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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

Carter Jefferson

Going to the Source

A fellow in my writing group wants to know just what the cops do when somebody reports a theft—he's writing a mystery novel, but the real mystery is how he's going to find out how the police operate.

Somebody else needs to know how universities decide to give tenure to a popular professor. Another is curious about the way a local women's book group runs.

Most writers do their research by mining the Web or finding some reference book in the library. There is, however, another way: you can go to the source. Here's what happened to me.
 
In a story I'm writing, somebody clips a fawn on an interstate highway someplace in New England. The collision doesn't wreck the car, but it puts a dent in the fender, scares the driver half to death, and messes the deer up good. But what happens to the animal?

I call the state's Fisheries & Wildlife Commission.

"Hi. My name's Jefferson. I'd like to talk to one of your agents—the kind that deals with deer in the woods."

"Do you wish to report an incident?"

"Uh, no. I just want to ask a question. I'm a writer and I need some information."

"A WRITer?"

"Yes, ma'am. I write stories."

(Laughs.) "What kind of information do you want? We don't just tell everybody everything, you know."

"Well . . . .  I'm kind of stuck. I want to know what happens when you find a deer that's been hurt lying by the side of the road."

(Long pause.)

"Okay. I'll put you in touch with an agent. Please hold."

I hold. No music in the background, probably owing to recent budget cuts. Finally, a male voice comes up.

"Agent Smith. Can I help you?"

We go through roughly the same thing I went through with the receptionist.

"A writer, huh? I don't think I ever met a writer. What kind of stuff do you write?"

"Stories, sometimes essays. Mostly they get published on the Web."

"I thought the only stories on the Web were porn."

"Uh, no . . . . There are some pretty good ones that aren't porn. Just ordinary stories."

"Okay. I'll take your word for it. So how does this deer get to be laying [sic] by the side of the road?"

"Well, it's just a fawn, see. It gets hit by a car. Just a glancing blow, not full on. So it's banged up, and falls by the roadside."

"And how do I hear about it?'

"Somebody calls you up and tells you?"

"Yeah. That happens." Pause. "I'd drive out an' take a look."

"Then what would you do?"

"Depends. Might call one of our vets if it's not hurt too bad."

"Suppose it's pretty bad—back end all messed up or something."

"You one of those animal rights nuts?"

"No, no—I just want to know what you'd do so my story will get it right."

"Sure I won't get my name in the paper, cruelty to animals and all that crap?"

"I promise. No paper. Nobody will even know I talked to you. I'll forget your name."

"Tell me who you are again. Where do you live?

"Back Bay, Boston. In an apartment. My name's Carter Jefferson. I belong to the VFW. If you want I'll give you my URL, and you can find out all you want on my website."

"Nah, forget that. Okay, I'll tell you. I'd shoot the poor little bastard and call the meat wagon."

"You carry a gun regularly?"

"Yep. Glock. Just like the cops."

"So what happens to the corpse?"

"Oh, if it's fresh, sometimes they give it to one of the homeless shelters. They can use good meat. Or it goes to the dump and gets burned."

I'm loaded with ideas for more than one story.

"Okay, thank you, you've been a great help."

"No problem. A writer, huh? Gotta tell my wife I talked to a writer."

"Well, if you ever want to know anything about writing, let me know. I owe you one."

(Laughs.) "I doubt I'll think of anything to ask. Have a nice day."

"Bye. Thank you again."

I never did finish that story, but I learned something. If you want the answer to a question and can't find it by doing research online or in the library, it's quite possible there's a live and in-person primary source to turn to.  Somebody has that information. Maybe they'll tell you, maybe they won't, but you'll never know unless you ask.


About the Author
Carter Jefferson, once a naval officer, newspaper reporter and editor, history professor, and psychotherapist, now teaches writing in U. Mass./Boston's lifelong learning program. His stories and essays have appeared in The Hiss Quarterly, flashquake, T-Zero: The Writer's E-Zine, and other e-zines, and his book reviews in the Washington Post and the Chicago Tribune.  He even sold one tale, hand-bound and illustrated, in an art gallery. His website: http://carterj.homestead.com.
 

