Showing posts with label resources for writers. Show all posts
Showing posts with label resources for writers. Show all posts

Tuesday, November 25, 2008

A News Resource


Dawn Goldsmith, long-time IWW member and multi-published essayist, sent a note about this site.
Arts & Letters Daily: A Service of The Chronicle of Higher Education.

There are multiple resources available there, including ...
  • Articles of Note
  • Essays and Opinions
  • New Books

The site also provides links to breaking news from ABC, AP, BBC, CBC, CBS, CNN, Fox News, Google, MSNBC, NPR, Reuters, and newspapers from around the world.

Friday, September 26, 2008

PageFour - Outliner


I visited yesterday with the writer Cait London, a novelist with dozens of books in print, and she told me that one of the most valuable computer tools she'd found recently was PageFour -- "a good place to stash story ideas and develop them," she said.

"The sample is great to try," she told me. "I got it and a few other helper programs at bitsdujour.com and watch for the discount programs to be the special of the day. It saves in .rtf which is great, also Dragon works with it."

PageFour - Outliner and Tabbed Word Processor for Writers

PageFour is a tabbed word processor and outliner for creative writers. Where other word processors were designed with the business user in mind, PageFour aims to meet the needs of a different class of writer. It does not improve your prose or make you a better writer - only you can do that, but PageFour does make your job just that little bit easier.

Tuesday, July 8, 2008

What Happens When You're on the 101 Best List


... if you're The Internet Writing Workshop, you get new members every day!

  • Again, I went looking again on the internet. I came across the Writer’s Digest article on the 101 Best Websites for Writers, and that’s where I found you.
  • I discover your site through Google Alerts.
  • I found the Internet Writing Workshop through a reference from Willamette Writers.
  • I found you by googling “writer critique.”
  • I found your site via a Google search.
  • I heard about the lists on Google. I was looking up "short stories."
  • This writing list was recommended to me by Nan Hawthorne who is a writer of medieval novels for whom I have provided some research and insights and with whom I am currently co-authoring a novel set in the early 1300s in Scotland .
  • Former member originally referred by Barbara Weitbrecht.
  • I found you in "101 Best Websites for Writers" in Writer's Digest.
  • I found you through a link at Writer's Digest.
  • I found the IWW in a general websearch for writing workshops and groups. I wrote to one of the admins of the Nfiction list (Gary Presley) with a few questions, received a delightful and encouraging reply, and am eager to join the IWW.
  • Just for your information, I discovered Internet Writing Workshop via Google search engine.
  • I heard about you from a friend on another writing group. congratulations on being named in Writer's digest poll of 101 best writing sites.
  • I found this site from a link that someone posted as a comment on a blog article about beta readers, when I was googling for beta readers.
  • I found this group through a recommendation by a member of the Book in a Week writing group.
  • I was a member of the psu Fiction and the Poetry list back in 1993, so I am acquainted with the list even though it has changed during those years. Recently I decided to rejoin and so I did a google search for writing related forums and found the home page of the IWW, thereby discovering how to subscribe to the workshops.
  • I found your site via an online search for writing groups and appreciate your willingness to allow me to join.
  • I heard about this website from Max Barry's very informative and helpful website.
  • I run a writers' group myself, called Writing in India, and several members there recommended this forum for fiction critiques. One of the members who did so was Uma Girish.
  • I linked to your page from forwriters.com site and would like to sign up for a few of your mailing lists, if possible.
  • I googled writing groups.
  • I heard about you from the writer.com article by Victory Crayne.
  • I found out about these lists through the Writer's Digest 101 best websites for writers 2008.

Thursday, March 20, 2008

Stumbling over Gold


I went looking for the email address of Jennifer 8. Lee, a reporter for the New York Times. I wanted it because I wanted to ask a question about The Fortune Cookie Chronicles, a great little book I'm reviewing for the April Issue of The Internet Review of Books.

I didn't expect to find it. Whenever I've contacted a Times reporter previously, I've noticed that there is an mechanism that does not reveal personal email addresses.

But while browsing the Times site, I found a wonderful resource: The New York Times Newsroom Navigator.

Researching? Check out some of the links you'll find on this great page:

  • Fifteen web search tools.
  • Collections for Journalists, both government and nongovernment.
  • Telephone and email directories.
  • Publications on the Net.
  • Political Resources.
  • Travel, Entertainment, Sports, and Recreation.

Wednesday, March 19, 2008

Resources for Writing and Promoting Writing


  • Everyone Who's Anyone -- for publisher and editor email addresses -- "A Writer's Guide to The All-Pervasive Propaganda Network."

