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 Produced and published by the members of Writers' Village University since 1998    ISSN 1521-2639       
04 December 2008
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Author Interview

Janet Smith Interviews Kent White

 

Kent White's two published novels, "Prairie Fire" and "Longshadows," tell the daring and courageous exploits of the top secret Studies and Observation Group (SOG) that infiltrated behind enemy lines during the Vietnam War.

I recently read "Longshadows" and found myself creeping through the humid, dark jungles of Vietnam along with the characters. There was adventure, heartache, bravery and courage intertwined with a love story. A wonderful storyteller, Kent holds the reader's attention from the first page to the last.

I was privileged to interview Kent White for T-Zero readers. Enjoy!


T-Zero: "Longshadows" is a book based on the story of one man's experience in Vietnam. How much of this story is based on your own experiences?

Kent White: The characters in "Longshadows," as well as in "Prairie Fire," are composites of many different actual characters. Some I knew; others I didn't. That's the beauty of fiction. One can create characters out of thin air or take bits and pieces from people we've known or not known and fashion totally new ones. As far as any of the characters being based on me, all I can say is that if one knows me well enough, they'll see a little of me in all the characters.
TZ: What was the most difficult part of the book to write, and what was your favorite?
KW: Without a doubt, in both books, writing the romance scenes between the characters was the most difficult. I can't imagine tackling a romance novel. For me, it would be excruciating. What comes far more easily is writing action, which is why I enjoy the action/adventure genre and have stuck to it. Whenever I felt "Longshadows" or "Prairie Fire" was bogging down, I would figure out a way to get back to the action; in this case, the jungle scenes in southeastern Laos.
TZ: If you could go anywhere in the world today to research a story, where would it be?
KW: I got the idea for the yet unfinished "The Golden Triangle" (formally Bright Light), from a trip I took to Thailand in 1992. There were several articles in the English language newspaper, "The Bangkok Post", on live sightings of American POWs and fighting between Burmese Army troops and Karenni guerrillas along the Thai/Burma border. I saw a story in these two completely separate incidents and brought them together. I made three additional trips to Thailand after that, both for pleasure and research. As far as where I'd like to go now to research a book, perhaps Afghanistan, where I know Special Forces has been heavily involved. I don't have a clue what the book would be about, but I'm sure, just as my first trip to Thailand sparked an idea, I would come up with something that would interest me and hopefully the reading public.
TZ: You recently acted as an Associate Producer on "Beyond Barbed Wire," a feature length documentary film that chronicles the experiences of American soldiers of Japanese descent who fought in Europe and the Pacific during World War ll. Would you like to see your two novels, "Longshadows" and "Prairie Fire," made into films?
KW: I'd love to see it. However, it is a difficult process, perhaps more so than getting a book published by a major publisher. The largest obstacle is finding a producer who believes in your story and feels that it will translate into a good enough movie. Films are expensive to make, and a studio wants assurance from the producer that a script or book will make money. It took Martin Scorsese 25 years to find a producer, in this case, Harvey Weinstein, to convince a studio to make "Gangs of New York."
TZ: If you could name one author who has influenced you the most as a writer, who would it be?
KW: I don't know if any one author has influenced me more than another, but in high school and college I was a big fan of Ernest Hemingway and John Steinbeck. What struck me was their seemingly easy writing style. I recall trying to emulate them but quickly realized it wasn't as easy as it appeared. For the very reasons that I was drawn to those early writers, I began reading Stephen King in the early '80s, then later John Grisham, and lately, James Patterson. I imagine they, too, were influenced by the simplicity and straightforwardness of Hemingway's and Steinbeck's writing.
TZ: Who encouraged you the most to write?
KW: I can't remember anyone actually encouraging me to write, but I believe the first of the Vietnam War novels that came out in the late '70s, "Better Times Than These," by Winston Groom (author of "Forest Gump") and "Fields of Fire," by James Webb (later Secretary of the Navy), were responsible for getting me started writing a novel about the experiences of Special Forces SOG teams in Vietnam.
TZ: How difficult was it to get your first book, "Prairie Fire," published?
KW: It was difficult. I queried the major publishing houses as well as some of the smaller ones. It wasn't until a small, regional publisher in Ohio heard about the book that I was able to get published. It enjoyed a cult-like success and was even released in a mass-market edition by a publisher in New York. But, alas, both publishers went out of business and the rights reverted back to me. Years later, I rewrote the book. An ebook publisher, Dennis Cummings at www.realwarstories.com remembered the book and wanted to reprint it. He now publishes the book, along with other out-of-print Special Forces books, in a print version as well as a downloadable PDF version.
TZ: Can you tell us about your Rocky Coast Publishing Company? When did it start and how did it come about?
KW: "Longshadows" was originally titled, "Across The Fence." The publisher in Ohio was all set to go to press when he ran into financial difficulties. The manuscript languished in my desk drawer until a publisher in Canada showed interest and published it. I received my 50 author's copies, and then they, too, went of business. The rights for "Across The Fence" reverted back to me. That's when I decided to self-publish. I changed the name to "Longshadows," rewrote it, had it printed in Canada, and released it late '99 under my own imprint, Rocky Coast Publishing. With hindsight being 20/20, I would not go about it in the same way today. Internet publishing and on-demand printing ("Prairie Fire" is printed on-demand) makes it far more cost-efficient to get into self-publishing. Just about anyone can publish a book nowadays. With on-demand printing, you aren't saddled by an inventory of books taking up space in your garage. That's how I'll do my next novel, "The Golden Triangle." The biggest obstacle is getting the word out to people about your self-publishing web site.
TZ: Have you ever received rejection notices?
KW: Yes, when I was first trying to get "Prairie Fire" published, I got several rejection notices in the form of colored postcards, and again later when I was looking for a new publisher for "Across The Fence." By then, the middle '90s, Vietnam novels had fallen out of favor by publishers. They were only interested in nonfiction.
TZ: You are currently working on a new book, "The Golden Triangle," which you mention making into an ebook. Do you think this is the way of the future for books?
KW: Yes, anyone can become a published author with an ebook. Design a web site, convert the manuscript into a PDF document, and away you go. You can open an inexpensive store on eBay or a free one on PayPal to sell your book.
TZ: Is there a genre of writing you haven't tried that you are interested in?
KW: I've often thought of trying to write horror, but there are already so many fine horror writers that I wouldn't have a chance. I think that I'll stick with my Special Forces niche for the time being.
TZ: When you were a little boy, what did you want to be when you grew up?
KW: When I was in Junior High, I had aspirations to make movies. I did go to film school after I got out of the Army, but found out breaking into the film business was almost as difficult as getting a book published by a major publisher. I have dabbled in it from time to time, however.
TZ: Who are your heroes, living and past?
KW: I don't recall having any heroes when I was young. I imagine my father was my hero, even though I may not have realized it at the time.
TZ: What are your future plans after completing "The Golden Triangle"?
KW: I wish I could look into a crystal ball and see what the future may bring as far as writing. My biggest thrill, for now, would be just to complete "The Golden Triangle." I've been working on it sporadically for ten years.
TZ: What do you think the key to success is for a writer to succeed today?
KW: I suppose it depends on what one considers success. Is it money or just the satisfaction of completing a novel that makes a writer successful?
TZ: That is an excellent thought for all writers to contemplate. Thank you for sharing your time with us. We wish you all the best, Kent, with your writing endeavors and The Rocky Coast Publishing Company.

Visit Kent's website at: http://www.rockycoastpub.com





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The Business of Writing The Writers' Ezine - T-Zero Xpandizine

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The Business of Writing

Rhonda Bracey

Time Management Tips For Freelancers, Contractors & Procrastinators

Sometimes the problem with meeting deadlines is not the deadline dates themselves, but your own procrastination and lack of self-discipline. (C'mon, admit it. We all know we do it.) Without good time-management skills, along with a reasonable dose of self-discipline, you will almost certainly let others down. Your self-esteem will take a hammering, not to mention your finances, if you are relying on that writing job to pay the bills. And the work that you do produce under extremely tight circumstances may not be the best that you can do. The end result? Second-rate work, low self-esteem, lack of money. Over time, you can add lack of contracts and work into that mix, resulting in a downward spiral that may be hard to get out of.

For some reason, I have always been able to get work completed on time––perhaps as a result of being a first-born child and desperately wanting approval. That eventually became a quest for seeking my own approval––something that would keep a psychologist busy for years. But I digress. At school, I would always finish the activity first, or hand in the assignment first, and never had a problem with completing my homework. In more recent years, others have marvelled at how well I manage my time and am "so organized," but I can't see what the fuss is about, as it comes so naturally to me.

I was never a big calendar user, much as I liked to believe that I was. Each year I would buy a new calendar and diary and fill in the details of people's names, addresses, phone numbers, birthdays, and so on. For the first few weeks I would religiously use them. But writing everything down by hand and prioritizing my to-dos takes up too much time! (Steven Covey would be horrified!) I have attended time-planning courses, and tried to practice what they have taught; but like that new diary, it only lasted a few weeks before I was back to my old habits. I continue to marvel at those people who use paper-based organizers like the Steven Coveys of this world suggest.

And so it continued through the years. I'd get by on my good memory and by always starting on some aspect of a job immediately after I'd been given it––no matter how much I didn't want to do anything about it. So now I'd like to share some time-management tips that have worked for me, and which may help you regardless of whether you are a freelancer, contractor, or any sort of out-of-hours writer trying to juggle the competing demands of family, work commitments, and publishers.

Start With The Easiest Pieces First
My "getting started" method is to start with the easy bits first. At school, I'd draw the maps first in geography; in math, I'd draw the graphs first; for a research paper, I'd do all the reading and note taking, then let it sit for a while before moving on to the next stage. Later on, when I started writing nonfiction articles with checklists, I'd do the checklists first. For some reason, doing these sorts of activities stirred up the unconscious information in my brain, so that when it came time to pull the whole thing together, I didn't find it hard to do.

