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The Writer's E-Zine

 

Produced and published by the members of Writers' Village University since 1998    ISSN 1521-2639       
04 July 2009
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Craft of Writing

Joan McNulty Pulver

Get Out of the Slush Pile

Imagine getting your first job in the publishing industry. You have some experience as a columnist and short story writer and you apply for the entry-level position of Submissions Coordinator. You receive an email from the Editor in Chief offering you the position and describing your duties.

“WOW!” you think. “This is truly my dream job. As first reader, I get to look at all these great manuscripts before anyone else even knows they exist. Then I send a response to the writers telling them that their manuscript is being sent to the readers for consideration. How great is that?”

My job consists of reading all the mail that comes into the office for queries and submissions. I check these daily. I use a list of our submission guidelines, looking for compliancy and handle the different problems that may arise.

The guidelines for my publisher, as with most publishers, are fundamental and straightforward. They are clearly readable and understandable on our website.

Please make sure your manuscript is free of typos and misspellings and is as grammatically correct as possible. Be sure to include your name, the title of the book, your email address, an alternate email address, your postal mailing address and an estimated word count.

We accept manuscripts for novels of 50,000 – 150,000 words. Send your printed manuscript to address above. If you prefer to submit electronically, make sure your file is saved in .rtf and send it as an attachment to Submissions@writersworldwide123writersworld.com. Please direct all comments and questions to Info@writersworldwide123writersworld.com.
My first day on the job I opened the Info (information and questions only) email address.

I had 2 emails. One was a submission in .doc format. The other was an advertisement. I deleted the ad as it was spam, and I e-mailed the author of the submission asking him to please read our complete guidelines, save his manuscript in .rtf format and resubmit to the correct address.

Then I opened the Submissions email box. I found a submission that was written by a person whose native language wasn’t English but who professed to have a good grasp of the English language. I opened the manuscript and was amazed at what I found. I wrote the author a rejection letter stating that there were too many spelling and grammatical errors to even consider.

So, what happened to all the great manuscripts I would get to read? We have received several. I have assisted editing one, and am the lead editor on an excellent craft of writing book.

It's important to note that my boss is sympathetic to all would-be published authors. Some publishers just discard manuscripts that don't follow the guidelines. Not mine, though, which is good. She believes in responding to each author who submits, even if only to ask that the manuscript be in the right format and errors are corrected so the author may resubmit, or to give whatever other advice will help a writer become published. For this reason, please endeavor to follow the guidelines of each publisher. They can differ greatly, but one thing is certain for all publishers, whether print or electronic: their guidelines are there for a reason, and they expect them to be followed.

During my months at this publishing company, I have seen quite a bit of bad writing (with typos, poor grammar, etc.) passing for finished manuscripts. These get rejected. Some people ignore, just gloss over or don’t understand the guidelines. Once I explain it to them and they resubmit in the correct format, they have viable novels, etc., which I can then ask the readers to look at. Most publishers don’t give directions. They just toss the manuscript or delete the file from their email without a backwards glance.

Another gentleman sent his submission in .doc format and said he didn’t have access to .rtf. That is one stipulation that our editor is adamant about.

He kept insisting his word processor program didn’t have Rich Text Format. I explained that most word processors did except Microsoft Works. Instead of telling me he didn’t know what Rich Text Format was, he just insisted that his didn’t have it and that he had Microsoft Word.

The real problem wasn’t that his word processor didn’t accommodate .rtf but that he had no idea what I was talking about and was either too proud or too embarrassed to ask. Of course, when I realized this, I told him how to save it in the correct format, and we received the manuscript within two days.

If there is something an author doesn’t understand, it is much better to ask. The only way we can help is if we know exactly what the problem is. If you don’t know or don’t understand directions, say so! The only silly question is the one that isn’t asked. It would have saved a lot of time and effort on his behalf and mine if he had just said, “What is Rich Text Format and how do I use it?”

I can’t stress enough the importance of reading, understanding and following each publisher’s guidelines. They do differ from one to another. Some want it in the body of an email, others as an attachment and still others want a hard copy. Some want you to query first and others don’t. Most do want .rtf format for sending through e-mail but not all of them do. When not sending it in an email, the publishers may require certain fonts, margins, etc. Some want the manuscript formatted in a certain way while others don’t.

I enjoy my job and want to succeed at it both as an Acquisitions Coordinator and an Editor. Please make my job and the jobs of others trying to make it in this industry easier by following the guidelines. If you don’t, they may ask you something unthinkable—like “Please follow our guidelines before resubmitting,” or worse yet, they may just delete the email and never even acknowledge that they received it or throw your paper manuscript in the trash without even looking at it.

If you want to be published, be sure to read all of the guidelines. Print them out and make a checklist to ensure that you are following everything exactly the way that particular publisher, magazine or e-zine, wants it or your manuscript may wind up in the trash bin or cyberspace without being read or even looked at. As I have stated, not all publishers will go to the trouble of sending you a letter asking you to please read the complete guidelines, give you the URL for them and explain that they must be in a certain format to be considered.

Good luck in your endeavor to get published. The next time you glance at a publisher's guidelines, whether a struggling start-up small press or a big publisher of mass market books, remember this column and think about how you are presenting your work. Is it the best it can be and is it in the guidelines of that particular publisher? In order to be considered a professional writer whose work is worth looking at, make sure that it is.


About the Author
Joan is an Administrative Secretary for the State of Florida but considers writing and editing to be her vocation. Her love of writing shows in her short stories and monthly column, “Recognitions” at The Writer's Ezine. She is the Acquisitions Coordinator/Editor at ePress-online and is currently working on a non-fiction book and a fantasy novel. In an effort to help pass on what they've learned working at ePress-online and to help other writers reach for their dreams, Joan and Donna Sundblad will open the doors to their editing and critiquing business Team Spirit Critique and Editing, LLC in the near future.


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Craft of Writing

Jayda McTyson

Should You Be Blogging?

I developed a delicious addiction just two days after joining a writing network. During those first couple of weeks, everything took second place to my new, all engrossing and time consuming activity. If you have ever kept a weblog, I imagine that you are nodding in agreement as you read this. But why would a writer be interested in blogging, and just what is blogging anyway?

A weblog, or blog, for short, is an online, interactive journal. You post as often as you like and receive feedback through a comments section. The material you post to a blog is limited only by your imagination. You can post anything from daily activities and stories currently being written, to articles on religion and politics. A writer may have several reasons for keeping a blog. The reasons are all advantageous.

Increasing Discipline Through Practise
I stumbled upon the idea of blogging while searching for writing jobs. The whole concept piqued my interest enough for me to join a network. It was not what I expected, since it was marketed as a place for writers, but to date I have no regrets about joining. To move up the rankings on this particular network, it is necessary to post regularly. It takes some discipline, especially for a new writer, to sit down and write something every day. It's even more difficult, if your intention is to write something meaningful.

The main way to improve your writing is through practise. The old adage says 'Practise makes perfect'. Without the will or desire to sit down and write frequently, it is not possible to keep your writing in shape. Blogging is an excellent way to practise as you are challenged to write on varied and interesting topics to keep readers coming back. This process stimulates creative juices and as the habit of writing everyday is developed, your skill level gradually improves.

Learning To Be Competitive
Since blogging sites have thousands of members, it takes work to develop a following of readers. The more interesting you can make your posts, the more you will be read. Engaging the reader's imagination is crucial. Talent and originality also go a long way in helping you retain faithful readers. You will also need that something extra. That something extra is—ambition and drive. This pair will keep you plugging away in order to keep your blog amongst those at the top, which is not the easiest thing to achieve. A word of caution: Enforce strict time management strategies, otherwise you will find yourself doing more reading and blogging than pursuing your other writing goals.

Making The Most Of Marketing & Networking Opportunities
If your weblog is dynamic, you can also make money while blogging. Say you specialize in a particular subject area and you're seen as an expert, chances are, traffic through your weblog will be heavy. This is an excellent marketing opportunity to use to your advantage. The benefits that accrue from being an expert are manifold, chief of which are increased earnings and personal satisfaction as an established or soon to be established writer in your chosen field.

You can interact with your visitors and keep them coming again and again. If your area of specialization is not immediately clear, with repeat visits, they will eventually know what it is that you do. Links on your blog page are good and will do some of your marketing for you.

Networking is a great way to sell or exchange your services without having to do extensive online searches. Blogging promotes this like nothing else I know in the writing world. It is quite possible to read upwards of twenty blogs in a day and as you talk with other writers through their comments section, you learn about their lives. Valuable information is gained as well. You are likely to come in contact with other writers, editors and publishers. You may also meet manufacturers and distributors who are looking for someone to write a commercial blog for their web site. If your work is brilliant and if there happens to be an editor who is looking for a talented writer, who knows what interesting development may might follow.

