Everyone at Apollo`s Lyre would like to wish you and your family health, happiness, and success in 2010.
Thursday, December 31, 2009
Happy New Year!
Everyone at Apollo`s Lyre would like to wish you and your family health, happiness, and success in 2010.
Tuesday, December 29, 2009
Setting Goals (An Active Response)
My cohort Jim Harrington has inspired me to consider my own writing, editing and publishing goals for 2010.
Looking back on 2009 and honestly assessing both my accomplishments and my shortcomings, I came up with the following:
1. Write one hour a day - This comes first because I simply don't spend enough time writing. And because writing without purpose probably won't get me very far, I further commit to the following specifics:
a) write one poem a week
b) write one story a month
c) blog once a week
2. Edit three hours a day (for others) - Not counting my own publications, I also edit for Virtual Tales, Red Rose Publishing and AG Press. Breaking the editing task down into bite-sized daily chunks will help make everything more manageable.
3. Publish two newsletters per month - InkSpotter News and Heritage Writer suffered greatly over the past couple years, and it's time to bring them back.
4. Publish four books during the year - Five books are currently on the agenda, but it doesn't hurt to leave a little room for rescheduling.
5. Choose four books to publish in 2011 - So many from which to choose. With luck, even more will be in the running.
6. Apply for seven freelance gigs per week - I pretty much have this one covered already, but it never hurts to reinforce the habit.
7. Query one magazine per week - I've been talking about doing this for far too long. The time has come to make magazine writing part of the overall game plan.
Each of these goals is now incorporated into my Outlook calendar or task list, complete with annoying reminders. Better (or worse, depending how the year goes) yet, my goals are public. That's probably my biggest challenge going into the new year. No more private, vaguely formed goals. By sharing my intentions, I also make myself accountable.
Feel free to give me a virtual poke once in a while to see how I'm doing.
Looking back on 2009 and honestly assessing both my accomplishments and my shortcomings, I came up with the following:
1. Write one hour a day - This comes first because I simply don't spend enough time writing. And because writing without purpose probably won't get me very far, I further commit to the following specifics:
a) write one poem a week
b) write one story a month
c) blog once a week
2. Edit three hours a day (for others) - Not counting my own publications, I also edit for Virtual Tales, Red Rose Publishing and AG Press. Breaking the editing task down into bite-sized daily chunks will help make everything more manageable.
3. Publish two newsletters per month - InkSpotter News and Heritage Writer suffered greatly over the past couple years, and it's time to bring them back.
4. Publish four books during the year - Five books are currently on the agenda, but it doesn't hurt to leave a little room for rescheduling.
5. Choose four books to publish in 2011 - So many from which to choose. With luck, even more will be in the running.
6. Apply for seven freelance gigs per week - I pretty much have this one covered already, but it never hurts to reinforce the habit.
7. Query one magazine per week - I've been talking about doing this for far too long. The time has come to make magazine writing part of the overall game plan.
Each of these goals is now incorporated into my Outlook calendar or task list, complete with annoying reminders. Better (or worse, depending how the year goes) yet, my goals are public. That's probably my biggest challenge going into the new year. No more private, vaguely formed goals. By sharing my intentions, I also make myself accountable.
Feel free to give me a virtual poke once in a while to see how I'm doing.
Monday, December 28, 2009
Setting Goals
I wrote a post for my personal blog earlier this month on setting writing goals. Here's the opening paragraph.
It's that time of year, again. No, not when you realize you’re behind in your holiday shopping. Nor when you slap the heal of your palm to your forehead because you forgot to make your daughter’s costume for the school play, and you leave an ugly red spot that reminds you of the time you had three too many beers and walked into the closed door at that party your mother told you you couldn’t attend. Nope. It’s time to start thinking about your writing goals for the coming year.
And here's the link to the rest of the post.
If you like, please share a couple of your writing goals for 2010.
It's that time of year, again. No, not when you realize you’re behind in your holiday shopping. Nor when you slap the heal of your palm to your forehead because you forgot to make your daughter’s costume for the school play, and you leave an ugly red spot that reminds you of the time you had three too many beers and walked into the closed door at that party your mother told you you couldn’t attend. Nope. It’s time to start thinking about your writing goals for the coming year.
