To Capitalize or Not?

I sometimes have problems with the title of articles I write for publications. Should I capitalize each word in the title, or use lower case for prepositions only? The answer can be found in today's posting at: Daily Writing Tips.

Want To Write Book Reviews?

For more than a year now I have been writing book reviews for the NYJB. They are seeking more reviewers. If you are interested please read the information below.

NEW YORK JOURNAL OF BOOKS, adding reviewers with your expertise. Aim to become premier source—bar none—for professional, respected book reviews. Recently profiled in Publishers Weekly. (nyjb.net)

NYJB has recently been profiled by Publishers Weekly because it is the one existing online review that has captured the attention of the publishing world. The New Yorker also recently cited NYJB. Our reviewers are both published authors and others able to write compelling reviews of books covering areas of their professional or equivalent expertise.

Currently 135+ reviewers.
Our reviewers have written:
500+ traditionally published books
500+ published short stories and poems
24+ plays
12+ screenplays/teleplays
20,000 articles (our reviewers with long careers add substantially to these numbers)
3,800 reviews of books (about 600 for New York Journal of Books)
Our reviewers are also winners of more than 75 literary and professional awards.

Visit us at nyjournalofbooks.com or nyjb.net to see the future of book reviewing. This should help you decide if you’d like to review or perhaps just introduce you to a highly professional online book review.

We are increasingly quoted, traffic to the site has grown dramatically, feedback is 100% positive, and we are swamped with requests for reviews. We generally publish reviews at 12:01 A.M. on date of release so that we are the first review of any new book we critique.

The Journal reviews both mainstream releases as well as many books in niche or non-mainstream genres and books by first-time authors than are infrequently covered by the current major review publications.

Our permanent website after months on beta is up. We are deep into the remaining administrative tech work that introduces new state-of–the-art function to the publishing world.
Reviewers all set their own pace for submitting reviews and are never asked to review books they prefer not to read.

We do not anticipate any material profit until we are able to focus singularly on commercializing, once the tech build is complete. And so, we are unable to pay reviewers for the reviews they contribute. However, we believe that most writers are underpaid for their work. It is our sincere hope and plan that the success of the New York Journal of Books will become a material source of supplementary income for all reviewers.

If interested in reviewing, please visit: http://www.nyjournalofbooks.com/reviewer-application or send the same info to:
reply@nyjournalofbooks.com
Only COMPLETE applications can be considered.

While you will be asked to note frequency of reviews, we understand that circumstances change and you will always set your own pace.

Thank you.
The editors of New York Journal of Books

Win Philip Carlo's last book he wrote before he died, The Killer Within. http://ping.fm/k9oDS

I head the list of endorsements for this great new book! http://ping.fm/3wXYK

Win A Free Book

A BOOK GIVEAWAY YOU CAN'T REFUSE. PHILIP CARLO'S LAST THRILLER "THE KILLER WITHIN" -- ENTER TO WIN

NYJB has published the first authorized in depth review of this book, a month ahead of release in early January 2011. John Wills, in a poignant review praises both Philip Carlo's body of work and final book, published posthumously. "He was shot in the head during a gang fight when he was only 15 years old. Whether surviving that incident gave him a penchant for writing about death and those who cause it, we will never know. What we do know is that Mr. Carlo “walks the walk, not just talks the talk, which enables him to write true stories that many may find too frightening to read." which

Go to http://www.nyjournalofbooks.com/ for details.

Short story competition here: http://ping.fm/rp0kQ

Short Story Competition

It's the Christmas season, a time when our hearts gravitate toward people we cherish, and yes, even the pets we love. Some of our pets we've lost. If you had a pet that was like a member of the family (I did), why not share that love and write a short story? Authonomy, a division of HarperCollins, is sponsoring a short story competition. All you need to do is write a short story (up to 1500 words) about a loved pet or animal and send it off to authonomy@harpercollins.co.uk, with 'Christmas Competition' in the subject header.