  • LinkedIn -- a free online networking tool, with specific groups for specific professions -- for example, Freelance Success, LinkEds & writers, and Informed Ideas For Writers.

Read Guy Kawasaki’s post, Ten Ways to Use LinkedIn.

Monday, August 13, 2007

IWW Members in Print and Published

Ellen Achilles

My poem "During an Epileptic Fit, Ida Saxton McKinley has a
Premonition of her Husband's Assassination" has won Third
Place in the InterBoard Poetry Competition. Thanks to all the
wonderful people on the poetry list for their critiques.

N.B.: I still don't feel this poem is *done*. I'm quite sure it will
continue to evolve (some ideas from the critiques are still circling
in my head). But if you'd like to read this poem as it is *for now*,
go here.

You'll need to click on the link "Winning Poems" at the bottom of
the page.


Martha Galphin

I have a poem in this week's Here and Now, Allen Itz's blog of
poetry and photography.

It's called "Now That We Are Dead."


Alan Girling

My short vignette "Mirrors" has just appeared in the Issue 2 of
the print mag Thereby Hangs a Tale. It's in good company with a
Wayne Scheer story as well. This issue's theme is Birth.



Dawn Goldsmith

Book reviews in Foreword Magazine and Clarion, and another at
Authorhouse.

Another essay sold to the Christian Science Monitor: "The Fair
Traditions"--it was critted on nonfiction. Thank you, everyone!

With a lot of help from my friends, I've started a second blog, this
one devoted to quilting and fabric arts, but will rely on essays as
well as articles and interviews and news briefs. And of course lots
and lots of art. It's here.

My original blog is morphing a bit into an opinion page, but that
may only be temporary: My latest essay sale to CSM
originated on this site. So blogging is definitely good for my
writing!

Ann Hite

I was approached by Literary House Review to become an
associate editor. This is a print magazine owned by the same
person who owns Skyline Magazine, where I've published
many stories. I'm excited because the owner is great to work
with and wants only the best writing and art.

This can't hurt my writing credits.


Wendee Holtcamp

My feature on offchannel reservoirs, "Dams on the Side,"
appeared in the July 2007 Annual Water issue of Texas Parks &
Wildlife
magazine. NFICTION members critiqued this one!

I gave an invited guest speech at the University of North Texas
Nature Writing Symposium in April. My topic was "Changing the
World One Story at a Time." NFICTION members critiqued this
speech and I've put the text of that talk online here.


Kristen Howe

The Blue Fog Journal has published my poem "Blazing Sunrise"
in the PDF/print version of their Anthology. Scroll down to
page 88 to see my poem.

Speedpoets, an Australian market, accepted my prose poem
"Storm Chaser" for their June issue, back in May, I didn't get a
copy of confirmation, but found out during my follow-up
inquiries. I have to pay $10 for my copy though, which I'll send
out this week. It's not yet posted at the website, but I'll let you
know when.


Louisa Howerow

My story "The Climb" is up on Amarillo Bay.

The story and excerpts were first subbed to the Fiction and
Practice workshops; I'd like to thank the members for their help.

Amarillo Bay accepts fiction, creative non-fiction and poetry.
Check it out.

Mel Jacob

Thanks to Carter, my bit on reviews from the Writing list now
appears on the blog of The Internet Review of Books. Thanks,
Carter.

(Well, she put it there; I can't very well deny her freedom of
speech, can I? C.J.)


Carey Link

The Birmingham Arts Journal, published by the Birmingham Art
Association in Alabama, has accepted my poem "I Cannot Be
'Perfect' And Creative." You can find more information about
the magazine and art association here. They accept national
and international submissions.


Dinsa Sachan

When I was flipping through the pages of Scientific American Mind
last year, I wondered if I would ever be able to see my
name on its pages. When I started freelancing in earnest this year,
I knew I wanted to pitch them, but I held back because I couldn't
imagine why would they hire an absolute rookie like me. But
eventually, the desperate writer inside me won, and I shot a query
at them. And the rest, as they say. . . .

Here's my latest publishing success: "Behave Yourself! Kids who
can control their impulses do better in school." Yes, in Scientific
American Mind
.

Wayne Scheer

My story "Choosing to Live" is up at Long Story Short. They
have it listed under Romance. The story was critiqued in Fiction
not too long ago under the title "A New Man." As usual, you guys
helped make it better.

Also, thanks to Carter, I dug through my notes to find something
to submit to the IWW blog. I fooled a bit with an old response to
a Writing discussion and decided it might fetch me money. It
did--a princely $15--for publishing it at T-Zero, The Writer's E-zine.

Sorry, Carter. I never did send it to the blog.


