Believe It or Not, Editors Aren't Born Writers

by

Charlotte Firbank-King

A month ago—in South Africa, just to ground the reader—I had to pack up my house and studio in Port Elizabeth and relocate to Durban. In the process, I came across stuff I’d written when I was about eighteen. All the writing from my early teenage days must have been binned at some point, since, at eighteen, I was clearly past rubbish writing. I do recall being convinced that my romance novel, grandly titled, Inner Flame, was going to be a best seller—no question about that. One look at this title and you realize it doesn’t get much more purple than that. God help the poor soul who dares venture between those pages, but I can laugh at myself and did indeed go there. Let’s say it wasn’t really a venture, but rather a stumble over purple prose, a million adjectives and adverbs, and fat grammatical and spelling errors (no spellcheck back then). The head-hopping alone made my head spin.

Then I got married and nothing much happened because I was too busy breeding. I found more manuscripts, written when I was about thirty. I was clearly done with procreation, and I had a divorce under my belt. This second stab at writing was an improvement, but still no cigar for good writing.

The point of this trip into the past? Editors aren’t born writing with skill.

To be honest, if Inner Flame came across my desk now, I would probably send the writer every tutorial IFW has, including a thousand writing links on Google, and then tell them to go hide in a cave and learn to string at least one coherent sentence together before wasting their money on an editor.

Here are a few pearls from Inner Flame. I left the spelling errors in, even though MS Word kindly changed them for me. I must have been fixated on the size of the room, since I sure didn’t need full stops. This was all handwritten before I finally scored a wondrous typewriter.

Felicity walk down the wide stairs to the room below, it was a vast ball room hung extravigantly with chandeliers, the floor was glossy marble, Victorian furniture was arranged in it a large grand piano of oak stood at the far end of the room like a majestic queen of furniture, heavy curtains of deep red velvet adorned massive windows and french doors.

The chandeliers must have smiled from above to see this pink whisp of a girl almost float accross the huge room, she might have been a thistledown in a field for all she compared in size to the room.

Here is another gem:

Felicity was a long time in falling asleep, she lay between the soft linen sheets staring out of huge windows at the moon, clouds drifted like silver ships across her face, as round as a disc.

I could go on, but I would hate to hear a reader had died from laughing. The head-hopping examples of my eighteen year-old brilliance will take too much space, so I won’t bore you with those pearls of delight. You will just have to trust me that they’re there with oak-leaf clusters.

I now challenge our other editors to expose their badly-written-gems’ bellies to the public.

Surely, if we once wrote this poorly, there’s hope for you. If you need help bringing your writing up to the next level, email us at IFWeditors@gmail.com. Besides simply editing your work, we explain why we’ve made the suggestions we make so you learn as you go. Need even more help? We offer coaching, which is a personalized tutoring service that teaches you the things we’ve learned over the years. One client told us she learned more from one of our edits than an entire MFA program in creative writing. We’re here to help. All you have to do is ask. 

Sharing Homemade Bread

by Rhonda white  

Reprinted with permission from:

 http://rhondabrowningwhite.com/2015/07/29/sharing-homemade-bread/      

SHARING HOMEMADE BREAD

Today is bread day.

A few weeks ago, I succumbed to an urge that had been rising within me for a few months, and that was to make bread. Not just any bread, not bread from a boxed mix, and nothing that could be whipped up in a few minutes’ time, dumped into a bread machine, and popped out in a squarish loaf resembling an Amazon.com cardboard package. I wanted to make homemade sourdough bread; the kind that takes at least a week to prepare, the kind that must be fed and nurtured and allowed to rest, the kind created from—and by—living, breathing beings.

I should tell you that I killed my first starter.

There are certain, unbreakable, scientific laws that come with making homemade sourdough bread, and as ominous as that sounds, they’re actually quite simple to follow. That is, as long as you remember one of the most important rules, that being that you must stir your starter with a wooden spoon. Any contact with metal spoons (nickel, silver, aluminum, etc.) can introduce molecules that will kill the living microorganisms of yeasty sourdough starter. When feeding my sourdough starter the first time, you guessed it; I grabbed a metal spoon. Two days later, instead of the sweetly sour fragrance given off by healthy sourdough starter, mine reeked of rotting garbage, and the bubbles that occasionally rose to the surface had ceased. My starter had stopped breathing and died.

I’ve taken more care since then, and today as I stirred sugar, salt, oil, and flour into my starter and began kneading the dough, I thought of stories and of writing. Why is it that one creative act feeds another? I may never know the answer, but I’m always grateful for the inspirational nourishment. As I worked the dough, I recalled scripture from the King James Version of the Holy Bible: “And Jesus said unto them, I am the bread of life: he that cometh to me shall never hunger; and he that believeth on me shall never thirst” (John 6:35). 

I then thought of even older writings, one from the ancient Anglo-Saxon story of Beowulf, in which the bakers charge a share of grain to make and bake bread in communal ovens for the entire community. I was further inspired to look up a couple of quotes that I remembered from other poems and stories, wondering why these snippets have stuck with me for so long, choosing today to bubble to the surface:

“A Book of Verses underneath the Bough
A Jug of Wine, a Loaf of Bread–and Thou
Beside me singing in the Wilderness—
Oh, Wilderness were Paradise enow!” –The Rubaiyat of Omar Khayyam, 5^th Ed.