For more information, go here: Authonomy

Register at www.peroozal.com to get ITW’s Watchlist free. Written by 22 authors incl Jeffrey Deaver, Lee Child, Lisa Scottoline +more

Mileage from a review

A recent review I wrote for the New York Journal of Books regarding Philip Carlo's last book (he passed away last month) has made it to the popular website: JacketFlap. It's interesting, since the book will not be released until January 6th, 2011. However, Carlo was a best-selling author whose books will probably make the big screen. One is in production now. Read the review here: http://www.jacketflap.com/megablog/index.asp?tagid=172122&tag=new+york+journal+of+books

The Gift of Kindle Books

Just in time for the holidays--it is now possible to give Kindle books as gifts.

Frequently Asked Questions about Giving Kindle Books

• Do I have to own a Kindle to give or receive a Kindle book as a gift? No. Kindle books can be given and received by anyone with an e-mail address. Kindle books can be read either on Kindle or on your PC, Mac, iPhone, iPad, BlackBerry, or Android Phone using one our our free reading apps.

• What if the recipient doesn't like or want their gift? Kindle books received as gifts can be exchanged for Amazon.com gift cards.

• Are all Kindle books eligible to be given as gifts? All Kindle books available for purchase in the Amazon.com Kindle Store can be given as gifts.

Great gifts, reasonably priced!

Get Published

Getting published is a struggle. Negotiating the intricacies and idiosyncrasies of the publishing world can be a nightmare. If you've all but given up on getting your work into the hands of readers, allow me to offer an alternative--self publish through Kindle (I have just purchased my second Kindle). It's a relatively simple process through Amazon. The link at the end of this post will explain the process from creating an account, to formatting the manuscript, uploading the document, and finally, marketing your product. Give it a try . . . what do you have to lose?

http://blogkindle.com/2010/11/how-to-publish-a-kindle-ebook/

Give An eBook Gift

Amazon has introduced a new way to give the gift of books (just in time for Christmas). It is now possible to purchase an eBook title on Amazon and have it delivered electronically to anyone with an email address. Check it out here:

http://www.mediabistro.com/ebooknewser/amazon-introduces-kindle-book-giving_b3710

Free For You

For those of you with Kindle readers, or if you have the free Kindle App for your iPhone, you can download a free book: Writing Fiction For Dummies. Here's the link to get you started: http://www.amazon.com/Writing-Fiction-For-Dummies-ebook/dp/B002XGICAO

Enjoy!

Don't Procrastinate

I travel a lot, maybe too much. One thing I'm noticing each time I fly, is that more people are reading books with eReaders--Kindles, Nooks, Sony--people like the convenience of using this technology. If you have a book that you've had published, either with a publisher or published yourself, you should get it on Amazon's Kindle Reader. It's a great way to get your work out to people who are not inclined to buy traditional books. Or . . . make your own eBook and sell it on Amazon.

Disaster and Novelists

I'm posting a link to an article by Kris Saknussemm, one that I think is concise and helpful regarding how to avoid Total Disaster as a Novelist. I'll leave the meat and potatoes for you to read for yourself, but two important things I gleaned from the article are:

1. Don't Experiment. Check to see what section your novel will be found in the bookstore, what author your work resembles, and be able to describe your book in three sentences or less.
2. Read your work aloud. If I've learned anything from the Borders critique group, it's the importance of reading your work to others. Not only do you pick up on things you missed when you wrote it, but you can then determine if your story flows and makes sense.

Here's the link: Five Tips

Looking For An Editor?

I've employed a new editor, Adele Brinkley. She just returned the manuscript for my third novel, Targeted, and I am extremely pleased with her work. She is thorough and efficient. Moreover, her fee is very reasonable. I highly recommend her work for those of you who have the need for an editor to review your novel, query letter, etc. If you're interested, contact her through her website: With Pen In Hand.

Getting Stalled On Page 100

I'm linking to an article written by an editor who addresses a couple of important topics concerning writers who run into a wall halfway through their work. She also addresses the difference between manuscripts that are written to sell versus those written to read. I hope you enjoy this piece:

http://ramonadef.wordpress.com/2010/10/04/first-draft-teachers-edition-interview/

(Image by Stik)

Great New Book Out Soon

As part of its Battlefields & Blessings series, AMG will release Cops On The Street this fall. I have several stories in this wonderful collection of true stories.

