or
organized by category in a pocket sized file folder. Spreadsheets are easy to
set up and easy to maintain. Most programs like Windows come with a standard
spreadsheet application. One column (or page) for Income and one for Expenses.
What about all those formulas? Simple. Most spreadsheets have an Auto Sum (
feature for the addition of a column or you can manually do this by using the
formula =sum(cell+cell) or =sum(cell:cell) for a range of cells. Need to
subtract, divide or multiply? Formula would be: =Sum(cell*cell) to multiply;
=sum(cell/cell) to divide; and =sum(cell-cell) to subtract.
Additional items that can be written off as expenses for published writers.
1). Promotional expenses (brochures, flyers, press kits, press releases, etc.)
2). Books donated to libraries or given away for promotional purposes may be
deducted at retail value.
3). Books bought for research.
4). Dry-cleaning those nice clothes you wear for speaking engagements, book
signings or other author appearances.
5). Postage and/or shipping fees for books sent to wholesalers, retailers,
readers, reviewers, etc.
6). Agent fees and commissions.
7). Set up costs, cover art, and the charge for producing (or buying) your self
or E-published books. Occupational or Resale License fees are also deductible.
Remember, if it falls under Necessary Business Expense it is deductible!
Worried about being audited? Don't. Be careful and be honest.
One more note; IRS suggests that you keep all tax records for a minimum of
seven but up to ten years. Remember, tax laws change yearly. For more
information visit the IRS Web site at http://www.irs.gov or call them toll free
at: 800-829-3676 and request publications such as # 334 (Tax Guide for Small
Businesses and Individuals who use Schedule C or C-EZ), #535 (Business Expense
–this guide tells you what you can and CANNOT deduct), and #552 (Record keeping
for Individuals).
For more information on deductions available to you, check out: "Tax Tips
for Freelance Writers, Photographers and Artists" by Julian Block. Julian
Block is a nationally recognized attorney who has been singled out by the New
York Times as a "leading tax professional" and by the Wall Street Journal
as "an accomplished writer on taxes." E-mail him at
julianblock@yahoo.com or telephone (914) 834 3227. His address is 3 Washington
Square, #1-G, Larchmont, NY 10538 2032.
Variations of this article have appeared in print and e-publications including,
but not limited, to SpiritLed Writer Ezine, Longridge Writers Group Website,
Funds for Writers Ezine and Romancing the Skyz print magazine.
===
BIO:
===
Pamela S. Thibodeaux has been a bookkeeper for over 20 years. She is the
co-founder and a member of the Bayou Writers Group in Lake Charles, Louisiana.
Her writing has been tagged as "Inspirational with an Edge!" and
reviewed as "...steamier and grittier than the typical Christian novel
without decreasing the message." Visit Ms. Thibodeaux's Web site at
http://www.pamelathibodeaux.com or e-mail her at: pthib-7@centurytel.net.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
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FEATURED WRITER'S ALMANAC:
Heads Up!
The Writer's Astrological Almanac
February 2006
By Kathy Watts <direwolf@stratlabs.com>
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Sunday Feb 12 is the Full Moon in Leo. Write with pride. Wednesday Feb 15 the
Moon enters Libra. Even if your feelings are all over the map, you can express
them within the borders.
Friday Feb 17 Mars enters Gemini. Think enthusiasm and productivity.
The next day, Saturday Feb 18, the Moon enters Scorpio and the Sun enters
Pisces. If you write poetry or anything intuitive, this is Go for Broke Day. If
not today, then tomorrow Sunday Feb 19 when the Moon is conjunct Jupiter.
Feelings are foremost. Be happy that Venus is in Capricorn and attracted to
serious things. Someone needs to be the designated driver.
Wed Feb 22 the Moon is in Sagittarius, conjunct Pluto. There is
nothing flimsy about the Moon and Pluto, so write with the weight of the world
in your words.
Friday Feb 24 the Moon will in Capricorn and conjunct Venus. You can get stuff
done and still have a social weekend.
Monday Feb 27 is the New Moon in Pisces, a good time to start
something artistic, musical, poetic. We end this column with
Tuesday Feb 28, Moon in Pisces and conjunct Mercury. It's also Mardi Gras.
Crank up that inspiration, remember New Orleans, and let the good times roll.
These are not the easiest or friendliest of times, astrologically, but we can
still persevere in the work we love. Love away! It may be our best hope.
Have a magnificent, prolific and fulfilling 2006.
Heads up!
~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED ARTICLE:
Tips from a Slush Pile Find: How One Writer Got an Agent
By Ronlyn Domingue <ronlyn@ronlyndomingue.com>
Author of "The Mercy of Thin Air: A Novel"
~~**~~**~~**~~**~~**~~**~~**~~**~~**
When people ask how I got my agent, I often respond, "Divine
intervention."
In May 2003, I finished my first novel, or thought I had. Within a few days, I
mailed query letters and excerpts to five agents, one of whom I'd met at a
conference. Three sent polite rejections, one read the manuscript then
declined, and the last (the one I'd met) said he liked what he saw but didn't
think it was finished yet.
I revised "The Mercy of Thin Air" one last time, my confidence solid.
The manuscript went back to the interested agent -- then he passed on it.
Frankly, we were both disappointed things hadn't worked out. And I don't recall
breathing for about a month.
Once I emerged from the anaerobic stupor, I approached my agent search like a
job. First, I set my criteria. I only considered agents who were members of the
Association of Authors' Representatives. I wanted someone with a track record
of sales to major publishing houses. And finally, which was out of my control,
I wanted an agent whose faith in this novel was as intense as my own.