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Craft of Writing

Jeannine Swindell

The Intruder

It never told me to do anything I did not want to do. Nor did it have me, in the literal sense, shackled or bound against my will. There wasn't even a night when I felt the walls were talking to me like a mantra saying that I couldn't do it. Where is this place? I used to think it was the place where I would eat, sleep and watch cable (oops!). My home was my big-as-Texas list of excuses as to why I could not produce quality writing on a semi-regular basis. Guess what? My home does not have the following: children, co-dependent pets or even electronics that need programming on a daily basis. Yet it does contain a fully functioning computer, an overflowing bookcase begging to be upgraded and a phone with both a "Ringer Off" feature and an answering machine. Makes you sick just to hear this little bit of nothing, doesn't it? Like a bad soap opera, it gets more dramatic.

Since I work as a temp doing everything from accounting support to writing online reports so that non-profits can continue to receive funding, my being organized is key and working against tight deadlines comes with the territory. I have supported myself this way for years so you would think I could transfer this into my own projects, right? 

Some days I come home wanting nothing but a glass of wine and to just lie down for a few minutes (but this has turned into a few hours). Other times, once I'm off the clock I'm in the stores trying to beat the weekend madness. Now once in a great while, I get smart by doing all the housework over the course of the work week so that I have weekends uninterrupted to write. When this happens, I get an average of two projects drafted out of five to be completed but sometimes just retrieving and organizing resources and related events are chores by themselves.

Now this is an improvement. When I first moved into my home, Sunday mornings were spent watching "In the Heat of the Night" reruns. Sometimes these were marathons that lasted up to six continuous hours. Then I had to return calls I screened while watching the 80s program. This would average an additional three hours of my day and, of course, it would start to get dark so that meant get ready to punch the clock and do it all over again. 

After a while, I could not watch "Heat" because so many of the original cast members had passed on due to unfortunate circumstances. As far as the grocery shopping went, I would buy a little extra. This is when I learned that bulk items and specials save not only money but time, which none of us can get back. Even though I'd once created spreadsheets as weekly timesheets to use for writing, they meant nothing because I never set aside time to write. Eventually, I began to assess my social life and realized that reading about people that had the life I wanted was counterproductive. Money spent on books along with the time spent was slowly transforming me into a female Walter Mitty. So I really thought hard before buying books related to writing and became better acquainted with my library. Friends are a good thing to have and friends who like to have a good time are even better (as we get older anyway), but when outings became repetitive and conversations would have longer periods of silence, I cut back on going out. Any recipe that I could not duplicate at home, I would have it “to go” instead of eating at the restaurant. 

The more I began to take control of how I spent time, the less I felt like I was on one of those people-movers at the airport. Just kind of gliding along with what life brings me as far as work, relationships and what I am destined to become—and forcing myself to be satisfied.

The road to having the artistic life is not an easy one but an illness I had not long ago forced me to get out of that "safe" mind frame. I'm not saying to ignore your obligations because that will lead the road to ruin and block any creativity along the way. Then there will be nothing to show, tangible or otherwise. Money is evil only when it is not spent wisely or used to help others.

If you find something you want is out of reach, assess why this may be. No reasons could mean many things, but if it falls back to what you did or did not do, then find out what is causing the intrusion. I used to think my intrusion was in my home but it was really in my head.



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Birdie's Quill The Writers' Ezine - T-Zero Xpandizine

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Birdie's Quill

Birdie

How Do You Do It?

Last November, I decided to squeeze NaNoWriMo into my goals for the third consecutive year. It wasn’t planned or scheduled at the start of 2006 when I initially set writing goals, so I considered my current projects to see if the 50,000-word challenge might be feasible. My projects included editing two novels for a publisher, a novel-length project for a client, juggling my freelance career and prepping my next fantasy novel for submission.