And from more recent works:

“They swallowed the dark bread. It was like daylight under the fluorescent trays of light. They talked on into the early morning, the high, pale cast of light in the windows, and they did not think of leaving.” –Raymond Carver, from “A Small, Good Thing”

“The heat of the bread burned into my skin, but I clutched it tighter, clinging to life.” –Suzanne Collins, from The Hunger Games

You probably recall many other examples of bread used symbolically in literature. Why is it that writers often mention bread in their stories—aside from the obvious, that their characters must eat? Bread does more than simply feed the hungry protagonist; it serves as metaphor for deeper issues and hidden secrets in a story. Bread is sometimes used to represent life and health, or the lack thereof (as in stale bread, or moldy bread); it is used to represent plenty, as in the Biblical story of the loaves and fishes; it’s sometimes symbolic of comfort, family, and unity, as in To Kill a Mockingbird; and, in Hansel and Gretel, breadcrumbs are used to mark the way back home. It’s this last metaphor that I chose to use in my current work in progress, tentatively titled Romie & Jasper’s Big Empty:

“I stand on the back deck of the house, overlooking the acres and acres of grapevines, and I feel small, as if I’ve shrunk. I wonder if it’s true, if I have become smaller each time I’ve moved, if I left behind a broken-off piece of myself, like a trail of breadcrumbs, so I can someday find my way back to whatever place might be home.”

As I kneaded my bread this morning, it occurred to me how much making homemade sourdough bread is akin to writing. We put in the basic ingredients—our nouns and verbs and punctuation—and we let them rest. Days later, we return to the mixture, feed it with fresh words, stir them around, and let them breathe. After more respite, we keep a carefully measured portion, toss out what isn’t needed, and we add something sweet, something salty, and we work out the lumps and bubbles, ensuring that when we are done, it will rise and nourish all who taste it.

My sourdough recipe makes three loaves: one for today, one for later in the week, and one to share with friends. Sharing homemade bread—and memories and stories—with friends is my favorite part of the artistic process: it is the giving of one’s creativity, of one’s effort, of oneself, however noble or humble that gift may be.

“And he took bread, and gave thanks, and brake it, and gave unto them, saying, This is my body which is given for you: this do in remembrance of me.” Luke 22:19 (KJV)

© 2015. Rhonda Browning White. All Rights Reserved.

This has been reposted with permission from Rhonda’s blog, http://rhondabrowningwhite.com/2015/07/29/sharing-homemade-bread/

Point of View Problems (Blog 1 of Several)

by

Charlotte Firbank-King

If you ever wonder if you're using point of view (POV) correctly, put yourself in the character's head and ask yourself if you can see what you implied the character can see. For example, you can't see colour creep into your cheeks, but you can feel the heat of a blush. You can't see yourself paling, but you can feel blood drain from your face. In short, always go into your character's head. One can use mirrors, windows, or any reflective surface to see the character’s image and explain it.

Example A:

Nathan’s wife coughed and he hastily wiped a spot of blood from her lips, trying to hide the evidence. But she saw it and, for the first time, fear flickered in her eyes. Unable to bear seeing her pain and now fear, he dragged himself from her deathbed and leaned on her dresser, then lifted his head and stared at his image in an ornate mirror. Dark shadows underscored his sunken eyes, and deep lines drew his wide mouth down. He tried to smooth his tousled black hair. He was strong, but was he strong enough to bear losing her? In reality, what use was his immense size and strength in the face of death? 


There you have it all—how he feels, where he is, and how he looks. However, don’t overuse this ploy. Have another character tell you what the reader wants to know, like in this second example.


Example B:

She coughed and tried to wipe her mouth. Nathan leaned over and gently wiped her lips. She caught sight of a crimson stain of blood on the handkerchief that he tried so hard to hide. For the first time, fear rippled through her. So this was the end. She touched his haggard cheeks, hating that dark shadows underscored his sunken eyes, and deep lines drew his wide mouth down—a mouth always so ready to smile. She tried to smooth his tousled black hair. “Be brave, my darling husband.” But in reality, what use was his immense size and strength in the face of death?


With the second way, one has fewer words and you can add a bit more about his character, like the fact that he smiles readily. He would not necessarily see himself like that.

Then there is the other POV problem—head hopping. I know the feeling of wanting to see and feel everything from each characters head, but it makes a reader’s head spin until they are so confused they have no idea who is feeling and saying what.

Stay in one character’s head for at least a page, preferably a chapter or at least until there is a radical day or scene change.

If you really need to go into another character’s head mid-scene, then you need “permission.” Have the character touch some part of their body, preferably the head, like brushing back their hair or rubbing the back of their neck. Then the reader is drawn to that action and their attention is on that character. But this is not ideal. One can always convey how the other character feels with body language.

If you are truly confounded, you can always contact a helpful editor at IFW at IFWeditors@gmail.com for assistance.

