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 The Writer's E-Zine

 

 Produced and published by the members of Writers' Village University since 1998    ISSN 1521-2639       
20 November 2008
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Craft of Writing

Mary Cook

If It Ain't Broke Fix It Some More

You should be turning cartwheels and crowing Peter Pan's famous line: “Oh, the cleverness of me….” when you read the work you're about to submit. It's not enough to be able to sit back with a satisfied smile.

There are a lot of bright writers around. To be ahead of the competition, you need to polish your work to diamond brightness. You should be able to see your face in it.

Did I hear you mutter: “If it ain't broke don't fix it”? You'll get nowhere with that attitude. If it merely “ain't broke” you'll need to fix it some more….and some more.

I learned my craft through an earn-as-you-learn correspondence course, and was mortified when my tutor called an article I'd proudly turned in a “first draft.” I’d been convinced it was a saleable piece of work that any editor would snap up.

I've since discovered it's a common mistake beginning writers often make—to think they've finished when they've just begun.

In time it was the polishing that I learned to love: putting a word in, taking it out, changing its position within a sentence or moving entire paragraphs around. If my work misses its target nowadays, at least I'll have the satisfaction of knowing I gave it my best shot.

Don't let poor presentation ruin a great idea. Format is important and can mean the difference between acceptance and rejection. If an editor says “double-spaced,” that’s what he wants. And he doesn’t want to be confused by a mixture of strange fonts.

Treat the contributors' guidelines as you would instructions for a home improvement project, reading them carefully from beginning to end before you start work. Don't just refer to guidelines when you think you've nearly finished. They’re instructions on how to get it right, not a tool to find out where you've gone wrong.

But what if your target publication doesn't supply guidelines? They're there all right, hidden in the text of the current issue. Analyze it to find what the editor buys. Then write something similar, giving the topic your own unique twist.

Don’t just read the publication, lay it out on the mortuary slab and dissect it. And don’t stop at the editorial content; the adverts are just as important in reaching an understanding of a magazine and its readership.

Word count is important. I have a 10 percent rule. Never write more than 50 words over or under 500 words in a 500-word article or story or 100 words more or less in a 1,000-word piece. Dust off the précis skills you learned at school and excise superfluous words.

It's the role of editors to edit, but the less they need to do to your work, the better. Question every word. Don't settle for the first one you think of. Consult your thesaurus. It might oblige with just the gem you're looking for.

Revise your work as often as you need to. The beginning of my writing career predates the personal computer, so I used to write everything in longhand before typing it on a manual typewriter. In order to produce work that appeared spontaneous, I often had to rewrite it as many as seven or eight times.

Check your spelling
You may think you can spell, but sometimes your spellchecker or dictionary will tell you otherwise. A minute or so of double-checking can rescue your work from the brink of instant failure. And remember to use the spelling of the country where your target publication is based.

Check your grammar
You don't always need to use “correct” English. It's a living language with rules being overturned every day. But you need to know the rules before you can break them confidently. You may find you need to unlearn some of the things you were taught in school.

Check your style
Most publications have a “house style” - a preferred style of writing. But make sure your own voice is heard above the clamor. Wordplay can give your work an edge but don't try to be too clever: you might fall down and dent your rhetoric.

Check your facts
You're 99.9 percent sure of what you're saying. After all, your granny told you about it and she was always right. Well, just suppose that on this one occasion she was wrong?

While you're about it, it doesn't hurt to check it makes sense
This is where hidden meanings and unconscious humor can sneak out to embarrass you. I recently came across a book called Knitting in Plain English. What’s wrong with wool?

Leave the gibberish to the politicians. Read your work aloud, preferably to a captive audience. If they fall about laughing when it's not meant to be funny or if they sit stony-faced when it is, fix it some more.

In the words of writer Will Shetterly: “The great thing about revision is that it's your opportunity to fake being brilliant.”

Who’s faking? Not you, if you’ve done all the “fixing” you need to.

And when you've polished your work to perfection, don't forget that other quotation. It goes like this: “Oh, the cleverness of me….”


About the Author
Mary Cook is a UK-based freelance writer who has contributed articles, verses and short stories to numerous publications, both in print and online. Words are her hobby, her business and her passion. Her homepage is: http://hometown.aol.co.uk/mywordmate/myhomepage/business.html.


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Craft of Writing

Sol Luckman

Manifesto for a New Fiction

The problem with much contemporary American—some would say—world, fiction is twofold. If we understand many commercial novels these days to fall somewhere on the spectrum between literary and visionary, with much in the middle that scarcely deserves mentioning, it's hard to ignore the fact we're living a classic Catch-22. Literary novels are just not that visionary, which is another way of saying they're often boring and unimaginative, slaves to a dogged realism—whereas visionary novels are, typically, none too literary, which is another way of saying often poorly, if not execrably, written, cobbled together with their narrative machinery clanking and clunking.

Historically, the exceptions confirm the rule. Tolkien's The Hobbit and The Lord of the Rings are indeed consummately both literary and visionary. These classics have also been imitated so many times—unsuccessfully, even laughably—it beggars belief. Here and there a contemporary novel pops up on the radar in this magical Twilight Zone where craft and invention seem indissolubly wedded—Robert Coover's The Public Burning comes to mind—but those of us literary-visionary hybrids who scour today's fictional landscape in search of inspiration usually come up empty.

The fly in the ointment is that old bugger, realism. Nearly two centuries after Stendhal’s novel-as-mirror traveled the tedious highway of fiction, and despite the influences of modernism and postmodernism, the majority of today's novel readers, like Coca-Cola addicts, still want the Real Thing. I'm speaking metaphorically, of course. The beauty of a metaphor is it doesn't have to be real to ring true. The instant a metaphor becomes real it ceases to be a metaphor, which suggests a disconnect between truth and what's commonly referred to as reality. This is a pivotal point—that the real world probably isn't what you believe it is, or rather, that it's precisely what you believe it is—which, if you still don't get it, I can only trust someday you will.

I don't mean any of this theoretically. Theory does everything in its power to remove the living soul of literature, tear its heart out, make of the study of Art a hard-edged Science. Never mind that Art is as far removed from measurement as Science is from love. As writers confronting theory, it's incumbent on us not to let our prose dry up in that desert, but to allow it to become a desert rose, our prose, flourishing in the heat and sands of what passes for knowledge.

We must, then, for them to be of any worth whatsoever, live our theories practically. For writers this means, inevitably, doing the deed—not just having the idea but putting it on paper, writing down not just the bones of our dreams but their flesh and blood as well. Literature, at its best, and despite the recent attempts of critics, can never be murdered and dissected, as it's an immortal yet organic thing, drawing on the richness and complexity of Experience yet somehow managing to transcend its mundane origins like an alchemist transmuting base metals. The current twin foci on theory and realism conspire to dry up the spirit and wither the soul, blind the eye and deafen the ear, broil the brain and microwave the heart—and perhaps most disturbingly for us radical wordsmiths who still haven't sold out to the Man, brown the nose and pucker the rectum.