The one question I’m asked more than any other is: “How do you do it?” I’ve written goal setting articles as we've started new years before, so this year I decided to offer a bird’s eye view of how I pace myself to complete yearly goals, and also achieve what I call bonus items like NaNoWriMo.

Set Flexible, Attainable Goals
One way to learn is from the experience of another. With that in mind, I offer a glimpse at what I hoped to achieve at the beginning of 2006 as I planned for the year’s projects while working a full-time job.

1. Submit at least one freelance article or story per month
2. Promote Pumping Your Muse
3. Build editing business for Team Spirit Critique and Editing
4. Write Refining Your Muse
5. Edit and rewrite and submit The Inheritance
6. Edit and rewrite and submit Beyond the Fifth Gate
7. Work on The Knights of SW Florida

As a word of clarity, goal number one did not include current columns. The reasoning behind this goal was to increase writing income by boosting productivity. Goals must not only be flexible but attainable. I have no control over income. Setting a goal like: make more money, is beyond my jurisdiction. I can only try to make more money. Attainable goals offer a measurable rate of success. If you set a goal to sell and don’t, you’ve failed to meet the goal even though you did the work. However, a goal to submit at least one article or story each month is within reach regardless of whether or not it’s accepted. Attainable goals set you up for success rather than failure.

Goals offer direction but once you get into the year, another opportunity may bump a tentative project. Don’t fret. If it fits into your overall objectives you’re still on task. Figure flexibility into your goals. For example, among the above examples, The Knights of SW Florida required input from the Knight family. That proved to be slower than I anticipated, and in the meantime I queried The Dabbling Mum® with the idea for a budgeting book. I adjusted my goals, co-authored the book with my husband and it is now in the editing process. Knights of Southwest Florida is still in the info gathering stage and is slated among my goals for 2007.

If I treated goals as if they were written in stone, this new opportunity would have slipped by. Flexibility is important, but comes with a word of caution. Don’t trick yourself into thinking you’re being flexible when you are procrastinating. Revised goals still move your writing forward in a measurable fashion.

Flexibility also leaves room to add to your list of things to accomplish. For instance, goal #2 above expanded after the release of my novel Windwalker. As much as I don’t care for promotional work, in today’s marketplace it’s part of being a successful writer. More than one publisher has asked what I intend to do to promote a book.

Break Tasks Into Manageable Jobs
Once attainable, flexible goals are established, break each goal into smaller tasks to be completed over a month’s time. Each month I know I have a new story or article to write. Throughout the course of everyday routine, I actively seek out creative fodder to spark a new creation. As I cleaned out files in January 2006, I found some old sermon notes and thought about how the points could apply to writing. I queried Spirit-Led Writer and the article became Tackling New Projects: Points for Writers from Nehemiah. The goal opened my eyes to see the article potential while re-filing notes from twenty years ago.

The week of January 2, I set a goal to write the first draft. The following week I finalized the article, and let it rest. On January 13, I submitted the article after reading through it one more time. How do I know these details so many months later? I not only write goals each month and week, but I update them so I can see what’s done, what’s not and what’s next.

This works for larger projects as well. I had two novels that needed editing. To accomplish these long-term goals, I divided the year in two. I finished editing The Inheritance the end of June and submitted the manuscript in early July. That left the second half of the year for Beyond the Fifth Gate.

A New Year—New Goals
Do you desire to accomplish more as a writer? Look ahead and set goals. Consider them as targets—moving targets. Don’t lock out the reality that things need to be reevaluated. When the opportunity to write the budgeting book materialized, that’s what I did. The Knights of Southwest Florida fell to a lower priority—2007.

When life throws an unexpected obstacle in your path, adjust your goals to deal with it. For me, I moved from Florida to Georgia last year. Moving takes time. Not just the move itself, but the packing, sorting, cleaning on one end, while at the other time is spent hunting for the right house and then more cleaning, painting, unpacking and settling.

I knew we hoped to move, but I set goals as if it wasn’t happening. The real estate market had turned and I didn’t know what to expect. However, the house did sell and Beyond the Fifth Gate’s edits and rewrites carried through into January of this year. That extra month reflects the move, and that’s fine. What’s important is moving toward the completion, and that’s happening.

