Writer, with 30+ years' writing and publishing experience, 20+ years' teaching experience. Last book read: Mrs. Lincoln by Catherine Clinton.
I will miss seeing Jay Leno; seeing him each weeknight reassured me, as if he were a friend or, God help me, a husband, a good one: worked hard, talked to me for 12 minutes on weeknights, liked laughter, didn’t cheat, maintained his hair, paid for his own expensive hobby of car-collecting – dependable, and devoted (his last words on Tonight were “I’m coming home, honey”), and that added up to a chick magnet for women of his demographic, average age 57.8.
So I was always glad to see him and devoted to him, up to a point. I switched off the TV after Jay performed what had been written or engineered for him: the monologue and the comic segues that preceded the interviews with celebrities--who were as interchangeable as cold cuts, too often flogging their new books.
Even if your work is top-of-the-line and everyone else says so, take time to consider, before entering a contest that asks a $20 or $25 fee (those add up), who the judge is. Most of the time the entity holding the competition is pleased to announce the names of its judge or judges, who are often well-known.
This is a great opportunity for you because the best way to gauge your work's chances of winning or placing in a contest likely to have 400 to 1200 contestants is to look up the work of the judge. If he writes "masculine" hunting and fishing stories he probably likes reading them, and if your story is about a sewing circle, the odds of its winning are not very good. Or if his poetry is super avant-garde and yours is traditional, you won't win no matter how good your submission is. When you and the judge share the same literary values your chances are much better.
I’m an adjunct professor. Always have been. A talented creative-writing professor, I enjoy what I do and helping students and writers, and won’t give it up. Adjuncts are now 75 percent of the university teaching workforce. Who are the rest? The Chronicle of Higher Education says 17 percent of faculty members have tenure, and 8 percent are tenure-eligible.
Let's scoop Publishers Weekly, which spoke with new indie bookshop owner Robin Theiss for an article about the phenomenon of micro-bookstores, intimate spaces with curated collections and personalized service. In a reversal of a longtime trend, Theiss, a book collector since age 13, moved her online store, stlbooks.com, to brick-and-mortar on November 21. STLBooks, at 100 W. Jefferson, Kirkwood, MO, near St. Louis, already has regular customers and neighborhood foot traffic thanking her for opening a bookstore. It's a cozy space devoted, Theiss said, to her interest in creative expression, so the store carries plenty of literature new and classic, books on art and design, books by local writers (she has read them all), and Theiss loves graphic novels and wishes they had been around when she was in art school in the '70s.
1.An ISBN number. Without this unique number on your book, bookstores can't order your book and Amazon can't sell it. Cost about $100. If you choose a self-publishing company this cost is often included in the price. ISBN stands for "International Standard Book Number." You can see ISBNs on other books; they're beneath the bar code on the back cover. The bar code comes with the ISBN.
Writing dialogue presents a terrific challenge in that no two conversations are alike, even if the words are the same, and no two people are alike, and the words used are only half of it. Crafting good dialogue is part of the art of characterization. Eavesdrop on or watch any conversation you can. You will notice:
a. speech patterns, regional accents, vocabulary and slang, speech impediments, volume. Re "accents": One hint of an accent (incorrectly known as "dialect") goes a long, long way. Do not write at length using misspellings ("Ah cain't make head ner tail o' whatcha' all talkin' 'bout, brutha"); it's hard to read. Your reader will soon give up. Use such things as a spice, not a meal. Better: "I can't make head ner tail of what you're talking about, brother."
b. nonverbal portions of conversations: hand gestures, scratching an itch, punching fist in hand, eye-rolling, "air quotes," and so on.
c. About half the time, people don't talk back-and-forth as much as they talk "across" each other, impressionistically: Person A: "So, how's your husband these days?" Person B: "I can't believe how fast the laundry's piling up."
d. Note the proportions of time taken up by the speakers. Half and half, or does one person talk far more than the other?
e. nonverbal portions of oral communication, such as laughter, hooting, Bronx cheer, making the sound of vomiting, yawning, "Eh?", "Huh?", whistles, and so on.
f. A huge percentage of conversation is "canned" or pre-fabricated phrases: "How are you?" "Fine, and you?" "I'm hangin' in there." Unless there is a reason to include those pre-fab greeting exchanges, don't put them in. Also frequently appearing in conversation are quotations, cliches and advice. Some people often say "It's a dog-eat-dog world," or "As my father always said," or "Garbage in, garbage out,"and so on.
g. People who are acquainted rarely address each other by name except as a strategy, often a selling strategy. Nervous writers do this to make sure the readers know who is speaking. Most of the time if dialogue is between two people we know who is speaking (the more so if their speech patterns are correctly differentiated). We do not say to a co-worker "Good morning, Susan. Say, Susan! What happened after I left last night?" "Marsha, you are just the person I wanted to talk to. You won't believe it, Marsha!" "Susan! Wait! There's a dead mouse beneath my desk! Susan, call maintenance!" "Oh my God, Marsha, I will call right now!"
h. People have pet words and phrases. Some always say "Okey-dokey." Some employ a word or phrase over and over, such as "bizarre," or "twee" or "inappropriate behavior."
Use dialogue only when it's important to do precisely that. Perfunctory or tangential exchanges can be deleted or rendered as indirect dialogue. "She told him she'd waited for the tow truck for an hour."
Okay, now you are educated!
Stress Management for Poets
by Christopher Scribner