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Writing tip Wednesday: “Dash-ing, aren’t we?”

What the heck is an em dash, and why use it?

PenPal answers:

Em dashes may be used for the following grammatical constructions:

1. Amplifying or explaining
[Example: She outlined her strategy—a strategy that would, she hoped, keep the peace.]

2. Separating a subject from a pronoun that introduces the main clause
[Example: Broken promises and lies—such were the obstacles he encountered in their marriage.]

3. Indicating sudden breaks or pauses:
[Example: “Will you—can you—please help me just this once?” asked Jared.]

4. Used in place of or with a comma (often to avoid comma confusion):
[Example 1: Although I can’t call you on Sunday—I’ll explain why later—expect an e-mail, probably early in the morning.] [Example 2, where both em dash and comma are needed: “I promise you I will never—,” Sylvia began, but Raymond cut her short.]

5. With other punctuation (a question mark or exclamation point—but never a comma, semicolon, or colon, and rarely a period—may precede an em dash. [Example: Only if—heaven forbid!—you do your homework first.]

6. Index entries
Example:
—Abelson, John
—Abernathy, Susan
—Bennington, Frank
(etc.)

Note: The em dash is a handy and legitimate punctuation tool often saving a sentence from comma confusion. For more information on correct usage, see The Chicago Manual of Style and William Zinsser’s On Writing Well.

[Next time around, watch for my explanation of ellipsis usage!]

________

Cathy Kodra a/k/a PenPal

Cathy Kodra a/k/a PenPal

About PenPal…
Cathy Kodra works as an independent editor in Knoxville, TN. Her poetry and short stories have appeared in numerous journals and anthologies including Roanoke Review, New Millennium Writings, Common Ground Review, Now & Then, Cavalier Literary Couture, Slow Trains, Still Crazy, The Medulla Review, Prime Mincer, Yemassee, and others. She is a contributing editor for New Millennium Writings and past guest poetry editor for The Medulla Review. She was first runner up in Prime Mincer’s 2011 Poetry Contest, judged by Rodney Jones, and took first place in the 2012 Old Gray Cemetery Poetry Contest. Cathy’s first poetry chapbook, Thin Ice, was published in 2011 by Medulla Publishing.

Cathy is a member of the Knoxville Writers’ Guild and of two local writing groups. An avid reader and writer, she is currently working on two poetry collections and a collection of short stories. Her hobbies include gardening and vegan cooking, and she lives happily with her husband Ron, two dogs, and a cat. She can be reached at www.cathykodra.com.

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Writing Tip Wednesday: “Plotting, part 1”

MAKE PLOTTING EASIER WITH THE PLOTCLOCK – PART 1

By JOYCE SWENEY

WHAT IT IS

Clock and time

Plotting takes time.

First and foremost, the patented Plotclock is all made up and not real. It’s just a template, a suggested map that tends to work for most
novels that are not tragedies. It’s based on my lifetime of research as a bad plotter into the secrets of good plotters such as scriptwriters,
intensified by my time partnered with Jamie Morris, another wonderful writing coach. Jamie and I took long walks together, argued about various books over the telephone and eventually co-created the Plotclock of today…which I have to say works darned well.

But you can certainly plot a novel *without* this tool, have high points where the clock suggests low points, follow another map, etc., and you’ll
be fine. It’s just a great map for writers like me who get very lost when trying to plot a novel.

WHY IT WORKS:
I believe there’s a basic ‘story’ hardwired into all our brains. We can’t articulate it, but we know it when we see it and we respond emotionally to it. It is the story of the character we love, overcoming all odds to do the thing they must do and somehow gaining something in the end. The highs and lows
of this are surprisingly similar and predictable, hence the effectiveness of The Clock.

HOW TO USE IT:
The story should begin in the main character’s ordinary world. But the early scene/scenes in this world should suggest to the reader something is lacking. I don’t like ‘What does the main character want?’ Who cares what they want?

A better question is, ‘What needs to happen to a person like this?’ So a shy person should be propelled, lured or trapped into a story where they will have to speak up. The ordinary world should make the reader say…I like this person but I wish they would ______. And then comes …..