And here's the link to the rest of the post.
If you like, please share a couple of your writing goals for 2010.
Monday, December 14, 2009
All I want for Christmas...
Is some time to write.
Why is it that the Christmas season, which is supposed to be happy and all about giving, is so stressful? This Christmas, I’m hot on the trail of the first draft of a new novel. If I had just a few hours a day to work on it, I’d get that draft done. There would still be a lot of work, of course, because a first draft is what it is. But I just can’t seem to find the time to finish it.
I’ve analyzed what it is about Christmas that makes things so rushed, so harried, so time-crunched. It’s the extra shopping, definitely. All that shopping takes longer than it should, because everyone else is also doing the extra shopping, so the crowds and traffic are much worse. Even important butt-in-chair computer time is spent researching gifts and possible gifts.
With a 2-1/2 year old in the house, we’re doing Christmassy things we haven’t done in a long while. There are visits (and photos) with Santa and drives through light displays, including a big one in the Atlanta area. That’s not to mention the parties (which we only have two of this year—lucky!)
I work part-time for a twice-a-week newspaper, so for me the problem is compounded by early work deadlines and special Christmas stories to be written.
So, what’s a writer to do?
About six months ago, I managed to carve out some time to myself. Three days a week, I get up at 5:15 in the morning and head to a little office we have set up in an outbuilding at our house. I work until about 7 a.m., when I have to come in and face the rest of my day. So that’s about 4-1/2 hours every week to work on what I think is an important project—my novel. Not much, is it?
I’m hoping Santa will miraculously figure out a way to give me a 28-hour day. Everyone else can stay on the same old 24-hour schedule, but I want those extra four hours sneaked in just for me. Failing that—because I know Santa is especially busy this time of year, and miracles may not be in his bag of tricks—I’ll just have to grin and bear it through the Christmas season.
Come January, there are always New Year’s resolutions!
Why is it that the Christmas season, which is supposed to be happy and all about giving, is so stressful? This Christmas, I’m hot on the trail of the first draft of a new novel. If I had just a few hours a day to work on it, I’d get that draft done. There would still be a lot of work, of course, because a first draft is what it is. But I just can’t seem to find the time to finish it.
I’ve analyzed what it is about Christmas that makes things so rushed, so harried, so time-crunched. It’s the extra shopping, definitely. All that shopping takes longer than it should, because everyone else is also doing the extra shopping, so the crowds and traffic are much worse. Even important butt-in-chair computer time is spent researching gifts and possible gifts.
With a 2-1/2 year old in the house, we’re doing Christmassy things we haven’t done in a long while. There are visits (and photos) with Santa and drives through light displays, including a big one in the Atlanta area. That’s not to mention the parties (which we only have two of this year—lucky!)
I work part-time for a twice-a-week newspaper, so for me the problem is compounded by early work deadlines and special Christmas stories to be written.
So, what’s a writer to do?
About six months ago, I managed to carve out some time to myself. Three days a week, I get up at 5:15 in the morning and head to a little office we have set up in an outbuilding at our house. I work until about 7 a.m., when I have to come in and face the rest of my day. So that’s about 4-1/2 hours every week to work on what I think is an important project—my novel. Not much, is it?
I’m hoping Santa will miraculously figure out a way to give me a 28-hour day. Everyone else can stay on the same old 24-hour schedule, but I want those extra four hours sneaked in just for me. Failing that—because I know Santa is especially busy this time of year, and miracles may not be in his bag of tricks—I’ll just have to grin and bear it through the Christmas season.
Come January, there are always New Year’s resolutions!
This Week on the Six Questions For . . . Blog
Monday -- Six Questions For Kimberly Brown, Flash Editor, Apollo's Lyre.
Thursday -- Six Questions For Diane Smith, Editor, Grey Sparrow Journal.
Connect to the blog here.
If you stop by, consider leaving a comment for the editor. I'm sure it will be appreciated, and the name recognition won't hurt if you submit to the publication in the future.
Thursday -- Six Questions For Diane Smith, Editor, Grey Sparrow Journal.
Connect to the blog here.
If you stop by, consider leaving a comment for the editor. I'm sure it will be appreciated, and the name recognition won't hurt if you submit to the publication in the future.