Style Guides

"Style Guides"

(Leave a Comment for a Chance to Win a Quick Study Version of Your Favorite Guide)

by

Sandy Tritt 

Oftentimes when I’m asked a question about grammar, punctuation, or citations, I’ll preface my response with the words, “depending on which style guide you are using . . . .” Of course, this response brings up an entirely new discussion. What is a style guide? Where do you find them? And how do you know which one you should be using?

“A style guide,” according to Wikipedia, “is a set of standards for the writing and design of documents, either for general use or for a specific publication, organization, or field. A style guide establishes and enforces style to improve communication.” In other words, our English language is a living language that changes constantly. Some groups embrace these changes and variations at different times. But the most important part of writing style is consistency. Therefore, many publishing houses and many fields have adopted their own standards. So, a style guide is an interpretation of the rules of grammar, punctuation, and citations to create consistency. 

 

Style guides can be found in most libraries and bookstores. According to Wikipedia, in the United States, most non-journalism writing follows The Chicago Manual of Style, while most newspapers base their style on the Associated Press Stylebook. A classic style guide for the general public is The Elements of Style by William Strunk and E.B. White.

 

The more popular style guides are: 

• For general academic papers: A Manual for Writers of Research Papers, Theses, and Dissertations, Seventh Edition: Chicago Style for Students and Researchers, by Kate L. Turabian. Often referred to as "Turabian."
• For general academic papers: MLA Handbook for Writers of Research Papers, by Joseph Gibaldi. (Often referred to as "MLA.")
• For social sciences: Publication Manual of the American Psychological Association, by the American Psychological Association(APA)
• For newspapers: The Associated Press Stylebook, by the Associated Press (AP).
• For electronic publishing: The Columbia Guide to Online Style, by Janice Walker and Todd Taylor.
• For fiction and general nonfiction: The Chicago Manual of Style, by University of Chicago Press staff.

 

For a more comprehensive list of style guides, see https://en.wikipedia.org/wiki/List_of_style_guides

 

If writing is your career, you may want to invest in the latest edition of the style guide for your genre. Since our language does change and mutate, it’s important to get the latest edition available. You may also want to subscribe to the online version, which keeps up with changes as they happen. Chicago Manual of Style offers a free trial subscription at http://www.chicagomanualofstyle.org/home.html.

 

A cheaper and faster option is to purchase a “Quick Study” version of the style guide you use most. For example, you can purchase the Chicago Manual of Style Quick Study version for $6.25 at http://www.amazon.com/Chicago-Manual-Style-Guidelines-Quick/dp/1423218604/ref=sr_1_2?ie=UTF8&qid=1435184828&sr=8-2&keywords=chicago+manual+of+style. If you’d like to be the proud owner of your own quick study guide, just tell us in a comment below which one you’d like to have and how having one would be beneficial to you. We’ll randomly choose one winner on July 1, 2015, and send you out a copy. This mini-contest is limited to USA addresses only.

 

The bottom line is this: if you plan to be a professional writer (which means you plan to make money writing), you need to take your profession seriously and invest in the tools you need.

 

And, remember, we’re always here to answer your questions and provide a free sample edit. See more info at http://www.inspirationforwriters.com/editing/sample.html.

10 Things I Learned at the WV Writers Conference

by

Jessica Nelson

I wanted to title this blog “10 Super-Cool-Awesome-Amazing Things I Learned at the WV Writers Conference,” but, alas, all that would not fit into the title bar on Blogger. But I digress.

So this past weekend was the annual West Virginia Writers Conference in Ripley, WV. This was my fifth year in attendance and my second year working it as an intern. As always it was a great time, but the thing I love most about it is that every year I learn something new. There is always an abundance of knowledgeable presenters to lead workshops and panels. Since many of you are non-West Virginia natives and may not ever make it to a WV Writers Conference, I’ve decided to share the top ten things I learned this year.


10. You have to be brutally honest with yourself. In particular, you need to be honest about your style and your work ethic. This came from Sheila Redling’s workshop. One example she gave was if you are the type of writer who only writes five words a day, you will not feasibly be able to put out two books a year. If you know you are easily distracted, take care of anything you know will be a distraction before you sit down to work. Hold yourself accountable for your work.

9. Sometimes when you’re stuck, it’s because you’re out of sync with your characters. Also from Sheila Redling, this advice resonated with me. On a fundamental level, it makes sense. How can you tell your character’s story when you and your character are not on the same page? So sometimes you need to take a step back from the story and focus on the character. When you and your character have reached a new understanding, go back to the story and try again.

8. Monsters are metaphors. Now, I know that not everyone writes fantasy, sci-fi, or horror, but this advice applies to almost any antagonist. Monsters in particular are metaphors, or embodiments, of our worst fears. A couple of classic examples instructor Frank Larnerd gave were Frankenstein’s Monster (fear of science) and Freddie Kruger (fear of being punished for our sins). And your monster metaphor should match your hero’s fear/weakness/past. That is how you “build a better monster.”

7. When making a “monster” (or villain, or antagonist), do a “monster sketch” that addresses the following: what makes him/her/it a monster? Why is he/she/it like this? What is one noble/good thing this monster does? This came from Marie Manilla’s workshop “Monster Theory…” and forces us as authors to create a fully formed, three dimensional, realistic antagonist. Seriously, try to answer these questions with your antagonist in mind. You will have no choice but to explore all the facets of your character.