But like most humans, I'm basically lazy. So if I could put it off, I would. However, I'm also driven to meet defined expectations, so there's always a fight in my head between being lazy and doing the work. The work invariably wins. And because I hate letting myself down, let alone anyone else, I make sure that the work is done by the deadline (and usually beforehand). Then I feel really good about myself; the work got done, before deadline. And the client I'm doing the work for is pleased as well, and gives me more work (and money) as a result.

Use A Good E-Mail Program
When I got into computers, nothing much changed until Microsoft's Schedule+ came along, which later evolved into Microsoft Outlook. And now I'd be lost without it. I probably don't use anywhere near all of Outlook's features; those I use regularly include e-mail management, tasks, calendar, and contacts. The best thing about Outlook is that it's a "write-once" system, with built-in reminders and color-coding to indicate when tasks are overdue. Whether you use Outlook or another e-mail/personal information management system is irrelevant as most of them have similar features for managing your time.

Manage Your E-mail Efficiently
The Delete key is the most important key on my keyboard when it comes to e-mail. I get anywhere from 50 to 300 e-mails a day (I'm on several professional mailing lists) and deal with them all in less than one hour per day. I use Outlook's Preview Pane view to quickly scan e-mails, deleting anything that doesn't catch my attention. I also have Outlook set up so that it empties the Deleted Items folder when I shut the program down.

I set up filter rules (use the Tools > Rules Wizard menu option in Outlook 2002) so that incoming mail is separated into folders related to particular people, jobs, mailing lists, etc. I have filter rules to deal with spam mail, which automatically delete these messages before I see them. When such messages do get through, I use the multiple select capabilities (CTRL+click on each unwanted message) and then press the Delete key once to get rid of them.

If I am busy, I only read the unread mail in my personal folder and in the one I have set up for my current job contract. When I have spare time, I'll go through the other folders. If I am really busy, and am not expecting any relevant e-mails, I keep Outlook closed and disconnect from the Internet. Temptations and distractions are the enemies of good time management, and the Internet is the most attractive distraction of all!

Define & List Your Tasks
I try not to have too many items in my Outlook Tasks list at any one time. For me, about 15 is manageable. Whenever I get new work to do, or allocate myself a task to do, I enter it in the Tasks list. Each task will contain some of the following:
  • A deadline date that is always before the final due date.
  • The reminder turned on.
  • The recurring option set if the task is a regular one (like end-of-month/quarter/year tasks).
  • A short description of the task if it is long, with "see notes" added to the description. This lets me know that there is more information about this task in the Notes area.
  • Any additional notes about the task.
For my notes, I may copy/paste relevant information from an e-mail message into the task so that all information about the task is in the one place, or I'll use the Notes feature to capture quick thoughts. For example, I have a quarterly appointment with a bookkeeper; as I think of things I need to ask her, I add them to a task called "Patti - see notes". I could never remember everything I need to discuss with her from one visit to the next, and jotting down notes on pieces of paper is a guarantee that they will get lost! Just before she visits, I print out the task and we work through the items one by one.

Recurring tasks include such things as end-of-the-month reminders for sending out invoices, or contacting a particular client about updates to their Web site. I write and distribute a quarterly newsletter to clients and colleagues and anyone else who is interested. So the newsletter is set up as a recurring task. As I come across ideas for inclusion in the newsletter, I add it to that task in Outlook. The reminder for the newsletter is always set one month before the issue date; this gives me time to pull all the information together into the template so that I can publish the newsletter on time.

In my spare time, I go to my Tasks list and check if there's anything I can work on. I might grab some information from the newsletter task and incorporate it in the next issue, or add some information to my own Web site, or update my resume (another perpetual task in the list of an independent contractor!). Without the Outlook Tasks list, I'm not sure that I'd be as organized in getting these activities completed.

When tasks are completed, I check them off; every week or two, I delete the completed tasks from the list. Such a sense of accomplishment!

Use The Whizbangs In Any Calendar Tool
Outlook's Calendar replaces a paper diary for keeping track of appointments, meetings, lunch dates, birthdays, anniversaries, and so forth. Without it, I'd be very lost.

I use a whole day view in the left pane of the Outlook window, which also displays the current and next month in the right pane. Warning reminders are always set, and can vary from one week to fifteen minutes, depending on the type of appointment.

Keep Track Of Your Contact Info
My personal and professional lives are tied up in my Contacts list. I no longer use an address book, and with Outlook's distribution lists I can maintain lists of all sorts of people to whom I send bulk e-mails. For example, on a personal level, I have a Christmas Newsletter distribution list (replacing the old paper Christmas card list). On a professional level, I have a distribution list for recipients of my quarterly newsletter. Prior to setting up a mailing list on Yahoo, I had a distribution list of all technical writers in my home city. The time saved by not having to retype addresses really adds up.

My Contacts list is divided into folders related to my work. I have folders for software companies, mining companies, recruitment agencies, and so on. When a company advertises for jobs even vaguely related to what I do, I add them to the relevant contacts list. When I am near the end of a contract, I target relevant companies from my contacts lists about my availability. By having a ready list of available contacts, I can move very quickly to find more work when a contract ends; time is money when you're a contractor or freelancer, and few contractors can afford to spend even a couple of weeks researching prospects between contracts.

The Contacts list doesn't include just e-mail addresses; I fill in as much detail as I think I may need and that Outlook can handle. So I always have on hand a contact's phone, fax, or cell phone number, their Web address, and so on. This means I can move very quickly if a company does ask for my resume or work samples; I don't have to waste my time, or theirs, with extra phone calls or e-mails to obtain a mailing address or phone number.

Integrating It All
Since I work as an independent contractor, I can be working in all sorts of locations, from my home office to a client's site anywhere in the country. When I am working at a client's site, I invariably use their computers and network, not my laptop. So how do I keep all this information with me all the time? Enter the PDA. I purchased a Pocket PC PDA a year ago, and have found that it is all I need when I am on-site. On an object not much bigger than a deck of cards, I can carry my calendar, my entire list of contacts, and my complete task list with me. And it means that I don't have to put personal information onto a client's machine. When I return to my home office, I pop the PDA back into its cradle and any new information is automatically synchronized with Outlook on my laptop.

Now, I recognize that not all this work is necessary for every working writer out there, but the adoption of even a couple of new time management tricks can help you put some time back into your schedule. Not working as a freelancer or contractor? Spending your free time working on The Next Great Screenplay? Well, then, using these tips to organize the other facets of your life––such as your church group or your kids' activities––can help you recoup some much-needed extra time to finish that screenplay.


About the Author:

Rhonda Bracey owns her own technical writing company, CyberText Consulting Pty Ltd, based in Perth, Western Australia. She works as a contract technical writer for many companies, mostly doing software documentation and online help. Prior to getting into technical writing, Rhonda was a high school Deputy Principal and Head of Department: Library for many years.


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Catherine's Kitchen The Writers' Ezine - T-Zero Xpandizine

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Catherine's Kitchen

Catherine Manning

This year is rushing by, it's February already and that is not comfortable for me, as time is flying too fast and no grandchildren yet. My daughters are really pushing my birthday in September and I'm freaking out, as number one I don't celebrate birthdays and number two, I don't want to celebrate this one!!

What can I do, beg, cajole, beg, cajole and I get nowhere! I'm still sharing my sister's three grandsons and I'm glad that they still want to come and see me. They've just moved to the west coast, so instead of being practically next door to me, they are next door to their grandparents so that is more difficult for me.

BUT, the boys are actually asking to visit me and the dogs and the turtles. They are only small, 4, 2 and 1, so at least they haven't forgotten 'Faraway' or me for that matter! They have a habit of phoning and saying 'Auntie Cat, can I come and see you?' and I say 'yes' but you have to get Mum to bring you and Mum says 'yes, but it's so 'faraway now'! All of half hour!

Anyway, I have 'Mum' on the phone everyday asking how to cook something, seems my sister doesn't know how and she's gone on a South American cruise and is now off Cape Horn freezing her butt off, but having a good time!

My nephew's wedding last Saturday went well, though I left early as I had only one hour's sleep the night before and had to get up at 4.30 am. so I was tired. The bride and groom were found in the pool at 2.30 am in their wedding clothes, very happy! Graham made a brilliant speech, didn't know he had it in him, but not even the bride's father could match him!

Actually, it was a nice wedding but too many people, about 450 and I got tired of mingling or looking for people to mingle with, so left early. The church ceremony was nice and simple, even though I nearly broke my neck getting there in time, as the traffic was awful and it was the at the Catholic Cathedral in the middle of Bridgetown. I ran into the church just ahead of Melissa! She didn't hobble up the aisle, but my sister-in-law had to wear slippers!

The reception was very nice, food was good too, though I left before the buffet. Had a good sleep after e-mailing my sister in Canada to give her the details.

The next wedding is March 15th and that is my best friends daughter, Neysha Soodeen, Editor-in-chief of MACO magazine in Trinidad. Neysha has been my 'outside' daughter from the time she was six years old. She has been through bad times and good times. She has battled with health problems and beat them and has made a great success of her life. She was involved with Island Life magazine and then decided to go on her own. MACO evolved and what a success that is! I wish her all the best. More news on that wedding in April's column. It's being held at sunset on the beach at Daphne's on the west coast and knowing Neysha, it will be spectacular!

Now, I have to get this late column to Margaret, as usual time is flying and sometimes I wonder how I'm not as well. I thought the older you got, the slower you could get, but that is not the case as the older I get, the faster I have to move! Not sure what the moral is here, but...better get a move on.

Am sure everyone has their favourite carrot cake recipe, but this is a good one as it's very moist and rich. As with all carrot cakes, it takes a little time to prepare.
 