Using Valuable Feedback & Idea Exchange
Apart from providing feedback which will be of great value in your progress as a writer, visits to some bloggers' pages will yield links to their web sites, favourite job markets and writer's resources. These links have been invaluable in my quest to become a better writer and to find additional job markets.

Tips, helpful suggestions and ideas are exchanged while communication takes place in your comment section. Information and knowledge is shared as writers explain how they find inspiration, as well as avenues pursued in trying to become successful writers.

Feedback is a major plus, especially if you are not a member of a true writing network or a critiquing circle. I have posted articles in progress in the past, and still do, and have received helpful comments and excellent advice from those who read my posts. Among those readers are professionals who make their living from writing and publishing and are happy to give pointers to less experienced writers. Can you hope to get better help than that? I don't think so.

Capitalize On Your Own Endless Treasure Trove of Ideas
Although you might not think of it in quite those terms, a blogging network can be likened to a huge warehouse of words, with a ready-made supply of writing prompts. Your posts, and that of others, will vary in subject matter. Choice bits of information are contained in each entry. These morsels have formed the basis of articles that I have written and will continue to write. I'm sure that this is not a strange occurrence for those of you who keep a blog. A great way to spark ideas for your own posts and articles is to read posts by other writers. It takes just a small amount of imagination to add flesh to the bare bones of ideas that get started from browsing posts.

Blogging has spread across the Internet at a rapid pace since 1997. In years gone by, it was used exclusively by the U.S. military. Today, blogging is not confined to ordinary folk, but is also employed by people such as Ray Ozzie (creator of Lotus Notes and founder of Groove Networks, Inc) and Mitch Kapor (designer of Lotus 1-2-3 and founder of Lotus Development Corporation). Major corporations make good use of this highly interactive form of communication.

Blogging is a means of communication, learning, self expression, storytelling and marketing. Interaction is significant and is the means by which knowledge and expertise are shared amongst people with similar interests. Writers benefit from blogging through using it as a means of instilling discipline through regular practise. Some use it to keep themselves in practice and thereby competitive in their respective network. Still others use blogging to get feedback on their work from other writers.

Blog sites are also used as a marketplace where you can display your skill, while networking with others in the same industry. Finally, blogs are a wonderful source of ideas that can be arranged into articles or stories as needed.

The one major downside to blogging is that it can consume all of your writing time if you are not careful. However, the benefits to the writer who keeps a weblog far outweigh any disadvantages that come to mind.


About the Author
Jayda McTyson writes both fiction and non-fiction and has special interest in the art of writing, parenting and relationships. She lives in sunny Jamaica and is always on the lookout for the makings of her next article or story. Feel free to contact her at writesmith@fusemail.com


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Craft of Writing

Sarah White

Writing with the Three Cs

Every writer, if he or she is to be successful, must keep three criteria in mind when working on any piece of writing. I call them the three Cs: clear, concise and correct. It sounds pretty simple, but it makes a big difference in making your work attractive to editors.
 
When your work is clear, concise and correct, it says the right thing in just the right way, gives the reader (and your editor) all the information he or she needs and not a bit more, every fact and figure is correct and the story flows smoothly from beginning to end. Suddenly it sounds a bit more difficult, but it's really not if you think about what each piece of the puzzle means.
 
Clear: Is it possible for someone who is not an expert in the field about which you are writing to understand your words? Is your article free of jargon, or are special vocabulary words explained? If you are writing on a continuing topic, is there sufficient background provided that someone who hasn't been following the story would understand what is going on? Could someone follow the directions you provide in your how-to article and get the right result (you haven't skipped over anything or left out an ingredient)? Are your transitions fluid? Do you have transitions, or do you just skip from idea to idea without tying them together?
 
Concise: Say what you need to say and tell the whole story in as few words as possible. Scrutinize every word, making sure they are all needed to get your point across clearly and correctly. Eliminate extraneous description, adjectives and adverbs. Use strong verbs to get your point across. Don't use all your material; just because you wrote it down doesn't mean it belongs in the article. And if you are writing an article with sidebars, make sure you don't repeat a lot of facts in both; that will just bore your readers.
 
Correct: Double-check all your facts, then check them again. This is the point you should be most obsessive about, because if you don’t get your facts right, you will ruin your reputation as a writer. Make certain all the numbers and statistics you cite are correct. Check the names and titles of all the people you interviewed and make certain that you attribute quotes to the right people (and double-check the quotes, too, making certain you didn’t take anything out of context or misinterpret what your source said). If there's anything you're not perfectly certain about, contact one of your sources for a clarification. Try to anticipate your editor's questions and answer them in your article.
 
As you probably noticed, all these goals build off each other, and you will find as you focus on one aspect, the others will begin to fall into place. The more you write with these concepts in mind, the easier it will be to get your stories right the first time, which should make both you and your editors happy.
 
But how do you know if you’re being clear? How do you know if you’re using just the right words and just enough of them to get your point across? It can be difficult at first, but there are a few things you can do to help you see potential problems in your writing:
 
Wait. After you finish writing an article (or a query, for that matter), don’t immediately send it out. Work on something else for at least a day before going back to it. You don’t have a day? Take an hour, go for a walk, listen to some music, do something to take your mind off the piece for a while.

Print. When you go back to the article, print it out. I know it seems wasteful, but it really helps to read a story both on screen and on paper. You catch different mistakes that way (and if you’re an editor at heart, like me, the feeling of paper and pen in hand can’t be beat). Besides, you recycle, don’t you? So no worries; just print it out.

Read. Now is not the time to be embarrassed; read your words out loud. If you’re afraid your loved ones will overhear and make fun of you, close the door. If you work in the public library or somewhere you really can’t talk, just read very slowly so you can “hear” each word in your mind. Again, hearing the words is different from just reading them, so you are more likely to catch places where things don’t flow perfectly or where words are missing than you would if you just read it silently. As you go through this read, underline phrases that seem clunky or too descriptive, places where you had to take a breath in mid-sentence and anything that just doesn’t sound right. Then go back and fix those problem areas. And make sure you check your facts, figures and names at this stage, too.

One more time. After you revise, read it again (yes, on paper and out loud). Make sure you haven’t added any errors, that your piece fits the assigned word count, and has a compelling headline and a bio if required. Run spell check if you must, but know that reading is the only thing that will allow you to catch the most common mistakes, like using 'to' when you mean 'two'. Label this final printout with the publication you sent it to and the date and file it where you file such things.
 
These suggestions focus largely on nonfiction works, but fiction writers can benefit from focusing on these goals as well. Your writing should be clear, free of convoluted phrasing and excessive words. Tell your story in as few words as possible—don’t add 10,000 words because you fall in love with a scene that doesn’t progress the story and don’t write a novel when a short story would advance your theme just as well. And though your fiction does not have to be literally correct, it does at least have to be believable, to fit in some way into our conception of the way the universe is supposed to work. You can lose credibility with fiction readers almost as easily as you can with nonfiction readers.

The three Cs can help you when a project seems too big to handle or when you’re working on a tight deadline. But if you get in the habit of always writing with them in mind, you will see your writing improve. Your editors will notice, too.
 

About the Author 
Sarah White is a freelance writer and editor who also works for a small publishing house. She is the author of “Doing the Write Thing: The Easy Way to Self-Edit.” She can be reached at saraheg13@hotmail.com.


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Humor: Torment Behind the Art The Writers' Ezine - T-Zero Xpandizine

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Humor: Torment Behind the Art

Edward L. Flaim

Using Humor to Inform

In a previous column, we discussed non-fiction humor. Many factual events we experience during life are in themselves humorous. Indeed, life’s experiences often outwit the wittiest of humorists.

But can humor be an instrument to convey knowledge? A “hook” to draw the reader into a subject he might otherwise ignore? A preface that attracts the reader to a subject in which she has no interest? Of course it can.

How often have we read reprints in Reader’s Digest on subjects such as the amazing resiliency of the potato bug, pit bulls can be friendly if they don’t kill you first and making potholders for fun and profit? An ingenious writer can suck us into anything, no matter how obscure and worthless the subject appears to be.

However, the primary question I ask myself is whether I can write informative humor. I almost garnered the courage to try sky diving. Perhaps I’ll get further attempting to write informative humor.

No Lions, No Tigers, But Bears? Oh My!

The following story is true. I have not changed names to protect the ignorant. I have altered the language of various conversations so those needing this information the most will have access to it. The fact that writing such language might lead to my lynching played no part in this decision. With hindsight extending 33 years, this story amuses me and the other players. At the time this story unfolded, only gallows humor and fear touched our souls. We are fortunate to be alive.