6. For anyone writing in verse: the first word and last word of a line hold the most power, so choose your line breaks carefully. This can also apply to prose. The first and last phrases are the “power words” in a paragraph. I participated in a workshop by Kate Fox where we took a handful of lines, written out like prose, from famous poems and each re-wrote them into verse the way we thought they should go. Even though we were all using the same words, our choices in line breaks gave each version a different meaning and different effect on the reader. Even the length of the lines impacted the tone and message of the poem. So make sure your line breaks contribute to the intended effect of your verse. 

5. Start with a believable context. This applies mostly to fiction writers, especially those writing fiction with outrageous or paranormal or fantastical elements. This advice came from storyteller and champion liar Bil Lepp, who made us all believe he’d been smashed into the ceiling by a dentist’s chair. You want to know how he did it? He eased us into it. He started out telling us about a toothache he got, the subsequent trip to the dentist’s office, and getting bored sitting in the dentist’s chair while waiting for the dentist himself to come into the room. So he started playing with the pedals that made the chair change position. The story started so normal and familiar that when odd things started happening, we all subconsciously suspended our disbelief. We trusted what was happening in the story, because he made it fit and work within the context. This is great advice to fiction writers, because if you get too crazy, too quick, you lose your reader’s trust. And even if the point is to be fantastical and out-there, the use of real, normal, and familiar details helps to ground the reader and allow them to connect the story to their own lives.

4. Writing without “emotional language” (“I love this” or “she hates that”) allows the details to “show” your feelings without being sappy or overly sentimental. This nugget of wisdom comes from Jon Van Kirk. He discovered the truth of this statement when he did an assignment with his students at a university. He told his classes to describe a lost-to-them but still familiar location. In the first class, he told them not to use “emotional language” and the students produced vivid descriptions that evoked a range a heartfelt emotions—without ever once naming those emotions. The second class did not produce the same results. Because he forgot to tell them not to use emotional language.

3. In the first few pages of a novel, set up the character, conflict, setting, and voice. This advice came from Edie Hemingway’s “Strong Beginnings” workshop. It applies to any genre of writing and can even be adapted for short stories and other styles of writing. Basically, you want to set up everything the reader needs to know in the first couple of pages. Who is the story about? What are his/her age, race, education, and (to a lesser extent) appearance? What is the conflict of the story? You don’t have to spell it out, but you can start to hint at it or get the ball rolling. Where is the story taking place? And—this is very important—you need to establish the voice, which, ideally, is a combination of your voice as a writer and your character’s voice. Most importantly, establishing all that in the first couple of pages not only grabs the reader’s attention, but it will also hopefully grab a publisher’s attention and keep your manuscript off the slush pile.

2. Don’t get stuck on the first page. Chances are your original first page will change or the story will ultimately start somewhere else. This also came from Jon Van Kirk and his workshop “The First Fifty Pages.” Basically, you don’t have to write your draft in chronological order. You can write any scene from any point in the novel at any time you want. Then, when everything is written, you can figure out the order. For someone like me who gets stuck on the first few pages (every single time), this came as quite a relief. It was like I had been granted a stay of execution. Now if only I can get myself to walk away from the chopping block.

1. Writers are amazing people. Technically, I am re-learning this, as I do every year at the conference. And it’s something you learn from the conference as a whole. Writers are big-hearted, friendly, encouraging, and just all-around-awesome people. Not to mention talented. I’m always thankful that there are writers willing to share their talent and knowledge—not just in the form of presenters, but the attendees as well. And writers are just nice. I had nearly half a dozen people or more come up to me at some point over the weekend to tell me I was doing a good job, or thank me for my hard work, or tell me that they liked my writing. I’m not sure there is anything that makes a writer glow more than another writer complimenting her work. I also had one woman call me over in the parking lot on the very last day. She handed me a copy of her poetry book with the handwritten inscription “Thanks for all you do,” which left me a sentimental puddle all over the asphalt. And, of course, every year I make new friends and reacquaint myself with old friends. Let’s be honest, a conference is only as good as the people who are there. And if you are at a conference that’s filled to bursting with writers, it’s guaranteed to be amazing.

Writing Conferences

by

Sandy Tritt

The first time I attended a writers conference, I was scared to death. No, that doesn’t accurately describe the way I felt. Let’s say that if my knees were made of china, they would’ve shattered. I’m not usually shy, but here I was, Nobody from Small Town, Nowhere, going to a real, live WRITERS CONFERENCE. The people there would all know so much more. They would all be published. And, of course, they would all be snobs, putting me in my place in short order. 

Except it didn’t happen quite that way. Instead, I was welcomed and embraced. Yes, there were a lot of published writers there. And an agent. And a couple of publishers. But everyone was kind and friendly and willing to share of their knowledge. They treated me like I was important, too. I attended several workshops where I learned how to be a better writer. I listened to authors talk about how they found an agent and a publisher. I chatted with people who were a lot like me until late into the night, talking about writing and challenges we were facing.