Scott Wiggerman

My poem "How to Make a Pigeon Cry" led off last Saturday's
New Verse News. (Scroll down to August 4.)

What makes this so exciting for me is that I had just revised this
poem the day before, emailed it to New Verse News and had a
response in my in-box the next morning informing me that it had
been accepted and was already online! Talk about fast response!
I've never encountered such a thing--I'm still stunned! That's less
than a 24 hour turnaround.
_____________________

Monday, August 6, 2007

IWW Members in Print and Published

Lots of triumphs to report today, in just about every genre!


Peggy Duffy

An article, "Keeping an Eye on Real Estate--Buying a Foreclosure,"
has appeared in the South County (VA) Chronicle.


Peg Frey

Hi All!

I should have definitely left town earlier. Just received a note from
Kaleidoscope, a literary journal focused on disability issues,
indicating they're interested in publishing my CNF piece "Finding
the Other Side" in their January issue. This piece was read and
critiqued on the non-fiction board earlier this year. So thanks to
everyone [again] for the input.

Kaleidoscope, a biannual publication, is a paying market, up to
$125 per piece. Specific info on the journal, upcoming themes
and submission guidelines can be found here

But that's not all--Peg also reports this one:

I was just informed that my short fiction, "Swimming for Gina," has
been accepted for Kaleidowhirl's autumn issue. This is another piece
inspired and developed on the Practice board (yea, Practice!).
Thanks to everyone who commented on this shortie and made
suggestions.

Kaleidowhirl came to my attention through Peggy Duffy and Louisa
Howerow, past contributors. The online literary quarterly publishes
poetry and flash fiction (up to 1000 words). No compensation on
this one but the journal will link your website and/or list books and
chapbooks per author. They've published some very good people in
the past. For instance, Gwendolyn Joyce Mintz, whose work I've
admired in numerous online venues (along with Peggy D. and
Louisa H., of course!)

If you're interested, you can pop the site, guidelines and archives (I
always read the archives) here.

Thanks for the ongoing support!


Jennifer Gibbons

An essay I wrote about a classmate of mine, "From Ygnacio Valley
to the arm of a British earl," has been published in my local paper,
the Contra Costa (CA) Times.


Kathy Highcove

Hello fellow Critters! An article I wrote recently about the NASA
Explorer School Project partnership with a local magnet school has
been published in a nearby community newspaper, the North Valley
(CA) Community News.
I am currently writing another article for
the same pub.


Robert Hyers

I just wanted to say that I'll be leaving the fiction and nfiction lists
until about October. I'll be taking the GRE's end of Sept/beginning
of Octoberish, so I have to start studying. I just won't have time to
sub, crit, and take unpopular positions on the writing listserv :-)
Before I go, I just want to send out a few yahoos. I usually save
them until they're actually up, but these will hopefully be published
before I get back.

--"twilight" finally found a home at 3:AM Magazine. It should be
up any day now.

--"Divine Intervention" will be in the September issue of Khimairal
Ink.

--"Gangstas in the Basement" will be in the autumn issue of Locust
Magazine.


None of these credits would be possible without all the great crits I
received. Thank you! I will definitely be back!

Hmmm...now how the heck does geometry work again?.........what
does "jejune" mean?........


Laurel Lamperd

"Desert Veils," a poem published in Arabesques Magazine is here!


Mithran Somasundrum

A story of mine called "Asian Tigers," subbed to the Fiction list a
long time ago, has finally found a home in the Minnesota Review.
Thanks again everyone who critted it!

Minnesota Review is a print mag published twice a year by Carnegie
Mellon University. They seem to like fiction that touches on
political/social aspects.


Joanna Weston

Yahoo! A poem, 'Gloss,' in Paperplates.

_____________________

Saturday, June 16, 2007

How I Discovered the Internet Writing Workshop

  • I found you through http://www.nawg.co.uk/Links.htm
  • I typed "online writing groups" into Google.
  • I found your site through a Google search.
  • I found you through Writing-World.com
  • I found the workshop thru forwriters.com.
  • I found you guys searching the web.
  • I was doing a google search for online writer's groups and came across the IWW and I'd like to try it out.
  • I found your information on Writing-World.com ...
  • Sarah Morgan recommended you to me.

Friday, June 15, 2007

A Good Example of a Word

An Essay
by Carter Jefferson

Writing historical novels, or stories set in the past, is no cinch -- it takes serious research. Given the slightest hint of an anachronism, hard-core readers of this kind of thing will throw the book across the room.