CARROT CAKE

  • 2 cups sifted all purpose flour
  • 4 large eggs
  • 2 tsp. baking soda 1 cup corn oil
  • 3 tsp. ground cinnamon 1 cup granulated sugar
  • 1 tsp. baking powder 1 cup brown sugar
  • 1 tsp. salt
  • 1 lb. finely grated carrots (I use the processor)
  • 1 8-ounce can pineapple in syrup or juice, drained
  • 2 Tbs rum or brandy
  • 2 tsp. vanilla
  • 2 tsp. grated orange rind
  • 1 cup pecans toasted
  • 3/4 cup raisins
Preheat oven to 350F. Butter and flour 12 cup Bundt tin. Blend flour, baking soda, cinnamon, baking powder and salt in bowl. Whisk eggs, oil and sugar well in large bowl. Mix carrots, pineapple, rum, vanilla and orange peel into egg mixture and add raisins and pecans. Blend in dry ingredients. Bake about 1 hour till tester comes out clean.

Cool in pan for 15 minutes and then turn cake over on rack and cool completely. Remove from pan and frost. I loosen the cake gently with a knife to stop it sticking to the pan.

Cream Cheese Frosting  

  • 12 oz. cream cheese
  • 4 oz. unsalted butter
  • 2 cups powdered sugar
  • Orange juice. (1/4 cup)

Combine cream cheese, butter and beat till blended, add sugar and beat till smooth, adding orange juice bit by bit till frosting is spread able but not loose. Frost cake and chill.


Bon Appetit
Cath



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Dreamstorming: Define & Pursue Your Dreams The Writers' Ezine - T-Zero Xpandizine

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Dreamstorming

Define & Pursue Your Dreams

Faye Whyte


Writing is a rewarding endeavor and many of us have high hopes for our creativity, but how does a writer keep going through rejection, lack of time and the (ugh!) day job?

Think of the donkey hitched to a heavy cart –– if he can't see and smell the carrot in front of him, is he going anywhere? Not likely. He might meander a bit this way and that, but he won't make any forward progress. If, on the other hand, we put that juicy carrot just out of his reach, he'll pull that cart in a straight line for all he's worth.

Dreamstorming is a simple technique that will give you momentum by finding your own carrot-cake inspiration to keep your dreams in front of you.

To dreamstorm:

1. Clear the house, turn off the ringer on the phone, and find a quiet corner. Go to the library or the café, if you must, but make sure you have about a half hour of undisturbed time.

2. Set a time limit. Fifteen to twenty minutes is usually long enough to generate new images and ideas, but not so long that you're exhausted at the end of this exercise.

3. Know what you are seeking. If you just sit back to daydream about the future, your energy is more like a sun shower than a storm––it lacks focus. Choose your own focus question. Will it be a day in the life of bestselling author "you," an image of your first publication, or what you'll say the day you tell your boss bye-bye? Choose your focus question and write it down at the top of a blank page.

4. Write! Write down as many ideas as you can in the allotted time. Let your thoughts flow by free-association from word to word. Does writing in a column down the page feel restricting? Put your focus in the middle of the page and let the ideas radiate from it or write one idea on each fresh, crisp page. Just keep your pen moving as you explore your focus question.

5. Write everything down. No one else will ever see this. Write down every idea that hits the back of your brain, even the silly ones––especially the silly ones. DON'T EDIT.

6. If the ideas slow down, return to the focus question and approach it from another angle. Try using the five senses, a list of accomplishments you see for yourself, or how one of your critics will see you.

7. At the end of the time, stop and give yourself a reward (maybe some carrot cake). Dreaming is hard work!

8. Review your list and mark the ideas that are the most vivid and appealing to you. Take your time with this. Let it rest for a few days, then reread the list. I save my old lists in a folder and review them occasionally. Over time, I've found two favorite motivational images: picking up my daughter after school and relaxing with a glass of fine wine in my whirlpool tub.
Now that you have a list, think of ways to keep your favorite images in front of you. Write or print them on note cards; use them as inspiration in your date book or post them near your workspace. One of these cards might be perfect as a motto or slogan. These ideas also can be used as starting points for other techniques such as collage, visualization, and dream-building shopping sprees to make your dreams even more real. Dreamstorm often. You'll find your dreams evolving as you move along the path to success. I do this exercise about once a month and I always come up with new inspiring ideas.

Will this exercise bring you closer to your next sale or the bestseller list? Not directly. But dreamstorming will help you cultivate and nurture images of success so that you can find the inspiration and motivation to continue writing through those challenging times. This exercise, when done regularly, will remind you that your dreams are important, that the journey can be as much fun as the destination, and that you are worth your own best effort!
 

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Fiction Short Story The Writers' Ezine - T-Zero Xpandizine

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Fiction Short Story

by Joan McNulty Pulver

A Dream of Love

Deep in the heart of the Emerald Isle is a hidden forest where the fair folk live and play. Within this forest is a beautiful glade where wild flowers of every hue and shade grow. I, Sean O'Malley, know this because I went there on the eve of Ehtele'mele. For those of you who do not know, it is the vernal equinox, the celebration of the renewal of life.

I woke slowly with memories of stolen kisses shared with a beautiful redhaired woman still lingering on my lips. I have been sharing dreams with her since I was a child. I dreamed of a far away place where she and I played together as children and fell in love, as we grew older. It was a place where all your dreams could come true.

Sluggish, I rose from my bed yawning and stretching to limber up my body. After eating a hearty breakfast, I stepped outside to a beautiful day, full of sunshine with just a touch of a breeze. I decided to walk to the village to get some supplies for a trip I planned to take. As I strolled along the road a green mist began to form, first around the bottom of my feet, then slowly working its way upward until I could barely see a few yards in front of me. Startled, I tried to turn toward my home, but whichever way I turned I always seemed to be heading west, away from the rising sun. Suddenly before me was a huge tree, so tall and leafy that I could not see the sky. Looking around I realized that trees surrounded me on all sides. Where had I gone and how had I gotten here? Panic started to overtake me when, from out of nowhere, I heard the sounds of harp and ocarina music coming from afar. Curiously it calmed me down. I decided to investigate.

I followed the sound of the sweet music until I reached a wide and spacious glade. There I saw a wondrous sight, tiny fairies flitting around the ocarina musician's head. Beautiful, tall and graceful people with pointy ears were dancing round a pole. I knew in a second that these were the legendary elves of old. Sitting around the cooking fires were gnomes, dwarfs, and trolls. The aroma wafting from the food tantalized my tastebuds and made my mouth water in anticipation. In the trees were hundreds of dryads swaying in the branches to the beat of the music. I stood frozen in my steps, staring at this amazing sight. Somehow, I felt I had seen this place before. Was it only in the fairy books of my youth? Or had I been here before? If so, how and when? What was I doing here now?

Looking around, I spied a little man dressed in green sitting under the weeping willow tree by which I stood. A large circle of mushrooms surrounded him. In his hand he held a tiny little hammer. He appeared to be making a pair of golden slippers.

Not knowing what to say as he doffed his cap to me, I simply asked, "Whom are you making the slippers for, little man?"

"Why for the Fairy Queen, of course. Who else would be able to afford them? She must have them for the feast tonight."

"Feast?" I asked, glancing at the cooking fires again.

"Yes, sire, the feast in honor of Ehtele'mele. Tonight there will be dancing and singing and the biggest feast you have ever seen. On this day sixteen years ago, the Princess Teranika was born."

"That is an unusual name. Where does it come from?"

"It is a name from the old tongue. It means earth's victory. Today is her coming of age celebration, as well as that of the vernal equinox. Tonight she must pick a life partner but her parents and she disagree on who that should be."

"Why? Is the elf she has chosen of ill repute or has he some other bad flaw to his personality?"

"No, it is because he is not an elf. The princess claims to have fallen in love with a human in her dreams. She claims his magic is very strong and he is in love with her, although they have never met on this plane of existence."

"Her parents told her that if his magic is as powerful as she claims, he should be able to find her here and they have forbidden her to venture forth to find him. I have been set the task of guarding this gate to the meadow to see if he comes. Only if he steps into this fairy circle can she speak to him. He must come tonight at the witching hour and declare his love if he truly wishes to make her his bride."

"Which one is the Elfin Princess, may I ask?"

"Over there," said the leprechaun, pointing to the most beautiful woman I have ever seen.

"I know her...I know her, from somewhere. I don't know how or when but I have met her." I knew where, but could not bring myself to say that I had been here before in my dreams."

"Oh my," said the little green clad man. "You are the man from dreamland. You are the man she wants to marry."

I stepped over the mushrooms, thinking, "This is the fairy circle from all the tales my mother read to me as a child? I sat upon the ground, by the tree. "I wonder if that is why I have never married. Could it be that all other women have fallen short of my dream of the ideal woman?" I felt very tired. I leaned back against the tree, intending to rest for only a moment. Sleep overtook me and again I dreamed of the beautiful red-haired maiden. She came to me, clad in a flowing white dress; the trim embroidered with flowers of every color imaginable. She wore silver shoes and jewelry and silver ribbons studded with pearls were woven into her hair.

She came toward me holding out her hands. "When the moon is high you will awaken and the leprechaun will ask you to make a decision on either coming here to me or returning to your home. If you step out of the ring of mushrooms to your left you will find yourself on the road home. If that is your choice you will never see me again, not even in your dreams. If you step to your right you will be in my world. Beware; if you choose to come to me you will not be able to return to your world, as you know it. Every day in here is a lifetime in your world. If you were to go back, even after one day everyone you know would have aged greatly or have passed on to their just rewards. Rest now and think well and hard, my love, for the choice you make will determine the course of our lives."

As I slept, I dreamed of emerald green seas, beautiful cities of ivory, silver and gold which held the most spectacular gardens full of flowers, trees and water fountains. There, in the midst of all the splendor my beautiful Princess Teranika awaited me. She was a picture to behold, smiling brightly as she watched the festivities going on around her.

The scenery changed and I could see how my life would be in my world. I would live as I always have. My life would be full and happy but I would never find the right mate, for no one could measure up to my dream. My family had all gone on to the other world and I was alone. That was when I knew what I would do. My decision was made.

When I awoke I asked the Leprechaun if he had any writing material. He gave me some parchment, a quill and some ink. Then I penned this account of my day. I laid it outside the fairy ring as I stepped to the right to join my one true love.


