Other than that, I just finished Cathy Marie Hake's historical romance "Fancy Pants"--all-in-all a fun read. What are you guys reading?
Dona
Monday, August 4, 2008
Matt Bronleewe's new thriller, House of Wolves
Today I received in the mail a preview copy of Matt Bronleewe's new thriller, "House of Wolves." I also received bookmarks and signed bookplates. If anybody wants one, email me privately with your smail mail address and I'll drop one in the mail. For more info on the book, here's his web site.
Group News
Hey everyone - Just wanted to put up a post to declare open for group news.
Does anyone have anything new to add, share, or submit prayer requests for? This is an open forum, so please leave a comment to this post, so all group members can see.
Much love and many blessings,
Ashley
Does anyone have anything new to add, share, or submit prayer requests for? This is an open forum, so please leave a comment to this post, so all group members can see.
Much love and many blessings,
Ashley
Tuesday, July 22, 2008
What are you writing for?
I'm intrigued by today's Writing Tip comment--and was wondering if you all would weigh in with your thoughts.
There is so much truth in that. This gift we are all blessed with is a privilege. How are you using your gift? Are you playing with it? Are you honing it as a skill? Are you writing for yourself? For your friends? For your family? Or do you see this as your future?
We are entering the fall season - with thoughts towards writing for a more public audience. We are inviting guest speakers:
Writing is both a privilege and a business.
There is so much truth in that. This gift we are all blessed with is a privilege. How are you using your gift? Are you playing with it? Are you honing it as a skill? Are you writing for yourself? For your friends? For your family? Or do you see this as your future?
We are entering the fall season - with thoughts towards writing for a more public audience. We are inviting guest speakers:
- A Publisher
- A Literary Agent
Our topics for fall are still under consideration as we review what you want to receive from our next series of meetings. Please chime in, and let us know how we can serve you and your needs as writers who take time out of your busy lives to hone your skills, and understand that balance is needed.
Looking forward to hearing your comments...
~Ashley
Tuesday, July 1, 2008
Reaping Results from Group Critique
Reaping Results from the Group Critique - by Beverly Nault
Think of your critique group as a greenhouse. Whether infant or mature, each PLANT requires pruning and fertilizing, just like a story, article or scene. Follow these guidelines for an abundant HARVEST worthy of today’s market.
When you submit for critique:
Have Patience – only unwanted mushrooms grow overnight. Be ready to learn, it takes a discerning eye to identify weeds in the money crop. Even mature writers can learn a thing or two.
Listen – Babbling about your hours in the field wastes valuable time. Save chit-chat and seed swapping for later.
Accept advice and input. You waste everyone’s time if you don’t intend to glean wisdom.
Never argue, explain, or apologize. Let me explain. Briefly introduce the context, but if you defend or argue, you could have stayed home and read the ‘script to the chickens. Apologizing means you didn’t spend enough time checking for typos, errors, or other problems.
Take it all in. Some input you should take with a grain of salt, some you might take to heart. Consider all feedback, maybe your co-author has a point. Friends and family members, sometimes even busy editors, may not offer the honest perspective fellow authors will.
Now, grab your hoe, um, pen, and take a turn in someone else’s garden to prepare for the HARVEST. Here’s how to cultivate:
HELP by beginning with a positive comment about at least one, preferably several things, in the submission. Your remarks may inspire the author to develop a special technique or style. Also, you wouldn’t dump a truck load of fertilizer on a seedling, so try to measure out advice appropriate for each member’s readiness.
Agree and move on. If you concur with another’s remarks, say so, but keep it simple. For example; “I agree with Farmer Joe that dandelion patch needs work. Now about these boll weevils.”
Resist rewriting. Your style is different from everyone else’s, don’t try to clone. You should, however, suggest alternatives to clumsy or clichéd smaller sections. Also, resist asking questions; receivers should listen, not expound.
Value concept and content. It’s not just a good idea, it’s the law–freedom of speech, right? If the work is for a specific market, you can identify something that’s possibly offensive or that might alienate, but what others grow, er, write, is not your concern.
Explain only (and briefly) if you’re an expert or professional. Maybe you know more about the rare blooming titan arum than the average Jane and the piece mentions a second annual bloom. Gasp! Authors rely on valuable resources, and we should check each other’s facts and information whenever possible. That being said…
Stay focused. Following rabbit trails consumes precious time.
Thank other authors for presenting their precious cuttings and encourage them to return with another scene or revision for the next session. Nurture, nurture, nurture.
By sharing our own and reviewing each other’s creations, we gain knowledge, skill and the courage to plant seeds for a fruitful harvest. That rare titan arum? It only blooms once a year. When it does, it smells like rotting fish. Eww. No stinkers here please.
Think of your critique group as a greenhouse. Whether infant or mature, each PLANT requires pruning and fertilizing, just like a story, article or scene. Follow these guidelines for an abundant HARVEST worthy of today’s market.
When you submit for critique:
Have Patience – only unwanted mushrooms grow overnight. Be ready to learn, it takes a discerning eye to identify weeds in the money crop. Even mature writers can learn a thing or two.
Listen – Babbling about your hours in the field wastes valuable time. Save chit-chat and seed swapping for later.
Accept advice and input. You waste everyone’s time if you don’t intend to glean wisdom.
Never argue, explain, or apologize. Let me explain. Briefly introduce the context, but if you defend or argue, you could have stayed home and read the ‘script to the chickens. Apologizing means you didn’t spend enough time checking for typos, errors, or other problems.