Nan Hawthorne, an IWW member, has been getting flak for calling the place her protagonist runs a "tavern." Her critics say that word didn't exist in Anglo-Saxon Britain, the setting for her novel. They're right -- it didn't. She's not writing in Anglo-Saxon, however, but in modern English. So the question really is whether an inn that sold wine and beer, which is what Nan's character runs, could exist back then.

An alehouse sells ale, but not wine. A tavern sells wine as well. The distinction came only later, however. Since there's an Anglo-Saxon word for alehouse (ealu-clýfe), I think it's safe to presume such things existed in the Anglo-Saxon era. Wine also existed, and some of it was produced in England, from English vineyards, during Roman times there, though some was imported. Inns also existed, and one claims to have sold liquor in 580 AD.

It's very difficult to prove something did not exist, so I think Nan is safe in having her bartender sell wine as well as ale. Though the term tavern came later, I doubt that anybody can prove that alehouses never sold wine or housed guests in Anglo-Saxon times. Where there was alcohol and coinage, people sold alcoholic beverages, you can bet on that.

Here are some sites where you can find various hints of these things:

  • http://tinyurl.com/2t7j8h - etymology of tavern
  • http://dontgohere.nu/oe/as-bt/read.htm?page_nr=231 - A-S dictionary
  • http://www.english-wine.com/history.html#roman
  • http://pages.zoom.co.uk/hauntedplaces/ferryboatinn.htm

It took only a few minutes to find those sites, but the question Nan was asked is only one of the many historical novel writers face. They must steep themselves in the era they portray, and let the reader live there just as the characters did. Anachronisms are anathema.

Tuesday, June 12, 2007

Intellectual Property

What you write is that: intellectual property.

Like other intellectual property, it has value. And, when you die, you want the things of value you own to go to people you chosen.

That's why a smart writer should visit Neil Gaiman's Web site and read his take on intellectual property and wills.

Who is Neil Gaiman and why should he worry about intellectual property?

"Bestselling author Neil Gaiman has long been one of the top writers in modern comics, as well as writing books for readers of all ages. He is listed in the Dictionary of Literary Biography as one of the top ten living post-modern writers, and is a prolific creator of works of prose, poetry, film, journalism, comics, song lyrics, and drama."


As with other references and pointers on the Internet Writing Workshop Blog, the administrators, individually and collectively, assume no responsibility for the accuracy or honesty of the information. Writing is a tough business. Caveat emptor.

Thursday, April 26, 2007

How I Found the IWW: Or, "Why the Group Appreciates Google"

  • Found you through google, what else, huh?
  • I found you guys when by searching the internet for writing groups.
  • I located the site through use of Google internet search engine.
  • I found you guys searching on Google. And I am really glad I found you. Living on a South American country, with a South American income, does not add much for studying abroad --whether in campus or online!
  • I heard about this site some years ago when I saw Cecilia Dart-Thornton interviewed at the time of publication of her book. She talked about the advantage of belonging to an internet writing workshop site. I don't know if this was the one, but it was what I found when I looked on the net.
  • I found you by googling.
  • I found you guys through writingworld.com
  • I heard about IWW from Suzanne Carlson who's actively participated for a long time.
  • I originally became aware of the IWW through a link posted by a writer on Miss Snark's blog site, and I have been participating on IWW's YAwrite list for a couple of months. I am looking forward to taking part in this practice group. I know it will help me re-establish discipline with my writing.
  • I did a google search for Novels-L to find you, because that's the group I used to be in.
  • I learned of this workshop on the back cover flap of Baby Catcher: Chronicles of a Modern Midwife by Peggy Vincent.
  • I found out about your workshops through a Google search--Google knows all!
  • Found you through The Writer Magazine, to which I have subscribed for approximately 18 months.
  • My Composition and Literature Eng 102 teacher Amanda Skjeveland told me how I could join this workshop and get good critiques on my poetry and that I could get better.
  • I found this site while searching in yahoo for hints on how to form a writers group. I am in the process of starting a writers circle in my community.

Tuesday, April 24, 2007

"Getting the Word Out"

... information from the library of Mona Vanek

Back in 2002 I saved information from an article © 2002 by Ken Hill, writer and online entrepreneur, published in the May 17, 2002 issue of HOME INCOME QUARTERLY E-DITION! BizOpp Edition, a free E-Mail Newsletter, Mona writes, and "offers advice on how to reach a broad range of ezine publishers. Hill said, You can submit your articles to directories that list articles for publishers to use as content in their ezines.
TIP: Be sure to check each ezine's submission policy before you submit your article. These sites do not pay, but you get free exposure for your article, which could be valuable in announcing your own books and yourself.
Hill included a dozen directories, that may accept your well-written
articles:

