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  • Santa’s Secret Wish

    It’s the time of year when gifts are exchanged. Bell ringers thank strangers as they put coins in red kettles. Stores beckon shoppers promising warmth and great sales. Friends gather, sip good cheer. And if you’re lucky, you’ll receive a holiday card or two.

    It’s also the time of year for solicitations . . .  in the mail, on the internet, over the phone. . . “Our need is great. Won’t you give?”

    We can’t possibly share our money with everyone who asks. But we can share kindness, broad smiles and stories that invite us to pause, and reflect the meaning of the season.

    ‘Twas the night before Christmas here and there, someone is reading, reflecting and nodding.

                                                            Santa’s Secret Wish by Betty Werth

    Santa at fence.200On Christmas Eve, a young boy with light in his eyes
    Looked deep into Santa’s, to Santa’s surprise.
    And said as he nestled on Santa’s broad knee,
    “I want your secret. Please tell it to me.”

    He leaned up and whispered in Santa’s good ear.
    “How do you do it, year after year?
    I want to know how, as you travel about,
    Giving gifts here and there, you never run out.

    How is it, Dear Santa, that in your pack of toys
    You have plenty for all of the world’s girls and boys?
    Stays so full, never empties, as you make your way

    From rooftop to rooftop, to homes large and small,
    From nation to nation, reaching them all?”
    And Santa smiled kindly and said to the boy,
    “Don’t ask me hard questions. Don’t you want a toy?”

    But the child shook his head, and Santa could see
    That he needed the answer. “Now listen to me,”
    He told the small boy with the light in his eyes,
    “My secret will make you both sadder and wise.

    The truth is that my sack is magic. Inside
    It holds millions of toys for my Christmas Eve ride.
    But although I do visit each girl and each boy
    I don’t always leave them a gaily wrapped toy.

    Some homes are too hungry, some homes are too sad,
    Some homes are desperate, some homes are bad.
    Some homes are broken, and children there grieve.
    Those homes I do visit, but what should I leave?

    My sleigh is filled with the happiest stuff,
    But for homes where despair lives, toys aren’t enough.
    So I tiptoe in, kissing each girl and each boy,
    And I pray with them that they’ll be given the joy

    Of the spirit of Christmas, the spirit that lives
    In the heart of the dear child who gets not, but gives.
    If only God hears me and answers my prayer,
    When I visit them next year, what I will find there

    Are homes filled with peace, and with giving, and love
    And boys and girls gifted with light from above.
    It’s a very hard task, my smart little brother,
    To give toys to some, and to give prayers to others.

    But the prayers are the best gifts, the best gifts indeed,
    For God has a way of meeting each need.
    That’s part of the answer. The rest, my dear youth,
    Is that my sack is magic. And that is the truth.

    In my sack I carry on Christmas Eve day
    More love than a Santa could e`er give away.
    The sack never empties of love, or of joys
    `Cause inside it are prayers, faith and hope. Not just toys.

    The more that I give, the fuller it seems,
    Because giving is my way of fulfilling dreams.
    And do you know something? You’ve got a sack, too.
    It’s as magic as mine, and it’s inside of you.

    It never gets empty, it’s full from the start.
    It’s the center of lights, and of love. It’s your heart.
    And if on this Christmas you want to help me,
    Don’t be so concerned with the gifts `neath your tree.

    Open that sack called your heart, and then share
    Your joy and your friendship, your wealth and your care.”

    The light in the small boy’s eyes was glowing.
    “Thanks for the secret. I’ve got to be going.”
    “Wait, little boy,” said Saint Nick, “Please don’t go.
    Will you share? Will you help? Will you use what you know?”
    And just for a moment the small boy stood still,
    Touched his heart with his hand and whispered,

    “I will.”

  • Homonyms – Just for fun. Prompt #213

    Homonyms (also called homophones) are words that sound like one another but have different meanings. Some homonyms are spelled the same, like bark (the sound a dog makes) and bark (the outer layer of a tree trunk). Enchanted Learning

    Freewrites mean writing freely. You are free to write whatever you want.