That was 22 years ago. I have not missed the West Virginia Writers Annual Conference since. There were times I commuted back and forth because one of my kids was graduating, in a ballet recital, or in a body cast, but I always got there. In fact, I went from “the stranger” to giving workshops to being conference director to stepping back and just enjoying the process. It’s the place I find my closest friends and my annual inspiration.

So, if you don’t have anything to do next weekend, June 12 – 14, come and see me at the WV Writers Annual Conference. Voted “best conference for the money” by The Writer Magazine, it’s a fabulous weekend of relaxation, workshops, panels, and entertainment. Read more at http://wvwriters.org/home/annual-writing-conference/ or email me at SandyTritt@gmail.com and I’ll be happy to answer your questions. And I’ll greet you when you arrive so you’ll start your weekend with at least one friend.

If the beautiful hills of West Virginia are too far for you to visit, be sure to research writer conferences near you. Just go to your favorite search engine and key in “Writer Conference” followed by the state or country you live in. You’ll be glad you did. 

See you next week.

An Interview with Editor/Author Eric Fritzius

by

Eric Fritzus

IFW editor/webmaster Eric Fritzius has just released a collection of his short stories called A Consternation of Monsters.  It features ten of his short fantasy/horror stories each containing monsters of various sorts and stripes—a whole consternation of them, to use the collective noun.  Our editor/webmaster, coincidentally also named Eric Fritzius, sat down with Eric for an interview about the new book. 


1. Can you tell us a little more about your book, Eric?

I can indeed.  Thank you, Eric.  This is a collection of short horror and fantasy stories that I’ve written over the past twenty plus years.  I chose monsters as the unifying theme because that was kind of the common denominator between each of these stories.  There’s always something monstrous in them.  Sometimes the monsters are more traditional, as is the case of the famous Mothman of Point Pleasant, W.Va.  Got a dead one of those that turns up in “…to a Flame.”  The angel of death turns up a couple of times, too, usually wearing a plaid sport coat.  Other times, though, the monsters walk on two human feet, as is the case in "Wolves Among Stones at Dusk."  And, in one story in particular, that also involves Elvis Presley, very much alive, well into the 21st century, the monster is a little more conceptual than physical, but devastating all the same.


2. What was the driving force behind writing this collection?

There was a driving force and her name is Belinda Anderson.  She’s my writing mentor, and the author of three collections of short stories (The Well Ain’t Dry Yet, The Bingo Cheaters, and Buckle Up, Buttercup) set in fictional Hope County, W.Va.  Through her writing workshops and classes, she's been responsible for setting deadlines for and helping to shape a number of the stories that are found in this collection.  More importantly, though, she’s been after me to collect these stories for years.  And she finally had to set a deadline to get me to do it, which was for a local author event back in April.  Belinda also helped me edit all the stories and get them into final form, so I give a lot of credit to her.


3. What do you want your readers to take away from reading your book? 

Well, hopefully they’ll get a few chills from them, as many of the stories are in the horror genre.  But they should get laughs too.  Almost nothing I write is ever free of humor.  And these aren't exactly intense horror stories to begin with--they're more horror lite/modern fantasy stories, as these things go.  I’m not a big fan of the kind of gore and cruelty that the horror genre often showcases.  I’m more of a fan of stories in the style of Rod Serling's Twilight Zone, which often contained terrifying concepts, but few stories that were reliant upon gore or things leaping out at you.

I hope they enjoy their time in my little world.  I like to take a page from Belinda Anderson's books, again.  She sets many of her stories in the same fictional West Virginia county, and has characters who wander multiple stories across three books so far.  I'm also a big fan of world-building when it comes to writing fiction, so most of these stories are set within a basic shared universe.  It's a fun method for writing stories that feel like they had a life before the reader arrived and the characters and events will continue on after the final page has passed.  A few of my characters carry over into other stories, too, sometimes even after they've died.  And there's a character from one story who gets driven into a different story, locked in the trunk of a 1976 Lincoln.  Readers will have to follow the clues to figure out that mystery, though.


4. What writing projects are you working on now?

I’m working on some stories that will appear in future collections.  I have a number of short stories that have no fantasy/horror elements at all, which I would like to see them in their own collection.  But the ones I’m currently working on are genre stories, some of which are planned continuations of stories begun in A Consternation of Monsters.  I don’t want to say which ones, because that feels like a commitment to a sequel, but there are a couple of stories in this collection that leave their main characters in very interesting places.  The stories of those characters continue in my head already, so they really should in print as well.



5.  Speaking of less fantastical stories, while A Consternation of Monsters is your new collection, it's not the only book you've had fiction published in this year.  And your other fiction appearance is not horror/fantasy.

Correctamundo!  I also had a short story published in the Diner Stories: Off the Menu anthology, published in March by Mountain State Press.  It's a collection of writing--fiction, nonfiction, prose, poetry--on the subject of diners.  It was edited by Daniel McTaggart, who has an abiding love for the topic.  I contributed the opening story called "Flying Lessons Over Lunch, with Saint Joseph Cooper Tina."  


6.  I take it there are not a lot of horror/fantasy stories found in Diner Stories: Off the Menu.

Actually, there are two stories with sci-fi/horror elements, and neither of them was written by me.  Toddy Ludy and Frank Larnerd have some great stories with horror/sci-fi elements in them.  However, while my contribution isn't horror, it does feature two characters who also appear in A Consternation of Monsters.  See?  World-building.