  • http://www.goarticles.com
  • http://www.connectionteam.com
  • http://www.homebiztools.com
  • http://www.ezadsuccess.com
  • http://www.marketing-seek.com
  • http://www.makingprofit.com
  • http://www.addto.com
  • http://cerebuswebmaster.com
  • http://www.netterweb.com
  • http://www.business-dynamics.com
  • http://www.internetclinic.org
  • http://www.ezinearticles.com

He also advised joining three lists, where you can submit messages to put your articles into the inbox of ezine publishers who actively search for content for their ezines, and MAY want to publish your articles:

  • http://groups.yahoo.com/group/article_announce/
  • http://groups.yahoo.com/group/free_content/
  • http://groups.yahoo.com/group/promoteyourarticle/



Mona Vanek has written as a news correspondent and photojournalist. Her work has been published in more than a dozen magazines, e-zines and books, including
Mother Earth News, Montana Magazine, EMS Magazine, Merginet, and Chicken Soup for the Traveler's Soul.

Thursday, April 12, 2007

Rewriting From a Different Point of View

An Essay on Craft
by Dave Swinford, an IWW Administrator

When writing from multiple points of view (POV), the writer must decide which POV works best for each scene. Once the first draft is complete and it's rewrite time, it may also be time to reevaluate each scene in terms of the point of view. Might the scene work better from a different character's POV? Might it create more tension to shift POV within a scene?

If the answer is, "yes," you then face the challenge of rewriting the scene from a different point of view. Will that require reworking the entire scene? Usually it's not necessary to do a full rewrite. The events, actions, descriptions and dialogue need not change; only the POV character's reactions to those events, actions and dialogue require rewriting.

In an earlier essay on shifting point of view within a scene, I presented an example of shifting POV. I'm going to rewrite that example to maintain a single point of view. Here's that example in which character A, Kelly, has been delivering a report to character B, Carson. The report has been routine until the last item, which presents an unexpected twist. All of this has been written through the POV of Kelly, who concludes her report with:

"What do you make of it, sir? I have to admit, I was totally gobsmacked." She leaned forward, not having to fake her interest. She truly wanted to know what the Super thought.

Carson reached and meticulously aligned the papers in the open folder. He knew he was stalling, but he hated having the unexpected lobbed at him, especially when it was followed by a request for his input. It wouldn't do for a superior to admit he had no ready response, so he would do as his own Super had so often done. He would toss the ball back into the junior's court.

"A good, succinct report, Kelly. However, before I offer input on the final item, I feel I need more information. You were on the scene. I was not. Other than being gobsmacked, what was your initial response?"

The eager anticipation in Kelly's eyes vanished like a light being switched off. Clearly, she was taking his response as a criticism or reprimand. Why did female officers have to be so bloody sensitive and take everything so bloody personal? If he were going to offer an intelligent reply, he really did need more information.

Now, here's a rewrite of this example maintaining Kelly's POV:

"What do you make of it, sir? I have to admit, I was totally gobsmacked." She leaned forward, not having to fake her interest. She truly wanted to know what the Super thought.

The Super reached and meticulously aligned the papers in the open folder. She recognized the gesture. A delaying tactic to allow time to consider his reply. She could wait. She had become very good at waiting.

Finally, he raised his gaze from the papers and said, "A good, succinct report, Kelly. However, before I offer input on the final item, I feel I need more information. You were on the scene. I was not. Other than being gobsmacked, what was your initial response?"

Her anticipation congealed into a cold lum that lodged in the pit of her stomach. Good report ... except, of course, not enough details. Bloody hell. What did it take to please this man?

In the new version, Carson's aligning of the papers is observed and filtered through Kelly's consciousness. Note that an additional bit of logical action has been added. She is waiting for Carson to look up prior to speaking. From her POV, this action was needed, while from Carson's POV, it was not.

Also note that Kelly's reaction to Carson's reply is a feeling rather than an observation. She cannot observe her own eyes and how they changed. She can only observe and react to what she is feeling. Maintaining a consistent POV requires the author to limit information to only things the POV character knows or can observe.

You now have two versions of this scene, and you, the writer, can decide which works best for your story. Rewriting also provides an opportunity to further develop your character, polish the scene, and practice the craft techniques of establishing and maintaining point of view.

In fact, one may wish to select a scene and rewrite it from a different point of view simply as an exercise in establishing, maintaining and shifting POV. It's excellent practice, and as with all craft techniques, the more one practices, the easier the techniques become.