Patrick and I were the brothers we never had. We had our first drink together, our first toke together and our first arrest together. When I moved to Oregon with my soon-to-be wife, he moved to southern California with his soon-to-be wife. I married Kathy on the same day he married Linda. The Feeble Four met at my Oregon apartment in May of 1972 to begin a coastal drive from Mount Angel to Twentynine Palms, California. We saw the majesty of the Redwoods, the snow-capped summits in Lassen while sweating in 90 degree heat, and reveled in the magnificence of raw nature. We arrived at Sequoia National Park, our home for that fateful evening we would always remember. We pitched the tent Patrick had negligently forgotten to pay for. Nature’s night sounds, an harmonious blending of owls, crickets and the occasional baying of distant coyote, wild cats and wolves would later lull us to sleep.

Someday I intend to research the reason every road trip requires emptying extended bladders, or more, at every stop. We encountered this necessity yet again when first pulling into our campsite at Sequoia. Kathy and Linda hobbled tight legged to the women’s facilities, fearing normal movement might create a river streaming down their legs. Patrick and I adopted the manly posture, outrunning Olympic sprinters, screaming, “My God! My God!” as we approached the men’s room. We realized it would be close.

However, we succeeded without the need to bathe or wash clothes. Not that either would have been much of a chore. The facilities were large, clean and contained all the accommodations we could possibly desire. So this was the wilderness? No way! It was a country club in Paradise.

So Kathy, Linda, Patrick and I broke into elephant laughter when we noticed the placards tacked conspicuously on bulletin boards surrounding the facilities. “Beware of Bears,” we read, followed by a litany of activities we should conduct to worry less about bear attacks. Hang up your food, lock car doors, avoid aromatic fragrances, a list so long the words resembled the fine print in a legal document. Patrick was the first to speak.

“Geez! These fools must think we’re complete idiots! So this is the wilderness, huh? More people than Woodstock!” Chuckles all around.

“Right on, Patrick! Another cheap governmental ploy leading us to believe we’re somewhere we’re not! Wilderness? Right! The nearest bear is that stuffed sucker in the General Supermarket we passed up the road!” Again, laughter.

Sweet, petite, demure Linda, whose aristocratic bearing disguised her mischievous soul, spewed forth a litany of cuss words designed to empty a bar room of sailors. We smiled. All was well with the world.

Kathy suddenly stopped laughing, preoccupied, before she hesitantly added, “Hey, all!”

Our laughter diminished to a trickle as we stared at her, awaiting further words. She began again.

“Hey, all. Maybe we should take some precautions. After all, that stuffed bear came from somewhere.”

I stared at my two-month pregnant wife and calmly stated, “Look, Honey. The store probably imported him from Montana. And after all, we do have a secret weapon. That beef stew you and Linda concocted for this trip should scare the bejesus out of any Montana bear on a field trip.”

She smiled, mockingly slapped my face while I was staring at Patrick squeezing Linda’s butt and thinking perhaps we can have some fun on this trip, despite our wives’ simultaneous pregnancies. Yes, Patrick and I always did things together.

Fun we had after going to our tent’s equivalent of beds separated by extra-long Cortinas. Lots and lots and lots of fun. The fun ended an hour before the bears arrived like a swarm of Killer Bees, startling us from near unconsciousness to full alert as they began to ravage our camp site. Our prior scoffing vanished like a fly in a hurricane.

“Oh, Damn!” we said, in perfect four-part harmony. “What do we do now?”

I looked around our tent for a defensive weapon. I saw only two six packs of Coors, not of much use, I thought, until the light flashed in my mind.

“Hey,” said I. “We could offer them a beer! Beer always brings people together!”

Patrick stared at me in utter disgust. “Look, moron! In the event you haven’t noticed, those critters out there are bears, not relapsing recovering alcoholics. Besides, we’ll need the beer to cleanse our wounds or kill the pain. No deal.”

“What then, Patrick? Don’t hear you with any suggestions.”

I then noticed the light bulb flash over his head as he toyed with the gas lantern.

He blurted, “Let’s set the tent on fire! That’ll scare them!”

“Yeah, right, Patrick. For at least fifteen minutes, until they smell our charbroiled bodies and return for a cooked meal. Cretin.”

“What about you, Linda. Any ideas?” Patrick asked.

Her only response was a resounding snore. She had fallen back to sleep.

“How can she sleep during this assault?” I asked Patrick.

Patrick smiled, saying, “Bed exercises create magic, Ed.”

I stifled a laugh before turning to Kathy. Her appearance amazed me. She sat in a lotus position, utterly calm.

“What about you, Kathy?”

“We sit.”

“We sit! What kind of answer is that?”

“We sit, Hon. We have no other choice.”

Patrick and I glanced at each other, followed by glaring at Kathy, ending with a stare at each other.

“She’s right, Ed.”

“Yeah. I know.”

Kathy, Patrick and I sat, while Linda continued to snore. After several hours, the noise dissipated before finally disappearing.

Kathy, Patrick and I hesitantly left the tent. Our campground was a ruin, everything consumed, including parts of our cars. We finally noticed one large jar remaining and not even the threat of eternal damnation could have kept us from laughing. It contained Kathy and Linda’s beef stew.

We no longer considered bears a lower species of life.

As previously stated, hindsight renders this true story hysterical to the four who survived it. It was not so at the time. I undertook subsequent camping trips with the realization I was entering the wilderness, not a tame suburbia. I learned and followed the recommendations of the National Forest Service and experts in the field. Even though bear attacks at national parks are extremely rare, they are not unheard of. So when camping in a National Park or Forest, please adhere to the rules and regulations provided you by the National Park Service upon entry to the park. These rules and regulations are too extensive to state in their entirety. However, hopefully the few rules and regulations I provide will inspire the novice camper to acquire more extensive information before venturing into a unique but potentially deadly adventure.

First, the rules governing camping on federal lands are set forth in 36 CFR 2.10. These rules escaped the typical bureaucratic mind and are easily understood. Any novice camper will benefit from reading these rules.

Second, the deadliest species of bears in the continental United States, the Grizzly Bear, has been extinct in California since 1922. Therefore, I need address only the Black Bear.

Third, Black Bears rarely attack. When they do, it is invariably a predatory attack. The bear is looking f or food. Although the normal black bear does not consider people tasty treats, a starving or injured bear might. The best method of stopping a predatory attack is aggressive action. Attempt to intimidate the bear by screaming, waving your arms and, if absolutely necessary, using any available object to fight back.

Above all, do not emulate the ignorant campers I wrote of above. Read the precautions on cooking and storing food safely provided by the Park Service and posted throughout the park. Hang anything with strong orders, such as toothpaste, bug repellant, deodorant, colognes, perfume, etc., at least ten feet from the ground on trees. If trees are unavailable, use specially designed bear-proof containers to store such items.

Finally, as a method of last resort, Patrick and I own the rights to Kathy’s and Linda’s secret beef stew recipe, guaranteed to frighten even the most vicious wildlife. We shall be only too happy to provide you with a copy of this potent killer recipe for the modest sum of $20.00, plus tax where applicable.


With Sincere Gratitude

I would like to thank the members and visitors to Remnants of the Sixties for their invaluable comments and critiques on this article, a variation of which I will submit as an assignment to a class I am taking at Happy Haven. Any merits this article may have I attribute to these unnamed people such as Zakgirl, Don, Ginger, Sonja and, although the words stick in my throat, Broom Rider as well. If I have missed anyone, it is because of a failing memory, not a lack of appreciation.

All deficiencies are solely mine with the assistance of the sadistic attendants at Happy Haven.



About the Author
Ed was born in 1950. He entered the world butt-first and has since viewed the world primarily through this vertical eye. As most of those who survived the turbulent sixties, he faced several choices: death, prison, insanity or law. He chose both law and insanity. He graduated from the University of Minnesota Law School in 1984 after touring the world's asylums.

He was a well-established and recognized practitioner when diagnosed with multiple sclerosis in 1993. He continued to actively practice law until 1998, when his physical and mental condition said, "Screw this," and he returned to Maryland. In Maryland he vegetated until he came upon WVU and attempted to write fiction.

Ed has published hundreds if not thousands of his writings. That's only because every document he has ever filed with the courts is considered published. Thus far, publishers have been kind and printed one of his 300 story submissions. He's waiting anxiously to see what will happen with number 301, hoping it might bring him wealth and fame like Stephen King. Or at the very least, a cookie.


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Tips to Jumpstart Your Writing The Writers' Ezine - T-Zero Xpandizine

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Tips to Jumpstart Your Writing

Suzan L. Wiener

More Rules To Write By

Do you want to succeed in writing as a published author? It's helpful if you follow certain rules. To reach your goal, or to be even more successful in your career as an author, here are eight more rules (further to my previous "Rules To Write By" article, which appeared in The Writer’s E-Zine, February ’05 issue).

l. If you mail a large number of envelopes, it pays to buy a good postage scale. This way, you'll know the exact amount of postage and won't have to bother the postal clerk. A few cents here and there add up, and you could apply the savings towards stamps to send your work out to publishers.