If we're to avoid becoming fiction robots in a corporate world, we must stop adding to our educational excesses, eschew the assembly line of MFAs and bottom-line publishing houses, commit ourselves to a way of writing that engages in a valiant struggle to push the limits of plot and language so as to awaken, not anaesthetize, the reader. Anything rather than live in the dead world of those cold people, the Intellectuals. Anything rather than subject ourselves to the fusty chain of academic command, the savage petty politics where the arguments are so heated because the stakes, as someone once astutely quipped, are so small.

We must lay our ears back and push on into the literary fourth dimension, realm of feminine chaos and infinite possibility, forego regionalism and play with farce—and, especially, always appreciate the bizarre. Love for the bizarre is, itself, transformational. When you welcome the bizarre into the fiction of your life, anything and anybody can be transformed from dogshit into gold.

Let's begin a new literary movement. I don't care what we call it. Let's start writing novels for people who don't like novels. Because these days who can blame them? You can please all the people some of the time, and some of the people all the time, but you can't please all the people all the time. So let's at least please ourselves. Years from now when verisimilitude is finally understood as a terribly limiting proposition, let our daringly experimental books (often self-published, often ignored by the mainstream) be remembered as the Rubicon fiction crossed on its journey into multidimensionality. There can be no turning back, for readers or writers, after our historical strokes of madcap genius. Or so my story goes.

Once in every generation, if we're lucky, a character shows up who can teach us about reality because he's more real than ourselves. Melville called such a character a "Drummond light" after the type of light once used in theaters that was capable of providing illumination in many directions. May one of us create such a character. Better yet, let's buck tradition and create a string of Drummond lights, each a brilliant facet of the Hope Diamond that is our new fiction. Let's turn away, once and for all, from old Enlightenment tropes toward a new narrative of Enwritenment. Together let's write light.

In so doing, maybe, over time, our inherited and mostly dysfunctional posterity urge based on ego will gradually give way to something more stable, healthier, that might be called simply the urge to be. To have been versus to be. Product versus process. In the face of a literature of monoliths and petroglyphs, we have the choice to opt for incompletion. May our new writing shine with the protean power of now. May imagination become the new faith.


About the Author
Sol Luckman is author of the Beginner's Luke Series of novels. Luke's obsession with self, sex, satire and slapdash combine to highlight a surprisingly serious point: consciousness creates. The point is there is a point to living in the imagination—for only through it can we reinvent our ourselves and our world. Starting this June, the author is giving away the first 2012 copies of Beginner's Luke. To take advantage of this special FREE offer, visit http://www.beginnersluke.com.


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Craft of Writing

Leanne Johnston

Marketing – Articles and Novels

Remember, opening hooks and compelling endings pack a wallop!

Your last sentence should be as powerful as your opening hook.

With last month’s article, Internet Marketing - Your Image, now kitty-litter liner, it’s time to tackle marketing your work. We look at a marketing approach to submitting your articles or novels to a publisher.

I will not set out examples on how to write a query letter. I will instead discuss methods.

Examples of query letters can be found by using a search engine on the Internet. As a writer you should be able to construct a business letter and know how to set out a query letter. For this topic I will assume you have mastered the basics of spelling and grammar.

Your job as a writer is not only to write a compelling manuscript or article but to sell that work to an agent or publishing house. The agent acts for you. If you take the agent out of the equation, you do the selling direct. Publishers receive a lot of unsolicited work, and the query letter is the best way for new writers to get a shot at publication.

Target the right publisher. If you have researched your target market this shouldn’t be a problem. Always address your letter to the correct person. If you are unsure, research.

If you choose to go the self-publishing route, the responsibility for marketing and producing the novel is with you. If you have no marketing experience self-publishing would not be a recommended route. In self-publishing you do the editing, proofing, cover design, advertising and distribution.

A query letter is your opportunity to market yourself and your work, prove you are easy to work with and make an impression. It should be approached exactly as the publisher requests. Guidelines are usually found on publishers’ websites. Many of the query letters I have seen have errors and give the impression the writer was clearly in a hurry to get the query out after completing their new beaut work! Take time to proofread and check your spelling, correct typing mistakes, and grammatical errors.

Once you have determined the image you want to project, and the goals you want to achieve, it is much easier to talk about yourself in a query letter.

Grab attention in the first line of your query letter. If the publisher isn’t taken in by your query letter, it will not be taken in by your work. The query letter is your opportunity to let your talents shine and have the publisher hear your voice. Show you understand the market you are pitching for and that your article or novel is suitable for that market.

Keep the query letter simple. The main aim of the query is to get the publisher to consider your article or novel. Don’t make the mistake I made by trying to be witty, amusing, or clever. At the query level you are merely asking the publisher to consider your manuscript.

Start your query by introducing you and your article or novel. Keep it brief. Supply the title, length, genre, and whether the work is completed or not. The query should be no longer than one page.

Use a standard format. These can be found using a search engine on the Internet. Publishers are busy and prefer to know exactly what they are looking at. Immediacy is the key. Remove the risk from the publisher. Provide a concrete reason for publishing your work. Supply the crux of your story or article, your name, contact details, what genre it likely fits, and most importantly, gain the reader’s attention, hold it, and give the publisher a reason for putting its name on your work. If you can describe your novel or article thoroughly, and leave them wanting more, then your query has served its purpose.

Always write your own queries. If you cannot write your own query, chances are you cannot write period. Don’t delude the publisher or yourself by having someone else write your query. By all means, get advice and mentoring from others who have been successful, but do not mimic them. Make your query your original work. The publisher wants to hear your voice, not the regurgitating sounds of another author.

Remember to include the correct name, address, and telephone number on your letter or email. Yes, I know that sounds ridiculous, but so many times, in the hurry to get work published, writers rush the query letter and get their own details incorrect. It is not only sloppy, it shows you are an amateur. The publisher will waste no time second guessing your address. Your query will end up in the circular file!

Many inexperienced writers tease the publisher with mysterious statements or questions. This, although cute, doesn’t work. Publishers want to know exactly what your product is, the target market it is aimed at, and be able to gauge whether it will sell. They cannot gain this information if you are being deliberately nebulous.

Demonstrate why your work is worthy of consideration. Be forthcoming and explain what it is you have produced. Often, poorly worded and vague queries arrive. This is not only disappointing and frustrating, it wastes the publisher's time. Let the publisher decide if your work fits the market (or perceived market). Always put as much effort into your queries as you do your novel or article.