"It's a groundbreaking devotional book that demonstrates the vital difference men and women of faith make in law enforcement. As this is a date-specific daily devotional, stories that relate to a specific date or event (9/11/2001, major weather catastrophes, “line of duty” deaths, etc.) are strategically placed on or near the date the event occurred. This Battlefields and Blessings devotional book serves two purposes:
• It offers a glimpse into what it’s really like to be in law enforcement while demonstrating the spiritual side of the law enforcement community
• It presents law enforcement in a positive light as a career path filled with men and women who
care deeply for the communities they serve. "

Today I'm a guest on author, Susan Whitfield's blog. Check it out here: http://ping.fm/E9n7o

Check out my review on the New York Journal of Books: Stalling for Time, My Life as a FBI Hostage Negotiator. http://ping.fm/rJ0L6

What About Word Count?

A question was raised at Saturday's Riverside Writers meeting regarding word count; what constitutes a novel? Here are some guidelines:

• Novel over 50,000
• Novella 20,000 to 50,000
• Novelette 7,500 to 20,000
• Short story 1,000 to 7,500
• Flash fiction or vignette under 1,000

Building Your Cred As A Writer

Writing, either to earn a living, or done as a hobby, or even a combination of both, is a worthy endeavor. Writers are super people; I've yet to meet a writer I didn't like. We are like most creative people in that we want to share our work with others. To do that, we have to establish ourselves as "writers." One way to do that is to become a book reviewer.

Writing reviews of other peoples' work is beneficial in so many ways. First, it exposes you to how other authors write. It gives you a glimpse into how they develop plots and characters, how they create suspense and thrills. If your genre is non-fiction, it allows you the opportunity to see how they've researched their subject. Being a reviewer causes you to do two things: read and write, which are the building blocks for becoming a successful writer.

Whether you accept a paid position or one that offers no monetary compensation, the benefit of writing book reviews is that your name gets out to the literary world. You become someone who authors, agents, publicists, and publishers begin to recognize. Your byline becomes familiar, and it's also a good way to promote your own work at the same time. Depending on who you write for, your name becomes known to a much larger audience than if you were depending on your own website or blog.

Online book reviewing is quickly becoming "the way" to have new releases reviewed. This method is preferred by a large number of authors and publishers, if only for the sheer convenience of accessing it for blurbs, and dissemination of the review to a huge number of potential readers. I highly recommend becoming a book reviewer for those who want to become better writers and who want to develop skill in truly recognizing a well-written book.

Attention Self -Published Authors

Publishers Weekly now includes a quarterly supplement that will announce self-published titles and even review those they deem worthy of review. PW recognizes POD, DIY, author-financed, vanity fare, self-publishing--whatever you care to call it--as a burgeoning industry they can no longer ignore. The only caveat: the issue will cost $149.00; a processing fee which registers the titles online. Read more about it here: Publishers Weekly.

Good News About Books

Finally, some good news for a change. Barnes & Noble has announced it expects an outstanding title selection for fall 2010 in both fiction and non-fiction with strong titles ranging from thrillers, paranormal romance and mystery, to political memoirs, historical biographies and a strong line up in teen and young adult titles.

Thrillers dominate with The Confession, the first fall legal thriller from John Grisham; Dead or Alive, the first book from Tom Clancy since 2003; Cross Fire and Don't Blink from James Patterson; and Port Mortuary by Patricia Cornwell. In horror look for Stephen King's Full Dark, No Stars and What the Night Knows by Dean Koontz.

A strong line-up of historical biographies by prominent authors will hit shelves including Decision Points by former President George W. Bush, Washington: A Life by Ron Chernow; and Extraordinary, Ordinary People by former U.S. Secretary of State Condoleezza Rice. Also expected to do well is America By Heart: Reflections on Family, Faith & Flag by Governor Sarah Palin, the follow-up to her bestselling memoir Going Rogue.

For readers of history and current affairs we are looking forward to Unbroken by Laura Hillenbrand, her first work since Seabiscuit, The Warmth of Other Suns by Isabel Wilkerson and Obama's War by Bob Woodward.

Is Someone Lying To You?

You may find my September article on Officer.com interesting, not only for the pragmatic tools discussed, but if you write fiction your characters can use these methods of detection as well. Find it here: Can You Spot A Lie?

Should I Capitalize?