7. Where can readers learn more about your book and your writing?

My website, MisterHerman.com is the best place to go.  I have a weekly blog there, where I write about each of the stories from the collection, telling how they came about.  I have also been adapting some of the stories into audio format.  However, unlike most audio books that simply have a narrator reading the material, I do that, but I also add music and sound effects.  It's a little closer to a radio drama. 

I'm releasing these as the Consternation of Monsters Podcast.  You can listen to these adaptations right from my website or on iTunes, and they're absolutely free.  It’s a good way to get a feel for the kind of stories that are in the book, in case readers would like a free sample. So far I have adapted "...to a Flame" and "Wolves Among Stones at Dusk." 


I also have a Goodreads author page, an Amazon.com author page , and a Facebook page for A Consternation of Monsters.  My blogs are posted to each of those.  


As a bonus, Eric Fritzius is giving away a free copy of A Consternation of Monsters to one of you. All you have to do to qualify is leave a comment on this blog. Next Monday, a winner will be randomly selected and contacted by Jessica Nelson (in the form of a reply to his/her comment in this blog) with further information about how to collect his/her prize.

Six Things You Need to Know About Your Writer

by

Rhonda Browning White

Today we're sharing this popular (and accurate) blog essay, "Six Things You Need to Know About Your Writer," written by IFW editor, Rhonda Browning White. You can read more of Rhonda's essays with reading recommendations, writing advice, travel, dining, and even an occasional recipe or two, on her blog, Read.Write.Live! at RhondaBrowningWhite.com.


So your friend—or, God help you, your spouse—is a writer. Chances are, the more you get to know your writer, the more confused you’ll feel. Writers are odd ducks. We’re fun. We’re irritating. We’re enigmas and amoebas. How are you supposed to make sense of someone who flip-flops more than cheap rubber shower thongs? It’ll help you to know a few things about us that might make us a little easier to understand. Or not. No one says we are easy.

1. We are extroverted introverts. Writers realize the importance of socialization; in fact, we’re often pushed to network, self-promote, and mingle in order to make the necessary connections to publish our work, or sell it once it is published, so that we can publish again. We can juggle Facebook, Pinterest, and Twitter, all while texting and providing riotous dinner-party banter. Sometimes we are wildly gregarious, prone to spontaneous road trips or bar-hopping. We can be the life of the party, cracking witty jokes you can’t wait to tell your friends at the water cooler, and boogying to every song the band plays. Don’t count on our amusing behavior to last, however, because . . .

2. We are introverted extroverts. You know that party we looked forward to all week? The one we chattered about incessantly, the one for which we bought a sparkly dress and fabulous shoes? We might arrive and sit quietly in a corner. Yes, last weekend we sang karaoke at midnight and break-danced as an encore, but this weekend we’re happy to play the wallflower, soaking up all that energy we expended the last time we were out. We’re having fun—don’t think we aren’t, even if we’re not smiling—because we’re watching, we’re processing, and we’re thinking. And it’s likely that something we see, hear, smell, feel, or taste will show up later in the story we’re writing.

3. We are usually right. Writers are sometimes perceived as know-it-alls. It isn’t that we believe we know everything, though we surely wish we did. We’re avid researchers, constant readers, and we’re always questioning how this works and why that doesn’t. We study the ingredients on cereal boxes. Our dictionaries actually wear out from overuse. Our Google search history could easily get us arrested. We’re smart, because we thirst for knowledge like a sponge in the Sahara Desert, and we’ll track down an expert for answers as doggedly as if he were the Aquafina man. When we offer unsolicited advice, consider it a gift (this is one we hope you’ll return!), because we give it in the spirit of helpfulness, not haughtiness.

4. But we are often wrong. And it breaks our hearts. It embarrasses us. Mortifies us. Many times, we know the answer, but our always-in-overdrive brains sometimes can’t shift gears quickly enough to turn a tight corner. So when you ask us the difference between a simile and a metaphor, and we answer incorrectly—though we’ve known the answer at a cellular level since third grade—it isn’t because we’re dumb. It’s because our minds are absorbing new information, or we are creating a new character in our minds, or writing a scene for a work in progress—or all of this is happening simultaneously in our heads while we’re attempting to answer your question. Besides, if we truly don’t know the answer, you can bet we’ll look it up.

5. We are not ignoring you. Yes, you’ve said our name three times, and when we finally respond, we ask you to repeat yourself twice. It’s sometimes difficult for us to come back to this planet when we are in a world of our own making. We are often visiting universes that we’ve created inside of our heads. We have to go there. Have you ever read a story and envisioned the scene as if it were playing out in front of you? That’s because a writer became so intensely involved in the creation of that setting that she pictured it in vivid detail—scents, sounds, surfaces, and more—so much so that she temporarily blocked out this world in order to create that one. It’s a necessary part of the job, and it’s what makes us good at what we do. It’s hard to hear you when we’re intently listening to the monologue or dialogue inside of our heads. Be patient. Repeat yourself. We’ll catch up to you.