© Copyright 2003 Joan McNulty Pulver
 

About the Author:

Joan McNulty Pulver was born and raised in Brooklyn, NY. She moved to Florida about 30 years ago and decided to stay. She has four children (two girls and two boys) and four grandchildren (three boys and one girl). She works as an Administrative Secretary for the State of Florida and plans to retire in about seven years. That's when Joan wants to start her real career, writing. She hopes to have at least one novel finished and published by then. She does a little volunteer work here at WVU and enjoys this community of writers. She says she has learned so much here and likes helping others learn along with her.



T-Zero: The Writer's Ezine
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Fiction Short Story

by Charles Trent Alling

K2

Jerry Sikes hated dogs. A hatred that came on his eleventh birthday while he was delivering newspapers and a diseased dog nearly chewed off his leg below the knee. The horrifying episode left him with a painful limp and on occasion, even throughout his twelve-year marriage to Cora, he experienced nightmares that jerked him awake, wide-eyed and shaking.

Then one day his son Matthew brought home a stray dog. The black mongrel sat on the porch, ears pricked, while looking at each of them as they spoke. Its eyes were alert and it appeared not to be shy. A sense of strength exuded from the solid-looking male body, legs, and massive chest. His short, stocky tail flipped from side to side.

Jerry's injured leg started to tremble. "Where'd you find this thing? "Ten-year-old Matthew looked up at his father. "He found me, Dad, on my way home from practice. Can I keep him?"

"What did I tell you about pets?"

Matthew bowed his head and mumbled in a monotone, "No pets of any kind--especially dogs." Then he perked up and looked boldly into his father's eyes. "But K2 is a special dog."

"No dog is special. They're a threat to the neighborhood, attacking little children. There's no end to their brutality."

"He saved my life, Dad."

Something turned upside down in Jerry's stomach. He didn't believe any dog could be naturally heroic. "How's that, son?"

"Coming home he barked until I turned around. This runaway car had jumped over the curb and was coming straight at me. I leaped out of the way. He warned me real good, dad."

Jerry didn't know what to say. Matthew petted K2's head. "The car crashed into a fireplug. There was water everywhere. The man behind the wheel didn't move, but the man sitting next to him jumped out of the car and told me to wait until the police came."

"This is why you're late?"

"I just had to wait, dad." Matthew hunkered down and stroked K2's back and looked up at his father as he continued. "The policeman told me that the driver had a stroke and died at the wheel. The passenger, a Mr. Brown, couldn't reach the brake. I told the policeman everything I saw. He wrote it all down in his notebook, then told me to go home."

Jerry studied the dog and then his son. "He may be special to you, but my rule still stands. No pets. So get rid of him. Don't come in the house until he's gone." He left his son and the dog on the porch and limped into the house.

Later in the afternoon, after Jerry finished the necessary paperwork for his accounting business in his home office, he dropped into Matthew's room to see if his order had been accomplished.

When he opened the door the dog smell was overwhelming. K2, sprawled on the bedspread next to Matthew, lifted his head, pink tongue hanging out, and stared at the open doorway.

"Why is that thing still here?" Jerry didn't care if his voice sounded harsh, icy.

Matthew, eyes filling with fear, hugged K2 close. "Mom said I could keep him until she talked to you."

Jerry felt as if someone just kicked him in the gut. "She did, did she? Guess I'll have to do this myself." He closed the door and limped down the stairs to the basement. There was no reason to speak to Cora concerning the dog. She said "yes" too often to Matthew's desires.

In the basement he searched along the back wall until he found a ten-foot piece of rope. After pushing the "open" button for the garage door, he took down his hunting rifle and placed it on the gun rack behind the seat in his Ford pickup truck. He slammed the door shut and went back upstairs to Matthew's room.

The rope tied around its neck, the dog remained in place until Jerry pulled him off the bed. Jerry closed his ears as Matthew wailed objections. When he reached the truck he lifted the dog and dumped it on the truck bed, throwing the end of the rope in after it.

Behind the wheel Jerry started the engine, drove out of the garage, leaving the door up, and headed for a spot in the woods he knew would be a good place to kill the dog. While he drove he could feel the dog close, tongue out, peering at him through the back window.

The truck lurched off the paved highway when he turned off at a dirt road, some ten miles outside of Truckee. Reaching the familiar spot, he exited the truck, pulled the rifle from the rack, and loaded it with two shells. Then, he yanked the rope so the dog was forced to leap out over the left side panel.

At the spot, surrounded by thick underbrush and trees a few feet away from the truck, he untied the rope, picked up a rock and threw it at the dog. It yelped and trotted off a few steps, then stopped to peer back at Jerry. The woods were silent as Jerry said to the dog, "You won't be coming back." He pushed off the safety button and shouldered the rifle.

At the same moment he threaded his finger through the trigger guard the dog's ears perked up as it growled and dropped flat to the ground. Then the dog rose quickly, barked, snarled, and barked at something behind Jerry.

Wondering what the hell the dog was excited about, Jerry lowered the rifle and got his answer when he turned around. He froze when his gaze riveted on a black bear not more than twenty feet away lifting up on its hind legs in a stance of attack.

Before Jerry's mind could react and order his arms to bring the rifle to his shoulder he saw a boiling black mass streak by his legs. He didn't have time until later to admire the courage of the dog as it attacked by jumping up and biting the bear's nose. Then it seemed to be everywhere, snapping, snarling, behind the bear, in front of the bear. Jerry began to marvel at the dog's strength and tenacity.

Finally, the bear lowered its front paws to the ground, turned tail and loped off. The dog continued to bark until it disappeared into the trees. Back to normal, tongue out, the dog trotted to Jerry's feet and sat down waiting for the next adventure.

Somehow the rifle in Jerry's hand became an embarrassment. He squatted down and looked into the dog's sparkling eyes. "Where the hell did you come from? You saved my bacon, boy." It shocked him to be talking to a dog. He stood, wondering what should be done next, but not missing the point about the dog's bravery.

Jerry limped back to the truck, opened the passenger door and called for the dog to jump into the front seat. The dog complied and sat like a king, with its head out the open window. Jerry unloaded the rifle before replacing it back on the gun-rack. Then he slid onto the driver's cushioned seat.

The door shut, the engine purring, Jerry pushed the gearshift into first and looked at the dog as the truck bounced back up onto the highway. "You're going home, boy--I mean, K2." He thought the name wasn't bad for a dog.

K2 happily barked at a jackrabbit, which hopped across the highway in front of them.

© Copyright 2003 Charles Trent Alling
 

About the Author:

Charles Trent Alling lives in Tampa, Florida with his wife, Jeannette, and writes novels. Several of his book reviews have been published in The Tampa Tribune. He is currently trying to find an agent for a thriller which takes place in Puerto Rico, 1947.



T-Zero: The Writer's Ezine
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Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

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Fiction Short Story

by Michael Barrett

Riviera Dreams

The gun lay on the floor between us, smoke still rising from the end of the barrel. Jamie looked at me, her eyes wild. "Oh, shit!" she said.

I was as stunned as she, but knew I had to try and keep myself together in case she fell completely apart.

"It's okay," I reassured her, "You had to do it."

Across the motel room, slumped against the wall, was The Man. He wore jeans, a dark shirt, black knitted cap, and an expensive pair of Nikes. There was a ragged hole in the center of his chest and blood seeped around it. The Man's eyes were still open and I thought I heard a rasping breath. A bit of red froth was slowly sliding down his chin, leaving a trail that led back to the corner of his mouth.

"Is he dead?" she whispered.

"I don't know. I think so."

"Doug," she said, "What'll we do, Doug?"

"Do? We'll pack our gear and get the hell out of here before some of his friends show up." I looked at her and noticed she was still shaking. "You had to do it, Jamie. No choice. No choice!"

"I know. But still..." Her words trailed off.

"He was gonna kill me and then you. It's a good thing you were awake."

"I guess you're right."

"Of course I am. Now, Jamie, hon. Start packing. We gotta get out of here." We held each other for a moment and I could feel her shaking in my embrace. I kissed the tip of her nose and broke away.

I walked across the cheap motel room, stopping along the way to retrieve the silenced Beretta. The Man hadn't moved and there hadn't been any more sounds coming from him. I leveled the gun, aiming at his head, and nudged him with my shoeless toe. He slumped to one side and then rolled partially onto his stomach on the tattered brown carpet. I turned and saw Jamie still standing in the same spot. She looked pale. I couldn't really blame her. This was her first killing.

"Jamie," I spoke calmly and with conviction, "get your things together. I am going to bring the car around."

"What about him?"

"He won't bother you. I'll be right back. Throw all of our stuff into the bags and when I flash the lights, come out."

She nodded and I opened the door a crack and peeked out. There was no one that around so I tucked the pistol under my shirt and walked out. The sidewalk was broken and littered with pebbles that stung my bare feet. Why didn't I put my shoes on? I must be as rattled as Jamie.

The car, a beat up, blue '89 Toyota Corolla, was parked behind the motel in the alley. Somehow I managed to reach it without stepping on any broken glass or stubbing my toe. The car wheezed to life, sputtered a few times and smoothed out. I pulled around front, flashed the lights and Jamie dashed out of the room. She opened the passenger door and flung the bags into the back. She tossed a clean pair of socks and my Reeboks to me.

"Thought you could use these."

"Thanks. Guess I wasn't thinking clearly when I walked out."

I backed out of the parking spot and ground the transmission into first gear. The battered import shuddered and leapt forward as the engine found a clean spark plug to fire on. One out of four isn't too bad, I thought. I eased into the sparse evening traffic, checking my rearview mirror as I did. Nothing out of the ordinary. Yet.

I patted Jamie on the knee and glanced her way.

"You did good tonight, baby."

"Well, I don't feel good. About killing him."

"I know, honey. I know. Once we get to Houston Marina and catch that boat, all this will be behind us. Six million waiting just for us in the Caymans."

"Where will we go after that?" she asked.

"Where do you want to go?"

"France. The Riviera, specifically. I hate cold weather."

"France, it is."