On another note, don’t let goals hold you back. If you’ve accomplished all you set out to do and have an idea for something new, start it. Figure it into your weekly goals, but don’t lose sight of your original plan. Some months I write several freelance articles, and others I eke out one to meet my goals. Another example is participating in NaNoWriMo. It provided this year’s novel draft. The idea for the story had bumped around in my head for about two months and NaNo provided the perfect avenue to get it on paper without letting my other goals slide.

Remember, goals are guidelines. Flexibility allows forward progress without the guilt of failure. Targets move. Take new aim and accomplish your dreams.


About the Author
Author and freelance writer, Donna Sundblad, resides in Georgia with her husband, Rick. Together, they are working on a budgeting book that will be out in electronic format by early 2007. Donna serves as the Fantasy Topic Editor at Inspired Author, and her books, Pumping Your Muse and Windwalker are available in paper or ebook formats at epress-online.com. Check her website for more information at www.theinkslinger.net.


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Fiction Short Story

by C. R. Hinckley

Casting With Clay

"How you doing, tonight, Julie?" He smiles, leans in from the shadows and rests his hand on her apartment doorframe.

"It's Saturday night and I'm home alone, how do you think I'm doing?" She tightens the sash on her bathrobe and crosses her arms on her belly.
 
"Your ex-husband around?"

"What do you want, Mickey?"

"Can I come in?"

She steps back from the doorway and he slinks into her dark studio apartment. Clay heads mounted on a shelf greet him; their glass eyes reflect pinpoints of light.

He takes her hair in his hand and lets it flow through his fingers. It's smooth and silky, like she just washed it. He stares into her dark eyes, pulls her close and kisses her on the mouth, but she pulls away at the last second. He stands upright and glares at the clay heads.

"So, how are things in the world of forensic art?"

"Busy. People being killed, buried, found, all the time. It's a cruel world."

She pauses and looks him in the eye. "We can't do this, Mickey. It's just not gonna happen."

He tilts his head to the side. "No matter how many times I see these heads you make, I just can't seem to get used to this one." He taps a small clay skull mounted on a side table.

"Why are you here, Mickey?"

Beyond her shoulder is her unmade bed, looking warm and soft, secluded from the rest of the world. He turns and faces another skull, the features barely discernable in the dark room. He shudders at her reconstructed roommates.

"What's this, a new one? Hey, that looks like-" He leans in and pulls the skull into the light. His face turns white and his jaw drops.

"My new assignment. They found him last week."

Julie feigns professional disinterest, but continues to watch him from the kitchen.

"They just found this skull? Who, who is it, you know, yet?"

"I just finished the final layering."

Mickey takes a deep breath and slowly lets it out through his nose.
 
"How can you stand having this stuff near you?"

"Where have you been tonight?"  Julie asked.

"Aren't they all dead people, anyway? Murder victims?"

"Jane Doe types mostly. You out at Sawyers?"

"Over at The Town House. Had a few beers."

She heats up a pot of water. He sits at the table, takes the saltshaker into his huge hand as his eye search her robe for the line of her still young body.

"You want some tea?"

"Tea?"

"Coffee?"

"Got any beer?"

She hesitates, turns and faces him.

"You can't stay, Mickey."

"Who said I wanted to stay?"
 
Mickey picks up the clay head. "Ugly little prick, ain't he? I bet he got what he deserved."

Julie turns to face him. "What do you mean deserved? What do you think happened to him?"

"I don't know. People do things, you know, get what's coming to them. How do I know?"

"You recognize him, Mickey?"

"What? Are you kidding me? Him?"

She glares at Mickey.

"It's a clay head, for cripes sake. What do I know? How am I gonna know? Who is it? I don't know. Howdy Duty?"

"You're flustered."

Mickey's face flushes red. "I don't know any of them, your creepy little dead friends."

Julie places a hot cup of tea in front of him. He snickers, takes the cup up in his hands, and breathes in the steam, and scowls in disapproval.