Many of us have some ambiguity regarding capitalization of titles and people. Here's a great thumbnail sketch which makes it clear when to capitalize or not. http://www.dailywritingtips.com/capitalizing-titles-of-people-and-groups/

New Book About Women in LE

I've begun a new project, a collection of true stories about women in law enforcement. The working title is Warriors in High Heels, Real Stories about Real Women. I'm looking for female law enforcement officers (FLEOs) who want to share their experiences: funny incidents, strange or oddball stories, tragedies, human emotion-filled happenings, each one written by the woman involved--told in her own words. If you know of a FLEO who might want to participate, please direct her to this link: http://johnmwills.com/id13.html.

Writing Contests

Having just had the results posted from our own Golden Nib competition, perhaps some of you still hunger for more. If that's the case, here's a link to a bushel of contests including poetry, fiction and non-fiction. http://www.freelancewriting.com/writing-contests.php Write on!

Never written in cursive?

For those of us who are experienced citizens, here are some rather astounding predictions made by Beloit College in Wisconsin:

"The class of 2014 has never found Korean-made cars unusual on the Interstate and five hundred cable channels, of which they will watch a handful, have always been the norm. Since "digital" has always been in the cultural DNA, they've never written in cursive and with cell phones to tell them the time, there is no need for a wrist watch. Dirty Harry (who’s that?) is to them a great Hollywood director."

To read the entire article, follow this link: http://www.beloit.edu/mindset/

Free Books

For those of you with digital readers or laptops, Project Gutenberg has announced their stated intention of making a billion books available online--FREE! Check it out here: Project Gutenberg.

The Critique Group

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Today's post is from: http://writeforyourlife.net/ Helpful information on giving and receiving critique. Critiquing etiquette: six ways to provide gracious feedback Receiving feedback is difficult. But giving feedback with grace is even more so. To grow and evolve as a writer you must offer your work to others for critique and editing. It’s one of those terrible truths you come to terms with, sooner or later. The thing about feedback though, it is reciprocal – like a rubber ball it will come bouncing back to you. Why? Quid pro quo. If you invite someone to invest time and effort in your work, at some point they will expect the same from you. While writers will begrudgingly accept the need for un-biased opinion, most writers feel incredibly uncomfortable being the one giving that opinion. It’s like taking the uncomfortable feeling of sharing your work and turning it up to 11. It’s not that you’re stingy, or don’t want to help. It’s to do with that feeling in your gut which warns you away from scary things. And let’s not beat around the bush – giving feedback is terrifying. What could possibly go wrong? What if you accidentally say something hurtful? Or you derail someone’s creativity or confidence with a misunderstood comment? What if they stop writing because of what you said? Or what you said was wrong! It’s much easier to play safe and say nothing. I can empathise. As an editor, and a writer, I have a foot in both camps, and I always find it far more difficult (and stressful) to provide rather than receive feedback. This is despite hangover sensitivities to critique after a bad experience as a young writer. Agreeing to provide feedback is one of the best things you can do to improve your writing skills. Plus, being asked implies the writer trusts you to help them take their story from good to fantastic. The good news is, you can provide feedback which is tough, gracious, thought-provoking and, dare I say, compassionate and constructive. Here’s a six-part guide to critiquing etiquette. 1. It is only one person’s opinion Always frame (and remember) your feedback is only your opinion – that’s all it is. And, it’s also just one person’s opinion. Others may have different thoughts or suggestions – including the author! I have a codicil at the bottom of my feedback emails which states: please accept/reject/alter or ignore anything here as it is your work and this is my take on it. 2. Dialogue between two people What people often forget about feedback is it’s a dialogue, not a monologue. Always offer to discuss your comments or suggestions with the writer. Remember though, it is not gracious and far from professional, to be defensive about your feedback. It’s OK if they disagree with you. It is the writer’s work after all and they do get the final say. Some of the most fulfilling editorial relationships I’ve had with writers have come about due to a lack of consensus. Disagreement opens the channels for discussion, and stories thrive in such hothouse environments. If possible have these conversations live. You can ask questions and get new insights into a story when a writer talks about it in real-time. 3. Stick to Specifics Useful feedback focuses on specifics. Always choose specific examples to illustrate your point/comment and give specific suggestions on how the writer may make changes. Be honest. Feedback, given constructively is more likely than you realise to give a writer an ‘a-ha!’ moment, even if it initially feels like a slap in the face. Useless feedback is broad-sweeping statements or generalisation. It slaps the writer in the face and that’s it. Steer clear of these at all costs. For one, it gives a writer nothing to work with. It is also gives ample fodder for a writer to fill in the details (and they’re never positive, these fillers). Most importantly, never critique or make comment on the author (this is why you should always stick to specifics). It is only, and will always only be about the work at hand. For example, I was told by a writer-in-resident when I was 18 that my writing was naïve and I should go and live in the real world. He mentioned nothing about problematic writing mechanics or narrative flaws in the piece I submitted. I filled in the gaps with shame, believing I’d had the audacity to think I could write. I didn’t show my work to another soul for almost a decade! 4. Be Positive Always, always, always lead off with something positive. Even the worst piece of writing has something good about it – it might be a brilliant idea which has been poorly executed on the page. Again – be specific! 5. Time is of the Essence Be mindful of the turn around. Don’t leave people hanging for weeks waiting. The general assumption is, if people don’t get back to you in good time the your work stinks and whoever you gave it to is struggling to find the right words to tell you that. Give yourself a deadline to return the feedback – or even better, get the writer to provide you with one. If you can’t in good faith provide feedback in that timeframe, don’t agree to take the piece. 6. Work from the brief Ask the writer for a brief. This will assist you in doing your job. In this they should tell you: § what kind of feedback they’re looking for § what draft version they are sending § where they are considering sending it (especially important if for a competition) § the word count § the due date for submission and the date feedback is required. Stick to the brief. If they’re asking for general comments don’t return a file with massive tracked changed edits. If the writer won’t or can’t provide you with a brief, don’t do the critique for them. Start small. Check your ego in at the door. Be truthful. Offer creative alternatives. And know, the more you provide feedback, the less excruciating it will become. Image: Christmas w/a K