2. Always keep a list of new markets you want to try. Write for guidelines once a week. Use a form letter if you have a computer and just change the addresses on it. It saves a lot of time and effort.

3. Always update and revise old manuscripts that have been rejected. Send them out to different publications again and again. Of course, wait until you hear from one before sending out to another. If your work is good, it will be accepted eventually.

4. Perseverance is an important asset to have when you are a writer. Never giving up on your submission that you think is promising will help you to see your work in a publication. Try, try again really applies to writing. Don’t be discouraged if you get a rejection; simply mail the piece out to the next market on your list. Make sure, though, that your work is neat and not dog-eared.

5. If you find old Writer's Markets on sale in bookstores, buy them. They have excellent articles about writing and will be useful to you, even though they may be years old.

6. Always make sure to keep a lot of manuscripts circulating. If one or two are rejected, you won't feel bad because you will have plenty of other chances of having one accepted. It works, and you won't ever get discouraged as easily.

7. Don't be too eager to check on your manuscripts by writing a letter to the editor asking about the status. It can take quite a while for a busy editor to make decision. Of course, if two months have passed, then you can write a polite note. Never be rude and demand to know why it's taking so long. That will be a sure way to get a rejection.

8. While waiting to hear from one editor, work on another piece so you will always be writing and your mind will be occupied on the work in front of you.

If you follow the above rules, you should have an easier time of seeing your work in print. Try it; you’ll see what I mean.


About the Author
Suzan L. Wiener has had numerous articles, poems, stories, and fillers published in a variety of publications such as Canadian Writer's Journal, Verses, Impetus, Poetry Press, MetroSeven (Australia) and The Writer's E-Zine. She is in the process of submitting her love poetry collection for publication.


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Drabble Corner

Michelle Swisz

Here is our Drabble for the month of March, on the topic of Too Much!  It's written by Leanne Johnston.

TOO MUCH FUR! 
Excited, Marilyn hurried inside her lovers’ home on Valentine’s Day.
Watching David around his home, she realized his potential for love and caring. The way he gently picked up his fur children, as he kindly called them, and proceeded to move three from the lounge so Marilyn could sit down.
Then he moved two from the refrigerator as he offered her a drink, one from on top of the television and finally he offered Marilyn lunch and moved two from the kitchen bench! 
Marilyn sneezed, wiped white fur from her dress and raced from the flat yelling,
“Too many cats!” 

This month I feel more ready than I have in a long time. Ready for what—for getting over what I need to get over and letting my life be my own again. For letting new friends in according entirely to what I see and feel, not what someone else in my life might like or not like. Ready for learning something entirely new, such as the healing courses I'm taking right now, and loving it. Someone I was just getting to know blew me a kiss today, on Valentine's Day, so unexpectedly and yet so fittingly—it was a perfect day for that particular innocent and spontaneous kind of love, and for being ready for that kind of love.

How do you know you are ready, that you are in all your parts of yourself ready, for instance, to let a relationship go as far as it will, or ready to leave it? Ready to stop analyzing your choices and take the leap of making a commitment to going for a degree in acupuncture, or ready to quit school and devote yourself to the small business you've started? You may not know HOW you know, but you do know THAT you know when you are ready; you know that such a moment has come. Your mission for this month, if you choose to accept it, is to get across in a Drabble the feeling of that moment. It isn't only what the decision is that is being communicated in this Drabble, it's the feeling of the moment of readiness. The reader should feel how the moment feels—the reader should be IN the moment with you; he or she should know, too, that the moment has come.
 
Our theme for April, then, is When You're Ready.  Here are the Guidelines, and the address to send your Drabble to (by the 10th of March) is drabble@wvu.org. I hope everyone got what they wanted for Easter! See you next time.


About the Author
Hello, and welcome to Drabbles. I'm Michelle, your Drabbles editor. I live north of San Francisco, with four spoiled cats, near the sea where I love to walk every day. I've tutored English in workshops, classrooms, and individually at San Jose State University, and have worked on the Fiction Panel here at Writers' Village. Comments and questions are always welcome!


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Recognitions

Joan McNulty Pulver

Welcome to Recognitions, a column designed to celebrate the writing successes of Writers' Village University members!

Lorraine Little's story, "Jump, Laurie, Jump," will appear in the book, 2Do Before I Die. Writing under the pen name, Laurie Little, she said, “It is a non-fiction memoir I wrote in response to an essay contest sponsored by the 2Do Before I Die website. I learned about the website, and contest, at WVU.” 2Do Before I Die, published by Little-Brown, Inc., will hit bookstores April 15, 2005.

“My round face beamed with delight and I felt all warm and fuzzy inside when I received notification that my essay was chosen for the book. I am still a little stunned by the whole thing and don't think it will all feel real until I see the book in print and my name in it!”

Better known to her Writers’ Village University buddies as Little Laurie, Lorraine is beginning her third year of membership. She participates in the Children's Hour and the Non-fiction study groups, and is group leader of The Time Trading Nortonians Rule study group. “I love WVU, especially the study groups, and have learned a great deal about writing from many of the talented and dedicated WVU members.”

“For years, I said, ‘Someday I am going to write a book’, but never took the idea to heart. I was encouraged to write by a college professor, and even in elementary school, often found my works read aloud by teachers. When I hit my middle-aged crazy years, I decided to give the craft a concentrated effort, and my life has not been the same since!”

Lorraine grew up reading Nancy Drew and Encyclopedia Brown mysteries. She moved onto popular classics like Shakespearean plays, Poe's macabre, and the odes and ballads of the Irish poets. “I became a great fan of romance fiction novels, especially Danielle Steele, during my twenties. I also enjoy works by such greats as Hemingway, Steinbeck, Vonnegut, and anything by Maya Angelou.”

She is a native of Toronto, Canada, but enjoys the southern California sunshine now. Lorraine lives in the middle of a citrus grove with a very supportive significant other, her thirteen-year-old son, and a few dogs, cats, birds, and fish. She works in the hospitality/restaurant industry, but hopes to leave that wacky world to join the even wackier world of professional writing.

Jim Hall’s essay, "What Happens When You Eavesdrop," will be in the April 2005 issue of the Online Journal of Dana Literary Society. “The theme of the essay is that long-term consequences can result from something superficially trivial; for example, a conversation overheard by chance, and the difference it made. This is my first non-fiction writing since my days as a newspaper reporter. And some of that was stranger than fiction.”

He attended Yale where he was the editor of Yale Literary Magazine, after which he taught school for 13 years. He designed, developed, and implemented software for the Federal Judicial Center and the Direct Mail industry. Jim is a lifetime member of WVU and facilitates the Poetry Workshop course.

Jim published Rites of Passage, an e-book of poetry, and A Balcony in Brooklyn, a trade paperback of short fiction, much of which is preliminary to a novel. “My approach to character development is to assume the persona of the character and write his diary periodically. This supplies the material for short stories about the character and his relationships with others in the cast.”

Medici Books, a publisher based in Pueblo, Colorado has offered to produce a print edition of Rites of Passage, as well as another book, Of Words and Webs, which is almost ready. “I do not have a contract in hand, although one has been promised, so this is an iffy proposition. I was to meet with the president of the firm, who is also the editor-in-chief, last week, but something undefined intervened, and I have heard no news since. The chickens are threatening to hatch, but all eggs are still intact.”

Jim publishes the quarterly proceedings of The Pueblo Poetry Project, a group that meets on the second, third and fourth Wednesdays of each month unless some holiday interferes. You can view the first issue on his web site and some other e-books as well.

There has been and is a strong writing community in Pueblo where Jim lives. It was the hometown of Damon Runyon, and The Damon Runyon Repertory Theater there, hosts the Poetry Project twice a month. “They treat us quite well. I have almost completed a one-act play for them, based on my story 'Not On Your Tintype'. That story is viewable on my website also, but the play is only about 95% finished.”

Deana Hoover’s short story, “Cabin on the Bayou,” resides in the anthology, Adumbra, published by Magellan Books. A talented painter as well as an author, her artwork was chosen to be on the cover of the book. When this came to the attention of the Editor in Chief of ePress-online, Deana was asked if she would like to try her hand at cover art for them. She agreed and quickly went to work on Return to UKOO, which was released in December. Her next art project, Cobweb on the Soul, will be released soon.