Friday, December 11, 2009
Voice and POV
Have you ever wondered what a ‘good’ writer uses in order to make his world, his story remain in a reader’s thoughts? Before I get to this question, let me just say that every writer has his or her own distinct writing voice.
Some writers may study several great writers, use some of their techniques for creating memorable storylines, but at the end each writer begins to develop his own voice that sets them apart from other writers. That voice is what connects and draws your target audience to your books. That voice jumps to your character’s voice, making them unique and enabling your reader to bond with them on a deeper level.
So the first answer to my opening question is ‘voice’. That voice has now allowed the character to develop. Each character in a book must have his own ‘voice’ and personality to set them apart from others in the book. By doing this you avoid using the constant dialogue tags, ‘he said/she said’ – this applies when there are two characters speaking to one another in any given scene.
How can you give your character a unique voice? Give them a slant that belongs to them only. Have them speak in a manner different than the other characters in your story. This facilitates a reader’s understanding as to who is speaking without having to backtrack and check who spoke last in a dialogue tag.
Where was your character born? Does he have an accent? Does he like to repeat or use a certain phrase? Does his body language reveal more about his character? His actions and reactions to situations also helps to define who he is at all times.
Another answer to my question is the point of view. Writers understand that the point of view of the main character is important because the reader can really dig into that character’s mind and feel/hear/see/touch/smell what he does. They ‘live’ in his shoes and experience everything he goes through. However…
…one way of dislocating a bond with a reader is to headhop, and as an editor, I’ve seen this many times. Some believe by allowing more than one character express their inner thoughts in a given scene helps a reader bond to them. That’s not so. It absolutely takes them out of the story because they have lost track of who to follow. Each scene should have one character’s POV. You can either introduce a second POV character using a scene break−* * * *−or giving them their own chapter.
Some writers may study several great writers, use some of their techniques for creating memorable storylines, but at the end each writer begins to develop his own voice that sets them apart from other writers. That voice is what connects and draws your target audience to your books. That voice jumps to your character’s voice, making them unique and enabling your reader to bond with them on a deeper level.
So the first answer to my opening question is ‘voice’. That voice has now allowed the character to develop. Each character in a book must have his own ‘voice’ and personality to set them apart from others in the book. By doing this you avoid using the constant dialogue tags, ‘he said/she said’ – this applies when there are two characters speaking to one another in any given scene.
How can you give your character a unique voice? Give them a slant that belongs to them only. Have them speak in a manner different than the other characters in your story. This facilitates a reader’s understanding as to who is speaking without having to backtrack and check who spoke last in a dialogue tag.
Where was your character born? Does he have an accent? Does he like to repeat or use a certain phrase? Does his body language reveal more about his character? His actions and reactions to situations also helps to define who he is at all times.
Another answer to my question is the point of view. Writers understand that the point of view of the main character is important because the reader can really dig into that character’s mind and feel/hear/see/touch/smell what he does. They ‘live’ in his shoes and experience everything he goes through. However…
…one way of dislocating a bond with a reader is to headhop, and as an editor, I’ve seen this many times. Some believe by allowing more than one character express their inner thoughts in a given scene helps a reader bond to them. That’s not so. It absolutely takes them out of the story because they have lost track of who to follow. Each scene should have one character’s POV. You can either introduce a second POV character using a scene break−* * * *−or giving them their own chapter.
Thursday, December 10, 2009
Your Senses
It’s true what they say, that a picture holds a thousand words. From this small phrase writers need to understand it applies to a manuscript, as well. A picture showcases the artist’s strokes, the imagery for a viewer to interpret. Same goes for a story. The writer’s ‘strokes’ are the words he’ll use, incorporating as many of the five senses to bring his imagery alive for his reader. Without an added ‘sense’ to offer descriptive details, your world feels empty, void of a concrete setting that allows the reader to visual, take in the smells, see the outskirts, hear the noises around your character. In a few words−it is your connecting factor of realism to the reader.
Take a second and listen to your surroundings. What do you hear? Are there any smells in the air? How do they smell? What thoughts pop in your head with the sounds and smells you’re experiencing right now? If you do this exercise every so often you’re ability to pinpoint and tighten your descriptive sentences will improve.
