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  • Last . . . Prompt #149

    Fun.112Sometimes writing prompts are fun and playful.

                            Akeret.Family tales.100    Sometimes they inspire memoir type writing.

    My Journal.1Other times they work well for fiction writing.

    Mostly the prompts are what you make of them . . . you can go light and stay on the surface, skating on the edge, or you can go deep.

    This quick type of writing is an opportunity to explore and perhaps come up with ideas for writing, or . . .for solutions to situations . . . or, for personal growth and transformation.  Butterfly.100

     

    Shed your ideas about what perfect writing means.   Give yourself permission to be open to whatever comes up. Writing isn’t always about talent, it’s about practice and going into another dimension. Rather than write for an audience, write from an instinctual level.

    Creative writing is an act of discovery. Immerse yourself in writing. Let go of your worries and write. Write to a satisfying inner desire to go to a meaningful place.

    Go deeper into the recesses of your mind and really write. Write from the well that stores the fears. Let the tears come, let the stomach tie up in knots. It’s okay to write the story that is difficult to tell.

    Get through the barriers to go to a deeper level. See your story and tell it.

    Today’s Prompt: Last

  • Take Your Writing to the Next Level

    Guest Blogger B. Lynn Goodwin talks about Taking Your Writing to the Next Level – A Look at Editing and Polishing

    So you’ve been inspired, found the time, and drafted a story or memoir that you really want to share with the world. Maybe you’ve even shared it with a critique group, or had a good friend read it to you so you could hear your own glitches.

    What do you need to do to take it to the next level and make it ready for publication?

    1.  Look at the content. Does everything contribute to the story you’re telling, or do you have extraneous material?
    2. Do your characters struggle, try, and give it their all? If not, is there a clear reason not to? Does that change before the end of the story?
    3. Now that you’ve drafted it, what is your story about? It might have several themes or messages. Make a list.
    4. How does the story end? Is there an epiphany? Does the ending reinforce your message? Has the protagonist changed?
    5. Do you feel stuck? Try listing 5-20 things that aren’t likely to happen. It’s a circuitous route for opening yourself to new ideas.
    6. Why is this story important? What matters? What’s at stake?
    7. What makes this story unique and what makes it universal?
    8. Is there some kind of tension and how does it enhance the story? Does the pace work?
    9. Are your mechanics polished until they shine? Do they make you look professional?
    10. Who is your audience and why will they care about these characters and their situation?
    11. How will your audience find this story? Who can help you bring it to them?
    12. Condense your story into 45 words or less. That’s your pitch, the speech you use to tell your story. If you can’t do that, what do you need to cut, and what do you need to sharpen?

    Sharing with readers is different from sharing with writers. Readers can tell you what they like and what troubles them. Writers and editors can tell you how to fix those problems. You might consider sharing with both before you submit.

    Then make a list of ten magazines or e-zines or editors you’ll send it out to. As soon as it’s gone out, make a list of another ten. That way if you get a rejection, you can keep sending it out. Be sure you send to places that are looking for your subject matter, your style, and your level of skill.

    Be courageous, not arrogant, whether you’re responding to acceptances, fan mail, or even rejections. And keep writing, even on the days when you’re down and discouraged. As my husband says, “You don’t lose until you quit trying.”

    !cid_5B86196A-44C5-4B34-805E-083B7A5FCE2C@hsd1_ca_comcast_netLynn Goodwin is the owner of Writer Advice, www.writeradvice.com, which is currently holding its 10th Flash Prose Contest. She’s the author of You Want Me to Do WHAT? Journaling for Caregivers,  and a YA called Talent, which Eternal Press will be publishing this year. Her short pieces have been published in local and regional publications.

    Lynn will be on a panel of editors at Writers Forum in Petaluma, California on May 21, 2015.

  • Hardest thing to give up. Prompt #148

    Write about a hard thing to give up . . . either something you gave up, or kinda, sorta want to give up.

    Prompt:  The hardest thing to give up.

    Set your time. Go. Write.

    Go write!

    cup of joe    Wineglass   bookshelf           birthday cake + candle         Shopping and boots

  • I write to understand . . . — Elie Wiesel

    Elie WieselI write to understand as much as to be understood. Literature is an act of conscience. It is up to us to rebuild with memories, with ruins, and with moments of grace. — Elie Wiesel

     

     

  • Narrative Winter 2015 Story Contest

    Do you have some writing ready to submit? Could you get it ready real fast?