A short paragraph should be devoted to your writing credits, if you have any. If you have no prior credits—say nothing. It is better to say nothing than to blurt out your inexperience. If other experience is of relevance to your novel or article, then by all means highlight those skills or credentials, but only if it increases your chances of publication. Don’t blurt out your life story.

Ask yourself. Does this sentence really grab attention? Does it advance my case for publication?

Get a feel for the type of publication being produced by reading several issues. Does your article or novel fit an existing niche? Prove you have the credentials or expertise to write the novel or article for the target market. If the article you are submitting fits the humorous genre, your query should illustrate your humorous voice. Show you understand the magazine’s sense of humor. Use your style and voice to illustrate this to the publisher. Convince them your article will fit into their magazine.

Find a critique partner, not only to appraise your stories, but also to be there when you receive your first rejection. Choose someone you can trust and feel safe in sharing your thoughts and feelings.

The biggest mistake writers make when seeking publication is a simple one, and more common than you might think. Simply, they misunderstand or omit requested information set forth in the submission guidelines. Read your publishers' guidelines and make sure you understand them.

No matter how amazing your query letter reads, do not be disheartened if your query does not result in publication. Sometimes your work is wonderful, but your timing doesn’t fit with the publishers.

Stay positive. Rejection is not always an indication of bad work. Reasons for rejection are many and varied. You cannot assume the reason for rejection is poor writing. Often the editor may already have the article required for the next issue. Often, several articles are programmed in for the next six months. If the topic has recently been covered they may be reluctant to cover that topic again. This is why it is important for you as the writer to do your homework and find out what the publication covers. A good knowledge of issues covered over at least the past twelve months will stand you in good stead. Often articles of interest will circle back. Take popular women’s magazines. Even though the articles have changed in content, the basic ideas are often the same.

Allow enough time for the publisher to consider your proposal, but not enough time to forget. For myself, I allow up to four weeks before following up with the publisher. Or I move on to the next project. There is no set rule for timing. If you decide to follow up, make it easy for the publisher to remember your submission by attaching your original query.

Your query letter is your only opportunity to make a first and lasting impression of you and your work.

Remember using the written word is similar to meeting someone personally. You form an impression of you to your readers. Make it count!

Good luck! I hope you get published soon.


About the Author
Imagine 60’s Australia: A cool, early, autumn morning. A mother gives birth to a girl child. This child continues to wake early every morning, talk the leg off an iron pot,* including any animals nearby, entertains herself with her vivid imagination and detest late nights because they interfere with her precious dreamtime.

Nowadays Leanne lives and works on a Stud Murray Grey cattle farm. She considers the Murray Grey breed exceptional and one that will become the most popular breed in the world due to their wonderful temperament and marbling. She shows absolutely no bias of course. Her love of animals will not cease.

The other side of her personality loves to tell tales and until a few years ago she worked in office management. One wild Wednesday she quit her job to pursue a career as a writer. She believes everyone is here for a reason. Everyone has something unique or great about them and others should encourage them to develop their special skills. Leanne likes to use her ability as a writer to help others become all they can, realising there is heaps of good in the world if you seek it in people.

Life is like a large brainteaser to Leanne and she believes in things unseen, unheard of, and sometimes only felt.

If you wish to contact Leanne, you may, at huonmurraygreys@bigpond.com.

*Common Aussie slang


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Birdie's Quill

Birdie

Network Marketing

Writers relish the creative process, but when it comes to stepping away from the computer to market their work, the task of public relations catches them unaware. In a perfect world, writers would write and someone else would be in charge of marketing. However, in this day of intense rivalry among publishers, budgets don’t allow for ad campaigns for new writers. The same holds true for the writer’s budget. Not all PR opportunities are affordable or practical.

Where do you start?
One fountain of information I tap into on a regular basis is writer’s chats. A writer chatting with writers sets a perfect foundation for an information exchange. Recently, I attended a Sunday night chat on marketing at The Writer’s Chatroom. This virtual gathering congregates each Sunday to discuss predetermined topics. Mid-week they offer chats with authors, publishers, and editors.

The chat on marketing provided pertinent information and inspiration for this article. “Marketing is advertising and networking, by word of mouth, electronic, media, or any other possible means. Writers must market to get their product and their names out in front of the buying public,” the moderator said.

Healthy discussion followed, and the fact that the weight of marketing falls on the shoulders of the author today, threaded throughout the dialog.

When I attended my first writer’s conference, two editors asked to see the first few chapters of my novel and a synopsis, along with details of how I planned to market the book. Putting a plan on paper is part of marketing your idea. The moderator from The Writer’s Chatroom confirmed this when she said, “Your marketing strategies can even be an attractive selling point that gets your work published. Remember, publishers are out there to make money, not to showcase you work. If you can impress them with your marketing plan, they are more likely to see your project as one that can make them money.”

Word of Mouth
Just yesterday, I received artwork for the cover of my upcoming fantasy novel Windwalker. I showed the cover to numerous people throughout the day, a visual way to offer a blurb of the storyline. The result: I added a few names to my list of people who want to buy the book when it comes out.

In today’s world, we not only meet people face to face but through the web. Develop on-line relationships. Stay active on writing boards that fit your genre. Marketing includes word of mouth advertising. While working on a book, talk about it. When submitting a manuscript, talk about it. When the manuscript is accepted, talk about it. Writing is part of your life, make it part of your conversation.

If you tell someone about what you do, have done, or are involved in, that’s marketing. Mentioning a release date while in a chatroom, or posting a message about it on a message board, constitutes marketing. Take advantage of opportunities to create a buzz.

Online Writer’s Groups
Cultivate relationships with other writers. Don’t use on-line groups and forums as an information dumping ground only if or when you have news to share. When other members know you, your news creates a buzz. If they don’t, your message may be lost in the “sift and delete” mode as writers budget their precious time.

Author Audrey Schaffer, the manager of The Writer’s Chatroom, explains that marketing is the set-up for selling. “In some groups, you can't ever post a sales message. But if you join into the conversation, you can subtly market your name and url every time you speak. Conversational marketing produces future buyers. Marketing is soft selling and to do it effectively required 25-50% of your work time.”

Offering Free Content
Writers debate whether writing for free pays off. It can, if you choose the proper market. Use free content as an opportunity to get your name out there and to market what you have to sell. Look closely at where you give your work away. Be sure to attain good marketing from it. Include links promoting your work. Shared links carry potential customers to your site, increasing your visibility.

For instance, I’ve written good old days stories for U. S. Legacies over the years. Although it is a non-paying site, the U.S. Legacies site not only includes my name among recommended freelance writers, but publishes stories online with select stories making it into the print magazine.