Second, I created a database that held the names, addresses, and pertinent
information on dozens of agents. They represented writers I liked or novels
similar to mine in subject matter or theme. Each was ranked based on how
interested I thought they’d be in my work and on how much information I could
find. Some were held pending more research; others marked "do not
send" because they were allegedly disreputable.
Third, I sent out individually tailored queries and accompanying excerpts to
those ranked highest in my database. In total, I submitted to 60 agents. From
50, I received outright rejections. The other 10 read the manuscript. I was
surprised to get sincere compliments from several who declined and equally
bewildered by those whose soul-testing, awful comments made me question my very
existence.
Yet, there was Agent #10. Call it a miracle, indeed, because the first 30 pages
of my novel arose from a slush pile into the hands of an intern who gave it to
the agent who was, in turn, intrigued enough to see the whole manuscript. In
late August 2004, the phone rang (good news doesn't come in an SASE) and on the
other end was Jandy Nelson -- an AAR member who routinely sold her authors'
work to major houses and who loved "The Mercy of Thin Air" as much as
I did.
Occasionally when I tell this story, an acquaintance will stare in horror and
gasp, "You sent to how many? It took how long?" My response is always
the same: "It's all about persistence." This is a competitive
business we've chosen -- or been dealt -- and only the persistent survive to
get published.
Below are some tips I developed that I hope will be helpful to other
not-yet-published writers. You might get lucky with the first submission -- or
it may take you 50, 100 or 200 attempts. No matter what, you must have an
unwavering faith in what you created and be willing to keep trying.
* Make a list of writers you like and of published books that are similar to
yours. Then, find out who represented these works. Check each book's
acknowledgments or do some sleuthing on-line. (I never had to resort to this --
it seems too sneaky -- but I've heard that you could call a publisher's
publicity department, claim to be interested in the rights to the book, and ask
for the writer's agent's name. Phew.)
* Google every agent. It may be necessary to search multiple sites to ensure
that you have correct data. A number of agents will be listed on literary
agency Web sites, but updates to those sites are sometimes delayed. Agents --
especially ones who haven't been in the business long -- move around a lot.
Basically, do your homework. (In many cases, once an agent's listing hits a
market guide you can buy at a bookstore, the information is obsolete. The
internet is going to be a far better resource.)
* Find out exactly how to approach each agent. These days, more agents accept
e-mail submissions, but many still want snail mail.
* Send an agent only what he asks to see and in the format he wants. If he
wants a query and the first 30 pages, send that. Some agents have guidelines
about margins and font styles. If you can't find information on someone's
requirements, it's typically safe to mail your query letter, the first 20 pages
of your book (one and a quarter inch margins on all sides, 12-point Times New
Roman font), and a self-addressed stamped envelope for a reply.
* Personalize every query, and make a connection to the agent. State what you
like about a client's work or how you think your book fits into her interests.
Please, address each person professionally, spell correctly and double check
addresses. (Note: Mass mailings -- snail or otherwise -- are obvious and
off-putting.)
* Never e-mail or snail mail your entire manuscript unless it's requested.
* Always, always, be gracious and courteous, even when you're rejected. This
industry is a small world of its own, and you want all bridges to remain open.
* There are dozens of resources online, but these sites were the most helpful
to me:
o Publishers Weekly: http://www.publishersweekly.com/
o Association of Authors' Representatives: http://www.aar-online.org/
o Publishers Marketplace: http://www.publishersmarketplace.com/search.html
o Literary Market Place: http://www.literarymarketplace.com
o Guide to Literary Agents: http://www.literaryagents.org/
o Preditors and Editors: http://anotherealm.com/prededitors
===
BIO:
===
Ronlyn Domingue is the author of "The Mercy of Thin Air" (Atria
Books; September 2005; $24.00US/$33.00CAN; 0-7432-7880-1). She lives in
Louisiana and is at work on her second novel. For more information, please
visit http://www.ronlyndomingue.com.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
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BOOK REVIEWS
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RATING LEGEND:
**** Quills = Excellent
*** Quills = Good
** Quills = Fair
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~~**~~**~~**~~**~~**~~**~~**~~**~~**
"Garfield's Train"
Author: Feather Schwartz Foster
Reviewer: Rita Porter (beepmybeep2@mchsi.com)
Publisher: PublishAmerica, Baltimore
Format: Adult, Fiction, E-Book, 226 Pages, 2005, $19.95
ISBN: 1413769152
Rating: * * * * Quills
http://www.amazon.com/exec/obidos/asin/1413769152/scriquilezine
Katherine Louise decides it is time to write down her family's archives; she
wants the next generation to know their roots. At the age of 79, her memory is
still sharp. She recalls the train ride with her grandmother Katherine for the
last visit with Molly Brown, her childhood best friend and the children's
godparent.
Once the train was underway, Katherine began to get to know her namesake better
as she was drawn deep into the tale she was being told. Her grandmother had an
amazing life. As a student of journalism, Katherine found the history of her
grandmother coming to life with the words, almost being able to picture how it
must have been.
Katherine was shocked to find out the truth behind Molly Brown. She was
astonished she never had a clue about all that her grandmother had accomplished
in her life, nor the treasures she held on to. Her grandmother's memory was
filled with many notable famous people, including General Grant, General
Sherman and President Garfield. What was most shocking to Katherine was the tie
between Molly Brown, President Garfield, the Women's Suffrage Movement and her
grandmother.