Headlights suddenly flashed in the rearview and I made a quick right turn and looked for another intersection. Behind us, a black sedan careened around the corner and its headlights bobbed from rapid acceleration. I floored the old Toyota, trying to coax out every ounce of horsepower it had. Jamie let out a little shriek and then I heard gunshots. The rear window shattered and Jamie shrieked louder this time.

I made a hard left, the car skidding and fishtailing. I managed to regain control and saw the entrance to Interstate 10 just ahead. A quick check of the rearview and I saw our pursuers gaining slightly. I risked at a glance at Jamie. She was sitting with her head pressed against the passenger window, her hands clasped on her seat belt. Her eyes were closed and her face was screwed up in fear.

I hit the freeway and the Toyota topped out at 85 miles per hour. That was all it had. The black sedan was rapidly gaining ground now. The next exit was the one that would take us to the river and freedom. The twin engine Chris Craft was fueled and provisioned and would easily get us to the Caymans.

I took the exit, not letting up on the accelerator. Tires squealed at the peak of traction and then broke loose. I steered carefully and regained control. A traffic light ahead flashed to red. I ignored it and barreled through the intersection. The sedan skidded to a stop to avoid hitting the cross traffic that I had barely missed. I slowed and made a series of turns that brought us to the marina.

The cabin boat gleamed invitingly in the moonlight. I stopped at the head of the pier and breathed a sigh of relief. We were only a few seconds from freedom. "Okay, hon, let's go south!"

Jamie didn't move; her hands still gripped the seatbelt. I touched her shoulder. Her head fell forward pulling her torso with it. She hung away from the seat, suspended by the seat belt, silent. "Jamie? Jamie?" A queasy feeling started in the pit of my stomach. "Jamie!"

I jumped out of the car and ran around to her side. I ripped the door open and stopped abruptly. Her head hung forward, blood oozing down the side of her neck. A neat hole was clearly visible in the back of her skull. I reached tentatively for her wrist and checked for a pulse.

Nothing. I released her hand and it dropped to the seat, limp. Her head lolled to one side. "No! No! Goddammit!"

Blue lights flashed behind me. The black sedan had caught up. Two armed men emerged from the vehicle.

"Douglas Hardeman. Drop your weapon and put your hands in the air."

I staggered back away from the car and looked at them. Time froze. I felt the Berretta slide up and away from my belt. I watched the barrel rise and felt myself squeeze the trigger.

Something stung me in the shoulder, turning me away from the car. The Berretta bucked in my hand and I heard one of the men shout. I saw him slowly sink to the ground, a bright red circle forming on his chest. Another sting, this time in my stomach and I found myself sitting down hard on rough pavement. My gun bucked again. A windshield shattered.

I was kicked in the chest and fell over backwards. I lay there, dazed, looking at the stars. I was getting sleepy and I was aware of a man standing over me. His lips moved but I heard no words. The man's face got blurry and it was almost impossible to keep my eyes open. I felt someone take the Berretta from me, but somehow it didn't matter.

"I'm cold," I said, "but it won't be cold in France, will it, Jamie?"

© Copyright 2003 Michael S. Barrett
 

About the Author:

Michael S. Barrett has been writing since high school and is primarily interested in screenwriting. He has sold one screenplay and is working on two others. He is producing and writing the screenplay for a children's animated short feature due out early next year. Michael is also writing a series of children's short stories under the pen name of Michelle Sanders. Michael is a Viet Nam and Gulf War veteran and currently resides in Columbus, Ohio.



T-Zero: The Writer's Ezine
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Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

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Fiction Short Story

by Guy Belleranti

A Slight Change in Plans

The writers' dinner was in full swing when I leaned close to Chelsea Yates and told her I felt ill and had to leave.

"Oh, Amanda, must you?" Chelsea's hazel eyes fastened on me, disappointment clouding her face.

Afraid so, Ms. Perfect Mystery Writer, I wanted to say, but didn't. I had something better planned for her, something that would put a little crimp in her pocketbook, and a bulge in mine.

Chelsea lay a heavily jeweled hand on my arm. "Would you like me to drive you home?"

I gave her a fake look of gratitude. "Thanks, but there's no sense our both leaving early." Indeed, my plan depended on her staying and collecting all the accolades people were bound to heap on her.

"Well . . . all right. See you at home later, then."

The unfairness of Chelsea's writing successes ate at me as I drove the dozen miles to the house we rented together. Now that she was in the dough, Chelsea planned to buy a more upscale place of her own. This meant I'd also have to move, but in my case it would have be to someplace smaller. My crummy day job and few lousy writing sales wouldn't cover anything else.

I left my old Ford in the back driveway and got to work. First, I slit the screen on Chelsea's bedroom window. Then I carefully smashed in the glass with a cloth-covered hammer. I might not be the mystery writing success Chelsea Yates was, but I sure knew enough to make a break-in look like an outside job.

Entering through the back door, I pulled out drawers throughout the house, scattering things about as a drug addict might, in a desperate search for cash. Then I stuffed every piece of Chelsea's valuable jewelry into a drawstring bag, added my own puny collection, and headed for my car.

I'd hide the haul beneath the spare in the trunk, then return to the house and phone the police about the "burglary."

Headlights lit the alley and swung into the driveway as I stepped outside. I ducked back inside. Darn! Chelsea had returned early.

What was I going to do?

The bag of jewelry felt heavy in my hand as I ran through the kitchen and into the living room.

The large, stone fireplace caught my eye and I hurried to it. I yanked the fire screens apart and leaned in, jamming the bag behind the fresh pile of logs and kindling just as I heard the back door open.

I pulled out quickly, too quickly, banging my head against the fireplace's top edge. My vision blurred, and I stumbled across the room, sagging to the floor in the hall doorway.

"Amanda!" Chelsea cried.

"Burglar," I mumbled. "I ... surprised him. He hit me. My head..."

"It's bleeding," Chelsea said. "Lie still. I'm going to call 911."

***

I acted the part of victim to the hilt, giving a statement to the cops, then having my wound dressed by a handsome paramedic.

"The lead detective, that Detective Mackey, is down the hall checking with the forensic team," Chelsea told me when I joined her in the living room.

And finding just what I want him to find, I thought confidently. Things may not have gone quite according to plan, but Perfect Mystery Writer Chelsea Yates and overweight, round-faced Mackey hadn't a clue. My story and the evidence -- smashed-in window, riffled drawers and emptied jewelry boxes -- were airtight perfect.

"You must have arrived only moments after he escaped out the back door," I said. "Thank goodness you weren't in your bedroom when..." I broke off, as the open fireplace screens caught my eye. When I'd hit my head I'd never had a chance to close them! If Chelsea or anyone should look too closely...

"Amanda, what's wrong?" Chelsea started to turn in the direction of my stare, and I gave a hurried yelp of pain.

"Ouch! My head's throbbing," I said. "Chelsea, could you please get me some aspirin?"

"Of course." She left, and I rushed across the room to slide both screens shut.

When Chelsea returned with a glass of water and aspirin, Mackey was with her.

"How are you holding up, ma'am?" he asked, as I swallowed the pills.

"Okay I guess," I said, shivering for effect just the same.

"Oh, you're cold," Chelsea said. "I'll start up a fire to take out the chill." She lifted a box of fireplace matches down from the mantel, and parted the fire screens.

"No!" I blurted. "I mean, that's not necessary, Chelsea. I'm not cold, just aching and..."

She lit up the kindling as if not hearing me, and the rest of the words died in my throat. I gazed at the licking flames. The jewelry! I'd counted on cashing it in for a tidy sum, but now... It wasn't fair! I never caught a break.

"Something wrong?" Detective Mackey asked me.

"Wrong?" I swung on him. "What kind of question is that? We've been burglarized. I've been assaulted."

"I think not, ma'am. You told a good tale, but neither myself nor Ms. Yates buy it."

"What?" I swung to Chelsea, and didn't like what I saw.

"Why'd you do it, Amanda?" Chelsea asked, her eyes sad. "Was it jealousy of my writing? Did you need the jewelry for money?" She reached behind the couch and held up the stuffed drawstring bag. "I removed this while you were having your head tended to. I saw the fireplace screens open, and knowing they'd been closed this afternoon I got a little curious. Put together with that staged broken window..."

"Staged?" I choked out.

Chelsea nodded grimly. "None of the broken glass was trampled into the carpet which meant no one had entered that way. Isn't that right, Detective Mackey?"

The big cop beamed. "Sure is." He looked at me as he pulled out his handcuffs. "Ma'am, it looks like there's going to be a slight change in your evening's plans."

© Copyright 2003 Guy Belleranti
 

About the Author:

Guy Belleranti comes up with all sorts of ideas warped and otherwise from his home in beautiful southern Arizona. He has had more than 100 short stories published in places such as Woman's World, Futures Mysterious Anthology, and Crimestalker Casebook. Other stories of his can be read online at Orchard Press Mysteries, HandHeldCrime and Wee Ones. His light verse, puzzles, humor and nature-related articles have also appeared in numerous publications for both adults and children. He can be contacted at: guybel@msn.com.



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Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

Karen's Keynotes The Writers' Ezine - T-Zero Xpandizine

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Karen's Keynotes

Karen MacLeod

Editing Contracts: The Good and the Bad of Them

This column was inspired by one of the WVU members who contacted me, about a tentative contract she was offered, to edit for an electronic publisher. With Jane's (her name has been changed at her request) permission, I am sharing our correspondence, and contracts. Contract #1 is a very restrictive contract, and I made changes to it, to make it more favorable to an editor. The publisher did not agree to the changes, so I never joined the ranks of that particular publishing firm.

I hope you find the correspondence and contracts informative.

Hi Karen,

I am a fellow WVU member and Margaret from T-Zero suggested that I contact you for some information.

I have been offered an editing job with a brand new e-publishing house. I was skeptical of the job offer when I received it because they made the offer based on only a cover letter and resume that I sent. (and although I worked hard to highlight my writing and editorial skills-I do not have any professional editing experience to include.) No one else ever contacted me for more information.