When submitting articles, include links in your bio to promote your work. Bios are written in third person and provide the perfect platform for self-promotion.

Offline Promotion

  • Flyers
    When my book Pumping Your Muse approached the release date, I sent out flyers promoting the book. For Christmas, I included a flyer with my annual newsletter highlighting top events for the year along with my cards. I’ve incorporated similar handouts when I speak to writers groups and keep them handy in my car in case someone I meet unexpectedly wants more information. Flyers provide tangible reminders of the product offered and extend promotion beyond initial contact.


  • Business Cards
    Be prepared; carry business cards. Make sure your card conveys a message that creates the first impression you desire. Try to create a card that stands out making it easy to locate within a stack of business cards.


  • Bookmarks
    Include bookmarks in your marketing strategy. These easy to store, inexpensive giveaways can be distributed at writer’s conferences, book signings, and other such gatherings. Incorporate the title of your book and contact information. Bookmarks continue to promote your book long after the publicity event.


  • Press Release Strategies
    A press release showcases your title and ordering information. In one or two pages, describe the appeal of your book and why it is newsworthy. Include important details at the top of the article and place less pertinent information closer to the bottom. Reporters focus on the first paragraph. Catch their attention within that paragraph. Incorporate quotes from yourself and from your book. If you have a local angle, attach a note to mention that. File a press release for any area that has a local slant for your book. Your home area is not the only place you would want to submit a press release. For more helpful tips on writing a press release, visit http://aboutfreelancewriting.com/articles/howtosample/htpressrelease.htm or http://filbertpublishing.com/prelease.html. Promote your book for free by submitting your press release to http://www.undergroundwho.com/submitbook.htm.
Affiliates
Recently, my publisher initiated an affiliate program. Those who offer my book on their site receive compensation for each ebook sale generated from the link on their site. To better understand affiliate programs, I turned to author and marketing guru, Shri Henkel, who writes under the pseudonym Nikki Leigh.

"Affiliate programs are a wonderful and inexpensive way to promote any product or service,” Henkel said. “This is an effective way to promote your books. One of the things I like about affiliate programs is that you only pay when you actually get a sale.

“Here's how it works. You offer your affiliate program to others. They promote your books on their website or other promotional avenues. When a reader clicks on their link, they are directed to your site. If that person decides to buy one of your books, then you pay the affiliate a commission. You can also offer a lesser commission when the affiliate directs someone to your site, even if they don't purchase at that time. You decide which way you want to design your program.

“Keep in mind that affiliates are used to earning 5-20% or more on each sale. However, when you think about large book distribution sites who can demand 30-50% that percentage doesn't sound too bad.” For more information check out Affiliate Programs Community where members meet in virtual forums to discuss everything from affiliate warnings to email and offline marketing. Follow daily posts on the Affiliate Marketing Blog to peruse relevant entries to help develop your marketing plan.

“You need an attractive affiliate program in order to encourage potential affiliates to register,” Henkel said. “It is helpful to offer them banners and text ads that they can use. This also guarantees that you control the ads being placed online."

Your Online Presence
In this day of advancing technology, most people head to their computers rather than the library to find information on any subject. If you don’t have a website, now’s the time to get one if you hope to promote your work. Offer a newsletter, giveaways, or other products that drive people to your site. Add your site to Google’s Search Results.

Another popular avenue for marketing is an on-line journal known as a blog. If you haven’t tried it, you can go to http://help.blogger.com/bin/topic.py?topic=13 to learn the basics and get started.

Learn More on Marketing
Visit author Billie Williams site for strategies on developing your marketing plan. She is currently writing a book titled, To Market To Market, and plans to serialize it on her web site.

“The Introduction will give an overview of the marketing scene with ten strategies for developing your marketing plan,” Williams explained. “Eight sections provide ideas on products, activities, how you can increase your presence with joint efforts, your media kit, web sites, resources (such as links, directories, where to send press releases, how to find your local or area papers, radio stations, TV stations etc, message boards and more), [and] helpful people. To Market to Market is primarily about marketing ebooks, but the strategies work for print as well.”

Make a Plan
Write our your marketing plan on paper, and make it an intricate part of your presentation. An attractive, well-thought-out plan can be the advantage that gets your work noticed and published. Follow through. Get your name and product out there. Create a buzz, and keep writing.


About the Author
Author and freelance writer, Donna Sundblad, resides in Florida with her husband, Rick. Her creative writing book, Pumping Your Muse, is available in paper or ebook format. Check her website for more information at www.theinkslinger.net. Donna also edits for and co-owns Team Spirit Critique and Editing, LLC.


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Poetics Presents

Sue Turner

Sue Turner lives in the Pacific Northwest with a Betta named Puppie. Well and widely published, she began writing/watercoloring in 1996 when her left brain turned right and dislodged gainful employment. She has published 8 or 9 books of poetry, paintings and short prose.

Cusp of Sunday

Sweet scent of sunlight
dances tango on my hip,
dapples spun by curdled clouds
tattoo my croning feet.

Behind a flimsy veil
Cassandra calls eternity.
I turn my back
glide deeper into song.

Copyright © 2006 by Sue Turner


Moonset

sweet chinks of time
dark as Pele's tears
drape my night in mabe magic
draw circles over circles

a scatter of mandarin
mantles one obsidian bird,
defying vertigo,
rocking a knot of pine

screens of shadow
Haunt the warm black
spread a mojo mood
before it shakes me free

Copyright © 2006 by Sue Turner




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Fiction Short Story

by Gay Cameron Snell

Final Battle

It didn't matter what he had been before; it only mattered what he was about to become. The problem haunted him.

The old man sat in his wheelchair in the middle of a bare room and watched and waited, fretting about the rest of his life on this last day.

"You're wrong, Dad. You'll love it. You won't have to worry about a thing," Peter had said. The memory of his son's insubordination grated on his nerves.

He felt much older, and so tired. A retirement home? The very thought made his hands shake and his body cringe. John McDowell Jacob, retired colonel and successful entrepreneur, huddled under a blanket while smiling faces in white uniforms patronized him?

The old man rubbed his temples with a slow, rhythmic motion, willing the action itself to clarify the confusion tormenting his mind. He looked about him. This retreat had been his home for so many years. He'd carved it out of a thicket of trees halfway up the mountain. And now this carrion of a son wanted to take advantage of his lack of mobility and force him to leave.

He wondered what Sarah would think, what she would do. Never had he felt so torn inside, so hollow. So angry. Peter and his confounded insubordination, just like that upstart Lieutenant Banes who blatantly questioned his orders on the battlefield so long ago.

"But, sir," he had said, "it would be wiser to attack now." An ugly scowl twisted the lieutenant's face.

John frowned at the memory. He clutched the handgun hidden inside his shirt. An officer had an obligation to shoot an insubordinate soldier during war. Especially when men could die as a result of that insubordination.

