No Namby-Pamby…Just Write It.

By Kimberly Johnson To borrow a phrase or two from singer/songwriter John Mayer: “It’s better to say too much than to never…Say what you need to say, Say what you need to say…” Those words underlie the crux of Jason Whitlock’s sports column Real Talk—say what you mean or better yet, write what you mean. That’s why I relish reading Whitlock’s articles for FoxSports.com. Whitlock has the chops. He majored in Journalism from Ball State University. He’s the first sports writer to win the National Journalism Award for Commentary from the Scripps Howard Foundation. He even played high school football with Jeff George, a former NFL quarterback. He’s got some notoriety for being fired from ESPN. I want to strengthen my writing style and use Whitlock’s techniques. I don’t if I could take the stones and daggers from his detractors. No worries though, I still like his flair because: #1: He frames out his main argument in simplistic terms. Most writers know that is not as easy as it sounds. #2: He provides provocative examples to illustrate his argument. #3: He has an astute sense of humor. Here’s one example from a September 7, 2012 column:

Some football fans believe I dislike Peyton Manning and refuse to recognize his greatness out of some twisted loyalty to my high school teammate and former Colts QB Jeff George. …“Breaking Bad” is Peyton Manning. We want both of them to be what they once were. We want them to fulfill their promise. It’s not going to happen. That does not mean I hate either of them. It simply means I’m not going to sit quiet as a significant portion of the media mislead (and in some cases lie) you into believing something that isn’t true. Elway and/or Montana are still the greatest. Tom Brady has the best chance of catching them. Manning is one of the 10 or 15 best QBs to ever play the game.

Ouch. For non NFL fans, that’s the equivalent of soap opera diva Susan Lucci slapping a young, blond ingénue in the face for disrespecting her. Again, Whitlock got to the point (Peyton Manning ain’t that great.). He provided an example. (Read the full story online). He gave us a laugh. (Compared him to a t.v.show). By the time this blog comes out, there’ll be a winner in the NCAA basketball tourney. I’m sure that Jason will have a lot to write…and mean it. Source: http://msn.foxsports.com

Finding Your Writing Influence

By Len Lawson 

It is a crucial benefit for writers to discover the authors who have had the most significant influence on their work. This revelation will help us to understand what type of writers we truly are and in what direction our writing can and should go. Without knowing who has influenced us, it remains difficult, especially for beginners, to understand how we write. However, we do not have to become the same authors as others who have influenced us. We should use this knowledge as a door to greater awareness of our individual craft.

For example, I first became interested in literature in high school. We read the classics like Ernest Hemingway, John Steinbeck, and others, but the one author we read who intrigued me most was Zora Neale Hurston. When we read her novel Their Eyes Were Watching God, I was overwhelmed with Hurston's diction and dialogue.

Reading Hurston led me to my writing idol at the time Toni Morrison. However, when I made the decision to become a writer, my words came out similar to Morrison’s words with long sentences and many adjectives. When I first allowed others to read my writing, its density confused them. Moreover, I discovered that Morrison read much of William Faulkner’s and Virginia Woolf’s writing before writing her own. Her works are really a combination of both their styles.

I realized that if I were to become a serious writer, then I would have to develop my own style. Nonetheless, my influences instantly came out onto the pages because I had read so much of them. I channeled Hemingway’s use of dialogue in a matter-of-fact tone. I disseminated Hurston’s African American dialogue in some of my writing with Southern settings. Furthermore, yes, I did use what I learned from Morrison’s uniqueness yet sparingly so as not to confuse my readers. I incorporated the best of those authors fused with my own creativity and paradigm.

The result has been a style all my own. Critics might say that I am simply copying other writers and pasting them into my work. I say that without reading a variety of styles, writers cannot discover their own. I leave these tips for us to discover who our writing influences are and to discover who we are as writers:

1. What writers do you enjoy reading? What is great about these writers and their works?
2. What can you detect in your own writing that resembles what you see in other writers you have read?
3. What else can you learn about these writers that can better influence your writing (i.e. their biography or autobiography, how they became writers, what writers influenced them)?
4. Which of these writers’ works, if any, most resemble your own?