    Use any or all of the following words in a freewrite:

    Flower – Flour                    Beach – Beech                    Bough – Bow

    Fur – Fir                              Morning – Mourning            Birth – Berth

    Red – Read                          Time – Thyme                    Eye – Aye

    New – Gnu                           You – Ewe                           You’ll – Yule

    If ewe are knew too freewwrites oar kneed eh refresher . . .

    If you are new to freewrites or need a refresher:

    Freewrites . . . What Do You Call Them?

    What is a freewrite and what is a writing prompt?

    Lose Control and Just Write

    Writing Is Like Excavating

    Festival of Spirits Blog Hop,mistletoeIf yule cast yer aye on the Festive Spirit Blog Hop ewe mite read sum thing gnu and interesting!

     

  • Missed my deadline

    Missing a deadline . . . Not a good thing, right? One might agonize about missing a deadline to the point of being incapacitated.

    Sandy Baker 180Not my author friend, Sandy Baker.

    Sandy recently sent an email with updates about all her books. She had high hopes of Adventures Of The Hotel Sisters being published in time for Christmas presents. When that didn’t happen, she simply said, “Missed my deadline! Hotel Sisters is going to be late–always good for a New Year’s, after-the-holidays late gift!”

    I love her easy-breezy attitude. It’s good to know what you can and what you can’t do . . . What you have control over and what you have no or little control over.

    And if you make a mistake, take ownership. You don’t have to be dramatic nor overly explanatory, just a simple statement of facts. I missed my deadline.

    And then get on with the show. Do what needs to be done.

    I think anyone who knows Sandy is lucky. She is warm, kind and a bighearted person, generously giving of her time and energy with answers to questions about writing and gardening. She is a master gardener and a versatile author.

    Sandy was interviewed by Mikala Kennan, videography by Gary Carnivale for the Writer Speak program.

    Discover Sandy’s thoughts in this video about writing, illustrators, gardening, victory gardens and more. Learn the difference between a series of books and a circle . . . Which one do you think Sandy’s gardening books are?

    MistletoeJust in time for the new year. . .  hop on board the Festive Spirit Blog Hop and discover authors and bloggers in a variety of genres.

     

  • Another POV choice: Free Indirect Speech

    POV = Point of view.

    Point of view is . . . simply. . .  from the point of view of whoever is telling the story.

    Writers get to choose who tells the story. It’s a very simple concept, made difficult by the many choice of who gets to tell the story: first person, second person, third person (limited, close, omniscient).

    Here’s another point of view choice: The Free Indirect Style.

    I’m posting about the free indirect style of point of view because I’m fascinated with learning new things and also because a friend, whom I admire and is an excellent writer said, “I have found that I use it [free indirect point of view] a lot in my writing, and always have, without even knowing that’s what it was.  It’s a very “natural” voice for me and, I think, one that’s easy to read.”

    Ready? Here we go:

    Free indirect speech is a style of third-person narration which uses some of the characteristics of third-person along with the essence of first-person direct speech.”  Wikipedia

    There are two kinds of indirect speech:  free and normal.

    “What distinguishes free indirect speech from normal indirect speech is the lack of an introductory expression such as ‘He said’ or ‘he thought’.

    Free indirect discourse can also be described as a ‘technique of presenting a character’s voice partly mediated by the voice of the author, or, in the words of the French narrative theorist Gerard Genette, ‘the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged.’ Randall Stevenson, Modernist Fiction.” Wikipedia

    Examples  (Wikipedia):

    Quoted or direct speech:

    He laid down his bundle and thought of his misfortune. “And just what pleasure have I found, since I came into this world?” he asked.

    Normal indirect speech:

    He laid down his bundle and thought of his misfortune. He asked himself what pleasure he had found since he came into the world.

    Free indirect speech:

    He laid down his bundle and thought of his misfortune. And just what pleasure had he found, since he came into this world?  Wikipedia

    Is your head spinning? Mine is!

    Reading examples of the free indirect style of pov might help:

    Jane Austen was one of the first practitioners of free indirect speech with Emma.