First Draft Finished--Now What?

A few days ago I finished writing, Targeted, the third novel in the Chicago Warrior Thriller Series. Whew. It's a great feeling to have completed the story, but the reality is there is still much to be done before turning it over to my editor. The fact that I shared many of the chapters with my critique group was helpful. Non-biased eyes are exactly what I needed to point out weaknesses, cliches, and story lines and characters that needed fleshing out.

But I still need to go over the manuscript to ensure the story flows, to make sure back stories are complete and clear, and to add detail and nuance to polish the final product. I need to check for consistency throughout, for my characters, names, places, even dialogue and lingo. I will probably come across spelling and grammar errors, but I will do my best to ignore them and focus on the story. I can do line editing last.

However the very first thing I need to do, now that the manuscript is written, is to step away from it. Over the past eight months it has been my mistress; she was engaging and exciting, but she consumed too much of me. Now it's time for a little relaxation and to see what else is happening in the world around me.

Riverside Writers critique group meeting tonight at Borders Books. http://ping.fm/n7qM1

Today I interview professional editor, Adele Brinkley, who has been editing for 30 years: http://ping.fm/3TUUj

Meet The Editor

JW: Today my guest is Adele Brinkley, a professional editor who can edit anyone’s work ranging from letters to novels and short stories. Good morning, Adele!

Adele: Morning, John. Thank you for an opportunity to promote my editing service, With Pen In Hand.

JW: Tell us a little bit about your background and qualifications to be an editor.

Adele: I’ve been a professional editor for nine years and a high school English teacher for nearly 30. Editing comes as naturally to me as shouting Amen during a southern Baptist tent meeting. I truly try not to walk around with a red pen in my hand, but so far I have failed.

I want my clients’ works to be the best they can be. If they look good, then I look good. It’s a financial ego trip!

I’ve edited papers in all genres from practically every state in the Union. I actually have a couple of clients overseas, one in Sierra Leone.

Also for your Atlanta/Georgia area readers, please note that I am a local editor, located just south of Atlanta in the shadows of the Atlanta Motor Speedway.

Please go to my web page (www.WithPenInHand) to “meet” me and review my credentials.

JW: Do people most often employ you for manuscripts and query letters, or is there a broad range of services requested?

Adele: I do edit a broad range of materials, but manuscripts (fiction and non) and dissertations make up the majority of my work. What I have found with the latter is that doctoral candidates do know their material, but most of them do not know the fine points of grammar that APA requires.