Within the common ground of a namesake, the two Katherines' characters interact
with an openness that grandmothers around the world would wish to cultivate
with their own grandchildren given the opportunity. The love between the two
grows as they spend the time getting to know and to share Grandmother
Katherine's long life. The uncles, portrayed within the pages, will remind the
reader of the hilarity or seriousness of family interactions when all are
together.
With a poignant touch, Feather Schwartz Foster has brought to life the part of
family history we would value. Well-turned phrases, attention paid to details,
and the added bonus of period fashions adds to the overall family and personal
values shown with in "Garfield’s Train." Painting the historical
political time and the effects it has on a family on the fringes, grants us
insight into the possibilities of how life was then.
"Garfield's Train" is a touching read with light-hearted moments to
spare the reader from being bogged down by an unknown family's history. This
story has all the good aspects of a general book with romance, suspense and shock
and closure for all the characters involved.
===
BIO:
===
Rita Porter is a Missouri-based poet and writer who is a regular book reviewer
for Scribe & Quill.
~*~*~*~
"Lucky Enough"
Author: Eddie Beesley
Reviewer: Pat McGrath Avery (patmcgrathavery@excite.com)
Publisher: River Road Press
Format: Adult, Nonfiction, Paperback, 112 Pages, 2006, $12.95
ISBN: 0966327675
Rating: * * * * Quills
http://www.luckyenoughthebook.com
We humans love stories of success and the overcoming of life's challenges. Such
stories motivate, inspire and please us. They validate our sense of fair play
in a world that doesn't always seem to be fair.
Eddie Beesley's heartfelt story has all the necessary ingredients to make the
reader want to stand up and shout, "Go, Eddie! You did it!"
His story takes us from a humble beginning in rural Oklahoma through the
horrors of his Vietnam War experience to his months in a Californian hospital
to his return to Oklahoma and success in his personal, business and
professional life.
In the late 1940s, rural Oklahoma was home to many poor families. Eddie, as the
18th of 21 children, experienced poverty overshadowed by familial love. His
life wasn't easy, but it was enjoyable. He loved the outdoors, sports, friends
and life in general.
As a teenager, he saw the pinnacle of success as being a U.S. Marine. In 1963,
he enlisted. Life was good until he was sent to Vietnam in 1965.
On August 31, 1965, his world changed. He was leading a mission when he stepped
on a landmine. Eddie suffered severe injuries and the loss of his legs. But the
worst tragedy was the loss of two fellow Marines, one a young lieutenant who
was a new father. Three others were severely injured.
Eddie returned home to protestors along the route to his hospital. For eight
months he received extensive therapy and rehabilitation to help him adapt to
prostheses and to learn to walk again. As one of the first above-the-knee
double amputees of the war, he was a guinea pig. The doctors wanted to help,
but didn't know exactly how he would ever learn to walk. Determination helped
him through excruciating efforts to get up, stand and walk, all without having
knees to help him balance.
The blessing of that period came in the form of a USO volunteer, Connie, who
became his wife. Together they moved to Oklahoma, raised a family, started and
ran a successful business, and enjoyed their lives together.
But the scars of war haunted Eddie throughout his life. He adjusted to the
physical handicap much better than he did the emotional. He lived with an
ongoing sense of responsibility for the deaths and injuries of his fellow
Marines. A long overdue visit to The Wall in Washington D.C., was the impetus
to accept and move forward, to call the wife of a fallen Marine and
to renew friendships from those days.
Although being a Marine put him in the battlefield in the first place, Eddie
credits the Marines with giving him the strength and courage he needed to
succeed in life. His training to "suck it up and move on" served him
well.
Eddie is now a Marine, a husband, a father and a grandfather. He's a man who
has carried the Olympic Torch, been interviewed numerous times on the radio and
television, and been introduced to governors and other public officials.
As someone with little military history in my family, I am awed by Eddie's
sense of belonging and commitment to the Marines despite his horrible
experience in Vietnam. His story inspires deep respect and admiration for those
who serve.
However, Eddie's real story of success is his ability to look at life's
challenges, laugh along the way and still believe that, overall, he is lucky
enough.
===
BIO:
===
For the past 15 years, Pat McGrath Avery has been a freelance and contract
business writer. She writes nonfiction books as well as reviews and articles
for several online publications. Her most recent book is "They Came Home:
Korean War POWs Tell Their Stories." She is currently working on another
book about veterans. Her first children's book "The Skateboard Zoo"
will be
out in 2006.
~*~*~*~
"Jackpot"
Author: Tsipi Keller
Reviewer: Rita Porter (beepmybeep2@mchsi.com)
Publisher: Spyten Duyvil, Brooklyn, NY
Format: Adult, Fiction, E-Book, 200 Pages, 2004, $13
ISBN: 0972066217
Rating: * * Quills
http://www.amazon.com/exec/obidos/asin/0972066217/scriquilezine
The two friends Maggie and Robin plan a trip down to the Bahamas, a classic
getaway for the girls, leaving New York's cold snow-bound winter for sunshine
and fun. Everything is set and ready to go, but Maggie wishes Robin would
discuss the trip more with her and share in her excitement.
They are as different as the sun and the moon in almost all aspects. Maggie is
insecure about herself, while Robin is a happy wildcard of sophistication in
comparison. Maggie depends on Robin for what to pack and the entertainment
while down in the Bahamas. Robin thinks differently, and does not need
everything to be planned down to the minutest detail.