"How are things at the shop?" She asks.

"Busy, had two new orders come in this week. A couple of classic choppers. Custom chrome tear drop on one."

"That's a gas tank, right?"

"Yeah."

He sips the tea.

"Mickey, I said I would be your friend and you know that I am."

He scrapes a "Yeah" from the bottom of his stomach and stares down at the table.

"But, I don't think coming here on Saturday night, after a few beers."

Mickey looks up and grimaces. "Drunk?" He finishes he sentence for her.

"Horny."

Mickey stares into the other room. She follows his eyes to the new clay head. He catches her looking at him.

Suddenly he stands and faces her. "Why you wanna bring that stuff in here for, huh, you trying to ruin your house?"

"Mickey, what has gotten into you?"

"You have all this crap around here. A guy can't even think! This head staring at me!"

He goes to the head, picks it up, and stares at it. "Certain things should be buried. Stay buried. You people keep digging this crap up."

"Mickey, you're sweating bullets.  My work has never bothered you before."

"I hate your work." He tosses the clay head onto the sofa and it bounces, landing face up on the cushions.

"Mickey, come sit down. Have some tea." She leads him to the kitchen. He sits and takes hold of the cup. After a few minutes he sighs.

"Better?" She asks.

"You must think I'm crazy?"

"Oh, no. No."

"I have these feelings sometimes. I can't tell you what."

"I know."

"And those creepy heads, they don't help."

"They're my work, Mickey. That's all."

"Well, what you take your work home for?"

He takes another sip of tea and smiles at her.

"Ever since I met you. I mean, a guy like me. A woman like you."

She smiles lightly, a twinkle in her eye.

"You're an educated woman."

"You're a beautiful man."

He laughs. "Cut it out. A man isn't beautiful."

"To me you are. You are a strong, virile-"

"Grease monkey."

"Who is smart enough to own his own business and has changed his ways."

"Yeah, I changed. You helped me with that. The guys I used to run with. Things we did." His eyes well up with tears as he stares at her. "That's how come I can't." His slams his fist on the table.

"Can't what?"

"Let you go."

She pulls back and leans against the kitchen counter.

"I didn't come just cuz' I was horny, you know that." 

"I know, but I think you should stop coming here unannounced."

He stares at the skull on the sofa.

She folds her arms across her torso and backs away. He turns to her.

"What? You're afraid of me now?"

"No."

"You are!"

"I don't fear you."

"Why you look that way?"

"Nothing. Listen, Mickey, it didn't work out for us. I'm sorry. We have to let it go."

"What was the other night, then, huh? You let me into your bed!"

"That was a mistake, I'm sorry."

"Everything was fine until you went off to that seminar!"

"Was it?"

He pauses and looks into her hazel eyes.

"Wasn't it?"

"I don't know."

"What, were you just pretending?"

"Mickey, no. Please."

"What, then you tell me."

"I never meant to hurt you."

"What was I, some sort of experiment? Go see the gorilla?"

"No!"

"Date the gorilla with the bike. See I can train him?"

"Stop it."

"I meant nothing to you?"

"Of course you did. I-"

"You what? Loved me? You can't even say it."

"I have great affection for you, Mickey."

Mickey stands up. "You're just a bitch, like any other, you know that? You think you mean anything more than that? Huh?"

She shakes her head.

"You're just a lousy bitch in a smart suit. You think you're so frigg'n smart! Miss Manners!"

The new clay skull is in his hands and holds it high above her head. Her eys widen and her mouth falls open. He turns away and smashes the clay skull onto the floor.

He takes her in his arms, presses hard against her mouth and probes her with his tongue. She rakes his neck with her polished fingernails as she pushes him away. Tears roll down her cheeks as she looks down at her bloodied fingers.

"I just wanted to." He backs away from the kitchen and holds his bleeding neck. "I just wanted you!" 

Looking out the window, she sees him race up the hill to his motorcycle. Two sets of headlights pull away from the curb and follow him into the night.

Julie picks up the phone and dials.