“When asked to do covers for books at ePress-online, it sounded like fun and a great opportunity. Honestly, book publishing being so elitist bothers me. There are so many restrictions placed on writers and breaking into the business is nearly impossible. The fact that ePress-online allows different genres and doesn't put a formulaic restriction on its writers, while still having guidelines for quality impresses me. Having a part in that is a great opportunity to work together as a writing community and support each other completely outside of the large chains and conglomerations. It’s fun to read a book and recreate the images onto canvas.”

Because of a neurological illness, Deana had to quit her job as a sign language interpreter. She decided to reinvent herself. “Just because I couldn’t work a forty-hour week didn’t mean I was going to give up. I knew there was something in me I could contribute. I knew how to tell stories, but I became determined to learn more about the craft of writing.”

Deana joined Writers’ Village University about two years ago. She fell in love with the format and was hooked right away. She quickly gained practical experience in point of view, self-editing, and other subjects every writer needs to understand. Deana volunteers as a facilitator at WVU. “I have taken so many of the classes and eventually became involved in facilitating. I love that, too. I never could have learned as much for the price anywhere else. I am interested in comedy writing, column writing, novels, mysteries, and science fiction/fantasy. I’m able to apply the lessons I learned at WVU to all of my writing and am not limited to one area.”

Visit Deana at her website to see how this talented author spends her free time, painting mainly in oils but also watercolor and acrylics, in addition to her writing.

Congratulations, Lorraine, Jim and Deana. We wish you continued success in all of your writing endeavors and thank you for sharing your information with us.

We look forward to reading about your writing accomplishments in this column. If you or someone you know received recognition for writing, please send the information to recognitions@wvu.org. Let us know!


About the Author
Joan McNulty Pulver, mother of five and grandmother of five, works as an Administrative Secretary for the State of Florida but considers her writing and editing to be her vocation. She is a columnist for T-Zero: The Writer’s E-Zine, a course developer and facilitator at Writers’ Village University and the Acquisitions Coordinator/Editor for ePress-online. Joan has had two short stories published and is currently working on a non-fiction book and a fantasy novel.


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Fiction Short Story

by Helen Courtney-Lewis

Don Luca’s Cancer

The Reverend Don Luca no longer knew to which saint he should direct his prayers for relief from the pains that tortured him of late. They had started silently. At first he thought that it was a simple stomach upset and treated himself accordingly by fasting. But his troubles didn't cease. His breath became foetid and accompanied by a feeling of nausea; the pains grew more frequent and increased in their intensity. Though they struck mercilessly, without warning, he refused to visit the doctor. He had no faith in medical science: it was his belief that when the sick got better, they did so despite the medical profession.

He tried to hide his suffering, but his pain was evident to all. His pallor and weight-loss caused his steps to drag and falter like a soul in Purgatory. Advice rained from every corner—he should go to Naples to visit the celebrated specialist X, who, they assured him, would make a new man of him. One visit only would be sufficient, they told him. Even that would be superfluous, because the great man was blessed with a clinical eye, and a mere glance would suffice to diagnose the trouble. He could in a flash prescribe the right medicine, for which only he had the formula.

The poor priest listened to their opinions and attempted to object—he didn't doubt the magical powers of the good man, but like other men he was fallible. One hair of the Lord's beard could do more than all the science known to the great Professor, he told them, and remember the fellow villager who had gone to him for a cure but had died anyway. The more Don Luca tried to re-dimension the fame of the scientific luminary, the more heated became the discussion. The fellow villager had died because he hadn't followed the Professor's instructions. They said, “He is a genius.”

Don Luca's suffering had now reached such a point that gradually he allowed himself to be persuaded. It was clear that the Eternal Father, in whom he had such faith, had given ample evidence of his total disinterest. His prayers, confessions, recitations of the rosary and his "Lord, help me,” had not received the slightest response. Therefore, wasn't a mortal however fallible, preferable to a God in Heaven incapable of performing miracles?
 
He decided to go to Naples.

The Professor was considered a genius of modern science. He never made a wrong diagnosis, affirmed his patients. To tell the truth, the Professor was not above using a few wiles in order to enhance his fame. After all, dear God, one lives from one's patients and a little astuteness does no harm, even when practised by the best of men.

With his patients he was a man of few words. He would shake his head knowingly, half close his eyes and, drawing in a deep breath, sigh, ending with a final, "Well," which summed up the whole situation rendered so dramatic by his magnificent performance. He gave no explanations and his silence denoted a well of wisdom.

However, capable he most certainly was and, due in part to his great knowledge and in part to his magnificent 'mise-en-scéne,' his fame had spread and his surgery was filled every morning with the sick who arrived in search of a cure.

Thus, our priest left his native village to visit the celebrated doctor in far off Naples.

Waiting his turn, he calmed himself by reciting the rosary a dozen times: the thought that Jesus had offered up his suffering soothed his troubled heart, and as the pains lessened, he became convinced that his illness was nearly cured.

When the nurse ushered him into the enormous surgery, the illustrious Professor was waiting by the examination table. The doctor, small of stature, possessed a leonine head covered by a flowing mane of snow-white hair. Turning his benevolent gaze away from Don Luca to rummage in a glass case full of instruments and vials, he ordered, "Undress."

The priest removed his tunic and underwear and lay down. The examination commenced. It was thorough. The doctor examined the whites of his eyes, tapped his chest, told him to say, “Ninety-nine,” and pressed his ear to Don Luca's back and chest. Don Luca could hardly breathe for the emotion he felt.

Finally, the Professor placed his hands on the patient's stomach, assumed an even graver expression—almost to underline that he had finally found the source of the trouble. He proceeded to move his hands delicately, pressing down like pianist with his fingertips while holding his hand over the keys and playing only one note at a time. He explored a wider zone, pressing down with greater force. He then took one step back and intoned, "You may dress now."

While Don Luca was replacing his tunic, the Professor donned his spectacles and proceeded to scribble prescriptions. His silence was ominous to the poor priest, who summoning up his courage stammered fearfully, “Well, Doctor, what have you found?"

The doctor evaded this direct question. "Take this medicine. It will calm the pain."

The priest, who had foreseen something of a serious nature answered in a quavering voice, "What is it Doctor?  Something serious?”

The doctor fixed him with a solemn expression, then in a low voices, he said rapidly—as though to rid himself of a distasteful task, "Listen, Father, with you there is no need to prevaricate, you are a man of the Church, a man of God who preaches courage and resignation of the spirit. Well, the time has come for you to practice these virtues. You have a cancer and medical science is impotent to cure you." He spoke with brutal finality. Don Luca had hardly enough breath to ask how much longer he had to live.

"Six months at the outside. I'm sorry." He accompanied the priest to the door and, sticking his head into the waiting room bellowed, "Next please." When the bus arrived in the village, a small group of parishioners awaited him. Everyone knew by now of Don Luca's suffering and his trip to Naples. When they saw him descending from the local bus, pale, unsmiling and bowed down by the weight of his death sentence, they moved away silently, as though he was invisible—leaving him alone with his thoughts.

Don Luca took up his life as before; but due to the perpetual anguish that removed all pleasure from his life and paralysed his thoughts, he grew thinner and thinner. His appetite was gone. His Sunday sermons became pathetically disjointed and faltering. His parishioners, at the thought that their beloved preacher was a candidate for an early and painful death, flocked in ever increasing numbers to the church and were moved more easily. Don Luca was by now the piteous concern of the whole village; everyone agonised for him—they talked of little else. Some even spoke of him in the past tense as though he were already dead and under the cold ground. Only one inhabitant refused to believe the gravity of the priest's illness.

Don Ciccio was a plumber and owned a small workshop next door to the Rectory.  He could not accept the idea that a man like Don Luca, once so strong and dynamic, could die like an idiot, consumed little by little every day. His affection for the priest enabled him to formulate his own diagnosis. He had nurtured an opinion for a long while and, as time passed, his conviction became firmer.

One day the priest, eyes fixed on his prayer book, and mind tangled with thoughts of his predicament, passed him on the street. The plumber halted him and blurted out, "Excuse my nerve: but according to me, it's a load of shit.”

"What's a load of ss sshit??" stammered the shocked priest, thinking the plumber was referring to some unnamed person. It was a sentiment with which Don Luca might well have been in agreement, but would not have dared to express, even in the privacy of the Confessional.

"That cancer, in my humble opinion, is not a cancer, but a load of shit that's been stuck in your belly so long it's become petrified—it happens to horses sometimes.” Though Don Luca was ready to clutch at any straw, Don Ciccio's theory seemed to him to be the fantasy of an over optimistic affection, coupled with demoralising ignorance.