Upon arrival, things seemingly start going wrong for Maggie. First Maggie is
left behind as Robin finds a male companion, then the gambling bug takes hold
of her, pulling Maggie deep inside its evil clutches. Maggie loses all sight of
what she has been working for all her life. Having gained a small fortune from
gambling and other doings, Maggie decides to stay on in the Bahamas. Upsetting
the management of the upscale hotel, all her friends left behind in New York
and also Robin, who returns home to find Maggie hasn't yet arrived.
Left to her own devices and entertainment, Maggie lets emotions rule her
without thinking. Following Maggie's path over a short period and seeing all
the changes she makes based on the moment, "Jackpot" shows how easy
it is to become lost in a world of self-destruction.
The character Robin is a part we all wish to have inside us: self-assured,
confident, and willing just to live and take opportunities when they present
themselves. Maggie is more like an every day person with her doubts, mistrust
of everything unknown and an inability to think in the moment. Hurt and
betrayal from something in the past has shaped her character into someone
well-known to readers.
Though this story has a few minor characters, it is a tale about Maggie and her
downward spiral. Well-thought out and self-deprecating in the telling of how to
ruin one's life, Tsipi Keller has given readers an insight into the mind of one
who has taken this path. It is a fairly fast-paced read, easy to follow and
easier yet to commiserate with the main character.
~*~*~*~*~
"Blind Traveler Down A Dark River"
Author: Robert P. Bennett
Reviewer: Judith Woolcock Colombo (judithcolombo@hotmail.com)
Publisher: PublishAmerica, Baltimore
Format: Adult, Fiction, Paperback, 205 Pages, 2005, $19.95
ISBN: 1413769993
Rating: * * Quills
http://www.amazon.com/exec/obidos/asin/1413769993/scriquilezine
Natural disasters are part of the fabric of life. Tsunamis, earthquakes,
hurricanes and their after-effects are events that we dread and hope never to
experience personally. But imagine a future where these events are frequent
occurrences. How would we deal with situations like what recently happened in
New Orleans on a regular basis? In Robert Bennett's novel "Blind Traveler
Down a Dark River," set in year 2021, these types of situations have
become all too frequent. Increasing global earthquakes have begun to destroy
our civilization.
John Haggarty, the CEO of Unimat, is trying to stop this destruction. His
company has developed pastel, a material stronger than steel and able to
withstand the earthquakes. However, Unimat is under siege by both the
environmentalists and the steel workers union. The environmentalists, the
Children of Gaia, claim that technology is to blame for the earthquakes in the
first place and want another solution to the problem. The steel workers want to
keep their jobs. Someone hires a contract killer to eliminate Haggarty.
Douglas Abledan, blinded in a drive-by shooting, relies on his GPS unit to
navigate the city. One day, his unit malfunctions and the information he
receives through it is actually an account of the drive-by shooting of John
Haggarty miles away from where Douglas really is. Douglas is rattled by this
strange experience and expects to be run over by a car that isn't there and to
bump into a building that is nowhere near his vicinity. He is puzzled by his
experience, and it is not until the next morning when he hears about Haggarty's
shooting on the radio that he realizes what his machine recorded. The
authorities refuse to believe Douglas, so he launches his own investigation
hoping to uncover the killer.
The story's premise is an excellent one, but the writing was at times stilted
and the dialogue forced. The characters are underdeveloped and stereotyped. We
have the blustering workaholic CEO with his neglected alcoholic wife, the
bespectacled genius and the woman-chasing lesbian of dubious character. Abledan
is more fleshed out than the other characters, but even he needs more
development. We need to know more not only about his past before he became
blind but also before he witnessed the murder. We gain bits and pieces of
information but not enough to really know the man.
Despite this, the plot has merit, and the idea of a blind sleuth who is able to
see the true facts is intriguing. Hopefully, when Robert Bennett brings his
hero Abledan back in a sequel, he and his world will be more developed and
real.
===
BIO:
===
Judith Woolcock Colombo is the author of "The Fablesinger" and
"Night Crimes." For more information and sample chapters, visit her
Web site at http://odin.prohosting.com/~night01 for information and sample
chapters, or send her e-mail at judithcolombo@hotmail.com.
~*~*~*~*~
"Trash Talk: an inspirational guide to saving time and money through
better waste and resource management"
Authors: Dave and Lillian Brummet
Reviewer: Sonali T. Sikchi (sonali_sikchi@hotmail.com)
Publisher: PublishAmerica, Baltimore
Format: Adult, Nonfiction, Paperback, 190 Pages, 2004, $19.95
ISBN: 141372518X
Rating: * * * Quills
http://www.amazon.com/exec/obidos/asin/141372518X/scriquilezine
In "Trash Talk," Dave and Lillian Brummet explain how to implement
their "Refuse, Reduce and Reuse" principle for various commonplace
household items, before even considering recycling. (Forget about dumping it in
the garbage bin.) Refuse to let certain items enter your house, such as
polystyrene foam. Reduce buying individually packaged products and buy bulk
items, for example. Reuse bottles and plastic containers in the kitchen,
garden and craft areas.
"North Americans account for only 8% of the world's population, yet we produce
50 percent of the world's garbage..." Statistics like these make me
shudder and approach the garbage can with trepidation. We all talk about doing
our bit for the environment, but most of us don't know how nor where to start
and whether our efforts will have an impact. I was heartened upon reading
"Trash Talk's" table of contents with chapter titles, such as
"bags," "containers," "water use," "energy
use" and "metals." Here was a book that would guide me in all
the different areas where I could make a difference.