"Hello, Lieutenant? You were right. He recognized the fake skull. No, he just left and I saw two of your cars following. He was pretty agitated. Probably lead you right to the body.

She drops the phone and cups her hand to her mouth. "Oh, my Mickey. I really did love you."


About the Author
C. R. Hinckley is a writer, artist, playwright living in Northern California currently working on a mystery/suspense novel.


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Fiction Short Story

by Charles Langley

A Small Case of Violence

Bugsy Nealie didn't have a friend in the world, but he was always surrounded by sycophants who gave him the highest compliment available in his world: "He's a fast man with a buck."

That he was, but he was also a mean son-of-a-bitch that many would have liked to take apart and put together differently, but for the hangers-on who formed a defense squad.

He loved to show off the roll of bills in his pocket and often bought a round just to demonstrate his wealth. He had other unsocial habits, such as seeking out some quiet-spoken young man and buying him a drink. When the recipient turned to thank him, he would deck him with a round-house right. His followers kept anyone from getting even.

"Anything I hate, it's them girlie boys," he would tell you. "Was up to me I'd chop off their peckers and feed them to 'em." His constant audience would roar at his wit.

Two weeks before, Bugsy had failed to find any action in the club and was on his way down the street when he came on Curtis Pugh. Curtis was a six foot six, two hundred and twenty pound hillbilly giant. Curtis could take care of himself in a normal situation. But this wasn't such a situation. He walked on a crutch for his sprained right ankle and his broken left arm hung in a sling.

"Y'all got a light," he drawled, when the group approached him.

"Sure thing," Nealie said, tossing him a book of matches.

While the country boy lit up, Nealie swung on him, knocking him off his crutch and onto the ground. He then picked up the crutch and thrashed the recumbent figure, laughing loudly all the time. None of his followers tried to stop him, and all joined in the laughter.

"Soon as you heal, look up that son-of-a-bitch and show him what a real fight is" I later advised Curtis.

"Naw," he said, "He didn't really mean it. He was drunk. It was the likker that was to blame."

You can't argue with a Southern boy schooled in the golden rule. But I promised myself that if I ever caught Bugsy alone I'd give him some dancing lessons.

This night Bugsy held forth at one end of the bar. He hadn't found a victim yet, so he sounded off loudly, "I ain't never worked a day in my life, but I got more moola on me than any forty hour a week wage slave in the house" He held aloft a roll of bills.

"I hate that loud mouth bully," Pete told me. "If it was up to me he'd never set a foot in the place. Be willing to make up what he spends out of my own pocket, just to keep from seeing his leering face."

"You’re the boss. Why don't you let me throw him out on his ass and tell him to stay out?"

"I'm the boss here, but he has good connections in the organization. Been in it as long as I have. Brings in lots of dough, and pays his dues on time. Boss of bosses would have my ass, if I treated him like he deserves."

Pete headed upstairs to his office, and I heard him pick up the phone.

In a short time a smooth-looking young man in a grey suit came in and nudged himself in at the other end of the bar. He nursed a bottle of Heineken's like a B-girl without a mark to pay for her champagne.

Bugsy gave up on finding action and left by the front door. The young man in the grey suit followed him.

Almost immediately Nealie was back.

"Call the police," he shouted. "I've been robbed."

"You heard him," Pete told Ernie the waiter. "Call the police and be quick about it."

I thought I saw him wink when he said it.

When the fuzz eventually came, they weren't too interested. They knew Bugsy, and they knew his reputation and didn't like either.

"You got a description of the perp?" Officer Moran asked.

"He had a stocking over his head. Couldn't see his face. But his clothes looked like the kid in the grey suit, was on the other end of the bar."

"Couldn't have been him," Pete interjected. "He went out the back door just as you were coming back in the front."

"How much you lose?" Officer Monahan wanted to know.

"All I had on me. Eight hundred and seventy dollars.”

"They could rob me ten times and not get that much," Monahan complained.

The men in blue left, and we knew that was the last anyone would hear of the incident.