Wednesday, April 11, 2007

How I Found the IWW

  • "A friend recommended I join a writing group but living in Germany the opportunities for finding an English-speaking group are limited. I looked through a number of on-line sites and the Internet Writing Workshop seemed to best match-up (writing practice, feedback, and a variety of genres.)"
  • "I found your group by typing, Writing Groups" and filtering though the ones that came back. After review of several of the hits, your site seemed the most deliberate."
  • "I heard about the Internet Writing Workshop from Max Barry, at a first novel workshop at Changing Hands bookstore in Tempe, Arizona."
  • "A member of IWW joined a group I am in and mentioned this."
  • "I found you by tying in writing groups."
  • "I found about you while I was browsing the internet looking for writing infos and how to widen my literary ideas."
  • "I simply did Google searches for Online writers groups. I was looking for a group that was well established, offered listserv via email, exudes professionalism, would serve to grow my writing abilities, and provide a community of writing accountability. After filtering through several Google hits, I found IWW."
  • "I found you through the awesome www.textetc.com."
  • "Kathy Highcove, a current member, helped me to find your workshop."
  • "I encountered information about the Workshop in the acknowledgements of Jennifer Chiaverini's first book The Quilter's Apprentice."
  • "An acquaintance and fellow writer told me about the Internet Writing Workshop."
  • "I was encouraged to participate in your online workshop by my friend, Susie Carlson."
  • "Margot Finkle's website."
  • "I have found this site when I was seeking for mailing lists to join at lsoft site."
  • "I found this website from Freelance Success."
  • "Through a friend."
  • "Found you by Google search."
  • "I meet with a local writers group but wanted more feedback on my writing, and I did a Google search to find your website."

Friday, April 6, 2007

Self-publishing: Ten tips to make your book shine

By Bob Sanchez, an IWW member


We self-publishers fight a lonely battle, finding readers for our wit and wisdom. We write alone, and now we sell alone and search for ways to market our work. How do we entice readers to open their wallets?

Those questions are often premature. Before asking how you're going to cope with all those book orders, you need to make sure you have a quality product. Because you won't have a publisher's editor or copy reader working with you on that, you need all the help you can get.

So here are ten tips to make your book, fiction or non, the best it can be.

#1 Use a spell-checker, but only as a first line of defense. Then you look for misspellings the spell-checker won't catch, such as then/than, to/too/two, tail/tale, or its/it's.

#2 Read your manuscript critically, as though you weren't the author. Some things to check include complete chapters, well-organized paragraphs, complete sentences, and accurate punctuation.

#3 Be consistent. If you capitalize a word once in the text, chances are you always want to capitalize it. Decide whether you want one space or two at the end of a sentence, and stick with it. Never change your font or type size without good reason. If your work consists of more than one file, be sure that every file is formatted identically.

#4 Get honest, competent critiques. Leave your mother and spouse alone; your family has better things to do than fawn over your work. Avoid critiques from anyone who has an emotional stake in making you happy, because that isn't what you need. The Internet Writing Workshop is an excellent source of constructive, informed criticism.

#5 Use your judgment. Even good critiquers may give you conflicting advice. Remember that it's your project, so the final decision is always yours.

#6 Refer to a style manual such as the Chicago Manual of Style, which is the most widely accepted guide for standard writing.

#7 Make a style sheet. A novel or other large manuscript can involve lots of small stylistic decisions by the author. Keep a pad of paper with a running list of things you don't want to have to keep looking up. For example, a cartoon I liked showed a bank robber writing a note and asking the teller, "Is holdup one word or two?" Think of words you often misspell or don't know how to capitalize, and write them correctly on the list.

#8 Follow your publisher's guidelines religiously even if they don't insist.

#9 Repeat tip #2.

#10 Review the publisher's proof carefully. When you receive the publisher's proof isn't the time to look for typos; you should have done that already. The publisher may even charge you if you fix many of your own mistakes at this stage. Instead, look for their errors. Are illustrations in their proper places? Are pages and chapters numbered properly? Look at every page's overall appearance. Is each one properly aligned? Is any text missing?

If you follow these simple (but not always easy) tips, I can't guarantee best-sellerdom for your book, but I can promise you this: Your book will be far superior to the vast majority of self-published books. You will have a quality product.

-------------------------

Bob Sanchez is a retired senior technical writer who recently self-published his comic novel When Pigs Fly (iUniverse, 2006). Kirkus Discoveries declares that "Sanchez's breakneck narrative never lets up," while Midwest Book Review states, "Bob Sanchez writes like Carl Hiaasen on speed." He is working on his next novel and plans to self-publish again.

Friday, March 30, 2007

OpenOffice

I write, and I've never found a better tool than OpenOffice, an open source office tools suite. It's almost a direct substitute for Microsoft Office, but it's free. "Free" ... in the sense that other open source software (think Firefox) is, in that those who can't code should support those who can code.