So, I started reading this book, like any other book, from page one. I was
quickly overwhelmed by an avalanche of information about all the different
things I had to keep track of for every item that I usually would've put in the
garbage or recycling bin. I, then, decided to try a different tack: Use the
book as a workbook. I chose the chapter on cereal boxes and bags. It explained
everything succinctly and had a "benefits" summary at the end. I
implemented the recommendations. A week later, I went back to the book and read
the chapter "Brushes and Brooms" and followed through on those ideas.
Then the chapter "In the Office." Suddenly, I was reusing more, and
it was all manageable and doable.
The workbook aspect of the book also means that you can commit to doing as much
or as little of their suggestions as fit your personality and lifestyle. Some
of their reuse ideas might be a tad finicky for you, but you can ignore those
and focus on others. The important idea behind this is that no matter how
little you do, everything that you do has a positive effect on
the global conservation effort.
The main quibble I have with this book is the order in which the information is
presented: intra-chapter and inter-chapter. For example, given that many of the
household items have gardening uses, the two chapters on gardening should've
been the first ones mentioned. Chapters, whose content is repeated again and
again elsewhere, should be moved to the front of the book and
referenced appropriately. Longer chapters, such as those on cloth and
containers, need to be broken down into sections and sub-sections with titles
to improve readability.
Leaving the above issues aside, "Trash Talk" is an excellent
reference book to have in every household.
To read more in depth about what happens to the trash you leave at your curb
for weekly pickup, read Elizabeth Royte's "Garbage Land: On the Secret
Trail of Trash." It just might convince you to follow some of the
guidelines mentioned in "Trash Talk."
===
BIO:
===
Sonali T. Sikchi, an award-wining Seattle-based writer, has been published in
international, national and regional publications, such as Facts on File
encyclopedias, History Magazine, Alaska Airlines Magazine, Horizon Air
Magazine, Association of Women in Science magazine, California Chronicle,
Midwest Book Review, and HarperCollins First Look. As an editor and
proofreader, Sonali has worked with authors, book publishers, magazines and
nonprofit organizations, such as The Mountaineers Books, Washington Trails
magazine, and The CarTours Foundation.
~*~*~*~*~
"Pressed Pennies"
Authors: Steven Manchester
Reviewer: Sonali T. Sikchi (sonali_sikchi@hotmail.com)
Publisher: Unpublished, Represented by Sunpiper Literary Agency
Format: Adult, Fiction
Rating: * * * * Quills
http://www.stevenmanchester.com/book.htm
"Pressed Pennies" follows three generations of families set against
the harshly beautiful country landscape of Montana. Familial love and family
life form the central core around which this evocative work revolves.
From the first paragraph, Steven Manchester hooks you on to his story. He has a
way with presenting his characters that make them feel like real people right
from outset. With his persuasive prose, he makes you care about these proud,
ambitious people whose strength of character sees them through strife and
struggles.
Every human emotion is given restrained rein in this story, and it is
enlightening to see how each person's personality affects how they react to
different emotions, and how their subsequent behavior in turn causes their
personality to shift and change. As the characters grow emotionally and
spiritually, so does the complexity of the dilemmas they have to face.
When talking about family, Manchester doesn't narrowly focus on the traditional
family -- father, mother, brother, sister -- but instead tackles single
parenthood and other current family situations. Accelerating technological
innovations have pushed us humans into the leftmost lane, rushing here and
there, trying to cram more and more into our daily allotment of 24 hours. Kids
are rushed from one activity to another with no downtime in between. Family
dinners have become a luxury instead of the way
things should be. And Manchester finally asks, "Did the American family
have to be traded in to experience the American dream...?"
In the pursuit of a chimera, we have forgotten the core that sustains us, that
will stand by us in trouble and that will succor us in grief. And in doing so,
we have become vulnerable, where even a soft blow can shatter us.
~*~*~*~*~
"The Complete Writer: A Guide To Tapping Your Full Potential"
Authors: Beverly Walton-Porter, Mindy Phillips Lawrence, Pat McGrath Avery and
Joyce Faulkner
Reviewer: Jill E. Vaile (jill@jilleliz.com)
Publisher: Red Engine Press (http://www.redenginepress.com)
Format: Adult, Nonfiction, Paperback, 174 Pages, 2005, $17.95
ISBN: 0974565261
Rating: * * * * Quills
www.amazon.com/exec/obidos/asin/0974565261/scriquilezine
The world of writing consists of incredibly diverse genres and subjects, not to
mention the writers themselves. Given this scope, it would be almost impossible
for one person to write a book called "The Complete Writer" and be
certain it was, in fact, complete.
This is precisely why "The Complete Writer" lives up to its name.
Four women write it, all equally diverse in their styles, skills and areas of
expertise. Their combined knowledge makes for a very effective and COMPLETE
book, of interest to writers at all stages of their careers. Each author adds
her own special flare, as they honestly and thoughtfully spell it all out. (And
let us not forget the part about using a spellchecker!)
From cover to cover, "The Complete Writer" takes the reader through a
series of scenarios, sharing experiences and situations likely to befall
writers in pursuit of their profession. It also provides the reader with the
tools and the resolve to successfully organize and network for maximum
efficiency. The truth is told in an encouraging and light-hearted way that also
provides much needed support, necessary for a solitary, and often isolated,
profession.