The priest, who was now an expert in matters appertaining to his illness, proceeded to demonstrate that the lump protruding from his stomach was indeed cancerous, and not a mass of faeces. But the more he tried to be persuasive in difficult medical terminology, the more heated was the diagnostic enthusiasm of Don Ciccio. In fact, the more the plumber insisted, "You never know," and, "Anyway, what have you got to lose? Nothing ventured, nothing gained," the more the priest was willing to listen. At first to placate Don Ciccio, then, infected by his enthusiastic optimism, he decided to surrender to the plumber's administrations. No sooner said than done. Don Ciccio fetched a whole litre of Epsom salts, a dose big enough to purge ten mules, and then led the priest to the Rectory.

By now Don Luca was a docile patient. The plumber made him lie on his bed, warmed some water and administered, at one and the same time, a strong enema and the whole litre of Epsom salts.

What took place in Don Luca's intestines would be impossible to describe: but it is certain that the poor priest was overcome by such a volcanic turbulence and churning within him that he hadn't time to rise from the bed and rush to 'that place' before an explosion erupted with such violence that the bed was transformed into a battle field, causing Don Luca to weep with humiliation. The plumber rubbed his hands and laughed with satisfaction and encouraged the priest to further efforts: "Good! Push, Father, push! Get rid of it all; push, push … collaborate!"

When it was over, Don Ciccio massaged the priest's stomach with great care, using the same artistry as the worthy cow herdsmen who imitate real doctors. The swelling had disappeared; his stomach was as smooth to the touch as a newborn babe's. The good fellow's hands trembled with emotion and when he was certain of the miraculous cure and overcome by a wave of excitement, he ran to the window and shouted to the four winds, "Don Luca has got rid of his tumour! I've cured him!"

At the sound of his voice, the verger who, like most of his kind was the village simpleton, not knowing how to manifest his joy, ran to the church tower and, clinging to the bell rope, rang the good news for all to hear. The clanging of the bell which announces great events brought all the villagers spilling out into the street; field workers laid down their tools and rushed to the village, converging on the Rectory, where, on hearing the cause for all the hullabaloo, joined in the celebrations.

Don Ciccio leant from the window waving to the crowd like a prima donna, while Don Luca, blessing them from another window, warded off their applause and directed it towards Don Ciccio, plumber by trade and doctor by inclination.

After a few days a post-card addressed to Professor X, Director of the Department of Pathology, arrived at the University of Naples. It read as follows:

“Illustrious Professor,

That famous cancer you diagnosed I was suffering from? I defecated it in your honour and in the face of the celebrated medical school of Naples.

Signed, F.U. Don Luca X.”

The Professor, who was most certainly a great man for his knowledge and modesty; framed the post-card and hung it in his surgery, obliging his students to read it, warning them to be cautious in their diagnoses and to show humility in their opinions.


About the Author
Helen Courtney-Lewis lives in the Balearic Islands, Spain and has just celebrated her 80th birthday. She is multi-cultured and widely travelled, speaks five languages and is an artist, writer, photographer and actress; her first appearance on the London stage was at the age of five. As a writer, Helen has worked for many years as a journalist and columnist, specializing mainly in comedy. At the present she’s working on an anthology of her humorous tales, many of them inspired by personal experience. "I'd better self-publish them if I'm to get there in time," she quips. "I have never tackled a book, except on cookery. I prefer the short and sweet and, in any case, I can't sit still long enough."


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Fiction Short Story

by Joanna E. Lopez

Rest In Peace

The body lay sprawled upside down atop the long glass table, exhausted.

"Can she be saved?" Mary asked through a veil of tears.

"I don't know." Michael answered. "But I’ll try."

The roommate frowned as he hunched over the body to examine it. They had three heavy early morning classes and needed it alive! Mary tucked her dark hair behind her ear and wrung at a tissue as she watched.

"Screwdriver." Michael announced and put his hand out.

A screwdriver with a gold handle and a brown flashlight lay beside the machine. Mary took the screwdriver and slapped it in the middle of Michael's hand. His full lips flattened into a straight line of concentration as he meticulously unscrewed the silver plate and put it aside.

"Flashlight."

Mary took the flashlight and handed it to Michael. He flashed the light inside. Michael dipped the screwdriver inside the many-colored nest of entwined wires and began to work with a surgeon's precision. A quiet candle vigil had gone on outside their dorm room since word first got out.

"Handkerchief." Michael held his hand out again. Mary plucked Michael's handkerchief from out of his shirt pocket and softly patted the beads of sweat prominent on his forehead. A few minutes passed and Michael stood upright. He shook his dark hair away from his face and swiped a tear from his eye.

"It's no use," he sighed. "She's gone."

"No!" Mary sobbed. "She can't be dead." You've got to try it again.” Michael opened his arms wide and she walked into them. He held her small body against him as she continued to cry.

"It's ok," he said. "She's in a better place."

Mary lifted her face from Michael's chest.

"I'll have to tell everyone outside." Michael said.

"I'll go with you."

Michael and Mary held hands and opened the door. The students looked up at them, their eyes watery and hopeful.

"We're sorry, but there was nothing we could do," Michael announced.

Loud, howling, hysterical sobs filled the hallway as the students mourned the popular coffee machine's death.


About the Author
Joanna Lopez earned her Bachelor's Degree in English from Columbus University and plans to go back to school to work on her Masters degree in Creative Writing next year. She’s written many articles, short stories, book and movie reviews on Netflix and won an honorable mention award in the Writer’s Digest magazine contest. Joanna sold a short Hallowe’en story named “World’s End” to T-Zero: The Writer's Ezine and http://Writershood.com.  She has written political essays for http://www.Useless-knowledge.com and has another short story that will be published in the March issue of http://www.Ineedcoffee.com.  She hopes to sell more stories and articles in this coming year.


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Fiction Short Story

by Charles Langley

Time Out

The sign on the door said "Dan Elliot, Literary Agent." The plaque on the desk said "Daniel Elliot II." That is, if you got past the blonde at the desk outside the inner office and got to read it. Pretty, in an ice sculpture sort of way, Patricia was a formidable barrier.

Jim Garvey smiled at the receptionist but got no response. He walked through the door to the inner sanctum. He had worn a path on the carpets over the years and didn't need to be announced. He tossed the manuscript on the desk and helped himself to a chair. Things hadn't been all that good lately, but he felt he had outdone himself on this story.

Daniel the Second picked up the paperwork and fanned through it.

"It's time we had a talk," he said, brushing back his professionally styled brown hair.  "I haven't sold anything of yours lately, and I don't see anything that will change that. Your work is good. Damned good. But there's just no place to sell it. There's not a single short-story magazine around and the slicks want only one or two stories a month and they want them from the top writers. The only thing I sell anymore is sci-fi junk to a couple of kid's magazines and "absolutely true" libelous fiction to the super-market checkout counter rags. It's a pity, but it's a fact. The short story is dead. But if 1935 ever comes back, with the stack of material you have stashed away, you've got it made."

He slid the papers across the desk. Punk college kid, Garvey thought. If old Danny was still alive, things would be different. He picked up the writing and hurled it into the wastebasket . The blonde at the watched him stalk out without missing a stroke with her nail file.

Jim hit the street and the truck hit him almost in a single action. The bell that tolls for whom came close to dinging for him. But Jim Garvey knew nothing of this for temporarily he was not of this world.

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

Jim Garvey walked into the office of Daniel Elliot, Literary Agent, and stopped by the receptionist's desk. Jo-Beth Kelly, the occupant of that desk, looked up.

"Here's looking at you, sweetheart," he said in his best Humphrey Bogart impression.

"Anything you want, just whistle," she came back, "He's in but he's very busy. Can't get by the fifth word in the Times crossword puzzle. Maybe you can give him the seven letter word for delightful."

"Bourbon," he offered as he went through to the inner office.

Dan Elliot sat behind a new highly polished desk. The plaque on the desk said, "Call me Danny." The desk calendar read June 1, 1937. Yet-to-be-read book manuscripts were piled neatly in one corner. Danny was in his sixties. His florid features led one to believe that he was acquainted with that seven-letter-word for delightful. His grizzled hair was neatly combed and the scent of after-shave lotion was in the air. His jacket was off and the sleeves of his blue-striped shirt were held up by sleeve garters. The New York Times was spread out before him.

"Bourbon," Garvey suggested.

"Can't be. Starts with E. What's that word they use with fields?"

"Elysian. Could be it. I like bourbon better."

"You better stay away from bourbon. Way your stuff is selling you're gonna have to work two shifts. Placed Little Joe in Western Story Magazine. Black Mask took Death Row. Dime Detective wants Not a Violent Man and Born Loser. They're gonna run them together as one story. Short Story magazine will use Tombstone and Poker Game but you'll have to use a pseudonym on one. Woman's Home Companion will use Sense of Loss. Argosy has dibs on Henry the Eighth and the Duchess of Denver. Collier's will run Reglar Feller right alongside The Insidious Dr. Fu Manchu. Too bad you didn't write that one. Sax Rohmer is writing an episode a week. Metroversal Pictures wants to string several stories together into a picture for  Charles Bickford. Every time the phone rings, I think it's another sale."