Take it all in. Some input you should take with a grain of salt, some you might take to heart. Consider all feedback, maybe your co-author has a point. Friends and family members, sometimes even busy editors, may not offer the honest perspective fellow authors will.
Now, grab your hoe, um, pen, and take a turn in someone else’s garden to prepare for the HARVEST. Here’s how to cultivate:
HELP by beginning with a positive comment about at least one, preferably several things, in the submission. Your remarks may inspire the author to develop a special technique or style. Also, you wouldn’t dump a truck load of fertilizer on a seedling, so try to measure out advice appropriate for each member’s readiness.
Agree and move on. If you concur with another’s remarks, say so, but keep it simple. For example; “I agree with Farmer Joe that dandelion patch needs work. Now about these boll weevils.”
Resist rewriting. Your style is different from everyone else’s, don’t try to clone. You should, however, suggest alternatives to clumsy or clichéd smaller sections. Also, resist asking questions; receivers should listen, not expound.
Value concept and content. It’s not just a good idea, it’s the law–freedom of speech, right? If the work is for a specific market, you can identify something that’s possibly offensive or that might alienate, but what others grow, er, write, is not your concern.
Explain only (and briefly) if you’re an expert or professional. Maybe you know more about the rare blooming titan arum than the average Jane and the piece mentions a second annual bloom. Gasp! Authors rely on valuable resources, and we should check each other’s facts and information whenever possible. That being said…
Stay focused. Following rabbit trails consumes precious time.
Thank other authors for presenting their precious cuttings and encourage them to return with another scene or revision for the next session. Nurture, nurture, nurture.
By sharing our own and reviewing each other’s creations, we gain knowledge, skill and the courage to plant seeds for a fruitful harvest. That rare titan arum? It only blooms once a year. When it does, it smells like rotting fish. Eww. No stinkers here please.
Saturday, June 14, 2008
Endings
On our plot skeleton, the legs represented two reactions to all the protagonist had gone through. We see many novel, movies, television shows that have a negative or "no change" ending. The author if asked would probably say they prefer to be a realist. Things aren't always Polyannaish. Right? I mean we live in a real world they might add.
Now here is my moral question for you all. I understand we won't all agree, but I want to hear what you think. Is it our moral duty to end with a positive happy ending? Think about it and give your answers plus reason why.
I look forward to hearing your answers,
Dan
Now here is my moral question for you all. I understand we won't all agree, but I want to hear what you think. Is it our moral duty to end with a positive happy ending? Think about it and give your answers plus reason why.
I look forward to hearing your answers,
Dan
Friday, June 13, 2008
The Plot Thickens
Hey gang, I want to add one thing to the plot skeleton and clarify the story worthy problem.
Sharon's minutes from the last meeting were great, but they made me aware of something I didn't communicate clearly.
The second eye = the story-worthy problem
In the Wizard of Oz the story worthy problem is deeper than finding Oz. Dorothy needs to be content with her current family. This is a universal and timeless issue. Hopefully not to many of us were orphaned, but we all are thrust into new family situations-- We marry, gain in laws, have children with their unique personalities, lose a parent or sibling, watch our kids become teens, gain more in laws as our kids marry, gain grandchildren, maybe even lose a spouse-- like it or not our family unit is in constant flux. We can relate to Dorothy's life lesson. It really is a sovereignty issue. Will we trust God? Will we choose to bloom where He planted us.
I'm reading Hooked (write fiction that grabs readers at page one and never lets them go) by Les Edgerton. Great book by the way. One of her points is you need to be aware of the story worthy problem from page one. You may not write to it specifically, but it will affect your direction from the get go.
Add a nose to our skeleton. Motivation.
This is vital. For both the eyes, the two goals, surface problem and story-worthy problem there needs to be a motivation. A object at rest prefers to stay at rest unless something moves it. Could be greed, love, longing for family, the work of the Holy Spirit, hatred, physical pain, rent is due... but something has to drive characters toward that goal.
I hope this helps clarify.
Metaphors be with you,
Dan
Sharon's minutes from the last meeting were great, but they made me aware of something I didn't communicate clearly.
The second eye = the story-worthy problem
In the Wizard of Oz the story worthy problem is deeper than finding Oz. Dorothy needs to be content with her current family. This is a universal and timeless issue. Hopefully not to many of us were orphaned, but we all are thrust into new family situations-- We marry, gain in laws, have children with their unique personalities, lose a parent or sibling, watch our kids become teens, gain more in laws as our kids marry, gain grandchildren, maybe even lose a spouse-- like it or not our family unit is in constant flux. We can relate to Dorothy's life lesson. It really is a sovereignty issue. Will we trust God? Will we choose to bloom where He planted us.
I'm reading Hooked (write fiction that grabs readers at page one and never lets them go) by Les Edgerton. Great book by the way. One of her points is you need to be aware of the story worthy problem from page one. You may not write to it specifically, but it will affect your direction from the get go.
Add a nose to our skeleton. Motivation.
This is vital. For both the eyes, the two goals, surface problem and story-worthy problem there needs to be a motivation. A object at rest prefers to stay at rest unless something moves it. Could be greed, love, longing for family, the work of the Holy Spirit, hatred, physical pain, rent is due... but something has to drive characters toward that goal.
I hope this helps clarify.
Metaphors be with you,
Dan
Thursday, June 12, 2008
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