    Narrative Magazine’s Winter 2015 Contest ends Tuesday, March 31 at midnight, PST

    This contest is open to all fiction and nonfiction writers: shorts, short stories, essays, memoirs, photo essays, graphic stories, all forms of literary nonfiction, and excerpts from longer works of both fiction and nonfiction.

    Entries must be previously unpublished, no longer than 15,000 words, and must not have been previously chosen as a winner, finalist, or honorable mention in another contest.

    Narrative is looking for works with a strong narrative drive, with characters we can respond to as human beings, and with effects of language, situation, and insight that are intense and total. We look for works that have the ambition of enlarging our view of ourselves and the world.

    Narrative welcomes and looks forward to reading your pages.

    Submission Fee: There is a $23 fee for each entry. And with your entry, you’ll receive three months of complimentary access to Narrative Backstage.

    Awards: First Prize is $2,500, Second Prize is $1,000, Third Prize is $500, and ten finalists will receive $100 each. All entries will be considered for publication.

    All contest entries are eligible for the $4,000 Narrative Prize for 2015 and for acceptance as a Story of the Week.

    Submission Guidelines: Please read Submission Guidelines for manuscript formatting and other information.

  • My heart hurts. . . Prompt #147

    Today’s writing prompt is inspired by my dear friend, Eva.

    You can always write on variations of these writing prompts. For example:

    My heart hurts when . . .

    I want to tell you about the time my heart broke . . .

    The phrase “full of heart” means . . .

    beach filled heartWrite from your personal experience, or write fiction. Just write!

    Photo by Jeff Cullen. Click here to see Jeff’s portfolio on fotolia.

  • Self-editing and Wordsmithing

    Guest Blogger Linda Jay writes about self-editing and wordsmithing:

    I’ve noticed a topic popping up more and more in books, workshops and seminars, even those offered by Writer’s Digest. Targeted mostly toward indie authors (perhaps you’re in that category), these books, workshops and seminars encourage writers to self-edit their own work before they self-publish.

    Now, self-editing is fine. Going through your manuscript’s rough drafts several times over a period of weeks searching for errors and omissions, perhaps even reading the text aloud to catch awkward phrasing or redundancies or overcomplicated construction, is certainly not going to hurt—and possibly might even improve—your writing.

    But let’s face it, there’s only so much self-editing an author can do. Frankly, you as the author are too close to the subject matter to be objective, even if you take a break from the material and come back to it later.

    In my opinion—and I’m not just saying this because I happen to be an experienced book manuscript copyeditor—an author truly needs an editor’s fresh perspective to make his or her writing as excellent and polished as it can possibly be.

    Recently I made editorial suggestions to an author, pointing out missing information and details in her novel; of course, she hadn’t left out facts intentionally. But on the other hand, she hadn’t noticed that she needed to “fill in the blanks” in that particular section of text so that a reader could understand the characters in-depth.

    I also offered specific ideas for improving the text that the author hadn’t thought of, but was happy to implement immediately:

    • short titles summing up each chapter,
    • translations of Latin terms and phrases so that the reader will understand their meaning,
    • clarification and explanation of obscure historical points,
    • easily understood transitions between scenes.

    The Role of Traditional Publishers?

    Traditional publishers no longer pay for the routine editing of manuscripts, and self-publishers often believe that they cannot afford to hire a professional editor.

    If you as an author have done your best self-editing but are still convinced that you want a professional editor to work with you, ask the editor to work on just a few chapters at a time. That way, it’s within the realm of financial possibility.

    Far beyond being merely a spell-checker, a good copyeditor is essentially able to “hear” what an author has written, and sense how a piece of writing will be received by other readers. An experienced copyeditor will also notice if the writer has made unfounded assumptions about the subject matter or the intended audience.

    In other words, self-editing is indeed useful, but it will never take the place of the opinions and comments of a professional wordsmith.

    The two processes should be used in tandem.

    Originally posted in Joel Friedlander’s blog, The Book Designer, on October 5, 2012

    Linda Jay is a manuscript copyeditor with decades of experience, specializes in business, novels, memoirs, spirituality, women’s issues, academic topics and fantasy (vampires, zombies)

    Linda will be on a panel of editors at Writers Forum in Petaluma on May 21, 2015.

  • What keeps you going? Prompt #146

    What keeps you going? What fuels you?

    Gas Pumps California Adventure

  • A route you have taken, or wish you had taken. Prompt #145

    Write about a route you have taken, or wish you had taken.