    The Irish author James Joyce also used free indirect speech in works such as “The Dead” (see Dubliners), A Portrait of the Artist as a Young Man, and Ulysses.”   Wikipedia

    No matter what point of view you choose. . . just write!

    The Write Spot Blog is part of the Festive Spirit Blog Hop, hosted by Francis H. Powell. To read posts by participating bloggers, click on Francis H. Powell’s Home Page. Scroll down, choose a name, click on one and you will magically be transported to creative blog posts.

    Festival of Spirits Blog Hop

  • Superstition Review

    Superstition Review  is the online literary magazine published by Arizona State University twice yearly (May and December), featuring art, fiction, interviews, nonfiction and poetry.

    Their mission is to promote contemporary art and literature by providing a free, easy-to-navigate, high quality online publication that features work by established and emerging artists and authors from all over the world.

    Superstition Review welcomes submissions of art, fiction, nonfiction, and poetry during their two reading periods in spring (January and February) and fall (September and October). Submission Guidelines.

    Superstition Review maintains a strong year-round community of editors, submitters, contributors, and readers through social networks:

    s[r} Blog
    s[r]Facebook
    s[r]Goodreads 
    s[r]Google+
    iTunes U
    LinkedIn
    Pinterest
    Tumblr
    Twitter
    YouTube

    The Write Spot Blog is part of the Festive Spirit Blog Hop, hosted by Francis H. Powell. To read posts by participating bloggers, click on Francis H. Powell’s Home Page. Scroll down, choose a name, click on one and you will magically be transported to creative blog posts.

    Festival of Spirits Blog Hop

  • What is on your bucket list? Prompt #212

    This seems to be the time of year to make lists. I am normally a list maker, but I get real serious about it starting mid-December. With all the “kids” coming home for the holidays, I mentally list where everyone will sleep. Then I gather blankets, quilts, comforters and pillows. Some unlucky family members have to sleep on the floor. Can’t be too bad, because they keep coming back.

    Then there are the other lists: shopping (gifts, groceries), meals (breakfasts, dinners. . .I’m not used to cooking for nine), party planning (food, drinks, moving furniture), holiday cards (cards received, cards sent) . . . okay, probably too much information. But yes, I am that serious about making lists.

    I’ve been thinking about bucket lists. You know . . . things you’ve always wanted to do and some day you will.

    Bucket.1I’m wondering, what’s on your bucket list?

    For fiction writers. . . what’s on your fictional characters’ bucket lists? You can use this as a way to get to know them better.

    If you want, you can make an opposite type of list: Things you no longer want to do. Things you never wanted to do. Things you will never do again.

    Helpful lists for strategizing your holidaze: “Rewrite Your Holiday Scene Prompt #210”.

  • Can you make ghosts come alive?

    Guest Blogger Francis H. Powell: Writing About Ghosts.

    What are your feelings about…Ghosts…do they exist? They are ridiculed, have been made mundane, absurd films like Ghostbusters have trivialized them. Kids aren’t blinkered and naïve. Cynics rule.

    Christmas seems the perfect time to unleash a Ghost story.

    Many writers set out to write thrilling stories to a cynical disbelieving audience. Perhaps the golden age of ghost story telling, the Victorian age, was a period when readers were far more susceptible to believing in ghosts. Modern day readers are far more pragmatic, scrutinizing what they are reading. Houses are lit up with bright neon light, streets are not dark and shadowy as they were in past times. I guess very few writers who write ghost stories have ever encountered a “real” ghost, so they are letting their imaginations run wild.

    For a Ghost story to work it has to sustain a high level of tension, from the opening sentence to the last. Short story format works really well on this account. The author faces a mountainous task of how to conclude the story. It’s not like a crime story…in which all the readers’ questions can be answered at the end, the reader of a ghost story has to be engaged by the plot but at the same time needs to feel uneasy and on edge. A successful ghost story should be overflowing with atmosphere, descriptions of sounds, colours, feelings should prevail.