The other thing that raised a red flag for me was that I would be paid entirely by royalty. Five percent of any downloaded book sales. I would be assigned projects by the publisher with no opportunity to select what I thought might sell well. I would only be able to reject a manuscript after reading five full chapters and then writing a report as to why I wouldn't accept it. Apparently the first chapters of the manuscripts will be prescreened by the someone else before they are assigned to an editor.

This seemed like it could mean a lot of work for what could likely be very little or even no compensation.

My questions are:
How are editors usually paid? Is it often by royalty only or is there usually a base pay too? Is there widespread variation in this? Is the e-publishing industry substantially different? Are editors usually allowed to choose their own projects if they are to be paid by royalty?

I hope you don't mind that I have contacted you. If it is an intrusion then please accept my apologies.

Thank you.
Jane

Karen's first reply:

Hi,

Good to hear from you.

I don't know how much of my experience is helpful to you, but my work with a certain e-publisher. pays a 5% royalty. I'd love to use our correspondence for a future column in T-Zero with your permission.

My experience in editing was fan based. Take a look at my page on Simegen.com 
Go to: http://www.simegen.com/bios/
Click on the tab marked STAFF.
Then click on the one for me... Karen L. MacLeod

You have to start somewhere to get experience. A good e-book contract may be a foot in the door, for something better. I have a similar contract to that you mention, which I will attach here. I will also send a BAD editorial contract I was offered - which should have been changed (it has red wording of the proposed changes) but the publisher didn't make changes. Needless to say I didn't take that contract.

You are not going to make a living this way -- not at first. What you will get is experience, which could lead to better things. I now do freelance edit, and sometimes make good money at it. Your payments from the e-publisher will be very small. However, there is one thing my e-publisher gave me, which I did not ask for, nor is it in the contract. My name as editor appears on the copyright page of each book I've done. That helps cement my reputation as an editor. Perhaps you can ask for something similar.

In my case, the publisher selects the manuscripts they give me to edit. They do ask if I am interested in the genre offered. If I don't want that particular manuscript, I am under no obligation to take it. However, a good editor tends to edit any project handed them.

I've not been an acquisitions editor - which sounds something like what you have been asked to do. Select the books they may publish and critique why you would or would not choose them based on the few chapters you have read.

If you feel you have the time to do the work the publisher has asked of you, not for personal gain, but for possible credentials, which may help in the future, then consider the offer. Each publishing house will have its own standards and offers for you.

I hope this has been helpful. As a freelance editor, there are certain ranges of payment you can ask for your work. A flat rate for a certain number of edits works for me. In that way, you get paid without royalties. Usually an individual author contracts for editing before submitting their manuscript to a publisher. That's the type of freelance editing I am familiar with.

Your query is not an intrusion. If any advice I provide is helpful, I'd like to know about it. Please keep in touch if you like. E-publishers are just beginning. Some may thrive, some may fold (and some have folded). I took my position to gather more credentials. I feel it has been a benefit to me, though not financially. I can not speak for your life, or what you are looking for. It may not be for you.

I wish you good luck in your future plans. If I have not answered a question you have posed, or wish more information, please ask me for more help.

Yours,
Karen MacLeod

Here's the next in the series of letters we exchanged. The contract and reply Jane refers to is numbered Contract #2

Dear Karen,

(-Jane)
Thank you so much for your speedy and candid reply to my email. The information, advice, and sample contracts are very helpful to me. If you can use this correspondence to help others learn more about the industry, it is fine with me. I'd love to have the chance to see it before its published.

(Karen)
What's funny is I was thinking of my next column being on potential contracts... I'm hoping they will let me do it -- of course, removing the names of the publishing houses and representatives. I'll gladly show you what I'd use, and how I would present it. Perhaps you can suggest to Margaret that such insight has been helpful, and others may benefit from it. It is getting difficult to come up with new ideas each month that are somewhat informative. I'm not even sure whom at T-zero I should ask about this potential column.

(-Jane)
I thought you might find the message with the job offer itself and the contract useful to your article, so I've included it as an attachment. (I copied both the original message and the contract plus my reply into a single Word document).

(Karen)
I think your message is properly worded, and quite professional. Do let me know if you get a response, and what that response is. Its interesting to see that some of these e-publishers have a handle on what contracts may contain, and others don't. Some may "not even have a clue."

(-Jane)
I've also included my questions that I'm thinking about sending as a reply. After a quick review of the contracts that you supplied to me, I've realized that the one that I've been offered is extremely vague and unprofessional.

(Karen)
Let them know which sections seem unclear to you. It actually isn't a bad contract, but could use some clarifications. The part of you critiquing a manuscript for them sounds, as I said before, like an acquisitions editor. With my e-publisher, they have a senior editor, to whom I report. She and the owner of the company have selected the manuscripts prior to having them given to an editor.

As you see by the contract, with all the "red pencil" much should be changed there. Make suggestions, as I did, but don't expect the publisher to like what you offer. The "red pencil" suggestions were actually those of Jean Lorrah, professional author, who has signed and read many a contract. I very much appreciate the input of Jacqueline Lichtenberg and Jean Lorrah in helping me get ahead. I return that favor, by sharing my knowledge with you and others.

You may also want to check out the interview with Sharon Jarvis, who is now an independent publisher. She was an editor for Doubleday back in the 1970's and 80's. She has much experience I lack. http://www.simegen.com/writers/spotlights/nonfiction/1101/sjarvis.html

As an up and coming author, you may also be interested in the WorldCrafters Guild writing school at Simegen.com. Right now, there are no active classes, but much has been converted to self-study. The school is undergoing a re-vamping right now, with a new page look, and better, improved content before we begin new classes. The Editing Circle still operates, and you'd get feedback and help if you ask for it. There is no charge for the school, and its all online. http://www.simegen.com/school/

(-Jane)
I've always been interested in editing and one part of me is willing to give this a try, even though all of my "its a waste of time" alarms are ringing loud and clear. My more rational side says, "don't do it! Focus on your own writing career and stay out of situations that won't benefit you."

(Karen)
Smile. A good author has to learn to edit. Self editing is an important skill, and NO ONE can be more critical of your own work than yourself. I started with my amateur editing back in 1976, which has brought me to where I am now. For all those many years, Jacqueline Lichtenberg and Jean Lorrah have urged me to write for their Sime~Gen universe, and I've essentially refused. I am helping on a Concordance of their material for that universe. It has pleased them no end that I have earned my writing credentials by doing the column for T-zero! So, I'm "A published author" whether I wish to admit it or not.

Some publishing houses don't even offer editing these days. Being able to tighten up your manuscript and make it as clear and concise as possible is a wonderful skill.

(-Jane)
If you have any more input on this I'd love to hear it.
Thank you again for your help. Its good to get an insider's view in order to make my decision.

(Karen)
I'm glad my comments may have been helpful. Let me know if I can do more for you.

Hi Karen,

(-Jane)
I sent an email to the editor last night with my questions and she responded immediately. (That was good I thought.) I'm forwarding her reply to you as I thought you might find it interesting. Of course if you have any opinions on any of this I'd love to hear them.

(Karen) Her answers seem reasonable to me. I'm including an e-book's title for you, which may be helpful. You might want to use this book for more guidance. The book is Surviving the Novel Experience: An Author's Handbook by A.A. Aguirre and K.G. McAbee (NovelBooks, Inc.) Available at the NovelBooks website, or through other booksellers, as paperback or electronic versions.

(-Jane)
Thanks again for your help, Karen. Its been invaluable to me.


I did not include the publisher's reply as Jane mentioned, since that type of information is usually specific per publishing house. It is comforting to know that the publisher did take the time to reply to Jane, in a respectful, and what I considered, complete manner.

Contract #3 is also similar to Contract #2, and that I am including for more information.


Hi Karen,

Once again, thank you for being willing to share this information with me. It has validated my hunch that that this would really only be for the experience and to add a "credential" to my resume.

I'm still undecided about whether to take on this job or not. My husband is encouraging me not to and to focus on my own writing. (Also we have a lot of chaos and unknowns pending in our lives right now and he thinks adding another responsibility would be foolish-but he always supports whatever I decide.) Right now I'm about 75/25-against doing it.

Your advice and help has been a true gift. Please let me know if there is anything I can do to reciprocate.

-Jane

Smile.
You're reciprocated by allowing me to use our "discussion" in a future column.

You still may want that credential one of these days.

As soon as Jacqueline Lichtenberg's books are re-released, my credentials increase, as I just re-edited 12 of her various novels. All of them I did in the 1980's as part of her fan proofreading team (and never got editorial credit). Over the next few years, all will be reissued by new publishers, and then added to my resume under my name.

Oh, for that, since I'm Sime~Gen, Inc.'s "Editorial Consultant" I did get paid on a different basis than the e-publisher's contract. Then again, I've learned my editing trade from Jacqueline, Sharon Jarvis and others, so I "owed" them something.

Whatever you decide, and I know how "life" gets in the way, I wish you well in your projects.

Let me know if I can help further.

Karen


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Contract #1 (with proposed changes)


AGREEMENT BETWEEN EDITOR AND PUBLISHER

This Publishing agreement is entered into, effective on date:                                 2002
Between:
(Editor)
Name
Address


and:
(Publisher)
(address)
E-mail:

NATURE OF CONTRACT
Editor understands that this agreement in no way constitutes any form of employment. Editor is not an employee of ******* Publications or any of its associates, or other web projects. Any work performed for ******* Publications or its associates, or other web projects is purely voluntary. ******* Publications will not be liable for any payment of advances, salaries, wages, benefits, or other income of any form. Editor remains entirely a free agent. ******* Publications will pay Editor a stipulated percentage of the cover price of any book sold under this agreement. What this should say is not that the work is voluntary, but that I am an independent contractor. Saying that the work is voluntary contradicts the promise to pay me from royalties––and I must be guaranteed income if you sell as few as one copy. I am not guaranteed any specific amount of income, but guaranteed income if there are any sales at all. Also, as written the publisher is not liable for paying its own company salaries! The implication is that if you are not, I am! This whole clause has to be replaced.