Here's the announcement about the release of OpenOffice version, 2.2, compatible with Windows Vista.

The OpenOffice.org Community announce the release of OpenOffice.org 2.2, the latest version of the leading open-source office suite. With upgrades to its word processor, spreadsheet, presentations, and database software, the free software package provides a real alternative to Microsoft's recently-released Office 2007 product - and an easier upgrade path for existing Microsoft Office users. OpenOffice.org 2.2 also protects users from newly discovered vulnerabilities, where users' PCs could be open to attack if they opened documents from, or accessed web
sites set up by, malicious individuals.

In version 2.2, users will immediately notice the improvement in the quality of text display in all parts of OpenOffice.org. The reason for this is that the previously optional support for kerning, a technique to improve the appearance of text written in proportional fonts, has now been enabled by default. OpenOffice.org's unique pdf export function has also been enhanced with the addition of the optional creation of bookmarks feature, and support for user-definable export of form fields.

While OpenOffice.org 2.1 functions well on Microsoft's Windows Vista, version 2.2 makes use of some of the new cosmetic changes available in Vista, the new file dialogues being an example. Apple Mac users will notice a smaller download and a smaller installed size. The Apple Mac Intel version has many stability improvements, and bug fixes ranging from .ppt export to improved UNO connections. Version 2.2 now requires Mac OS X 10.4.x running X11.

Turning to some of the enhancements made to the individual components of OpenOffice.org, the Calc spreadsheet has received additional enhancements to its support for Microsoft file formats, including improved support for Pivot Tables and some specialised trigonometric functions. Base, the database component, has improved SQL editing functionality as well as a new "Queries within Queries" feature. Compatibility options for some database drivers, such as Oracle ODBC, have been improved. Impress, the presentations component, offers improvements in the handling of hidden slides which has been made more intuitive.

It is important to remember that OpenOffice.org is not just a software package, but is also a development and user community. One demonstration of this is the ability of third party developers to create extensions in a simple manner. Third party xtensions can now be more closely integrated and features have been added to dramatically simplify the installation and updating of these. In addition, features have been added to assist those participating in the translation and localisation of OpenOffice.org.

In addition to being immediately available for download from the traditional download servers, OpenOffice.org is also available from a Peer-to-Peer (P2P) network. Alternatively, OpenOffice.org Community Distributors supply the software on CD-ROM in many countries and native language translations will be available from their relevant communities.

The OpenOffice.org Community is an international team of volunteer and sponsored contributors who develop, support, and promote the leading open-source office productivity suite, OpenOffice.org®. OpenOffice.org's leading edge software technology (UNO) is also available for developers, systems integrators, etc to use in OpenOffice.org extensions or in their own applications.

OpenOffice.org supports the Open Document Format for Office Applications (OpenDocument) OASIS Standard (ISO/IEC 26300) as well as legacy industry file formats and is available on major computing platforms in over 70 languages. OpenOffice.org software is provided under the GNU Lesser General Public Licence (LGPL) and may be used free of charge for any purpose, private or commercial.

The OpenOffice.org Community acknowledges generous sponsorship from a number of companies, including Sun Microsystems, the founding sponsor and primary contributor.

OpenOffice.org 2.2 may be downloaded free of charge.

Wednesday, March 28, 2007

What is Creative Non-Fiction?

An Essay by Carter Jefferson, an IWW administrator


When you want to start an argument, ask this: Just what is Creative Non-Fiction, anyhow?

To put it mildly, people tend to disagree about that definition. I'll give you mine, others can give you theirs, and then you can dream up one of your own.

Suppose I go out to the airport and a glider pilot takes me for a ride. I decide to write about this. I have, I think, four choices.

I can write what newspapers call a "feature story." I might give some background--how many recreational glider pilots there are in the area, what organizations they have built. Then I might discuss the length of runways needed, the price of a new glider. I'll wrap this all around Joe Pilot, who will be at the center of things, and tell what he feels like when he's in the air. I'll write about what the inside of an airborne glider sounds like, and other pertinent facts. But I'll never use the word "I" except when I quote Joe. I'll be the unseen narrator. Readers will learn a lot about gliding. I wrote that one for the Fort Worth Press a long time ago.

The next possibility is the short story. I'll think up a way Joe could be in love and his glider obsession gets between him and his girl, put in lots of conflict and tension, and write a narrative with a beginning, middle, and end. It's fiction, but it's based on reality, and readers may learn a good deal about gliding, because I won't make up the background.