For the experienced writer, "The Complete Writer" is a welcome
addition as a reference and for fresh ideas on timeworn tactics. It's all here:
queries, proposals, book reviews, rejections, markets and marketing, promotion
and editing, publishing options, as well as the financial realities to be
prepared for.
"The Complete Writer" is complete in its timely observations and
insight into the publishing world, regardless of the avenue one might pursue as
their interest. The reader gains not only information, but also authentic
samples from those whose experience clearly shines -- a valuable bonus indeed.
The bumpy road to success in writing is a lot smoother with the sharing from
those who have already made profitable inroads. There is no need to buy five or
six books about the mechanics as well as the joys and perils of pursuing a
career as a writer. "The Complete Writer" will completely cover all
of it.
===
BIO:
===
Jill E. Vaile is a freelance writer and photographer. She edits and publishes
"This View From The Bay!" an e-zine featuring news, views and
schmooze from the San Francisco Bay area. She is the Editorial Manager of
Moondance, an award-winning site promoting women's writing and art via
quarterly publications. Jill also pens a monthly column for the NWU on
electronic rights issues.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
ADVERTISEMENT
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Available now thru ComStar Media, Amazon.com and coming soon to your local
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~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED HUMOR:
THE ACROSTIC BUG: Assume the Position?
By Linda Vissat <lcvwriter@comcast.net>
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Have you ever wondered what it feels like to be a bug? What do they see through
their multi-faceted eyes?
I have kaleidoscope eyes and watch people through my provincial, paned glass
windows, but feel like a stranger outside looking in. Those I am closest to
never get closer than the cold, sleek glass that distorts their view of who or
what I am. I am invisible and I begin to feel it. The shield of glass, at times
is smudged, glazed, dirty, cracked or broken, so I can't be seen, but there I
lurk. Retinal refractions provide a feathery bounce and some sensible
information filters in softening my reality. I enjoy the kaleidoscope view from
my short-lived vantage point.
No, I'm not a spider lazing in a silky web tucked in the recesses of a room.
But, I am gaining on strangeness with every tic of the second hand. I should
say, every flap from the minutes on the digital, since second hands are passé.
I am a woman who wanes toward the end of life and is forced one step back with
every step forward, but surviving. I used to refer to myself as a mushroom,
because I am kept in the dark all the time, but I re-evaluated. Mushrooms
actually grow in the dark, so I couldn't be one of those. In my perpetual corner,
however literally light, it is still dark, and even I have yet to determine
what or who I truly am. Nothing comes to mind.
What could I be? The ground under my feet keeps falling away and I am left with
a feeling of strange.
Thirty-six years as a secretary and eighteen year-olds make more. My first job
was with the noble endeavors of United Way and it began at two dollars an hour.
I know times have changed, but I'm growing strange gracefully, at least, I
think so.
Secretary - ing, at least, is a consistent uphill harangue making calls to
lawyers, accountants, banks, utility companies to request needed changes, but
no no answers come and everything remains unchanged.
I find it odd that slow progress, if any occurs, but paychecks still generate.
Am I the only one frustrated by incomplete projects and lack of closure? I
needed my boss to glue himself to the extension phone, but he had no answers to
things like: "What is your account number?"
"How about your social security number?" Or the when's, the where's
and the whys. But he was the one they wanted.
Nothing could be done without his noble voice. I needed a tape recording, but
knowing he wouldn't take the time to talk to one of those, it was hopeless. I
never learned to dub voices. I began to question the meaning, need and good of
having a secretary. So many doors slammed in my face, I was surprised my face
didn't look like a Pug. And, no I won't get a dog, especially not one of those.
Word to the wise; don't assume the position unless you fully comprehend
required duties and title meanings. For instance, S E C R E T A R Y actually
means:
Surly
Elementary
Crumb
Reaching
Every
Tart
And
Rude
Yakker
Which, by the way, is another secretary. I'm glad being a secretary has become
passé, at least titles changed, but continue on being careful of any word mixed
with Assistant, as noted below. A call to action for analysts of the word A D M
I N I S T R A T I V E and E X E C U T I V E might be in order.
I tried the title of A G E N T for a while, to meet my boss's insurance
obligations. A G E N T means:
Always
Giving
Every
Number
Twice
That didn't help, they still wanted him. He wanted me to call myself his A S S
I S T A N T. But, when I analyzed the word, I found it meant:
Always
Seldom
Solving
Inconsistent
Sales
The
Answer
Never
Trumps
I've never like playing cards anyway, so that title didn't fly.
Nothing can ever be counted on. Even counting on your hands with your fingers
is passé. I've stopped using the title of secretary on my income tax forms.
Last year I put down S T R A N G E, meaning:
Strongly
Trying
Rules
And
Never
Getting
Every answer,
or, if you like,
Strongly
Talking
Rude
And
Nasty
Girl
Et al.
So what are waning women to do if they aren't corporate execs and
entrepreneurs? One year my tax return noted under occupation, I was a B U G.
Better
Under
Ground.
That year I wanted more boxes to fill out, because I considered B R A T.
Bugged
Rattled
And
Tea-totaled.
Eventually, I became a W R I T E R, and so can you.
With
Research
Interesting
Tales
Eventually
Rise
So Long.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
LIVE TO WRITE. WRITE TO SELL.
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Beginning or intermediate writer? Scribe & Quill offers courses by
PUBLISHED PROFESSIONALS that are affordable, fun, motivational and focused on
results -- we deliver that, and more!