The Inciting Event – the thing that makes that wish come true. This new thing crosses the main character’s path and invites them into the Special World of the story. In some novels it happens pretty quickly; in others, much closer to the Binding Point. In memoir, for reasons I haven’t figured out, the inciting event tends to come first, with the Ordinary World shown in flashback. But in fiction, it seems to be better the other way.

The Binding Point – comes about a quarter into the story and begins Act 2. Since the Inciting Event, the main character has probably been resisting or avoiding the Special World (because who wants to get involved in something that might change you?), but at the binding point they agree, are lured, tricked or shanghaied into the Special World. Dorothy in Oz is an easy binding point to understand. She can’t go back the way she came, so she now has to follow the Yellow Brick Road all the way through a story to get home.

Next time: From Low Point to Denouement

—-

Joyce Sweeney is the author of 14 novels for young adults and one book of poetry. A writing teacher and mentor to aspiring authors, she runs writer’s workshops, critiques manuscripts, and conducts classes and seminars throughout the state of Florida. This article is just one of the ten lessons included in her Fiction Writing Essentials which starts in July and is taking registrations now at: www.sweeneywritingcoach.com.

[Editor’s note: This entry comes courtesy of Bruce Hale. Bruce has written and illustrated over 25 books for kids. His Underwhere series includes Prince of Underwhere and Pirates of Underwhere. His Chet Gecko Mysteries series includes: The Chameleon Wore Chartreuse, The Big Nap, The Malted Falcon, Hiss Me Deadly, and others. More at http://www.brucehale.com/]

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Writing tip Wednesday: “Giving books”

Giving the gift of writing takes on many forms.

Giving the gift of writing takes on many forms.

Wait, you may say. How is giving books a writing tip? you may ask.

Answer: You can’t take the reading side of the relationship between writer and reader for granted. You have to help “grow the market,” as it is called in marketing-speak today. With all the options available to occupy people’s dwindling free time, you can’t assume books are the first thing somebody thinks of. In short, if you want people to read your work, you have to help make sure they are reading.

Below is the opening of an article by Alanna Okun. The title of the article is “Books to Give as Gifts for Every Occasion.” You may not agree with all the selections made in the article, and that’s okay. I didn’t. But if you aren’t giving books as gifts, how can you expect others to give yours as a gift?

GRADUATION

The Elements of Style, by Strunk & White

Bonus points if it’s the version of this classic that’s illustrated by the luminous Maira Kalman; that’ll make it feel more like a keepsake and less like a standard-issue textbook (albeit a wonderful one) on the first day of sophomore English Lit.

This Is Water, by David Foster Wallace

This legendary speech was given by the late David Foster Wallace at Kenyon College and contains the kind of simple yet staggeringly important advice that any high school/college/grad school student/actually human, in general, would benefit from thinking about for at least a few minutes.

“It is,” the speech ends, “about simple awareness — awareness of what is so real and essential, so hidden in plain sight all around us, that we have to keep reminding ourselves, over and over: ‘This is water, this is water.’”

For illustrations and more suggestions, go to http://www.buzzfeed.com/alannaokun/books-to-give-as-gifts-for-every-occasion

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Writing tip Wednesday: “Making your own ‘cloud'”

by DAVID E. BOOKER

I hope as a writer you know the importance of backing up or saving in a different location copies of your work.

Typewriters had carbon paper. (Yes, I am old enough to have used that.) Early computers had floppy disks. (Yep, I used those, too.) Now there are thumb drives and external hard drives and even back up services such as JustCloud or Dropbox. Many of the cloud services offer free storage up to a set amount, often 5 GB (gigabytes) or something like that. While 5 GB doesn’t sound like much, you have to understand that stories, novels, poems, essays, and articles don’t take up much space. I used to keep many short stories on one 1.44 MB (megabyte) diskette.

But say you don’t have the time or inclination to store backups in the cloud and you can’t afford thumb drives or even an external hard drive. You still have a relatively inexpensive option for saving backup copies of your work simply by sending it to yourself.

You can make your own storage "cloud."

You can make your own storage “cloud.”