I have edited some wonderful manuscripts. There are so many good writers out there who spin wonderful tales. They have not yet reached the level of Anne Rice, John Grisham, or Agatha Christie, but they produce some awesome books. I hope to see them one day on best seller lists.

I also have several clients who pay me a yearly fee to edit their business letters, journal entries, notes, or whatever they need.

JW: Since much of my network consists of writers of prose, short stories and novels, tell us about your fee and approximate length of time between submission and completion.

Adele: My fee is quite reasonable, especially compared to the fees of editors with major publishers or editing companies. I am strictly a freelancer. The cost for an initial novel of any length is $1.00 per double spaced page in 12 pt. font size and Times Roman font. Because I am not editing works of authors such as Rice or Grisham, I cannot charge exorbitant fees.

I had an author tell me one time that he regretted that he could not use my service because I didn’t charge enough. No problem, I’ll raise the price if people feel more comfortable with a higher fee. I wrote to him that he would get the same quality of editing for $1.00 a page that he would get if I charged him $15 a page. Several weeks later, he contacted me again, saying he had reconsidered. After checking out the “big guys,” I looked good to him!

JW: Adele, in editing novels or short stories, is there any one item that stands out as the most common mistake made by authors?

Adele: Verb tense, verb tense, and verb tense! After that come misplaced modifiers and/or dangling participles, word choices, repetition of words or phrases, and the usual culprits: subject-verb agreement, punctuation (especially with quotes and attributions), switching the POV, etc., etc, etc.

JW: During your career, have you had any published work(s) yourself?

Adele: No manuscripts. I can’t sustain a thought that long. I wrote for a newspaper for 15 years and had hundreds of stories and columns published, some of which were recognized and rewarded by the GA Press Association. The wire services even picked up several of them.

JW: What’s the best way to get in touch with you to discuss a proposal of any type?

Adele: On my web page at www.WithPenInHand.net , your readers will find a contact link. Click on it, and we’re in business!

JW: Thank you for an informative interview, Adele. I know my readers are always looking for reliable, professional people who can help them polish their work. It has been a pleasure.

Does Size Really Matter?

Regarding the length of paragraphs--size, or perhaps better stated, length, is entirely up to the individual author. Many of us like to write the way we enjoy reading. Personally, I like short chapters, particularly when I know I don't have a huge block of time to read. I can get several chapters read and not have to stop in the middle of a scene.

How does a writer know when to end a chapter? There is no acceptable template to follow. I've seen books that have fifty or more pages to a chapter; I've also read books with a one-page chapter. It all depends on content and direction. Ending a chapter on a suspenseful note, causing the reader to wonder what happens next, is a great way to end. But to use that same tactic for each chapter is to overdue it and diminish the use of a great writing technique. Some chapters may be necessarily longer in length to resolve a conflict or create a back story, while others may be shorter to illustrate a point, or simply be informative for the reader.

On one discussion board, I heard a very cogent argument for short chapters. The participant explained his preference for short chapters by saying he compares long chapters to listening to a talkative person. The individual wants to tell you something, but rambles on until it all becomes boring and tiresome. Keep the reader in mind when you consider chapter length--it's up to you, the writer.

First Person Point of View

I write reviews for the New York Journal of Books, Two of the last three books I've reviewed were written in first person POV. They were good; the writer was able to get the reader inside the protagonist's head much better than if they had used third person.

But for the inexperienced writer, first person POV can be problematic, particularly because there is a tendency to bore the reader with too much narrative and the writer may ramble on causing too many dead spots. When first person POV works, the result is an exciting, thrilling read. When it doesn't, it becomes a major disappointment, even though the story itself may be unique or interesting.

For more on first person writing, check out this piece on Writers Digest: The Ins and Outs of First-Person POV.

Finished writing my review for Chosen by Chandra Hoffman, now on to my editor. http://ping.fm/bhUfL

Top 10 Writing Tips

I ran across Janet Fitch's blog in which she shares her wisdom about writing and enumerates the things that can improve anyone's writing. Janet is the author of "White Oleander" and "Paint it Black," and she teaches writing at USC. The list -- intended for fiction writers but good for many of us -- is reprinted in its entirety below, with Fitch's permission. Enjoy.