    A good Ghost story should not be too far removed from reality, not too fantastical, this way the reader can believe in it, imagining themselves facing such an encounter with a phantom. A good ghost story should not be like a distant long, long ago fairy tale. The reader should be led to believe the story takes place in the recent past. Writers should shy away from the over-used “old lady” or “tiny infant” go for a ghost that is in some ways a mirror of yourself and representative of your fears. Indicate gruesome happenings but let your reader fill in the details.

    You can test your ghost story by telling it in a room filled with bright light, during the middle of the day, if you are scared under these circumstances, your story is a winner.

    Where should a writer look for ideas? Should they venture back to their childhood and tap into their childhood fears? Do we have to have led troubled lives to write a good ghost story? For M R James, considered an undoubted master of the genre, apparently this was not the case. A colleague of James’s once said, perjoratively, that his was a life untroubled – a smooth progression from Eton to Cambridge and then back to Eton. He never experienced real life; it was in every sense academic. So seemingly an academic, living in a rather insular world has the makings of a great ghost story writer and perhaps it is the ghost story genre that allowed him to challenge the rational world he inhabited, that lay behind his motivation.

    How should we write our ghost story? In the third person or the first person? One option might be…write it in the first person, but make it obvious the narrator is untrustworthy, flitting between reality and madness.

    Ghosts, like people, come in many forms and have different missions whilst amongst the living. Some return from the dead to wreak vengeance; others have good intentions, wanting to help a loved one. Some are the spirits of people who were murdered or committed suicide and so are not at peace and are still troubled beyond the grave.
    What we can say, definitively, is that ghost stories should always contain a lot of suspense, always trying to create anticipation and excitement. Atmosphere is vital in building tension in the
    story.

    Born in 1961, in Reading, England, Francis H. Powell attended Art Schools. In 1995, Powell moved to Austria, teaching English while pursuing his varied artistic interests of music and writing. He currently lives in Paris, writing both prose and poetry. He is the author of Flight of Destiny.

    This article is part of a Festive Spirit Blog Hop. To read posts by participating authors and bloggers, click on Francis H. Powell’s Home Page. Scroll down, choose a name, click on it and you will be transported to another dimension.  Enjoy!

    Festival of Spirits Blog Hop

     

  • Physical gestures reveal emotions . . . Prompt #211

    Physical gestures do more than enhance dialogue . . .

    Writing dialogue usually includes physical gestures— those things we do when we talk.

    You don’t have to be exceptionally creative to write realistic action while your characters are dialoguing. Just write whatever it is they are doing:  fingers drumming, shoulders twitching, cell phone glancing, eyes wandering, forehead scratching. So much nonverbal communication going on. Just don’t be boring about it . . . no fingers twirling hair, no lip biting. Like clichés, these are over-used physical gestures.

    Here’s what Steven James says in the January 2016 issue of the Writer’s Digest magazine, “If you find your character brushing his nose or repositioning his chair or crossing legs and so forth for no other reason than to provide a respite from the dialogue, recast the scene.

    Just as dialogue should reveal the intention of the characters so should the actions that they take while they’re speaking. When we read that a character folded his arms, we’ll naturally wonder why he’s doing that. What is it meant to convey about his attitude or emotional response to what’s happening? Don’t confuse your readers by inserting needless movement. Rather, include action only as long as it adds to the scene or enriches it. If the action doesn’t convey anything essential, drop it.”

    Actions and non-verbal communication:

    Fingers drumming, arms crossed: Bored, really doesn’t want to listen, disagrees with what is being said. Could be a superior attitude, could be a defensive mechanism.

    Twitching, sighing, avoiding eye contact, wandering eyes: Nervous, anxious, being secretive, feeling overwhelmed.

    Here’s your mission, if you decide to accept it: Observe actions at coffee shops, in stores, shopping malls, at parties, wherever people gather. Make a list of what people do while engaged in conversation. Pull out your list next time you are writing dialogue.

    Writing Prompt: Make a list of things people do while conversing.

    You are invited to join our Festive Spirit Blog Hop . . . just as carolers stroll while entertaining, Francis A. Powell has organized several bloggers to entertain and inform us. Hop on over to Powell’s home page. Scroll down, choose a name, click on it and you will be transported to another dimension.  Enjoy!