After you have completed your writing for the day, send an e-mail to yourself and attach the Word, Text, Open Office, etc. document you have been working on. You can create a folder in your e-mail account for each writing project or one folder for all the projects. You could probably even create a separate e-mail account to which you only send copies of the writings you are working on.

Setting up an e-mail account is not hard and it’s usually free, and as I said, documents heavy only with words don’t take up much space and should be easy to send as an attached file. For example, a novel I am working on entitled Dead Man Love is only 161KB for roughly 25,000 words, and it takes 1024 KB to equal 1 MB.

Plus, the one advantage of sending yourself a copy is that you have a snapshot of where you were on that particular draft on that particular day, so if you date the e-mails you send to yourself, you could find an earlier copy with something that you might have removed that you now want to put back.

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Writing tip Wednesday: “‘Then’ is not a conjunction”

PenPal says: The word “then” is NOT a conjunction.

Jonathan Franzen, author of Freedom, The Corrections, Strong Motion, and The Twenty-Seventh City, says the following:

“Never use the word ‘then’ as a conjunction —- we have ‘and’ for this purpose. Substituting ‘then’ is the lazy or tone-deaf writer’s non-solution to the problem of too many ‘ands’ on the page.”

EXAMPLE I:
Incorrect: Sally filed her long, dangerous nails, then went to see the movie Sling Blade.

Correct: Sally filed her long, dangerous nails and then went to see the movie Sling Blade.

EXAMPLE II:
Incorrect: Buford put on his black tie with yellow kitties, then got scared of what Vera would think and replaced it with a yellow tie with green frogs.

Correct: Buford put on his black tie with yellow kitties, but when he considered what Vera might think, he replaced it with a yellow tie with green frogs.

In Example I, the addition of the word “and” and removal of the comma corrects the sentence.

In Example II, revised and more creative wording corrects the sentence.

EXERCISE: Read through a current story or article you are working on and circle the word “then” each time it appears. Now read back through to make sure each “then” is used correctly. If you find it used incorrectly as a conjunction, repair the sentence structure with either of the methods above. Strive to correct 90% of these errors with more creative wording rather than the simple addition of “and.”

________

Cathy Kodra a/k/a PenPal

Cathy Kodra a/k/a PenPal

About PenPal…
Cathy Kodra works as an independent editor in Knoxville, TN. Her poetry and short stories have appeared in numerous journals and anthologies including Roanoke Review, New Millennium Writings, Common Ground Review, Now & Then, Cavalier Literary Couture, Slow Trains, Still Crazy, The Medulla Review, Prime Mincer, Yemassee, and others. She is a contributing editor for New Millennium Writings and past guest poetry editor for The Medulla Review. She was first runner up in Prime Mincer’s 2011 Poetry Contest, judged by Rodney Jones, and took first place in the 2012 Old Gray Cemetery Poetry Contest. Cathy’s first poetry chapbook, Thin Ice, was published in 2011 by Medulla Publishing.

Cathy is a member of the Knoxville Writers’ Guild and of two local writing groups. An avid reader and writer, she is currently working on two poetry collections and a collection of short stories. Her hobbies include gardening and vegan cooking, and she lives happily with her husband Ron, two dogs, and a cat. She can be reached at www.cathykodra.com.

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Writing tip Wednesday: “Pre-writing”

Pre-writing might help you write faster and clearer.

Pre-writing might help you write faster and clearer.

Do you pre-write?

Pre-writing? Is that like rinsing your dishes before putting them in the dishwasher to make sure they get clean? you ask.

Sort of. The goal is at least equivalent. You pre-write with the idea in mind that it will help guide you to a better conclusion to that day’s writing.

It doesn’t take long. The amount of time pre-writing could depend on the number words or amount of time you are going to spend writing, but should probably be no more than ten minutes.

When you pre-write, you decide what scene it is you are working on and what should happen or that you want to happen in that scene.

For example, say Nick is in a hurry to get to the local BBQ restaurant to meet Kelly for their first date. You decide: Nick is nervous. He hasn’t had a date in almost a year and he always wanted to date Kelly. He is so nervous he mistakes his cologne for his shampoo and accidentally dumps most of his cologne on his head and now has to scramble to clean himself up and NOT reek of his favorite cologne, the one guaranteed to drive women mad. Kelly will certainly be mad if he arrives late.