            

DJANGO, HISTORICAL BUFFOONERY

By Bonnie Stanard Anachronisms are the bane of serious historical fiction writers. If we rack up too many, our validity as researchers if not writers is called into question. For those of us who spend a lot of time figuring out things like whether alcoholic drinks were served with a straw in 1858, Leonardo Dicaprio had us choking on our popcorn in the movie Django Unchained. There he was on the screen, surrounded by his slaves and sipping a coconut daiquiri with a straw. Whatever the blood and gore, that straw was indefensible. As improbable as the straw were some of the situations. Any black person, slave or free, who wore a pistol in 1858 wouldn’t have worn it long. Nor would he sit at a dinner table with white people. And since slaves were considered property worth from $500 to $1500, what owner would damage his own property? And there was a lot of damage here. But wait a minute. Director Quentin Tarantino signals that the movie is unorthodox on the posters used for promotion. How can anybody take seriously a 19th Century cowboy wearing sunglasses? Obviously Django is not intended as a traditional Western. In a review of Django, Stephanie Zacharek of NPR claims that if the movie “takes significant liberties with history … , it also faces certain historical truths head-on.” She doesn’t elaborate on these truths and I’m still wondering what they could be. She also says it isn’t a screed because “there’s too much joy in it.” Huh? Did she say “joy?” Amusement … maybe. Those of us expecting a cowboy adventure of the more typical sort were twisting in our seats by the second half, hardly aware of the playfulness. Early on, I scoffed at the poor approximation of what was supposed to be cotton plants growing in a field. However, Tarantino had everything under control. He hadn’t been so stupid as to accidentally make cotton look like soy beans with blooming boles. Anyway, director Quentin Tarantino is not easy to interpret. The historical inaccuracies are a way of messing with the concept of suspending disbelief. Even as we immerse ourselves in the story, we are kept out of Django’s world. The movie is a tongue-in-cheek offering that dares you to like it. It’s deliberately provocative. It’s listed as an “Action” movie but begs for another label, one that will acknowledge the element of absurdity. It’s been well received by critics and has an Oscar nomination for Best Picture. If it weren’t for the violence, I’d watch the movie again with the hope of more insight into Tarantino’s unconventional talent. For all Zacharek says about Tarantino, her comment about his use of the n-word prompted the most responses, some of them acrimonious (http://www.npr.org/2012/12/24/166898958/tarantinos-genius-unchained). There are critics who reduce Django to that one issue and would throw Tarantino under the bus for using the word. Several weeks ago on my WritePersona blog, I addressed this dilemma, one that haunts those of us who place our stories in the South in the 19th Century. (http://writepersona.blogspot.com -- scroll down to “Tough Words”)

Free Down Loads On Kindle

By Mike Long Until recently I’ve steadfastly resisted giving any of my books away. Sure, I sent copies to folks for reviews (with mostly good results) and even donated a case to a US Army aviation unit in Afghanistan – but that’s not the same as listing a book as ‘Free’ on Kindle for several days. Why on earth would a sane person do that? I’m not sure why sane folks do anything, but what pushed me to try a ‘free download’ promo was the fact that I just wasn’t selling many copies as E-books. I had my first novel (No Good Like It Is) and the sequel (Dog Soldier Moon) available on Kindle, Smashwords, Sony, Nook, etc., but was only moving maybe twenty or twenty-five on each per month. I’d already gone through the Kindle pricing drill, starting at $9.99, then $5.99, then 99 cents and finally establishing my ‘sweet spot’ as $2.99 per. At that price or higher, the author gets 70% of each sale; below that, it’s only 35%. And when Kindle offered their Kindle Owners Lending Library (KOLL), I was slow to join up (why loan books for free, rather than sell them?) – until I learned that the KOLL program actually pays a little to the participating authors. You do have to give Kindle an ‘exclusive’ on your books, but I’d never received a penny from Sony, Smashwords, Nook, etc. anyhow. Another no-brainer, once I studied it. And all that led me to the free download promo. A friend explained that the folks who hold out for freebies on Kindle were probably never going to pay for one of my books – unless maybe they got the first one free and just had to have the sequel, especially if it didn’t cost much. I ran my experiment Nov. 26-30 2012, after a good deal of mostly free advertising. I used Facebook (all my groups therein) and LinkedIn, and found more than a dozen sites that would blog or advertise my effort for little or nothing. There were over 6500 free downloads during that five day promotion; most (6200) were in the first three days, so a two or three-day promo is probably enough. But what happened afterward is what has really surprised me. In the nine days since I stopped the promotion, I’ve had over 220 paid downloads (purchases, KOLL Loans) of my first novel; the figures on the sequel aren’t in yet. Remember, I was only doing about 22 of each per month before. I don’t expect this pace to continue, but it’s sweet now. And there are still 6500+ potential buyers for the sequel. Write On!

YOU WANT ME TO CRITIQUE YOU?