Or I can write about me. I drove to the field, enjoyed the view, talked to Joe, he took me up. Every step of the way, and it's about me and how I felt. It's all true. Readers may learn a lot about gliding, but the story is really about me and how I felt. That's a memoir. Many, perhaps most, people nowadays see memoir as a division of CNF. I don't. Memoir is a genre all its own.

But I could make it a CNF piece. I'd be in it, but the focus would be on the sport, on Joe, on the glider, not on how I feel about it all, not on my experience. Readers would learn a lot about gliding--they'd go along on my maiden flight.

To me, CNF simply takes the cloak of anonymity off the narrator and removes any obligation for "fair and balanced" reporting. But the narrator must tell the truth as she sees it; it's not fiction.

And the piece is not about the writer, but about whatever the subject may be--a hanging, a baseball game, ghosts, what have you. The writer is there in the background, telling the story, and the writer has feelings and opinions, but the story is about the subject. Gay Talese's work about Frank Sinatra is not about Talese; it's about Sinatra. "The Right Stuff" is not about Tom Wolfe; it's about the astronauts.

Let the debate begin.

Tips for the Serious Researcher

An Essay by Terri Main

Use the telephone. Email is fine, but there is something a bit more personal about a voice on the phone. If local, set an appointment for a face-to-face meeting. Incidentally, I've never had anyone refuse to talk to me. Maybe I'm just lucky, but it's true.

I call a specific person if I can find a name. Then I say, "Hello, Mr/Ms/Dr/_______ I'm Terri Main, I'm a freelance writer working on a story about _______________. I understand that you are an expert about this subject and I would like to arrange a time when we could talk on the phone about it. "

I have my questions handy in case they say, "Well, why not now?" but I have given them the courtesy of offering to call at the most convenient time.

Use referrals. At the end of each interview, I ask, "Is there anyone you think I should talk to about this?" Then I use that sources name when I call.

Check the universities, colleges, community colleges and even high schools. By their very nature schools are repositories of experts. You can find out about police procedure just as easily by talking to an Administration of Justice professor at a college based police academy as you can from a police officer, probably more, because the cop can only tell you his personal experience whereas the professor (who is usually a retired cop) has information about various police departments, and is not bound by department protocols.

Make friends with the PR people. You can often arrange interviews through them. They aren't trying to keep you away from anyone. Most want as much publicity for their organization as they can get. Unless you are writing an expose or something like that, they will often arrange the interviews for you. It's just that they have a legitimate need to have a central clearing house for information to pass through.

With universities again, get on their mailing lists for press releases. You'd be surprised what you can learn from them and get a list of experts to consult later.

Check out nonprofits. The heads of places like the local American cancer society can possibly put you in touch with or even arrange the interview with a local cancer researcher.

Tuesday, March 27, 2007

How I Found the Internet Writing Workshop

  • "I found a ... blog of the Writer's Network webpage, which is a site related to a place called The Centre of the Book in Cape Town, South Africa."
  • "Through a friend ... "
  • "Found you by Google search ..."
  • "I meet with a local writers group but wanted more feedback on my writing, and I did a Google search to find your website."
  • "I found this site through a link on The Purple Crayon."
  • "I think you were mentioned somewhere on Holly Lisle's website or on a local Books newsletter that I subscribe to."
  • "Internet search for online critique groups ... "

Monday, March 26, 2007

This Week's IWW Practice Workshop Exercise

These exercises were written by IWW members and administrators to provide structured practice opportunities for its members. You are welcome to use them for practice as well. Please mention that you found them at the Internet Writing Workshop. Information about the IWW and all its individual lists can be found on the IWW Home Page.

"Every picture tells a story" (Version 2)
Prepared by: Rheal Nadeau
Posted on: March 8, 2003
Reposted on: January 11, 2004
Reposted on: January 16, 2005
Reposted, revised, on: March 25, 2007

Exercise: In 100 to 300 words or less describe a single moment in time -- a snapshot that tells a story without dialogue or action, but is capable of capturing a revealing moment that evokes an entire story. Use simple descriptive language, and remember to show, not tell.

  • Often a scene, a photo, or a drawing, can tell an entire story without any action, words, interpretation, or explanation.
  • A walk can reveal a half-eaten orange lying on the ground, a gate hanging from one hinge, or an elderly gentleman standing at the corner of a busy street. An empty house with broken windows, leaves floating in a swimming pool, or an abandoned toy on a side walk--all lend themselves to this exercise.
  • With careful attention to detail, help the reader to see that defining moment in time.
  • If you include people in the scene, remember to describe the scene as if you were looking at a snapshot.
Critiquing suggestions

What is the single revealing moment you take away from the scene's description?
What part of the writing helped you to see the moment hidden in the picture?