Next morning I sat in Pete's office going over the previous nights take when someone knocked on the open door. The young man in grey from the previous night came in. Without speaking, he tossed a roll of bills on the desk.

"How much?" Pete asked.

"Eight hundred and seventy bucks. I would have taken his pants, too, but the mark was too stupid to be embarrassed.”

The boss peeled off two C notes and gave them to the fellow. He touched the brim of his fedora with his forefingers in thanks and was on his way.

Pete tossed the roll to me.

"John Doe paid his bar tab," he said without a smile. "Ring this up and put it in the register."

"Where'd you get the gunsel?"

"Works as a file-clerk in Police Headquarters. I give him odd jobs that I don't want connected to the organization. Probably would have sent you, but Bugsy would have recognized your corn-pone drawl. Maybe afraid, too, that you'd ice him because you didn't like the cut of his jib."

"Never shot a man in my life because of his jib. Might have snapped a cap cause he combed his hair the wrong way, though. What the hell is a jib, anyway?"

I was moving from kindergarten to first grade in this school of crime, and I had the best of teachers.

A week later I got a call from a diner at the end of the bus run.

"Man you said to look out for is here," he said, "Alone."

I was on my way.

"He's in the john," the lunch punk volunteered. "Disappointed there's nobody to pick on."

I ordered a cup of joe and a cruller, but didn't touch them. Instead, I slouched over the counter as if drunk or half asleep. Bugsy came in and sized up the situation.

"Freshen up his coffee," he said, tossing a jitney on the counter.

I raised my head as if to thank him and saw the punch I knew would come. I side slipped it and landed on my feet, parrying the left hook that followed and tapping him on the cheek with a light right. Surprised, he tried another all out swing that I evaded, smashing my right hand into his nose and sending a stream of blood down his white shirt. I rode out the next swing until it was harmless and brushed away another left. All the while I tapped him just hard enough to infuriate him, without finishing him off. He started to puff, and to have difficulty getting his fists to do what he wanted them to do. I sent a hard right to his solar plexis, punished his kidney with a left, and then, as he stood hands apart with an astonished look on his bloody face, I landed one hard on his jaw and laid him out.

The counterman was on the phone calling an ambulance.

"Call the cops, too, to cover your ass," I told him.

The Medics were on the way out with the stretcher when Officers Moran and Monahan arrived. They saw who it was and shook their heads.

"He didn't have bad luck, he wouldn't have any luck at all," Moran offered.

"Don't stop," Mohahan told the stretcher bearers. "We'll talk to him at the hospital."

"It's a good thing you were out back emptying the garbage when it happened," Moran told the kid. "Otherwise we'd have to hold you as a witness."

The counterman stood puzzled, then realized what was going on.

Monahan looked at me. "You here when it happened?" he asked.

"Naw, I just came in,"

He picked up my cruller and finished it in three huge bites. His partner stirred three spoonfuls of sugar into my coffee and drank it down.

"Nothing we can do here now," Moran said. "Perp's miles away by now. Thanks for the doughnut."

"Cruller," I corrected him.

"And for the coffee," Monahan added. "It was kinda cold for just being drawn. By the way, you better put ice on that hand you caught in the door on the way in. It's starting to swell up.”

Back in the club I went to the office to clue Pete in on the happenings. "Bugsy ran into someone who punched back," I told him.

"Yeah, I heard. Good thing you got there after it was all over. I'd have to burn your ass if you messed with a made man."

"M and M caught the squeal. They didn’t seem too interested in the case."

"I hear they talked to him in the emergency room. He said he fell off a stool in a diner. Wants to take care of it himself, I guess."

"Best way, he ever meets the guy again. I'd sure watch my back if it had been me."

"Funny thing about M and M. To look at them, you'd think they were a pair of thick micks. Actually, they're good cops. Got the best closed case record in the precinct. Sharp as a ghetto razor. Never miss a trick."

"How do you know so much about beat cops?”

"It's my job. Gotta make sure they're worth the payoff they get. It's all here," he tapped a black ledger on his desk. "I keep it in the back of the safe, you ever need it."