    Festival of Spirits Blog Hop

     

  • “I’ve only regretted stuff I’ve left in . . . ” —Jojo Moyes

    Jojo MoyesJojo Moyes discusses her writing process with Jessica Strawser in the January 2016 issue of the Writer’s Digest magazine.

    “Frequently I will write chapters that I end up having to ditch. And they might be beautifully crafted, they might contain things I’m really proud of, but you have to be ruthless. There comes a point when you know in your gut something just isn’t working, or isn’t as good as it should be. What I’ve found over the years is that I’ve never regretted anything I’ve ditched—I’ve only regretted stuff I’ve left in.”

    The January 2016 issue of Writer’s Digest magazine is loaded with fantastic information for writers. Buy it now, because if you wait. . . you know how it goes. . . you’ll forget, or it will be off the newsstands. Or. . . aha! Lightbulb moment. . . Subscribe! I have been a subscriber for years and find something good in every issue.

  • A Variety of Point of Views

    Point of View (POV)- is the term to describe who is telling the story . . . or. . . who is narrating the story.

    Point of view is the story told from the narrator’s viewpoint and what the narrator’s relation is to the story, or . . . the distance between the narrator and the story, as well as the trustworthiness of the narrator.

    Involved narrator – the narrator is involved in the action as it unfolds

    Detached narrator – narrator is an objective observer or witness to the action

    Reliable narrator – a narrator whose account and perceptions we can trust

    Unreliable narrator – a narrator whose own ignorance, mental or emotional state, age, prejudice, etc. may distort or limit his or her perceptions

    Free indirect style – a lesser know POV, a style of third-person narration, using some of the characteristics of third-person along with the essence of first-person direct speech. More about free indirect style.

    DESCRPITION OF POVS

    First person: Autobiographies and memoir

    POV can be any of the following in fiction and non-fiction:

    First person narrator: Narrator is a character in the story and narrates the story using the pronoun “I.”

    Second person narrator: Rarely used, the second person narrator uses an identified or unidentified ‘you’ throughout the story.

    Third person narrator: This narrator is a voice outside the story and tells the story using the pronouns “he, she, and they.” Sometimes the third person narrator is defined, sometimes the third person narrator is unknown. That is, the reader doesn’t know who the narrator is.

    The third person narrator can be omniscient or limited.

    The omniscient third person narrator is all-knowing, able to move in and out of the thoughts of all the characters and to comment on events before and after the scene has happened.

    The limited third person narrator is limited to knowledge about a single character, or one character at a time.

    How third person narrator operates:

    Narrative distance: Third person narrator can zoom in or zoom out to show narrative distance.

    ~Zoom in: Close, as if beside the character

    ~Zoom out: Objective and distant, observing in a general way, like a fly on the wall

    Really close: Inside the character’s consciousness and skin: can describe sensations, perceptions, inner workings, and responses of the character.

    Examples

    It was the winter of 1993. A solitary figure walked through the snowy streets of Manhattan. Narrator seems to be floating high above the roofline, gazing down on the snowy streets = omniscient.

    Edward Tollivar leaned into the wind. The cold sliced through his coat as he walked through the snow to Tracy Covey’s house on Jane Street. Camera moves closer. Narrator is striding alongside Edward and tells us where he is going.

    A sick heat spread through Edward’s chest, though the snow whipped in sharp slices across his face coat. His fingers touched the letters in his pocket. He didn’t want to show them to his cousin. Everything he’d hoped to hide was there. Narrator’s voice inhabits Edward’s body, experiencing the sick heat in his chest and fingering the letters in his pocket. The narrator knows Edward’s thoughts and fears as intimately as the first person narrative.

    Finding Your Writers VoiceSelections from Finding Your Writer’s Voice: A Guide to Creative Fiction, by Thaisa Frank and Dorothy Wall, inspired this post.

    Explore more about point of view in past posts:

    POV Is Like A Photographer’s Lens

    Scene One – Your Point of View. Prompt #108

    And then . . .  Just Write.