"Lieutenant Banes," John had answered, "you will not question my orders."

"But, sir—"

John's fist pounded the arm of the wheelchair. He should've shot that lieutenant. No question. His son was just like Lieutenant Banes. The nerve of Peter to think he could pack him away like an old army blanket and take over his home.

John pushed the button on his wheelchair to turn it toward the open window overlooking his Blue Ridge Mountains. The air held a hint of lilac—Sara's favorite. It beckoned to him, sharpened his pain.

While serving with the Army and under siege of battle, he'd longed for a place of peace, a quiet hideaway in the mountains, something to help him forget all the ugliness he'd seen. When he returned home safely, he and Sarah had searched and searched for the perfect spot.

John hugged his arms about him. Take him from his beloved mountains and you might as well rip his heart right out of his chest.

He closed his eyes and sighed. The furrows on his brow deepened. What made Peter think he had the right to make decisions for him? Everyone grew older, yes, but not everyone became senile. John's sharp mind and clever wit still stunned even Peter.

The grinding crunch of tires on gravel alerted him. Peter's car approached the end of the long driveway. He turned the wheelchair away from the window to look at his home. One final view, he thought, surveying the emptiness about him. The mammoth stone fireplace, the hand-hewn ceiling beams, and the rich natural wood glow of the paneling jumped out at him in the bareness. The hours he had spent testing and teasing the wood to get just the desired blend of colors! One final glimpse for you, Sarah, and for all the wonderful years we shared together. I'm glad you didn't live to see this.

John wheeled around the lower level of the house until he heard the car stop. He took off his sweater. Old, senile men always sat huddled inside a thick sweater. Not him, he didn't need it. He would sit tall and proud and smother the indignation he felt toward his son. Peter was all he had left in the world.

The car door slammed, and John directed the wheelchair through the hollow-sounding rooms toward the front door. He took a long, deep breath as if to finally seal his emotions. He would not seek retribution against his only son. He couldn't. Let him sell the place. Let him turn it into a museum, if that's what would please him. No matter what Peter said, John would not be bitter.

Peter thought he needed a change? All right, he would accept this change for what it was—a new beginning, a new assignment, a new command post like years ago. He had made a lot of moves back then, he and Sarah. The Army had moved them all over the world. When the war came, Sarah stayed behind waiting and worrying until he returned. This time, Sarah would go with him. He wouldn't leave her behind again.

Moving and changing were a part of life, a part of being alive. The time was right for a move. Fighting grew heavier now. All the news reports showed that. Proven officers were needed to lead all those young scallywags. What did those young Army officers know about strategies anyway?

The key clicked in the lock, and John pulled himself to full attention in his wheelchair, his hand in a ready salute. The door opened.

"Boy, is it hot for spring. All packed and ready to go? Or do you want more . . ."

In the fleeting seconds that followed, John stared at the face before him, seeing first Peter and then Lieutenant Banes. The ugly scowl convinced him. Eight good men died because of this lieutenant. Over and over, John wished he'd shot him at the first sign of insubordination. Now he had a second chance.

With formality and conviction he said, "Ready, Lieutenant," and carried through with the salute—his back rigid, his eyes wide and focused straight ahead. Inside his shirt, he tightened his grip on the gun.

Slowly but resolutely, John guided his wheelchair outside. He was anxious to carry out justice for the good men this lieutenant had sent to their deaths.

He made it as far as the front bushes before the smell of lilacs assaulted him. For a moment he saw Sarah holding little Peter up to the branch to smell the blossoms. "Dad?"

In a flash John knew. He pulled out the gun.

Peter's face turned white.

John said, "Take care of this for me, would you, son?"

As Colonel John McDowell Jacob continued down the walk, he took a long, steady breath and straightened his shoulders. He felt honored to be heading into battle again. And he would win. As always.


About the Author
Gay Cameron Snell lives halfway up a mountain in Virginia's Blue Ridge Mountains, where she works hard to keep track of all the bears and rabbits and various kinds of snakes. A published author who taught writing to both high school and university students in another life, she still loves to give writing workshops and looks forward to the publication of her next novel, Death Rattle. This story is based on a true tale she heard out there in the Shenandoah Valley.


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Fiction Short Story

by Kurt Kirchmeier

The Hard Way

Momma says it's like a trade: personal possessions in exchange for good luck spells. She brings home all sorts of stuff, from jewelry to picture frames to crystal figurines. She says that by just handling them she's adding strength to their original owners' auras. But I know better.

Just last week, I saw old man Murdock collapse right on his sidewalk. One second he reached for the paper, the next he was laid out flat atop the dead people section. Momma took several items from his fancy brick house, so by rights he should have lived a whole heck of a lot longer than three more days.

I knew Momma didn't cause his death or nothing, that it was probably just old age is all, but it still got me thinking. When I asked her about it, she said there must have been a kink in the spell, or that maybe a conjurer more powerful than her had some sort of vendetta against the old man and used a magic counter to hers.

Like usual, Momma sold the items—four silver candleholders and a couple other odds and ends—to a pawnshop the very next day.

She uses most of the money to buy magic powder—(which for some reason she snorts up her nose) and then hides whatever's left in a tin box underneath the floorboards in her bedroom. Pulled up a whole corner of the carpet just so she could. I'm not supposed to be privy to that little secret, I know, because she always waits till she thinks I'm asleep before she stashes it there. If only she knew just how good I am at pretending, and how I'd learned to walk without making a single floorboard creak.

When we still lived with Daddy, we kept all our money in the bank, like regular folks do. Even back then Momma wasn't really no different, except she wore a dress at night instead of a black jumpsuit, and only used her magic powder when she figured no one was watching. Sometimes I miss Daddy so bad I want to cry. It wasn't right how Momma packed me into the car and carried me off without even telling him where we were going.

Sometimes I want to call him, but we haven't even got a phone no more. I almost told Momma we should use some of that money beneath the floor to get one hooked up, but then she'd know I was snooping. Besides, she wouldn't let me call Daddy even if we did have one.

"Daddy doesn't understand about your Momma's magic," she'd say.

When I tried telling her I didn't understand neither, she looked at me with sad eyes and patted me on the head. "You will when you're older, Jenny, when you're older." The way she said it, it almost sounded like she didn't really want me to understand, like maybe her magic wasn't exactly what she always said.

I started getting suspicious and decided to follow her out one night, which is how come I found out that old man Murdock was one of her clients. She climbed in through his window, cursed a blue streak when her pant leg caught on a nail poking out from the sill.

Though I already knew about her line of work, about how she ended up in possession of other people's things, I never realized they weren't giving them over of their own free will. I remember thinking about that as I sat there in the bushes, how it didn't seem quite right, how it didn't fit with all the stuff she told me.