Sign up for affordable writing workshops taught by *published* professionals
who work in the writing/publishing field. All of our facilitators are
multi-published and offer one-on-one interaction with students.
Course sessions are perpetual, so you may sign up and begin your course at your
own convenience!
Currently we offer personal instruction in these areas:
-- Tapping the Muse Within
-- Editing Essentials
-- How-to Articles
-- Nonfiction Book Proposals
-- Nonfiction for Children
-- Professional Freelance Writing
-- Marketing/PR for Writers
-- Query Magic
-- Writing for Regional Markets
For more information on how our courses work or to enroll,
visit our courses page located at: http://www.scribequill.com/Courses.html
~~**~~**~~**~~**~~**~~**~~**~~**~~**
CALL FOR SUBMISSIONS
~~**~~**~~**~~**~~**~~**~~**~~**~~**
The Dabbling Mum is looking for your reprints. Did you write an article dealing
with the craft of writing? How about a humorous personal essay dealing with a
parenting issue? Did you write an article about building a specific home
business or marketing your business on the Internet?
If so, stop by
http://thedabblingmum.com/writersguidelines.htm and
submit your reprint today.
New articles and/or queries also welcome. We pay $20-40 per new article, $5 per
reprint.
===
http://www.ebooknet.org/
eBookNet.org is a new Web site dedicated to the new media, e-publishing,
e-books, digital reference, doing business on the Web, digital content, its
creation and distribution, DRM technology and other related issues. We are
looking for authors!
If you are interested to contribute to eBookNet.org - write to the Editor,
Roman Zenner rz@roman-zenner.de
~~**~~**~~**~~**~~**~~**~~**~~**~~**
FEATURED CONTESTS
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Jewels of the Quill Giveaway
http://www.JewelsoftheQuill.com
Deadline: February 28
Prize: trade paperback of "The Visitor"
In February, Barbara Raffin (Dame Jade) is our featured author at Jewels of the
Quill. Barbara discusses her new release, "The Visitor," a gothic
romance with a sci-fi twist. Barbara is giving away a copy of "The
Visitor" in trade paperback. To be eligible to win, sign our guestbook at
http://www.JewelsoftheQuill.com or send an e-mail to JewelsoftheQuill-owner@yahoogroups.com
with JOTQ Giveaway in the Subject line. E-mail address is required. Winner must
be able to provide a valid mailing address.
***
TOM HOWARD/JOHN H. REID SHORT STORY CONTEST
14th year. $3,000 in prizes. Submit any type of short story, essay or other
work of prose, up to 5,000 words. $12 entry fee, payable to Winning Writers.
Postmark deadline: March 31. Submit online or mail to Winning Writers, Attn:
Tom Howard Short Story Contest, 351 Pleasant Street, PMB 222, Northampton, MA
01060. Winning Writers is one of the "101 Best Web Sites for Writers"
(Writer's Digest, 2005). More information:
http://www.winningwriters.com/tomstory
WERGLE FLOMP HUMOR POETRY CONTEST - NO FEE
Now in its 5th year. Prizes of $1,190, $169, $60 and 5 honorable mentions of
$38 each. No fee to enter. A humor contest with a special twist. Sponsored by
Winning Writers, one of the "101 Best Web Sites for Writers"
(Writer's Digest, 2005). Judge: Jendi Reiter. Deadline: April 1. Submit one poem
online at http://www.winningwriters.com/wergle
WAR POETRY CONTEST
Now in its 5th year. $3,000 in prizes, including a top prize of $1,500. Submit
1-3 unpublished poems on the theme of war, up to 500 lines in all. Sponsored by
Winning Writers, one of the "101 Best Web Sites for Writers"
(Writer's Digest, 2005). $12 entry fee, payable to Winning Writers. Postmark
deadline: May 31. Judge: Jendi Reiter. Include cover sheet with contact
information. No name on poems. Submit online or mail to Winning Writers, Attn:
War Poetry Contest, 351 Pleasant Street, PMB 222, Northampton, MA 01060.
Guidelines:
http://www.winningwriters.com/war
MARGARET REID POETRY CONTEST FOR TRADITIONAL VERSE
$3,500 in prizes, including a top prize of $1,000. Winning entries will be
published. Submit poems in traditional verse forms, such as sonnets and haiku.
You may submit work that has been published or won prizes elsewhere, as long as
you own the anthology and online publication rights. Entry fee is $6 for every
25 lines, payable to Winning Writers. Postmark deadline: June 30, 2006. Judges:
J.H. Reid, D.C. Konrad. Submit online or mail to Winning Writers, Attn:
Margaret Reid Poetry Contest, 351 Pleasant Street, PMB 222, Northampton, MA
01060. Winning Writers is one of the "101 Best Web Sites for Writers"
(Writer's Digest, 2005). More information:
http://www.winningwriters.com/margaret
TOM HOWARD/JOHN H. REID POETRY CONTEST
$3,500 in prizes, including a top prize of $1,000. Winning entries will be
published. Submit poems in any style or genre. You may submit work that has
been published or won prizes elsewhere, as long as you own the anthology and
online publication rights. Entry fee is $6 for every 25 lines, payable to
Winning Writers. Postmark deadline: September 30, 2006. Judges: J.H. Reid, D.C.