6. Except when we’re ignoring you. Writing is a solitary profession driven by creativity that requires deep internal thought. The busyness and business of everyday life must be shut out both mentally and physically for us to work at peak capacity and get in touch with our highest creative selves. We’re okay with shutting the door—and locking it. We’re fine going all week without television, and we may equally be fine letting it play all day on the same unwatched channel. We don’t feel guilty letting your call go to voicemail. (In fact, when we’re writing, a ringing phone can be the equivalent of a pipe bomb exploding in our laps.) We can exist for days on coffee and candy corn or wine and Doritos. Don’t worry. We’ll come around soon enough, and we’ll again be ready to jabber until your ears wear out or spin you around the dance floor until your legs grow numb.

We know we’re different. We’re okay with that. And we hope with every breath that you’re okay with it, because we need you. When we come back to this earth, this country, this room, we want to find you there. After all, it’s you we’re writing for.

Tip for Writers: Be sure to email the link to this article to your your friend or significant other, or print it out and strategically place it where they will see it. Then get back to writing.

Interview with Author Emma Broch Stuart

by

Wendy Chorot

New author Emma Broch Stuart (aka IFW Editor Wendy Chorot) shares her passion for seeing women and men released from bondage and healed from relational wounds. Her newly released book, Broken Umbrellas, takes the reader on her personal journey from the pit of despair and brokenness to the healing arms of Jesus. Along the way, she allows the reader an intimate look into the relationship baggage she hauled around most of her life—even crossing the Atlantic with it—before surrendering to God’s radical healing.


1. Tell us a little more about your nonfiction.

Once upon a time, brokenness claimed so many areas of my life, and every one of those areas were relational in nature: bitterness and shame from past intimate relationships; wounds and scars from abuse; insecurities from relating with women I felt had it together when I did not; feelings of failure as a mother. It was all relationship stuff. When I realized that humanity tries to relate with one another in spite of their brokenness, God asked me to write about my own personal struggle with broken areas of my life. And voilà! Broken Umbrellas was born.


2. What was the driving force behind writing Broken Umbrellas?

This is a good question. I feel most people are really bad at one thing in life like sports, or math, or sewing. For me it was relationships. Even becoming a Christian didn’t save me from a broken marriage. And I kept asking myself, “Why can’t I get this right?” And God showed me that when we have unhealthy hearts, we have unhealthy relationships. (That goes for friendship relationships, too.) Then he took me on an incredible 13-month journey that healed me in the most radical way. I wrote Broken Umbrellas because I don’t believe I’m the only one who has struggled with relationships.


3. What do you want your readers to take away from reading your book?

Hope. Pure and simple, yet profound hope. Hope for all their hurting relationships and a desire to be healed, healthy individuals. I want my readers to see—and believe—that God is bigger than any brokenness they have suffered or caused. And I pray Broken Umbrellas is a tool to bring my readers into a deeper knowing of God, the only one who can heal them.


4. What writing projects are you working on now?

I’m working with WhiteFire Publishing on a fun and inspiring piece called Barn Doors. Barn Doors is a collection of short stories about everyday life and how God speaks to me . . . and how I hear him. It releases next spring.

I also have a children’s series with DeWard Publishing called The Keeper Series. “The Windkeeper” is the first in the series and looks to be ready for this fall. An illustrator has it as we speak, bringing my words to colorful life. “The Starkeeper” will follow, and “The Rainkeeper” will complete the series. One way God speaks to me is through the pages of his Word, and I incorporate that into these stories.


5. Where can readers learn more about your book?

Broken Umbrellas is for sale on Amazon in paperback and Kindle version, which you can find HERE.


6. How can readers connect with you?

I LOVE connecting with people! Readers can find my blog on my website: http://emmabrochstuart.com/

They can also find updates on my Facebook author page:
https://www.facebook.com/emmabrochstuart

Twitter:
https://twitter.com/EmmaBrochStuart

Or by emailing me:
emmabrochstuart@gmail.com


7. Where did you get the name Broken Umbrellas?

At my precious grandson’s funeral, I spotted a broken blue umbrella flapping in the winter wind. The woman holding it was oblivious to the fact that snow was falling on her. When she moved her broken umbrella to offer protection to the man beside her, my heart was overwhelmed with the symbolism of humanity doing the same thing—“protecting” (or loving, serving, relating) in spite of our brokenness.


8. Tell us about living overseas.

I credit a lot of who I am today on my experiences in Europe. There’s something about getting out of your comfort zone that forces you to relate differently, engage in the world around you at a different level. And most importantly, see beyond yourself. I have dipped my toes in the Mediterranean, hiked mountains in the French Alps, drank wine with my baguette and cheese, breastfed under the Eiffel Tower, and made a complete fool of myself many times as I butchered the language. I have been misunderstood, ignored, lost in a big city, and served fish with the head still attached. But I have also been kissed by complete strangers, given free bus rides when I didn’t have exact change, served delicious cuisine, and most importantly, blessed with knowing Christ at a deeper level. My daughter was born there, my first grandchild buried there, and, while there, I collected more than a decade of memories—both good and bad. 

Living in a foreign country shows you just how strong you really are.