I thought she'd climb back out the window, but instead she came through the door. I'm pretty sure she wouldn't have even seen me otherwise.

"Don't you ever get it into your head to follow your Momma ever again," she'd said. "You hear? It ain't safe for a little girl to be out on the streets this time of night."

When I asked her how come she didn't just knock and explain to Mr. Murdock about the magic and how it'd help him, she shook her head. "Folks don't know what's good for 'em. He'd have never even listened to your Momma, let alone let her in the door. Sometimes you just gotta do things the hard way. Ain't no gettin' around it."

I started thinking maybe Momma didn't know what was best, neither. Daddy did, though; Daddy always knew. That's how come I'm standing here at the bus station.

Momma got dressed in black and went out again tonight, so she doesn't know where I am. She also doesn't know about my ticket or the money missing from the tin box. I don't much like carrying myself off without even telling her where I'm going, but there wasn't no way of gettin' around it. Sometimes you just gotta do things the hard way.


About the Author
Born and raised in the Great White North, Kurt comes from a large family of two brothers and five sisters. He currently resides in Saskatoon, Saskatchewan with his wonderful fiancée, a moonstruck cat named Prophet, and a three-year-old bonsai tree that he's been attempting to resurrect from the dead. Kurt's fiction has appeared in Alien Skin, Quantum Muse, and Reflection's Edge, and is forthcoming in Beyond Centauri, The Sword Review, and Raven Electrick.


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Fiction Short Story

by Marian Allen

Helping Hand

Shereen had never considered how hard it would be to cuss with eye-doctor's drops in her eyes. Nobody ever said anything about that. Sure, don't worry about it; you'll be able to drive by the time you leave the office.  Didn't say you couldn't tell if you were down the aisle from an impressionable child or the preacher or somebody else you needed to watch your mouth in front of. Didn't say you couldn't read your daughter's grocery list. Didn't say you couldn't read the labels on the cans and boxes or the prices or the coupons.

Grumbling unsatisfactorily to herself, Shereen held the list up close, at arm's length, and with the big yellow smiley face both right side up and upside down. Any way she tried it, she couldn't see anything but blue squiggles of ink.

"Can I help you?" The voice belonged to a blond man in a dark green apron; tall, a little plump, features blurred but familiar-looking.

Shereen squinted up at him. "Hobart? Hobart Carson?"

"Yes, ma'am. It's Mrs. Mossman, isn't it? Brenda's mom?"

"You work here, now, Hobie?" Clean-cut, polite, hard-working boy, she remembered. Good grades. No trouble to anybody. Mothers loved him, girls gagged.

"Produce manager. Having trouble with your list? Forget your glasses?"

Shereen felt her face flush and her lips purse. Never wore glasses in her life, and here she was under sentence of bifocals. "Eye drops," she said, not exactly lying.

"How's Brenda?"

"She'll be just fine, if I can figure out what's on this list."

Hobart took the paper. "Heard she got married. I never did. After we moved, I never did find anybody I liked."

"Got married, had a son, got divorced." She felt the urge to unburden herself, probably because she couldn't see Hobart very well. It was kind of like talking to the TV. Besides, he started it, with his never did find anybody I liked. "Gene—her husband—started moving up in the company and she never could lose the extra weight she gained when she was expecting Bobby. Gene left her, and Bobby's not but only five. He pays child support, and sees Bobby every so often, but … "

"That's a shame. She was a real nice girl."

Hmmm.... Single, working, interested....

"She's sweet as pie! I tell her she ought to get out, see people, but she just mopes. It breaks my heart."

"Well, Mammas are like that. You want me to help you with that list?"

"Would you? I sure would appreciate it."

"You just go on up front and sit, and I'll take care of it."

Shereen fumbled for the red plastic zip-bag where she kept her coupons and her grocery money. "This ought to be enough. If it isn't, you know where I'll be."

She hoped he would ask more about Brenda, but he didn't even put her groceries into the Oldsmobile for her—just sent one of the bag boys to do it, and waved to her on his way out the side door. A produce manager's work is never done, I guess.  She sighed.

"Mom, what IS all this stuff?"

"You wrote it down. All I did was bring it home."

"This is more than I wrote down. I didn't write down boneless chicken breasts or honey butter or romaine lettuce …" Shereen watched as Brenda unpacked the bags.

"And I didn't write down new potatoes or—what are these?—snow peas. And two of those little space Legos from the toy aisle. The little bitty ones that are five dollars each."

"I couldn't read the list," Shereen said feebly. Hobart had tricked her—had loaded her up with unwanted items. "I got somebody to help me." Her voice grew fainter as she explained, watching Brenda's habitually sad face turn lively with astonishment. "Hobart Carson is the new produce manager, and he took your list and did the shopping … "What he had done was worse than dishonest; it was sneaky and mean. "And I always thought he was so nice!"

Brenda snatched up the red zip-bag and opened it. "How much money did you take with you?"

"Fifty dollars." Shereen sank into a kitchen chair.

There was a pause while Brenda counted the bills, then pulled out the register tape and scanned it. "Are you sure?"

Shereen nodded. "How much did he leave me?" Hobart Carson, of all people!

"Fifty dollars."

"That's what I said. How much did he leave me?"

"Fifty dollars. There's thirty-five dollars' worth of groceries here, and fifty dollars in the bag. He paid for it all himself."

Shereen was still thinking this over when there came a knock at the back door.

Brenda opened it and stepped back. Hobart leaned in and waved at Shereen.

"I followed you. Lost you at the light and had to circle around until I saw your car in the driveway." He smiled at Brenda. "I didn't know where you lived, so I had to stalk your Mom instead."

"Do what?" Brenda put a hand on his chest, as if to shove him out the door. He lifted the hand and brushed the fingers with his lips.

Shereen noticed he had a small blond moustache. My eyes must be clearing up, she thought absently. "What's the idea, paying for Brenda's groceries? And why didn't you just ask me where she lived?"

"Goodness, Mamma!" Brenda laughed—the little huffy sound she used when she was embarrassed—or excited. "You sound like the DA or something."

"I had to pay for the groceries. When a man invites himself to supper, the least he can do is pay for it."

"Invited yourself to dinner?" Brenda squeaked.

"If you aren't busy tonight. If you are, I invite myself to dinner the first night you have free. I'll even do the cooking if you'll do the dishes while Bobby and I play with the Legos."

"You're awful sure of yourself." Brenda sounded breathless.

But all he had to do was ask. He was always so courteous ... Shereen scowled. "Well, of all the nerve! Throw him out, Brenda. Pushy, underhanded, stuck on himself—"

Brenda flapped a hand at her. "Oh, now, hush, Mamma. Hobie's an old friend, you know that. And I can't just throw him out, not when he bought all this and offered to cook, besides. Hobart, you just come on in. You can meet Bobby when he gets up from his nap."