"You keep 'em selling, I'll keep 'em coming. Sleep is a waste of time, anyway."

When Garvey finally came out of the coma, Daniel Eliot the Second was sitting by his hospital bed.

"You know where you are?" he asked.

"Elysian Fields," Jim replied. "You seal that deal with Metroversal?"

"What deal with whom?"

"Metroversal Pictures. They wanted several stories for Charles Bickford."

"Who the hell is Charles Bickford? I never heard of any deal."

All this thinking made Garvey sleepy. He turned on his side and went back to sleep.

It was two weeks more before he was back on his feet and oriented to his surroundings. In his mind he still confused "Call me Danny" Elliot the first with his son, Daniel Elliot the Second. And icy Patricia with warm Jo-Beth. This was easy since Patricia seemed to be
thawing.

The call from Daniel the Second brought him to the office on the double.

"There's something strange with your account," Elliot told him.

"I'm overdrawn? That's the rule, that's not strange."

"You're not overdrawn. You have thirty thousand dollars in an account that I thought was empty. I checked it out and you have money deposited by twelve magazines and a movie studio. The magazines went out of business in nineteen-forty-one and the studio hasn't written a check since they were taken over by Universal in 1943. The checks have all cleared and the money seems to be real."

"What are we going to do about it?"

"I'm taking ten percent and you can worry about the rest. By the way, I have some work for you." He handed Garvey a sheet of paper. "Give me a book for each of these titles and we'll be back in business again."

Six months later Jim Garvey was again a successful author. One book published, one ready to be published and the third in progress. There was a strange look on his face when he accepted the check for royalties on the first and an advance on the second.

"This is only the start," Elliot told him. "How to Write Detective Stories" is selling like big Macs and "How to Write Romance" will do even better. Then we'll do "How to Write Screenplays", "How to Write Sci-Fi" and "How to Write Suspense Novels". When we run out of topics for titles, we'll rearrange the text and start over again with "How Not to Write Detective Stories." As long as there are more writers out there than readers, our fortunes are assured".

Garvey thought back to the days when he took such care in creating his characters, in writing authentic dialect, in making his writing a living thing. Tears formed in his eyes. There was an ache in his heart. He cried all the way to the bank.


About the Author
Since returning to writing five years ago after a fifty-nine year hiatus, Langley has written about one hundred and fifty short stories, poems or articles for ezines, magazines, or books.

Last year Gannett Newspapers gave full-page, nationwide coverage to Langley's time as cub reporter at the Hauptmann trial in Flemington, NJ, in 1935.


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

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Fiction Short Story

by Linda Williams

What Would I Ever Do Without Him

It's three thirty-nine a.m., and I'm wide-awake. It's that hair raising sound coming from my bedroom that's jolted me out of the clutches of my Memory Foam mattress. The hullabaloo sends me skittering into the living room to turn on my computer. I look around to see if the roof is actually raising off its rafters. Vibrations race across the floor, shimmying the wheels of my office chair, climb up the metal supports and finally dissolve into the padding.

The sound? Why, it's my dearly beloved snoring. And here I sit, totally ticked off, wanting to kill him because he makes me work night shift instead of sleeping like a normal person should—he's turned me into a vampire.

I wait until 4:45; the alarm goes off. I hear his feet hit the floor and the early morning contented yawn of someone well rested and refreshed who's had a great night's sleep. Bastard!

I plant a smile on my face as he stumbles to the bathroom and says what he says to me every morning. "Honey, you didn't sleep again last night?" As if I have some kind of sleeping disorder. Hell, no, I didn't sleep last night, and it's all your fault, I want to tell him. But I don't. Sure, I complain about it, sometimes, but what can he do?

I've tried all kinds of things to get him to stop. One night as I sat on his chest with a pillow poised above his face, he woke up and asked, "Did you want to make love?"

Then there was the time I tried to squeeze his nose shut with clothespins. Okay, desperate as it sounds, I tried it. He got really pissed off that time. I guess it hurt.

I think of all the gadgets I bought off late night television infomercials. You've seen the stuff: Snorzaway and those funky strips you put across your nose? Well, breath freshener and band-aids would have worked better than either of those and would have been cheaper than nineteen ninety-five times two.

I watch as he emerges from the bathroom, freshly shaven; the scent of lavender and spice trails behind him.

I drag myself into the kitchen to make coffee. He gives me that sympathetic look that says, "You look like shit, you really should get some sleep," but he doesn't say it. Good thing for him.

At last, I hear the car start, roar down the street and he's on his way to earn our daily bread. I haul myself back to the bedroom and lie down. I start to drift off, reach over to his empty side of the bed and hope he makes it safely to and from work, the same way I do every day. What would I ever do without him?


About the Author
Linda lives in the beautiful Ortega Mountains of southern California. Her work has appeared in T-Zero: The Writer's Ezine, Long Story Short and Real Eight Magazine. She's currently writing a romance/comedy screen play.


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Poetics The Writers' Ezine - T-Zero Xpandizine

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Poetics

Jeanette Oestermyer

Performance Poetry: How and Why

Writing is a solitary work, so how do we know if our poetry is high quality, passable or mediocre? Our family members and close friends will not always tell us the truth for fear of hurting our feelings. There is another way to rate your poetic endeavors: a public reading.

One poet often schedules a reading of his/her own poetry, or possibly a group of poets who meet regularly may set up a reading for a social club or church group. They can also be scheduled at libraries or school districts. Another place to consider is a local bookstore. One woman I know performed her poetry at a small restaurant. When a single poet performs at a reading, it is recommended he or she read work that is closely related in some way. This can be by subject, form or mood. If you schedule a reading of your poetry, or with a group of poets, you need to publicize the event in a local newspaper, through fliers posted where allowed and by telling people you know.

The Poetry Slam is another type of reading event. In his book, Poet’s Guide - How to Publish and Perform Your Work, Michael Bugeja says a slam is a literary version of The Gong Show. In this type of reading, the audience wants to hear poems that excite or move them emotionally. It depends on the listeners, who may applaud or put you down. Poems about current issues in the news such as war, violence and abuse often are rated highly at slams. Also love poems are read in many instances. Interaction of poet and audience is the greatest benefit of performance poetry. Most major cities hold poetry slams on weekends or special nights, which are usually widely publicized.

The open-mike reading is often scheduled at universities in conjunction with the English departments. In this kind of atmosphere, there might be another function or event, with the open-mike poetry reading slated as a part of the whole. Poets bring their best work, step up to the mike, introduce themselves and proceed to read their poetry. They might read one or two poems and then wait for a chance to read again. This is a good opportunity to get frank critiques from professors and other poets.

A local poetry chapter, where I am a member, often read for groups such as those in assisted-living facilities, classes at elementary and high schools and other clubs and organizations. Several months ago, we read at an event at our local Adult Center, entitled, ‘A Romantic Evening.’ This was strictly an entertaining event, where we read love poems. There were tables throughout the auditorium and light food was available. It was a particularly enjoyable evening for the poets, along with some singers and musicians. An accomplished pianist played a beautiful rendition of Clair de Lune as I read. She also played for others as appropriate.

Now we will discuss preparing for the poetry-reading performance. Spoken poetry was poetry for a long period of time, more so than the written version as we know it today. In the contemporary world, performing poetry now means a) slam poetry integrated with improvisation and possibly music as a performing art, and b) the reading of poetry aloud in classroom, workshop or poetry reading. The two forms of poetry reading are not extremely different, and the performance is the main governing feature. Actually, they are theatre, where the artist interacts directly with the audience. Both require an outgoing personality and other communicative skills. Practice is essential, but more than clarity and pleasant delivery are required. The poetry must fit the audience and possibly the theme, be it seasonal, a holiday or of local significance. If one is preparing to read his/her works in public, the essential message is practice, practice, practice.

Some Recommendations:

1. Learn the basics of the actor’s trade: relaxation, breath control, articulation, voice projection and modulation. Projection of one’s voice is of utmost importance. Look up as much as possible, and smile or show the emotion derived from the poem. Do this as a precise daily practice, not as a chore left to the night before.

2. Rehearse the performance so thoroughly that the actual reading seems natural.

3. Entertain. Be genuinely friendly to the audience. Address them directly. Get their attention. Play to their reactions.

4. Memorize the pieces sufficiently so that only the odd glance at the script is necessary. This will help keep your focus on the audience and help you to make eye contact.

5. Leave nothing to chance. Check lectern, microphone, space on the stage, how you make your entrance, place your script, etc.