1. Write the sentence, not just the story

Long ago I got a rejection from the editor of the Santa Monica Review, Jim Krusoe. It said: “Good enough story, but what’s unique about your sentences?” That was the best advice I ever got. Learn to look at your sentences, play with them, make sure there’s music, lots of edges and corners to the sounds. Read your work aloud. Read poetry aloud and try to heighten in every way your sensitivity to the sound and rhythm and shape of sentences. The music of words. I like Dylan Thomas best for this–the Ballad of the Long-Legged Bait. I also like Sexton, Eliot, and Brodsky for the poets and Durrell and Les Plesko for prose. A terrific exercise is to take a paragraph of someone’s writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.

2. Pick a better verb

Most people use twenty verbs to describe everything from a run in their stocking to the explosion of an atomic bomb. You know the ones: Was, did, had, made, went, looked… One-size-fits-all looks like crap on anyone. Sew yourself a custom made suit. Pick a better verb. Challenge all those verbs to really lift some weight for you.

3. Kill the cliché.

When you’re writing, anything you’ve ever heard or read before is a cliché. They can be combinations of words: Cold sweat. Fire-engine red, or phrases: on the same page, level playing field, or metaphors: big as a house. So quiet you could hear a pin drop. Sometimes things themselves are cliches: fuzzy dice, pink flamingo lawn ornaments, long blonde hair. Just keep asking yourself, “Honestly, have I ever seen this before?” Even if Shakespeare wrote it, or Virginia Woolf, it’s a cliché. You’re a writer and you have to invent it from scratch, all by yourself. That’s why writing is a lot of work, and demands unflinching honesty.

4. Variety is the key.

Most people write the same sentence over and over again. The same number of words–say, 8-10, or 10-12. The same sentence structure. Try to become stretchy–if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you’re generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going cross eyed.

5. Explore sentences using dependent clauses.

A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you’ve already written. Often the story you’re looking for is inside the sentence. The dependent clause helps you uncover it.

6. Use the landscape.

Always tell us where we are. And don’t just tell us where something is, make it pay off. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character. Look at the openings of Fitzgerald stories, and Graham Greene, they’re great at this.

7. Smarten up your protagonist.

Your protagonist is your reader’s portal into the story. The more observant he or she can be, the more vivid will be the world you’re creating. They don’t have to be super-educated, they just have to be mentally active. Keep them looking, thinking, wondering, remembering.

8. Learn to write dialogue.

This involves more than I can discuss here, but do it. Read the writers of great prose dialogue–people like Robert Stone and Joan Didion. Compression, saying as little as possible, making everything carry much more than is actually said. Conflict. Dialogue as part of an ongoing world, not just voices in a dark room. Never say the obvious. Skip the meet and greet.

9. Write in scenes.

What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place–this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.

10. Torture your protagonist.

The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid.

American Short Fiction

For those of you who like to write stories, there's a place on the web where you can both read and submit fictional stories. It's called American Short Fiction, and it allows you to submit your story for the paltry sum of two dollars. The site also holds contests for its followers. Check it out; it's another way to become published and get your work in front of others.

Borders Finally In

Borders announced that it has finally entered into the e-book market, by launching its own electronic book store. Although it has taken them some time to join others in capitalizing on what's being referred to as the future of publishing, Borders says its aim is to capture 17% of the industry. Read the entire story here: http://tiny.cc/xv9k4 The store, at http://ebooks.borders.com, has more than 1.5 million titles and thousands of free ones, and will feature various formats suitable for a variety of eReaders.

Check out my Author Page on Amazon. http://tiny.cc/ds3vg

Query Letters, The Worst Mistakes

Drawing from my recent attendance at a writers conference, I took some notes from a publisher who related some of the most egregious mistakes committed when submitting query letters:

• The salutation reads, "Dear Sir," when the publisher is a woman.




• Crazy, non-traditional fonts, all caps, and underlining.




• Getting personal is big. If you've met them or spoken on the phone with them, remind them of that.




• It's okay to say, "I've written about a social issue," etc.




• Stay within the publisher's genre.




• Be professional.




• Have a clear, concise summary of what the book is about--don't ramble.




• Include the genre and word count. If you're not certain, check out books similar to yours at the book store--don't tell them yours doesn't fit into any established genre.




• If a manuscript is requested by mail, don't over-tape the box--it annoys publishers.