When I was fortunate enough to find the South Carolina Writer’s Workshop, be accepted as a member, and joined the Surfside chapter, I was of course thrilled. I remember discussing how the meetings work. You know, the usual stuff like dates to meet, how to submit my work, how to accept critiques of my work. And then the first meeting came. I remained thrilled and naturally went through all the normal emotions -- excitement, anticipation, nervousness -- all the feelings anyone might experience when they’re about to have their work looked at and yes, scrutinized.

I knew I needed to be open-minded about the critique. I knew not to take the feedback personally and to leave my ego at the door after all, I was in this to learn and to improve.

Then they told me I would also critique others in my group. Huh? Really? Didn’t they know I like to be liked? What would I say to others? I don’t have a PhD in English Lit. I screw up tenses and make the age old mistake with its versus it’s all the time.

Okay. I can do this and so can you. Remember, the person whose work you are reading wants feedback. They want to improve. They wanted to present their work and be scrutinized because it’s a tough, competitive world out there. They are like me. Tired of the family/friend who says, “This is good.” They can’t say why it’s good or bring themselves to point out weaknesses instead, they say, “No. It’s really good. I liked it.” You try to help them along with questions like, “Was the conflict believable? Did the story move along? What about how the protagonist fought the giant ants and then came face-to-face with Bambi’s mother? Did it make sense?” And they respond, “I liked it. It was all good.” Bull. Nothing is all good. Hence the need to find a writer’s group and seek feedback.

So you’re like me and want to be liked. Okay. Just critique the way you would like to be critiqued - honesty with encouragement and give examples of what you mean. Help to focus the writer on the main issues. There are two objectives to a critique. 1) To identify weaknesses; and, 2) Offer constructive advice. That doesn’t mean you have to destroy the author. Be objective and honor the writer’s voice but help them learn so it isn‘t a waste of their time or your own.

I checked out some web sites to assist me in the art of critiquing. I also tried to come up with a checklist to help me. The checklist isn’t all-inclusive but it’s a start that keeps me on track.

Before I give the list, I want to say that you should always let the author know if the type of story you’re asked to read isn’t really your thing. Let’s say it’s a fantasy about animalistic-like aliens who come to earth and take over dog mills so they can conquer the world. Well, fantasy might not be of interest to you so tell the author. But, that doesn’t mean you can’t offer feedback. You recognize a good story when you see one so provide comment on the areas that matter in any good story telling.

1. Opening - was it captivating? Did you find it interesting? Did it grab your attention?

2. Conflict - is there action? Struggle? Emotional conflict? Something that keeps your interest and makes you want to turn the page?

3. Setting - does the author paint a picture of where the story takes place? Is it consistent to the era? Is there too much detail that drags the story down? Two pages on how the hotel room looked right down to a complete description of bedbugs will probably not help the story plot or keep the reader’s interest.

4. Point of View - is that consistent? Through whose eyes are we seeing the story? Whose emotions are in play? Is there a lot of head hopping?

5. Show Versus Tell - how much is the author telling us and how much does the reader simply know because of how the story is shown? Is the POV consistent with the character? Does it represent how he/she would think, feel, react?

There are other elements as well to a critique. Pacing is important. Does the story move along or slow to a snail in parts? Does it flow well in a logical order? If the story involves flashbacks, is it confusing? Does the reader get lost in to much background information? Does the plot make sense or does it get lost along the way? Is too much time spent on details that get too technical while the main action is left flapping in the wind? Are the characters believable even if they are aliens who bark and quote Hemingway? Is the dialogue consistent to their personality? Can you sense who is speaking without being told? And finally, the mechanics of grammar, spelling, choice of words all play a part. Writer’s know what they want to say, what they intended to say, and when they read back their own words, that’s what they see…even if it isn’t there. I no of what I spoke.

As much as possible, give examples on how to fix the weakness. Offer suggestions without taking over the style and let the author come to their own conclusions on how to improve.

Above all else - praise. That is so important. Add positive comments on where the author did something really good. It might be a funny line or a description, or the story itself that has good potential, but there is always something good that can be found. "We all need to be told where we are very good as well as where we are very, very bad. We cannot grow, otherwise." - Pete Murphy.

For more resources check out: http://www.crayne.com. Also see: shortstorygroup.com; and suite101.com.

Hope to see you at the SCWW Conference October 19-21.

Linda Cookingham (aka. L. Thomas-Cook)
Writer, Photographer, Member of the BOD SCWW, Mother, Wife, Beach Walker, Dog Lover, and all around dreamer.