"Do me no good. I don't have the combination."

"You will have when it's time for you to use it. You better stop by the kitchen and put ice on your hand. It'll swell up real bad, you don't take care of it."

My hand had been throbbing in my coat pocket the entire time I was there. M and M weren't the only ones who never missed a trick.


About the Author
Since returning to writing four years ago after a fifty-some year hiatus, Charles Langely has published one hundred and thirty short stories, poems, or articles in five books and numerous magazines or ezines.

Two years ago, Gannett newspapers gave full-page, nationwide coverage to his time as cub reporter at the Flemington, NJ, trial of Bruno Richard Hauptmann for the kidnap/murder of the infant son of Col. Charles Lindbergh.


T-Zero: The Writer's Ezine
http://TheWritersEzine.com

Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

Poetics Presents The Writers' Ezine - T-Zero Xpandizine

The Writer's E-Zine Home

Writers' Village University - F2K: Free Fiction Writing Course - ePress-online
Writers' Village University Membership Information

Poetics Presents

Michael Neal Morris

Michael Neal Morris attended East Texas State University (now Texas A&M in Commerce) where he earned a B.A. in 1985 and an M.A. in 1995. He teaches English at Eastfield College in Mesquite. His most recent publications include poems in Borderlands: Texas Poetry Review, Lynx Eye, The Concho River Review, Illya’s Honey, The Distillery and Our Journey and stories in Dogwood Tales Magazine and The GW Review. His most recent online poetry publications include, “Talking About Losing,” in Liberty Hill Poetry Review, “The Heat Sign” in The Mid-South Review, and “Fear at Burger King” in Chronogram. Poems are forthcoming in Contemporary Rhyme, Subtle Tea, and Haruah.

"Son Reading"

My son is reading again
by the glow of two
nightlights: one a plastic
rainbow on plastic clouds,
the other shining the logo
of some cartoon super hero.

He should be asleep, but
I don’t mind. I can’t
bring myself to discourage him.
I ask if he wants the overhead
light on. Lost in his
adventure about a dog
he waits until reaching
the end of a sentence
before nodding slightly.

I cannot disturb
the universe he’s walked into.
I try to make the switch
click inaudibly, but the quiet
hurts. I watch the boy,
even after I’ve left his room,
wanting to accompany him,
on the journey, partly to keep
him safe, partly to keep him,
partly to keep part of my self.

Copyright ©2007 by Michael Neal Morris




T-Zero: The Writer's Ezine
http://TheWritersEzine.com

Copyright 1998 - 2007, Writopia Inc. All Rights Reserved

Poetics Presents The Writers' Ezine - T-Zero Xpandizine

The Writer's E-Zine Home

Writers' Village University - F2K: Free Fiction Writing Course - ePress-online
Writers' Village University Membership Information

Poetics Presents

Helen V. Lundt

Helen V. Lundt lives in central New York State. She has been writing for many years and is retired from twenty-seven years of health care work, including twenty years as an LPN in a local hospital. She has been a member of Writers' Village University for about five years and a member of the Advanced Poetry Workshop for almost four years. Her poems have been published online in T-Zero: The Writer's E-Zine, and US Legacies, Her poetry has been published in magazine format in US Legacies along with non-fiction and short stories. Helen felt the early change of seasons as she watched the maple tree from her work station, which resulted in her poem, "Bruises and Blushes."

Bruises and Blushes

Rain pulsates cold and sharp upon the leaves
of the giant maple tree that shades our porch.
Like little hammers pounding gentle flesh,
a bruise shows as yellow forms from green.

In time, colors deepen into orange
or red, depending on the temperature.
The magnificent maple branches skyward,
transformed into an exhilarating blush.

Copyright ©2007 by Helen V. Lundt




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

Submissions Guidelines The Writers' Ezine - T-Zero Xpandizine

The Writer's E-Zine Home

Writers' Village University - F2K: Free Fiction Writing Course - ePress-online
Writers' Village University Membership Information

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