Konrad. Submit online or mail to Winning Writers, Attn: Tom Howard Poetry
Contest, 351 Pleasant Street, PMB 222, Northampton, MA 01060. Winning Writers
is one of the "101 Best Web Sites for Writers" (Writer's Digest,
2005). More information:
http://www.winningwriters.com/tompoetry
~~**~~**~~**~~**~~**~~**~~**~~**~~**
BOOK OFFERINGS FOR THE READER IN YOU!
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Looking for a great book to read?
Visit Scribe & Quill's Online Book Gallery
Featured listings include:
====
NEW!
====
* "Death Comes Too Soon" by Patricia Harrington (fiction)
* "The Old Man's Trousers" by John Haines
* "Finding New Goddesses" by Barbara Ardinger (nonfiction)
* "In the Shadow of Suribachi" by Joyce Faulkner (fiction)
* "Glimpses 2" by Martha Jette (nonfiction)
(More than 90 strange, but true paranormal tales from around the world!)
* "Coquina Key" by Micah O'Brien (fiction)
* "Alien to Existence" by Jonathan Ark (fiction)
* "Phonetical Imagery" by Mark Stellinga (poetry)
* "First Saturday" by Rosemary O'Brien (fiction)
* "Going Solo: How to Survive and Thrive as a Freelance Writer"
by Bobbi Linkemer (nonfiction)
* "Night Crimes" by Judith Colombo (fiction)
To view all the offerings in our gallery, please visit:
http://www.scribequill.com/Gallery.html
Promote your book in our Book Gallery. Single book listings only $5 per month;
only $8 per month to list two titles:
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~~**~~**~~**~~**~~**~~**~~**~~**~~**
THE LAST WORD --
RECOMMENDED LINKS FOR WRITERS:
~~**~~**~~**~~**~~**~~**~~**~~**~~**
21st Century Publishing Update http://www.julieduffy.com
Absolute Write http://www.absolutewrite.com
The Academy of American Poets http://www.poets.org
The Authors Guild, Inc. http://www.authorsguild.org
BookWire http://www.bookwire.com
Cata-Romance http://www.cataromance.com
The Burry Man Writers Center http://www.burryman.com
Charlotte Dillon’s Resources for Romance Writers http://www.charlottedillon.com
Done Deal http://www.scriptsales.com
Erotica Readers & Writers Association http://www.erotica-readers.com
Fanfiction.net http://www.fanfiction.net
Fiction Addiction http://www.fictionaddiction.net
Fiction Factor http://www.fictionfactor.com
Fictionette http://www.fictionette.com
Food Writing, http://www.food-writing.com
FundsforWriters http://www.fundsforwriters.com
Gila Queen, http://free-path.org/gilaqueen/com
HollyLisle.com http://www.hollylisle.com
Hollywoodlitsales http://www.hollywoodlitsales.com
Internet-Resources.com http://www.internet-resources.com/writers
Journalism Jobs http://www.journalismjobs.com
JournalistExpress http://www.journalistexpress.com
MediaBistro http://www.mediabistro.com
Mike’s Writing Workshop http://groups.yahoo.com/group/mikeswritingworkshop/
National Writer's Union http://www.nwu.org
New York City Writers http://groups.yahoo.com/group/newyorkcitywriters/
OrganizedWriter.com, http://www.organizedwriter
Poetic Voices http://www.poeticvoices.com
Preditors & Editors http://www.anotherealm.com/prededitors
PublishersLunch http://www.publisherslunch.com
Ralan's SpecFic & Humor Webstravaganza http://www.ralan.com
Romance Central http://www.romance-central.com
Science Fiction and Fantasy Writers of America http://www.sfwa.org
The Scriptorium http://www.thescriptorium.net
Sell Writing Online, http://www.sellwritingonline.com
SF Romance, http://www.sfronline.com
Small Publishers Association of North America http://www.spannet.org
Society of Children’s Book Writers and Illustrators http://www.scbwi.org
SpecFicMe Market Newsletter, http://www.specficworld.com/sfme.html
Spicy Green Iguana http://www.spicygreeniguana.com
Spirit-Led Writer http://www.spiritledwriter.com
Sun Oasis Jobs http://www.sunoasis.com
U.S. Copyright Office http://www.loc.gov/copyright/search
Vision: A Resource for Writers, http://www.lazette.net/Vision/
Visual Thesaurus http://www.visualthesaurus.com
Worldwide Freelance Writer, http://www.worldwidefreelance.com
Write From Home http://www.writefromhome.com
Write Thinking http://www.writethinking.net
WritingAustralia.com eZine, http://www.writingaustralia.com
WriteCraftWeb, http://www.writecraftweb.com
WritersCrossing.com Newsletter, http://www.WritersCrossing.com
Writer Gazette, http://www.writergazette.com
Writers Guild of America http://www.wga.org
The Writer's Hood, http://www.writershood.com
The Writer's Life, http://www.thewriterslife.net
The Writing Parent http://www.thewritingparent.com
Writing for Success, http://www.writing4success.com/newsletter.htm
Write Success, http://writesuccess.com
The Write Way, http://www.write101.com
Writers Weekly http://www.writersweekly.com
Writers Write http://www.writerswrite.com
~~**~~**~~**~~**~~**~~**~~**~~**~~**
Scribe & Quill, ISSN 1098-6375, is an electronic newsletter for
writers working in all genres and at all experience levels.
Poetry, non-fiction, articles, how-to, fiction and interviews
are accepted. Articles and interviews should relate to writing
in some way. We accept most genres of fiction and poetry, save
for erotica.
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