    Route 66

  • The Silence of the L’s

    Guest Blogger Jane Merryman writes about the silence of the L’s:

                In the Danish language nearly 32 percent of the letters are silent. In French the number approaches 28 percent—I would have thought much more than that. About 16 percent of the letters in English words are silent. Think about it: would, could, should. And half. That l shows up in the strangest places. And then there’s wall—why do we need two l‘s there?

                I attended junior high and high school at a Catholic school for girls in Menlo Park, California. The nuns were Americans, but the religious order was French and operated schools around the world. All students, from kindergarten through twelfth grade, attended a French class every single day. By the time I graduated from high school I had advanced even into the dense forest of subjunctives. (That was when I learned English also has subjunctives, but we just ignore them.) In college I decided to branch out and signed up for Spanish. What a joy, what a relief, what an ace of a class! Every letter is pronounced. Yes, you have to get used to the fact that the j sounds like h, but you can depend on it—when you look at a word you know how to pronounce it. Much later, when I planned to travel in Italy and took evening school conversation classes, I found that Italian was much the same as Spanish. Of course there is the c gotcha— sometimes it sounds like ch, and sometimes has the hard c, or k, sound, but otherwise Italian has none of the silent letter pitfalls of French or English. Learning Indonesian also proved to be a similarly giddy pleasure. It has the same c/ch effect and, for that reason and its musical quality, is called the Italian of Asia. When I have to use a phrase I find in my handy little Indonesian Berlitz manual, I am confident I can pronounce the whole thing correctly and be understood.

                I commiserate with students of the French language. They have to learn to add silent letters to the end of many words, especially verbs. The only consonants that are pronounced at the end of French words are c, r, f, and l, the consonants in the English word careful. What a great mnemonic. I learned this lesson in one sitting. So we have avec with a final hard c sound; gentil and hôtel; pour and jour; and chef. However, tu parles (you speak) and ils parlent (they speak) are pronounced the same as je parle (I speak). Aaargh!

                As much as I feel sorry for French schoolchildren, I pity all those newcomers in English as a Second Language (ESL) classes. As if they didn’t have enough problems, they have to contend with the inconsistencies that crowd into speaking English. For every rule of grammar there are exceptions. English seems to be nothing if not exceptions, and silent letters are typical atypicalities.

                We have that pesky combination of gh. Sometimes it’s silent on the end of a word as in though. And silent in the middle of a word: blight, slight, ought. It can change the vowel sound as in bough and thought. Then it assumes a sound quite unlike its spelling, as in rough, tough, cough, trough (which can be pronounced with a final f or a th).

                There’s the curse of the final e. It’s supposed to tell us that the vowel that comes immediately before it has a long sound: hate, delete, cite, cone. We have lone, pone, and hone, but where did gone come from? Prelate and prejudice are among the words that break the rule.

                Consider the strange case of sure. In this instance a letter is missing, the h after the s. And there’s that final e. The u is not the sound of the u in dune or perfume; it’s more like an e, but not a long e, or a short e, just something like an e, but certainly not a long u. And, speaking of u, why does u have to come after q. It makes sense in quagmire but not in mystique (from the French, so of course it has silent letters!).

                Melvil Dewey was a fanatic about reformed spelling—notice the spelling of his first name. This is the same Melvil who invented the Dewey Decimal System, which is used to arrange libraries around the world. When not sorting out books, Dewey championed the elimination of extraneous letters from English words. But it never caught on. He was just regarded as a crackpot.

                            The problem of all our silent letters stems from the fact that English is a mongrel language. Anu Garg, the guru of the A.Word.A.Day website, recently explained it this way:

    If the English language were a cake, its batter would have Germanic flour. Sugar, butter, and milk would be of Norse, French, and Latin origins, not necessarily in that order. And on top of that would be icing with little flourishes here and there made up of dozens of languages—Arabic, Chinese, Spanish, Hindi, and others—it has borrowed from.

    I feel compelled to add that our condiment ketchup is a poor relation of the Indonesian spicy sauce kecap, in which the c has the ch not the k sound. I cood go on, but you wood probably be thoroly bord. And, remember, we English speakers have it easy compared to the Danes. I heard their language is impossible to learn from a book!

    Jane Merryman.1Jane Merryman specializes in copy editing: correcting grammar, spelling, punctuation, usage, and, as we say in the profession, infelicities.

    If you live in the area, join us on May 21, 2015 at Writers Forum in Petaluma, California. Jane will be a panelist on an Editors’ Forum.