PAYMENT
Editor, in return for bringing to Publisher a finished, polish Work of professional quality, which requires no further editing of any kind, will receive from Publisher a fee. This fee will be paid to Editor for every copy of the work sold, no matter what format, whether electronic, print, or other. Publisher will pay as follows: This is the guarantee of income. The paragraph above needs to be rewritten by someone with some idea of the legal terminology, and checked by a foreign lawyer––the U.S. term "Independent Contractor," used by our IRS, may not be the proper term in foreign country of origin.
10% of the Publisher's gross receipts of the first 5,000 copies of the Work sold.
10% of the Publisher's gross receipts minus distribution cost of the first 5,000 copies sold through various distribution channels. Delete yellow portion, as distribution costs will most certainly exceed receipts if the accountants want them to.
15% as per above for medium difficulty with editing.
20% as per above for difficult edit.
5% of gross receipts of all copies sold in excess of 5,000.
Payment will be periodic and reasonably prompt when a reasonable amount has accumulated. There will be no advance against royalties. Quarterly payments, and specified that the payment will carry over to the next pay period if not owed a specified amount ($50.00 foreign is reasonable––about $40.00US), and that the statement with or without payment is to be sent to me within thirty days of the end of the pay period.

DELIVERY OF MANUSCRIPT
Publisher expects to receive from Editor a final, finished product, ready to format and publish, as determined by Publisher. Publisher will spot check the Work, and, if necessary, return it to Editor for further processing with no additional out of pocket expense to Publisher. Author will cooperate in a timely and efficient manner to make changes specified by Publisher and Editor. If Author and Editor and/or Publisher cannot agree about the changes, this Agreement will become void upon written declaration of either the Author or the Publisher. This is likely cribbed without thought from your author's contract. The fact that an author voids his/her author's contract should not reach out and make the editor's contract with the publisher void. I don't want to have to sign a separate editing contract for every book. Publisher is the final arbiter in all disputes, and has the authority to terminate this Agreement if a dispute cannot be reasonably resolved, or if the Work is not finished and delivered under reasonable circumstances. In no event shall Publisher be liable for work not deemed acceptable, or work performed by Editor or Author if the work is not acceptable. If Agreement is terminated, Author is free to take the Work elsewhere. This garbled mess needs to be replaced with the appropriate clause from another contract. Perhaps what is in my ****** contract (which I can supply) is suitable. Someone with legal background must adjust this section.

EDITOR'S REPRESENTATIONS AND WARRANTIES
Editor represents and warrants to the Publisher that Editor will not enter into any agreement or understanding with any person or entity that might conflict with the rights granted to Publisher in this Agreement.

ACCOUNTING
Publisher will keep accounts of all receipts and expenditures regarding the Work, and these accounts will be available for Editor's inspection. Inspection will be available to the editor on request.

APPLICABLE LAW
Regardless of the place of its physical execution, this Agreement shall be interpreted, construed, and governed in all respects by the laws of the United States of America and foreign country. Could this ever create a legal mess! In both author and editor's contracts it should specify the laws of city and country, or the city nearest to ***** that has a law court. No way was this contract prepared by an experienced writer, agent, or lawyer. I used to be a secretary to a lawyer, so I have some contract law experience. See my resume for support of that fact.

TERMINATION
This Agreement may be terminated at any time by either Publisher or Editor within 60 days written notification. Moreover, Publisher may, at Publisher's discretion, at any time cease working on the Work if Publisher deems it in Publisher's best interest, in which case Author and Editor will be free to take the Work to another publisher. Again, this seems to be cribbed from the author's contract, with "and editor" added. However, my contract is with the publisher, not the author. An author who is cut loose is never going to share with me anything s/he might get from another publisher. Furthermore, this contract is not for one work; it is for my work for the publisher, not for the author. The termination clause should specify that if either I leave the publisher (30 days notice or completion of manuscript in hand, whichever comes last in this case because there may be tweaking on the ms.) or the publisher dismisses me I am still owed any money forthcoming from the books I edited. When the last of the books I edited goes out of print, I will be paid any money left in your account even if it is less than $50.00.
Nothing in this contract is to be interpreted to make Publisher and Editor joint venturers. (I do not want to be responsible for bills if the company piles up debt, and the company doesn't want to have to give me half the profits if you strike it rich.)

Signatures
IN WITNESS WHEREOF, Author Change to Editor and Publisher have executed this Agreement as of the day and year written above and below.

*****, Publisher___________________________________________________
******* Publications,
P.O. Box *******
Complete Address
And:
(name)______________________________________Editor_______________________________
Books edited:
...................................................
....................................................
....................................................

                                                           Date:_________________________________



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Contract #2


Contract #2 is a typical e-publisher contract with which I am familiar. This one is rather reasonable. I recommended that if Jane wanted the position based on this contract it would be acceptable, as far as I know.

Dear Jane,

It is with great pleasure that I offer you a contract with **********for the position of Editor. I have attached the contract here for your convenience.

Please fill out the personal information at the bottom of the last page and type your name. By completing the section, this indicates you accept the conditions of the contract. Send this completed attachment to me at **********e-mail.

As an Editor with *********you guide authors through the editing process in the preparation of their manuscript for publication. An Editor's job is extremely important. An Editor should check for writing/grammar errors such as passive writing; overuse of some words or phrases, and spelling or punctuation problems. You should also make sure the story flows smoothly. For your convenience I am copy/pasting the EDITOR GUIDELINES here. Please read them carefully and if you have any questions send me an email or phone call and we will discuss it.

The Editorial Guidelines are as follows:

EDITOR GUIDELINES

We do not change the author's story or voice. Story should be changed only if there are logic errors. In addition, a change is called for if there are inaccuracies such as a character doing something he or she could not legally or logically do, such as be in some situation that would be extremely implausible or improbable.

The Editor and author are given thirty (30) days to complete work on a manuscript. When taking on an assignment discuss the start date, to begin working on the manuscript, with me. Editing starts only on the "start date" on which you decided. Should an extension be needed this can be worked out.

If you use Word there is a "tracking" feature [TRK] on the task bar at the bottom. It stays grayed out unless you are using it. If you use Word and utilize the Tracking feature, make sure the author with whom you are working has a program that will "read" it. And in addition, make sure that all changes have been accepted or rejected before sending it on to me.

If either you or the author does NOT have Word, the following process has been established. It is simple but effective to use brackets [ ] and capital letters. Using these particular brackets [ ] is easier because they are available without having to use the shift key. When editing on screen you can keep "Caps Lock" turned on so all your comments will be in caps. I find it also helps to use bold on these comments since this makes them easier for the author to find.

If you use Word or any other program which has the feature, do NOT use the Comments feature. This puts hidden text into the document and if not found and cleared out it won't show up again until the manuscript is in HTML. If we don't know about it your comments will end up being read by everyone who buys an HTML version of the book. Most readers won't have a clue that it's there as an editorial comment and will wonder why we do such sloppy editing. That's not good for the author, not good for the editor and not good for the house.

STEP BY STEP

Read through the entire manuscript. Feel free to make notes to yourself as they occur to you. Be particularly mindful of logic errors.

Go back to Chapter One (or the Prologue if there is one) and go through it, inserting the editing comments as shown in the paragraph above.

Send this chapter to the author. Or, if you and the author decide to do so you can send several chapters, or the entire manuscript, at one time. Some of the editors and authors prefer to send blocks of copy, three to four chapters at a time. It is sent as an attachment to email.

While the author is working on that chapter, or those chapters, you can be working on the next chapter or block of chapters if you are working with blocks of copy rather than the entire manuscript.

When the author has completed his/her revisions s/he will send them back to you. You will check to make sure all the corrections were made, or if the author objects to one of the editorial suggestions the two of you can try to work out a compromise. Attempt at all times to adhere to the author's "voice" in his/her writing. Should you not be able to work out the problem(s), please let me know.

During this editing process you will need to have the author decide what s/he would like on the cover. S/he will also need to write a back cover blurb, an inside front cover teaser (usually a short--sometimes steamy--scene between the H/H). And in addition an author bio is needed.

Once all the revisions are completed on the entire manuscript to your, and the author's, satisfaction, you will send the manuscript to me for review.

If I can be of help at any time, call on me.


Publisher


EDITORIAL AGREEMENT
(Publisher) herein extends this Editor/Publisher agreement: **********, hereafter shown as Editor, and ***********, hereafter shown as publisher.
Editor agrees to completely edit books supplied by the Publisher. Editor will be paid 5% of the download price for each book sold through the Publisher.
Editor's Role
Editor is expected to read the entire manuscript of each book assigned to him/her. However, the Editor is not expected to waste their valuable time or the company's time editing inferior work. In such a case, the editor is required to read no less than five chapters of such a book. If by chapter five the work is too far from being fixable due to the author's lack of writing skill, then Editor is required to write a report and return the manuscript to the Publisher. A full and complete explanation of why the editor finds the work unacceptable must be disclosed in the report.
The Publisher is responsible for pre-screening the first chapter of each book before it is assigned to an Editor, which should eliminate much of the inferior work and Editor may be assigned.
An Editor must complete editing his/her assigned book within 30 days. The exception to this is in the case of books longer than 100,000 words at a rate of five days grace per every 10,000 words over the 100,000 word limit.
Emergencies
In the event of family emergency, as in the case of illness or death in the family, where the Editor cannot complete editing assigned book(s): the manuscript is to be returned immediately to the Publisher with complete written explanation of what prevents the Editor from fulfilling his/her assignment. Email is acceptable. Abuse of the above by the Editor constitutes termination by the Publisher of this and any future contracts with the Editor.
Publisher's Policy
Editor is expected to work directly with the author on every book assigned to them. Final decisions on each book are the responsibility and right of the Publisher. Editor is expected to critique the author's work with diplomacy, tact and the utmost professionalism. Abuse of this policy shall not be tolerated, nor shall the Editor be expected to tolerate verbal or written abuse by authors. In the unlikely event this should happen. The manuscript will be rejected and returned to the author. It is the Publisher's responsibility to explain the reasons for this to the author, based on the testimony from the Editor.
Termination of Editing Services
The publisher retains the right to terminate the services of the Editor if his/her work is deemed by the Publisher to be inferior or inadequate. Termination shall take place in writing, effective on the date determined by the Publisher.
Editor may cancel this agreement in writing. Please give 30 days notice and complete all edits assigned to you.
I agree to the terms and policies of this contract. In good faith and to the best of my ability, I will fulfill my assigned editing obligations to ***** until such time as either Editor or Publisher terminates this agreement in writing.
By completing the following and sending this contract as an attachment to *********** this constitutes your approved digital signature
Click in the bracket
Editor Signature [ ] Date: [ ]
Address [ ] City [ ] State [ ] Zip Code [ ]
Daytime telephone number [ ]
Evening telephone number [ ]
Email address:
<<Address and contact information for publisher omitted>>



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Contract #3


Contract #3 -- Similar to contract #2 which seems to be common in the e-publishing industry. Stock in the company, however is the option of the publisher. This is NOT common. Addresses, contact information and identities have been omitted.