Whatever you do, just write. I know this is contradicting about tightening your sentences, but you’ll find the more you practice using your senses the tighter your first drafts will be. If you stop and edit your work while writing, you’re wasting time penning that story out of your head.
Take a second and listen to your surroundings. What do you hear? Are there any smells in the air? How do they smell? What thoughts pop in your head with the sounds and smells you’re experiencing right now? If you do this exercise every so often you’re ability to pinpoint and tighten your descriptive sentences will improve.
Whatever you do, just write. I know this is contradicting about tightening your sentences, but you’ll find the more you practice using your senses the tighter your first drafts will be. If you stop and edit your work while writing, you’re wasting time penning that story out of your head.
Tuesday, December 8, 2009
Six Questions For . . .
Two posts appear this week.
Monday -- Six Questions for Don Webb, Managing Editor, Bewildering Stories
Thursday -- Six Questions for Barry Basden, Editor, Camroc Press Review.
Don and his staff, and Barry offer excellent tips, no matter the kind of writing you do.
Read the posts here.
Monday -- Six Questions for Don Webb, Managing Editor, Bewildering Stories
Thursday -- Six Questions for Barry Basden, Editor, Camroc Press Review.
Don and his staff, and Barry offer excellent tips, no matter the kind of writing you do.
Read the posts here.
Monday, December 7, 2009
Editing Your Manuscript
Kathryn Craft posted an excellent list of editing tips on The Blood-Red Pencil blog. Here's a sample.
POV filters. Search for words such as realized, thought, saw, noticed, glanced and see if the prose works without them. Such words can often exhibit a lack of confidence in one’s ability to establish point of view. If you put us into a character’s head and stay there, we’ll know whose observations and opinions are being put forth without attribution.Read the complete post here.
Tuesday, December 1, 2009
Announcing Six Questions For . . ., a new project to enlighten writers
In response to a post on my personal blog about rejection, a reader suggested I publish a series of interviews in which editors "list, in excruciating details, all that each editor desires in his/her stories." Wow. What a great idea. Not only does this provide authors with specific information about what editors are looking for in the submissions they receive, it offers editors a venue for advertising their publications and getting the word out about what, in their opinion, constitutes "good writing."
To support this effort, I created the Six Questions For . . . blog. You can learn more about this project by reading the Welcome message and first posting, Six Questions For Nathaniel Tower, Founder and Editor, Bartleby Snopes, at http://sixquestionsfor.blogspot.com/. A new set of responses will be posted every Monday and Thursday (except 12/3, 12/24, and 12/31).
A sampling of other participants includes: Anderbo, Apollo’s Lyre, Black Velvet Seductions (publisher of romance novels), Boston Literary Magazine, Camroc Press Review, dcomP, Dew on the Kudzu, Flash Me Magazine, Grey Sparrow Journal, Toasted Cheese, and Vanilla Heart Publishing.
If you're involved with a magazine, publisher, or literary agency and would like to participate; or if you have a question or would like to suggest a publication, publisher, or agent for me to include, contact me at sixquestionsfor@gmail.com
Please consider sharing this news with your writing friends. I’ve learned a lot from reading the responses received so far. I’m certain other writers will too.
To support this effort, I created the Six Questions For . . . blog. You can learn more about this project by reading the Welcome message and first posting, Six Questions For Nathaniel Tower, Founder and Editor, Bartleby Snopes, at http://sixquestionsfor.blogspot.com/. A new set of responses will be posted every Monday and Thursday (except 12/3, 12/24, and 12/31).
A sampling of other participants includes: Anderbo, Apollo’s Lyre, Black Velvet Seductions (publisher of romance novels), Boston Literary Magazine, Camroc Press Review, dcomP, Dew on the Kudzu, Flash Me Magazine, Grey Sparrow Journal, Toasted Cheese, and Vanilla Heart Publishing.
If you're involved with a magazine, publisher, or literary agency and would like to participate; or if you have a question or would like to suggest a publication, publisher, or agent for me to include, contact me at sixquestionsfor@gmail.com
Please consider sharing this news with your writing friends. I’ve learned a lot from reading the responses received so far. I’m certain other writers will too.
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