9. Why did you choose to write under a penname?

Because Broken Umbrellas gives the reader a very intimate and vulnerable look at my past, I chose to write under a penname out of respect for the people I speak about. Of course, I did not have to, and if any of them were to read my book, I have written it in a respectful way that they should not take offense. And I have decided to keep my penname for all of my writing projects. The name Emma Broch Stuart is very special to me; it is the middle name of each of my three children.



As a bonus to this beautiful interview, Emma Broch Stuart is giving away a free copy of Broken Umbrellas to one of you! All you have to do to qualify is leave a comment on this blog. Next Monday, a winner will be randomly selected and contacted by Jessica Nelson (in the form of a reply to his/her comment in this blog) with further information about how to collect his/her prize.

Thank you again to Emma Broch Stuart (and Wendy Chorot) for granting this beautifully poignant interview!

 

Grammar 101: Grammar Jargon

by

Jessica Nelson

The world of editing and writing is fraught with fancy-schmancy jargon and technical terms. We learned many of these years ago in our English classes. We know what they are and how they are used—we just forget what they are called. So, today I am giving you a crash course in grammar jargon with help from the IFW editors and The Little, Brown Essential Handbook by Jane E. Aaron.

First, we will start with classic grammar terms no one actually remembers despite using them almost every day.

 

Gerunds: the –ing form of a verb used as a noun; usually proceeded by a possessive noun/pronoun. Ex. My husband is annoyed by my nightly snoring.

Present participle: the –ing form of a verb (and used as a verb). Ex. Since the weather is nice, Susie is working in the garden today.

Past participle: the –ed form of a verb. Ex. Rhonda graded so many undergraduate composition papers that she lost her faith in humanity’s ability to write correctly.

Ellipsis: a series of three periods, each separated by a space; looks like “. . .”; used to denote an omission of words, phrases, or entire sentences in nonfiction, and, in fiction, denotes the trailing off of a thought or a long pause. If the ellipsis occurs at the end of a sentence, the sentence-ending period is also included, creating a series of four periods separated by spaces (“. . . .”). Ex. Leila looked at the giant red F on the top of her paper. “But . . . I thought I did well . . .”

Comma splice: when two main clauses are joined (or spliced) only by a comma, rather than a comma and conjunction. Ex. We loved the movie, the actors were okay. Should be: We loved the movie, but the actors were okay.

Homophone: words that sound exactly alike but have different meanings. Ex. principal/principle. The former is the head of administration at a school. The latter is “a comprehensive and fundamental law, doctrine, or assumption” (Definitions curtesy of Merriam-Webster online).

Homonym: a word that has multiple, different meanings. Ex. “fair.” We had an excellent time at the fair. vs. It’s not fair that my brother always gets what he wants.

Indefinite pronoun: a word that replaces a noun but does not refer to a specific person or thing; may be plural (e.g. both, few, many), plural or singular (e.g. all, any, none, some), or only singular (e.g. anyone, everyone, someone).

Misplaced modifier: A modifier modifies the noun closest to it. A modifier is considered misplaced if it modifies a different noun in a sentence. Ex. Ginger ate potatoes, mushrooms, and rice for dinner, lying on the sofa. “Lying on the sofa” is misplaced. As written, it modifies “dinner,” but it should modify Ginger. To correct, we’d write: Lying on the sofa, Ginger ate potatoes, mushrooms, and rice for dinner.

Dangling modifier: doesn’t sensibly modify anything in its sentence; may imply a subject, but does not explicitly name one, making the actual subject unclear. Ex. Walking down the street, the renovations to the neighborhood became apparent. This should say: As we walked down the street, the renovations to the neighborhood became apparent.

Synecdoche: figurative language that uses a part to represent the whole. Ex. using “the crown” to represent the monarchy or “a dollar” to represent money.

 

Now, we’re going to explain some terms you may have never heard before. That said, I’m sure you’ll be surprised to find you know what they are.

 

Bildungsroman: a coming-of-age story. Ex. pretty much any YA or teen novel.

Pastiche: a patchwork story; pieces taken from other authors’ works; generally refers to a paper with plagiarized parts. Ex. This blog (sort of), which uses term definitions from The Little, Brown Handbook, Merriam-Webster, and the lovely ladies at Inspiration for Writers, Inc., is a pastiche.

Head-hopping: a type of point of view breach; when the viewpoint character changes within a scene without first having a transition and invitation to foster that change; in the words of Sandy Tritt, “All head-hops are point-of-view breaches, but not all point-of-view breaches are head-hops. (If you would like more information about this, we are happy to send our tip sheet on “Point of View,” which also includes ways to avoid head-hopping.) Ex. Mike sat on the bench and wondered where his future would lead. To the army? To college? To that hot barista’s apartment? Jack stared at Mike’s melting ice cream cone, and wondered how hard Mike would punch him for stealing it.

 

Any of this ringing a bell? I hope so! Hopefully, next time you sit down with a writing buddy or one of our editors, and he/she starts jargon dropping, you’ll be able to keep up.

Was this helpful? Are there other grammar/literature/writing terms you know you know but don’t know what they’re called? Or any you want us to explain?  Let us know in the comments, and maybe we’ll do another blog like this one.