Now, with that brief sketch of the scene, you write it out in more detail, but you know what he has done and what he is trying to do and what has happened to prevent him from accomplishing his goal of meeting Kelly on time, or even arriving a little ahead of time.

Give it a try and see if it works for you. See if it helps you write more in the same amount of time or write clearer. Some authors, such as Rachel Aaron in her e-book 2,000 to 10,000, How to write faster, write better, and write more of what you love.

I wonder how long it took her to write that title.

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Writing tip Wednesday: “Frankly, my plot doesn’t give a….”

WHY DOESN’T MY PLOT WORK?

by BRUCE HALE and MICHAEL STEARNS

http://www.brucehalewritingtips.com/

Getting perspective on your own writing is tougher than two-year-old Halloween caramels. You squint at the story, mull it over, and suspect something isn’t working, but it’s hard to say what, exactly.

At a recent conference, my friend and former editor, Michael Stearns, offered up one of the best cures I’ve seen for this problem. His series of diagnostic questions can help you turn your plot from wimpy to wicked-strong.

Reprinted with his permission, here’s an excerpt from Michael’s list of questions, together with my explanations.

1. Do you have something pulling the character forward?
Every character needs a powerful goal or desire. Make sure it’s compelling enough to believably motivate them.


2. Do you have something pushing the character from behind?

Add a meddlesome mom, a pursuing villain, an obnoxious rival — someone who applies pressure.

3. Have you remembered clocks?
This refers to a deadline that must be met, or else. Think of Marty McFly in Back to the Future, who must drive his time machine
past the clock tower at the right moment, or remain stuck in the past.

4. Have you made the character lie — to others and to us?
Everybody lies. And whether it’s a big lie or a little one, the truth wants to come out. This energy helps invigorate your plot.

5. Do you know your character’s motives inside and out?
Often, plots bog down when you lose sight of why your hero wants to do something. Unmotivated action rings false.

6. Does all the above apply to even minor characters?
The villain, the best friend, even the bit players have a reason for doing what they do. And when you get clear on that reason, their actions will be make more sense.

7. Have you buried the ends of chapters?
Don’t immediately resolve the issue or question that gets raised near the chapter’s end. Resolve it in the next chapter — or better yet, the chapter after that. Your readers will curse you while they keep on reading.

8. Have you been as mean as possible to your characters?
We’re talking about Job mean, Sophie’s Choice mean, evil-punk-the-reader-will-hate-you-forever mean. Don’t just give your hero grief, give her the worst day imaginable.

9. Do you always go for the extreme?
What keeps readers reading is high-stakes action. In the words of Spinal Tap, dial it up to 11. The higher the stakes, the better the book.

Michael Stearns is an agent and partner of Upstart Crow Literary Agency. You can visit his website at: http://clicks.aweber.com/y/ct/?l=O8uEK&m=IsxyiV6D9FLsQz&b=7cPIzxf9UuUk28zsEYoWSw

___________

Bruce Hale

Bruce Hale

About Bruce…
Bruce Hale began his career as a writer while living in Tokyo, and continued it when he moved to Hawaii in 1983. Before entering the world of children’s books, he worked as a magazine editor, surveyor, corporate lackey, gardener, actor, and deejay.

Bruce has written and illustrated over 25 books for kids. His Underwhere series includes Prince of Underwhere and Pirates of Underwhere. His Chet Gecko Mysteries series includes: The Chameleon Wore Chartreuse, The Big Nap, The Malted Falcon, Hiss Me Deadly, and others. More at http://www.brucehale.com/

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Writing tip Wednesday: “A, An, and H”

Which is correct usage?

A. James joined an historical society in Atlanta during his years living in Georgia.
B. James joined a historical society in Atlanta during his years living in Georgia.

PenPal says:
If you chose the second sentence (B), you are correct. The only time you use the article “an” before a word starting with an “h” is when that words starts out with a silent “h” and thus a vowel sound. If the “h” is audible, then the article before it should be “a.”