6. Know your place on the evening’s list of readers, and arrange your pieces accordingly. You will be more at ease, as will the audience.

7. Anticipate interruptions and problems; prepare unobtrusive responses.

8. Enjoy yourself. Have a good time, and so will the audience.


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Poetics Presents

Marina Lee Sable

T-Zero is pleased to present Marina Lee Sable. Her poetry has been published in such magazines as The Magazine of Speculative Poetry, Dreams of Decadence, Aoife's Kiss, The Fifth Di..., Twilight Times, Whispers From The Shattered Forum, and Lunatic Chameleon.

DARK STREETS AND DEAD ENDS

We're outside a concert hall, ears
buzzing with an excess of decibels.
You're arguing with friends,
spilling your derangements to the air.

The laughter of a small crowd
melts in the distance as I disappear
into the safety of absence.

Fog brings a deadness to the air.
My footsteps intrude on the silence
of dark windows and shut houses
pooling the secrets of those asleep,
or those who try to numb themselves
to sleep who knows where in their dreams.

There's a vacant lot on the corner
that was once the greatest store in town.
Now its just a zone of debris and
moribund weeds with drooping heads.

I turn the corner and enter a street
of glittering shops displaying
things I can't afford.
I look inside the windows
searching for a detour,
remnants of an interrupted dream.
All I see is your reflection,
an afterimage everywhere.

Copyright ©2005 by Marina Lee Sable




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

Poetics Presents The Writers' Ezine - T-Zero Xpandizine

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Writers' Village University Membership Information

Poetics Presents

Joseph Arechavala

Joseph is a forty-two-year-old, married father of two rambunctious boys. He was born and has lived all his life in New Jersey. He works in a boring, mundane job, wishing for the glory of fame as an author.

Passionata

Delicate fingers trace my lips
Down my neck to my chest
Warm breath in my ear
Whispers of heat

Loving caresses turn impatient
As hands fumble at buttons
Tender kisses urgent
With need

Her naked body becomes my canvas
Fingertips my brush
As I paint my passion
Across her breasts

Colors melt together in our heat
Pounding red turns white
As light takes us
To our heaven

Copyright ©2005 by Joseph E. Arechavala




T-Zero: The Writer's Ezine
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Special Poetry Exhibit The Writers' Ezine - T-Zero Xpandizine

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Special Poetry Exhibit At Writers’ Village University

April is National Poetry Month and a time to celebrate poetry. One of the objectives of National Poetry Month is to "to bring poets and poetry to the public in immediate and innovative ways."

Writers' Village University will again be holding a special online exhibit of poetry. This will be the third time that WVU has hosted a special exhibit of twenty-first century poets in honour of National Poetry Month.

The Exhibit will feature the work of the poets of the Senior Poets’ Workshop (P123), an open workshop for experienced poets where members follow WVU’s philosophy of writers helping writers. In this workshop, members hone their skills as advanced poets, expand their knowledge of poetic forms, and discuss poets and poetic issues. Members also participate in the development of group exercises and course facilitation, have a place to pursue literary critiques of poems and poets and work with some of the master poets at WVU.

The Exhibit will run throughout the month of April. It is open not just to WVU members and the readers of T-Zero but to all in cyberspace. In addition visitors to the site will be able to access the Archives link and check out previous exhibits.

The actual site is currently under development. The URL will be announced in the April issue of T-Zero and in the WVU newsletters.


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Submissions Guidelines The Writers' Ezine - T-Zero Xpandizine

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Submissions Guidelines (Updated)

Until further notice, only plain text submissions in the body of the email will be considered.
NO ATTACHMENTS.

What We Pay For

Fiction: Stories should be of interest to writers in general, not just a narrow group.

Fiction should be submitted to fiction@thewritersezine.com. Payment starts at $15.00.

If considered for publication, you will be asked to return an email agreement including your name and address.

Craft Features: Queries about Craft features should be sent to nonfiction@thewritersezine.com.

Payment starts at $15.00, and, if considered, you will be sent an email agreement to fill out and return.

Poetry: Due to the large number of recent poetry submissions, a temporary hold on further poetry submissions is in place until early 2008.

Please do not email us to ask what we pay for in other categories. When we can add to our list, we will include it in these guidelines.

What We Publish

Original short fiction, poetry, and non-fiction, particularly non-fiction related to the craft of writing and interviews.

For fiction we prefer something with a plot and resolution. If we like the main character, we are more likely to accept the story. If the main character has a problem to resolve or has to make a choice, that's conflict, and we love conflict! Too many writers confuse conflict with fight scenes. Don't be one of them. Give us a protagonist who acts, makes choices no matter how hard they are to solve his or her dilemma, not a wimp who drifts along and has to be rescued.

Non-fiction should be related to the craft of writing or be good resource material for writers. Accuracy and originality are vital. No reprints. If it has already been published somewhere else, our readers will spot it and let us know.

What We Won't Publish

Anything that inspires "hate," is defamatory or is pornographic.

Simultaneous submissions.

Material that has appeared elsewhere (reprints).

Seasonal material submitted during the same month (i.e., a Christmas story in December). Our lead time is short compared to print publications, but we do need time to edit, html and proof submission. A good guideline is to submit the manuscript by the first of the preceding month (i.e., submit a Christmas story before November 1st).

Length Recommendations

  • For Fiction, under 1500 words is preferred. We will consider excerpts from longer works.

  • Poetry should fit on one printed page if possible. A maximum of five poems may be submitted at one time (when the hold is lifted).

  • Non-fiction or Craft features have the most leeway in word count. In general these manuscripts should be 750 to 2,000 words. We like to take advantage of the hypertext capabilities we have available and link to charts, graphs, lists and so forth. Thumbnail versions may be included in the body of the article.

Rights

All rights other than first electronic, non-exclusive 'anthology' (for collections of T-Zero: The Writer's Ezine works only), and non-exclusive archival rights (we keep back issues online) are and remain the sole and exclusive property of the author.

Formats We Will Accept

Plain text in the body of an email.

T-Zero: The Writer's Ezine is an HTML publication. This gives us access to a variety of options but it is also a limiting factor.

  • Underlining is used exclusively for links in HTML. Please do not underline in your manuscript. It you are including a link to a webpage for reference, please mark the link the following way: (WEB LINK) http://thewritersezine.com (END WEB LINK).
  • The less than (<) and greater than (>) signs are used to enclose HTML encoding. If you need to use brackets, please use the square [ ] ones instead.
  • Paragraph indentation requires time consuming insertion of multiple HTML symbols. Please separate paragraphs by inserting a hard, blank line between them.
  • Fonts need to be simple. No multiple fonts. We prefer standard fonts such as Times New Roman, Courier or Arial set at 12 point. If your subject matter requires something else, ask us first.
  • The curly (smart) quotes, apostrophes, the em dash (two hyphens together) and ellipsis … (three periods) become strange and exotic characters when copied from your word processor into email. Check your preferences or options to see if you can use straight quotes. 
  • Text formatting such as bold, italic, centering, bullet list, etc., should be noted in the text by using all caps in parentheses. For example, if you wanted to italicize the word submission, you would type: (ITALICS) submission (END ITALICS).

Editing

We expect you to run spell-check and to check your grammar and punctuation before submitting. We will not reject a submission for a few typos or errors, but will if there are an excessive number of errors.

Note: Since our reading audience is international, we do not require a specific version of English. Use the spelling appropriate to your region.

We will automatically correct obvious typos such as “ton” for “not” and may correct simple agreement problems. For anything beyond that, time permitting, we will return the submission to you with a request for corrections.

Getting to Know You

Fiction and Craft features published in T-Zero: The Writer's Ezine include brief third person biographical notes on the writers. For all submissions, please compose your own bio and include it to save our editors and yourself time later if/when your piece is accepted for publication. We suggest sharing a little about your background, occupation, geographical location and what inspired your story.

How and Where to Submit

We do not accept submissions via US mail. Email submissions only, to the appropriate department, in the body of the email. No attachments accepted.

Fiction should be sent to fiction@thewritersezine.com.

Craft Non-fiction should be queried first. Send query to nonfiction@thewritersezine.com.

Poetry: Due to the large number of recent poetry submissions, a temporary hold on further poetry submissions is in place until early 2008.

Include the type of submission (fiction, non-fiction) in the subject line.

Be sure to include your name and email address in the body of the email.

If you do not receive an acknowledgement that your submission or query was received within a week, please send a follow-up query with “Did you Receive?” in the subject line. In the body of the email, please include your name and email address, the title of the work submitted, and if different, the email address sent from. Do not resend the submission unless we request it.

Good luck!


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Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

 

© Copyright 1998 - 2007, Writopia Inc. All rights reserved