"Brenda, are you just gonna let him waltz in here—"

Hobart came in and shut the door with a click of finality. "You're welcome to stay for supper as far as I'm concerned, Mrs. Mossman."

"That's mighty nice of you, inviting me to eat at my own daughter's house."

"Come on, Mamma. Let's all be friends." Brenda wrung her hands, shifting her weight from one foot to the other—a sure sign of distress.

Shereen gave in. "Oh... all right. Guess I better be here, to keep an eye on this one. Boy goes away for a few years and learns nothing but bad manners."

Brenda giggled. "Oh, Mamma, don't be awful! I'll go see if Bobby's awake." She bustled out of the kitchen.

When her steps had faded, Hobart sat at the table opposite Shereen. "So, how long are you going to pretend you don't like me any more"

"As long as it takes, Hobie. I have to say, I always knew you were bright, but I never knew you were smart."

Brenda's voice approached, chattering to Bobby, happier than her mother had heard her in years. Shereen and Hobart solemnly shook hands, then she sat back and folded her arms across her chest. She and Hobart had time to exchange a wink before she hardened her face, glowering at him for her daughter's benefit.


About the Author
Marian Allen was born in Louisville, Kentucky and now lives in rural Indiana. For as long as she can remember, she has loved telling and being told stories. When, at the age of about six, she was informed that somebody got paid for writing all those books and movies and television shows, she abandoned her previous ambition (beachcomber), and became a writer.

Allen has worked as a high school teacher, an executive secretary, an accountant, and in Red Cross Youth Services. She is married, with three step/adopted daughters, one birth daughter, and varying numbers of cats, hounds, and chickens.

She has had three novels published electronically by Serendipity Systems, and has been published in small anthologies, on-line magazines, print magazines, newspapers, on electronic disk, coffee can labels and the wall of an Indian restaurant. Folklore, mythology, and archetypes are basic to her writing. She is a member of the Southern Indiana Writers Group and Green River Writers.

"Helping Hand" grew out of a discussion with her (married) youngest daughter about the hazards of having one's pupils dilated.


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Fiction Short Story

by Kimberly S. Shoemaker

Lassoing The Lady's Heart

Callie Walker tossed the left boot behind her. Blades of grass teased against the cuffed leg of her faded jeans. A hawk circled in the cloudless turquoise sky.

"I believe this belongs to you." An unfamiliar bass tone caressed her ears and chills cascaded down her spine.

She spun around and collided with a broad-shouldered, rugged-looking man. He rested on one knee and held her boot in both hands. "Uh, yes. My feet need freedom from these horrible leather boots."

"Allow me." Dimples formed at the corners of his mouth and his cobalt blue eyes sparkled as he spoke. His smooth cropped hair shone like a dew-covered raven's wing.

Callie tucked her bootless foot behind the opposite leg. "Thanks, but I'll put it on later."

"Desdemona was a fine competitor in her day. Won several Texas State championships until she injured her stifle. You did a pretty fair job of guiding her into that stall."

"Fair is an overstatement." Her chest heaved as she inhaled and her pulse quickened as she stared at the brawny stranger.

A rough hand reached for her right hand. "Dr. Brady Monroe. Gotta love Dallas and the rodeo. It's in my blood."

He’s not a cowboy? What about the leather Stetson, the form-fitting jeans and silver bolo tie secured around his tanned neck?

Callie blushed. “Callie Walker from Los Angeles.” Her voice cracked as she spoke. She giggled, looked at the ground and composed her expression. “Allied Media Solutions is holding an organizational retreat here this weekend. I'm the Administrative Assistant to the Director of Marketing. I'll be relocating here to set up a new satellite office."

Brady revealed his long legs and tall stature as he stood. "If you're not busy, perhaps you'd consider joining me for an evening of dancing?"

Dancing? Romancing? Her thoughts tumbled as she accepted his gesture and pulled to her feet. "We have a strategic planning meeting tomorrow morning at seven."

Brady's thick fingers fused with hers. "Don't worry. I'll have you home before midnight, Corporate Cinderella."

Hmmm. Board games with the bigwigs versus an enjoyable evening with a handsome physician? Not a hard choice by any stretch of the imagination.

"I'd enjoy that very much." She forced a wider smile and studied the furrows that framed his beguiling eyes.

"Seven o'clock?" His fingers loosened and the tips danced over the back of her hand.

"Fine. I'll be ready." She glanced at the pink mother-of-pearl watch face. But only if I spend the next three hours soaking my trail-weary body.

Her heart pounded as she pivoted away from him and headed toward the guesthouse. One foot in front of the other. You can do it. Don't linger too long, or he might change his mind.

"Aren't you forgetting something, Miss Walker?"

Her face flushed, she glanced back at him and swallowed several times. He dangled her auburn-leather riding boot.

Her fingers grazed his as she reached out and claimed the ill-fitting boot. "Thank you."

"Not a problem. Better take the other one off as soon as you get inside. Wouldn't want my dancing partner being sidelined by sore feet."

* * *

High heels paired better with the dusty mauve sheath dress but her aching feet demanded gold beaded flat sandals. She fastened them at her ankles, tucked a brocaded clutch purse under her arm and checked her look in the mirror. She exited the suite and headed toward the elevator. Pain engulfed her feet and she winced as each footfall met the carpeted floor.

Brady appeared in the foyer. He wore black, pleated trousers and a black silk shirt unbuttoned at the neck. He winked as she approached. "I confirmed our reservations." His gaze swept over her slender body and landed well below her knees. "You'll enjoy seeing the Dallas skyline after dark."

"Sky? Line?" The words clogged in her throat. "What about our date for dancing?"

Brady shook his head as her slippery soles touched the polished wood flooring. "I want you to enjoy your first night here. Even slow dancing would aggravate your swollen arches."

"Thanks. I appreciate the change in plans."

She stepped forward and his arm wrapped around her waist. A gentle tug brought their bodies together. Brady's warm breath billowed against her cheek.

His laughter filled the air. "I'm a dermatologist not a podiatrist, but I can sense when a woman's worn the wrong shoes."

They stepped onto the weathered porch planks, and she looked to the sky. Alluring amber smudged a pale peach sunset. A slight breeze teased her bare arms and she shivered.

Brady scooped her into his muscular arms and carried her down the creaking steps. Hints of sandlewood and spice teased her nostrils and the silk of his shirt rustled beneath her arm.

He carried her to back of the property. A cozy gazebo glittered with an array of festive lights and housed a romantic table set for two, complete with two flickering long white tapers.