Examples:

I have an hour to waste while I wait for my ride. (“hour” starts with a vowel sound)

She appears to be a happy person. (“happy” starts with an audible “h”)

Martin has a huge chip on his shoulder these days. (“huge” starts with an audible “h”)

Kim received an honorary degree from NYU. (“honorary” starts with a vowel sound)

Simple as A, B…H!
________

Cathy Kodra a/k/a PenPal

Cathy Kodra a/k/a PenPal

About PenPal…
Cathy Kodra works as an independent editor in Knoxville, TN. Her poetry and short stories have appeared in numerous journals and anthologies including Roanoke Review, New Millennium Writings, Common Ground Review, Now & Then, Cavalier Literary Couture, Slow Trains, Still Crazy, The Medulla Review, Prime Mincer, Yemassee, and others. She is a contributing editor for New Millennium Writings and past guest poetry editor for The Medulla Review. She was first runner up in Prime Mincer’s 2011 Poetry Contest, judged by Rodney Jones, and took first place in the 2012 Old Gray Cemetery Poetry Contest. Cathy’s first poetry chapbook, Thin Ice, was published in 2011 by Medulla Publishing.

Cathy is a member of the Knoxville Writers’ Guild and of two local writing groups. An avid reader and writer, she is currently working on two poetry collections and a collection of short stories. Her hobbies include gardening and vegan cooking, and she lives happily with her husband Ron, two dogs, and a cat. She can be reached at www.cathykodra.com.

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Writing tip Wednesday: “New Millennium Writings”

New Millennium Writings

New Millennium Writings

New Millennium Writings is now accepting submissions for its Thirty-sixth Consecutive Awards for Fiction, Poetry, and Nonfiction. Writing competition winners will be published in NMW and on this website. Current contest deadline is midnight June. 17.

$4,000 offered in Literary Grants and Awards, Plus Publication
$1,000 for best Poem
$1,000 for best Fiction
$1,000 for best Nonfiction (Nonfiction includes humor, memoir, creative nonfiction, travel, opinion, essay, interview, features, investigative reporting, etc.)
$1,000 for best Short-short Fiction

Visit www.newmillenniumwritings.com for user-friendly guidelines and much more, or jump straight to www.writingawards.com and employ our simple submissions process.

To apply online, follow these guidelines

1. No restrictions as to style, content or number of submissions. Enter as often as you like.

2. Winners announced beginning in September. All contestants will receive our high-quality 2014 anthology.

3. Send between now and June 17, 2013, Midnight, all U.S. time zones.

4. Simultaneous & multiple submissions welcome. Previously published material welcome if under 5,000-circulation or if previously published online only.

5. Each fiction or nonfiction piece is counted as a separate entry, and should total no more than 6,000 words except Short-Short Fiction (no more than 1,000 words).

6. Each poetry entry may include up to three poems, not to exceed five pages total per entry. All poetry Honorable Mentions will be published.

7. Save cover sheet or letter with the submission you’ll be uploading and send as one file. Should you forget to include such covers, however, it’s OK, as contact information is automatically forwarded to us when you pay online.

8. Payment is $20 per submission in order to cover our many expenses and reserve your book. Payment will be by credit card or echeck through PayPal

9. Each entry must be in a separate file (up to 3 poems in one file (See #6)). Many file formats are accepted.

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Writing tip Wednesday: “Killer Nashville”

The Writers Conference for Mysteries, Thrillers, Espionage, Suspense, Romance, Young Adult (YA), Fantasy, Adventure, Historical, Science Fiction, Horror, True Crime.

Guests of Honor: Anne Perry and D.P. Lyle

Starting at $119 for full conference

Conference: August 22. 25, 2013
Conference Hours:
Thursday, August 22 — 6 PM – 10 PM
Friday, August 23 — 8 AM – 7 PM
Saturday, August 24 — 7:05 AM – 11:30 PM
Sunday, august 25 — 8 AM – 3 PM

Over 60 session and 7 tracks

9 breakout session for intense small group session

Agent / Editor / Publisher Roundtables — free with registration

Manuscript critiques

Special Sessions: Synopsis Writing: Query Writing

Prizes and free giveaways

Many more things. To find out more,
call: 615-599-4032
contact@killernashville.com
www.KillerNashville.com

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