Editor Agreement


This agreement is entered into this ________ day of May _______, by and between ********, an Internet based publisher (hereinafter referred to as "Publisher") and ********* (hereinafter referred to as "Editor").

This contract is entered into in good faith, and signatures from all parties named herein indicate acceptance and agreement to the terms described herein. This contract shall be considered legal and binding in all countries.

I. Editor's Warranties

A. The Editor hereby represents and warrants to the Publisher that he/she agrees to edit, to the best of his/her ability, any and all manuscripts     given to him/her by (publisher) for the express purpose of editing and preparing the manuscript for publication. Editor also warrants that the editor of said manuscript shall be done in a timely fashion (a maximum of thirty (30) days for each manuscript) unless special circumstances arise that may prevent such a time frame and are approved by the Publisher.

B. For purposes of this contract, "edit" or "editing" includes the correction of spelling, grammatical errors, as well as minor revisions for content clarity and story continuity. It is understood that all submissions have been proof read for major spelling and grammatical errors by the Author. No substantial changes will be made to the manuscript without Author's approval. The meaning of the work will not be materially altered.

II. Royalties

A. The Publisher agrees to pay the Editor a royalty of five percent (5%) of the retail download price for each copy of the Work, electronic or POD, sold from the publisher's website, regardless of format or version.

B. The Publisher agrees to pay the Editor a royalty of five percent (5%) of the gross proceeds received by ****** from third party sales outlets, including on-line booksellers and special format distributors.

C. The Publisher agrees to issue to the Editor two (2) shares of stock in the company on the first year anniversary of this signed contract, provided the Editor has edited at least six (6) manuscripts for them during that time. Said shares will not be issued if the Editor cancels this contract before the one-year contractual date. Should the Editor renew the contract for another period, the Editor will receive an additional share of stock for each additional year the Editor works for the publisher provided the Editor edits at least six (6) manuscripts for the publisher in the renewal year, said share being vested upon the annual anniversary date. The Editor shall retain full ownership of all stock earned, regardless of date of renewed contract termination.

D. Royalties shall be calculated and paid no later than forty-five (45) days following the end of each calendar quarter for sales during that quarter. Royalties shall be paid by check, drawn on the company's bank of business. Individual arrangements, mutually agreed upon by the Publisher and the Author, shall be made for payment of royalties to Editor if he/she resides outside the USA.

E. No royalty shall be paid on paper or digital copies distributed for review, advertising, publicity, promotional purposes, samples, or other similar purposes, or on copies sold below or at cost, or provided free to the Author, for the Author's personal or resale use.

III. Term of Contract

A. The Contract shall expire one (1) year from the date of this signed contract, and may be renewed by mutual consent of the Editor and the Publisher.

B. Upon breach of contract, the Contract may be terminated by either party with a 30-day written notice. Notification of breach and intention to terminate the Contract is to be delivered by certified mail or other receipted delivery service. If breaching party corrects the breach within the 30 days, the Contract shall continue to remain in place until its natural expiration.

IV. Miscellaneous

A. Audit - The Editor may, with reasonable notice, assign and designate a representative to examine the Publisher's records as they relate to the Editor. Such examination shall be at the Editor's expense unless errors are found in excess of 5% of royalties in the Editor's favor; in which case, the Publisher shall then defray all usual, customary, and reasonable charges for such audit. The Publisher shall pay the Editor any sums due within thirty (30) days.

B. Severability - If any part of this Contract is determined by a Court to be unenforceable, the rest of the Contract is still considered to be in force.

C. Entire Agreement - This Contract hereby constitutes the entire agreement between the Editor and the Publisher, and may not be altered, terminated, or amended except in writing executed by all parties named herein.

                                     Governing Law - This Contract shall be governed by the laws of the State of **********, USA, and shall be considered legal and binding in all countries.



____________________________________                                       ______________
Signature of Editor                                                                                   Date



Editor address:
Phone number:
Fax and/or email:


____________________________________                                       _______________
Signature of Publisher                                                                              Date


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The Lighter Side

Betty Kreier-Lubinski

Housekeeping for Writers

Writing the great American novel, or a book of short stories, or a pornographic stage play requires much more than talent and a willing publisher. It also requires time. Finding that time involves some careful, focused scheming and planning.

If you think writing great works of art can be done in five minute snatches here and there while waiting at a bus stop, think again. It doesn't work that way. Any respectable burst of wind gusting through will snatch up the best of your five-minute pages and send them squirreling into the nearest mud puddle where your ink will blur, and the words will be lost forever.

You must seriously consider carving out large chunks of housekeeping time in your life to become the writer you are meant to be. I am here to tell you how it's done.

(Please note the following items are not in order of priority. I don't have the time to waste on priority. I am a busy writer.)

1. Don't cook. Start wailing well before dinner time that you've been cooking for 40 years, that your menu ideas are all used up, and you can't think of a thing you can bear to cook, let alone eat. Suggest split pea soup, canned. Remind your husband/wife/roommate about the dirty dishes which accumulate after every meal.

2. Be prepared with a list of inexpensive restaurants where you could find something decent to eat - with no dirty dishes to wash. Remember: you're not dining, just eating out. MacDonald's have good salads, but there's always Kentucky Fried, Wendy's, Carl's, Burger King, etc. You get the idea. So fast food is fattening; eat less. You have to make some sacrifices to become a great artist.

3. When you cook, serve on paper plates. If you're concerned about saving trees, cut down on use of other paper in your house (paper towels, toilet tissue, newspapers) but don't live without paper plates. Someone once suggested that rejection slips make good toilet tissue.

4. If you're cooking a simple meal, set the table with only the required utensils: A spoon if you're having soup, a fork for casseroles, a knife only if some serious cutting is required. (It's just a hillbilly myth that you should eat peas with a knife.) This doesn't work for elegant formal dinners, but if you have elegant formal dinners, then you're crazy, beyond my help, and you'll never have time to become a writer.

5. When good friends notice how swamped you are and ask what they can do to help you, never quibble. Say quickly, "Please clean out my refrigerator. If you can't identify something, throw it away." Make sure they understand that cleaning the fridge includes washing it out afterwards. A good alternative to the refrigerator is, "Please clean out my toilets."

6. Buy dark-colored jersey sheets for your bed. They keep their clean look for about a month as long as you don't let your dogs sleep with you. When they get so bad that they are scratchy to sleep on, haul them off the bed and wash them, but leave them in the dryer. If you leave them there long enough, your husband/wife/roommate will come and look for them, put them back on the bed, and even make it. Especially if you have only one set of sheets for each bed.

7. Grow to like dust bunnies. Name them. Be amused as they travel around the house. Watch how innovative they can be as they race each other from one room to another. (P.S. Don't let the dogs eat them.)

8. Be sure to keep only dogs and cats that don't shed hair. Poodles are a good choice. Don't even let long-haired dogs or cats sit on your front porch because, the first thing you know, you'll feel sorry for them, start feeding them, and will invite them into the house. Be hard-hearted.

9. Use dim lights, perhaps even rose-colored all through your house. When you have company, they glow with romantic ambience and the dirt in the corners doesn't show. These lights also hide wrinkles which means you can cut your beauty routine in half because if the lights are dim enough, blotches, blemishes and wrinkles will never show.

10. When grandparents offer to keep your kids overnight, say yes. No matter how they intend to spoil them. Creating warm ties with your extended family is of great benefit when you need a babysitter. (When the babies get to be teenagers and you want them to run away from home, you have a friendly, familiar place to send them.)

11. If you live on acreage or even a large lot, buy a goat to take care of your pesky lawn. A goat will keep the grass neatly trimmed, and even eat blackberry bushes. Goats can also be very affectionate, but don't let them in the house.

If you have additional ideas for avoiding housekeeping chores and increasing your writing time, please let me know. I will award no prizes, but I will list your names on the dust on my car, right under where someone unknown has written, "Wash me." Name recognition is wonderful for when your next book is published and on the book shelves. In elections, people always vote for familiar names. They also buy books written by writers with familiar names, and they never ask how those names got to be so familiar. Trust me.

Happy writing.
 

About the Author:

Betty Kreier-Lubinski has written short stories and articles which have appeared in T-Zero and RSVP ezines, as well as Sunshine, Science of Mind,Staff, The Christian Mother, and romance magazines. She is a lifetime member of WVU and is currently working on a book of short stories.



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Poetics

Tom Spencer

The Power of Poetry

Through the centuries poetry has been used as a vehicle for learning, entertaining, relating history, remembering, enticing or professing the love of another and making social statements. William Blake used poetry to expose the indigent world of the chimney sweep, the African inequality, and other social inequities. Chaucer's "Canterbury Tales" exposed the human foibles germane to class and social position of his time.

In recent years the poets have concentrated on the vague ethereal relations of the family and the repercussions of childhood environment on adult life and actions. The poetry in the songs of the fifties and sixties, of the twentieth century, focuses on both the concepts of teenage love and the ideologies of war.

Recently the White House was to have a literary symposium on the accomplishments and directions of literature in this new century. W