"I thought you'd enjoy this more." His smile calmed her quivering lips. "You can relax and let the serving to me."

"Serving?"

A gusty wind whipped her long red hair around her face and her mouth watered as hickory scented smoke curled from a burning mesquite wood-pit barbeque and permeated the humid Texas air. Two beef filets rested on the grilling rack.

Once they entered the gazebo, his strong arms released her. A calf bawled in the distance and drowned out Callie’s errant heart beat.

"You're a guest here at Sunset Ranch. I want you to always remember tonight." He flicked his finger against a lemon-yellow light. "Forget that stubborn mare and those narrow boots. Concentrate on something more enjoyable."

Wax trickled down each taper and struck the star-shaped glass holders. Brady poured two glasses of wine, handed one to Callie, and raised his to hers. They clinked the crystal rims together as the candle flames danced higher.

"Think my rodeo skills can manage something more special than roping calves?"

"Depends on what you're after." One sip of the chilled wine warmed her body.

"I'd like to lasso a lady's heart. Think she'll let me?"


About the Author
Kimberly Shoemaker has been writing fiction for most of her life. At age eight, her play was chosen for presentation during a holiday program. During junior- and senior-high school, she served as editor for the student newspapers. In addition, she won various awards for her writing and poems. For the past five years, she has dedicated herself to a full-time pursuit of publication in romance and women's fiction. Her professional memberships include: Romance Writers of America, Central Pennsylvania Romance Writers, and Washington Romance Writers. Kimberly has hosted various presentations and workshops for writers and college students and also served as the chairperson of CPRW's writers' retreat.


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Drabble Corner

Michelle Swisz

Here's our Drabble for this month, by Bill West:

Shadow and Light
 
Light, the ancient enemy, pours down. You sit by the wall, folded in shadow.

Pondering, you lean forward and extend a finger into the sunlight. Skin burns as if in a flame, your finger-bone chars to ash. You would last two minutes you calculate.

Last of your race; King, Emperor, your armies have toppled thrones, conquered nations. And it all ends here in this simple trap, baited with a kiss.

No escape, just this small pocket of darkness that shrinks in the rising tide of day.

Will you remain cowering in shadow, or glorious, rise up to drown in light?

Here's a question for you for June: Do you care? Sometimes we don't feel like we care—but we find ourselves sitting at the computer, at the blank piece of paper, nevertheless. Something is drawing us to write—which means we care about something!
 
That something wants to come out.
 
In my own life, I find that the things I often think about and care about often actually distract me from what it is that really wants to come out. So here's the Drabble challenge for June: This time, write TWO Drabbles. The first one is about whatever seems uppermost in your life right now feelings-wise, whether it's a romance or a career drama or something else. And the second Drabble is what comes out after you've written the first one. Send either Drabble to drabble@wvu.org by the 10th day after your box receives this e-zine, 100 words exactly, excluding the title. Check complete guidelines before submitting.
 
See you next time.


About the Author
Hello, and welcome to Drabbles. I'm Michelle, your Drabbles editor. I live south 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!

Sonja Herbert submitted two manuscripts to contests. They both won. Her short story, "Lies," won honorable mention and appears on the N.E.B. Publishing website. "My Mother," her biographic piece, won first prize at Joyous Publishing December 2005 contest. It's published on their site, and will appear in a paperback collection of prize-winning stories by the end of the year. “When I first found out that my stories won I was delighted. I hope to get more published, so that I can eventually find an agent for my novel Tightrope!

Another one of Sonja’s pieces, "Something about Daniel," will be published in September in the book A Cup of Comfort for Grandparents. “I've always wanted to write. Ever since I found out that my mother hid from the Nazis in a German circus, I wanted to write her story, and I finally did it. Now that book and another one I've written, are looking for representation. In the meantime, I write shorts and try to get them published.”

Sonja likes to knit and crochet and is working on a booklet of original knitting patterns right now, too.

She joined Writers’ Village University in 1998. During the last eight years Sonja belonged to many study groups. “At present I'm in the Hemingway Hall, and they are a wonderful group. The help I've gotten from WVU and especially from the groups is invaluable. Thank you all so much! Three years ago I quit teaching ESL and became a freelance copy writer. I couldn't have done it without WVU, and the confidence everybody here inspired in me. To learn more about Sonja visit her website at German Writer.

Dorice Nelson’s first publisher went out of business under suspicious circumstances and left everyone high and dry. Shortly thereafter, she had several other offers once publishers heard of NBI's downfall—but she decided to go with Arline Chase of Write Words, Incorporated. “I have all three books Clan Gunn: Gerek, Saratoga Summer: 1863, and Lost Son of Ireland, in her two divisions: Electronic versions are at ebooksonthe.net and the print ones are at Cambridge Books. All three books have been totally reedited twice and have new covers. “I'm still counting my blessings and am still very excited. I really would love it if members of the U to read my books, even if they felt they had to pan them. They've gotten rave reviews—as posted on my web site Dorice Nelson.”

Over the years Dorice won several awards, including Bloody Dagger Award - Honorable Mention: 1863 SARATOGA SUMMER, Love Romances Golden Rose Awards - Best Historical & Best E-book: THE GUNN OF KILLEARNAN, Word Weaving Award of Excellence – UNLAWFUL, Scribes World Reviewer Choice Award - THE GUNN OF KILLEARNAN, RW Holt Medallion-Finalist: THE GUNN OF KILLEARNAN, Honorable Mention - RW Notable New Authors of 2001.

“Originally, I wanted to rebut a college professor who wrote a supposedly academic treatise on a murder that happened in my home town in 1826. I started researching and began my first novel which is still to be completed. I was a horsewoman for about 20 years and all of my books have horses in them, along with dogs, animals that I love.”

Dorice joined the WVU in the 90s and became a lifer. She took many courses and learned from them. “I fully compliment the U for helping me succeed in my endeavors. Right now, I'm the moderator for the Word Slingers Study Group. We deal in novel writing and always have something strong going on there. I am thoroughly thrilled with that group.”

Dorice gives this advice to new writers: “Never give up. No matter how hard the road is, plant your feet in a straight line and go forward. Novel writing, in particular, is tough. It's a long, arduous path. Don't get discouraged. Keep at it and you'll eventually succeed. That's where the U comes in. The members help each other. Of late, my professional life is the biggest part of my life, except for my family and friends. I haven't heard from this member for a long time, but I have to mention a fabulous editor, named Hay-J. She was kind enough and clever enough to critique my suspense novel, which I am now rewriting. She gave so much of herself to my project that I must compliment her publicly. I don't know where she is at the moment, but I sure wish she'd contact me.”

Congratulations, Sonja and Dorice. 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 Personnel 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.


T-Zero: The Writer's Ezine
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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!


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

 

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