“What should writers know about contests?
The absolute most important advice I can give you is this: read and understand the fine print.
Know what you’re entering. Know what happens to your work in the event you win (or even/especially if you don’t win). Make sure you’re completely comfortable with it.”
For more information on writing contests from Nathan, click HERE.
“Successful writers write NO MATTER WHAT.” — Kelly Stone
“I’m not a self-schedule-oriented person. It’s far easier to stick to someone else’s schedule than your own. Self-discipline can be HARD.
So when James told me that I need a daily writing schedule, I balked.
I don’t want a schedule! I can’t guarantee where I’ll be at any single time. What if something else comes up? What if my child is home sick from school one day and I can’t write at my scheduled time? What if I’m not inspired at that time but get inspired later on?
Every excuse imaginable went through my head. I set a schedule anyways, just to be dutiful – I kept it for two days and then I quit.
James can’t be right all the time. What works for her may not work for me. Everyone does things differently, right? I need to find my own writing path…
Three months later, how much had I written? Well, let’s not talk specifics, but it wasn’t nearly as much as I’d wanted to achieve.
In fact, I was really embarrassed — even though no one knew about this but me.
I’m a writer, and a writer WRITES, but it’s pretty hard to believe you’re a writer when you lack proof to reinforce the claim.
Then James – damn her – sends me a book out of the blue. Ironically, it was Time to Write by Kelly Stone.
Sigh. FINE, I thought. I’ll read it.
Stone’s book discusses why writers need a writing schedule. They need to create a habit, and creating a writing habit means writing on a regular basis. By setting a particular time of day aside to write, you’ll practice your craft and reaffirm your belief that you are, indeed, a writer.
You reaffirm your commitment to yourself.
Stone says, “A schedule gives [writing] the same importance as your other must-do activities. Just like grocery shopping, picking up the kids from daycare, and putting in hours at your job, writing will become part of the natural flow of your day when you schedule it.”
My problem was that I wanted to wait for the “right time” to write. I waited to be inspired or to have “enough” time, a nebulous amount that changes depending on the situation. Occasionally I’d discover time to write, here or there, but instead of writing, I’d find myself staring at a blank page feeling like I’d forgotten the entire English language.
“Waiting for the right time to simply appear in your busy day is a guaranteed way to ensure that you won’t write because something else will come up… Suddenly it’ll be time for bed and you discover that another day has passed and you haven’t written.”
You said it, Kelly. Many nights I’d go to bed without having written at all that day, and I’d mentally beat myself up about it.
Fortunately, a little further in the book, Stone talks about how different authors use different types of writing schedules. She interviewed over 100 professional writers, from fiction authors to freelance journalists, to reveal their methods of incorporating writing into their lives.
What she discovered was that writers tend to choose one of these methods – which one fits you?
There were all types of writers! Inspired and repeating my new mantra (“successful writers write no matter what!”), I set up a schedule. A proper schedule I wanted to stick to. Finally.
Yeah, yeah, I know — James was right. Just don’t tell her I said that.
As a bonus, Time to Write also addresses problems that different writers have in sticking to their writing schedules, providing solutions and practical advice that work.
From needing more motivation to actually sitting down at your scheduled time to the issues that prevent you from being able to write in the first place (writer’s block) to gleaning inspiration from your daily life, she’s got it all covered, with backup: published authors who’ve lived through that exact situation attest to each solution. That way, you know that it works – and if it worked for someone else, it can work for you.
Now that I have a proper schedule, with clear goals, I accomplish far more each day than ever before. I’m not leaving my writing up to chance.
And my writing schedule is set in stone. I don’t schedule anything in that time because I need to build respect for my writing.
I’ve made my writing goals fairly easy to achieve, of course. That way, I can reach my daily goal quickly and then either stop or continue a little further. But I fully intend to change up my goals and make them more challenging as I build my writing habit and become comfortable with it.
One other thing James keeps reminding me — and yes, she’s definitely right on this one — is that my writing time needs to end on a positive note. If I’m exhausted at the end of my writing time stopped writing because I was stuck or ended thinking, “Well, that wasn’t great,” then at some point writing will become a chore. I’m simply not going to want to do it anymore.
By ending on an upbeat note, I feel good about what I’ve just achieved and look forward to writing the next day. It makes it a breeze.
What about you? Do you have a writing schedule you follow on a daily basis? How do you stay motivated to write consistently every day? What advice worked best for you when you started to incorporate writing into your daily schedule?”
“(from Mark Twain’s scathing essay on the Literary Offenses of James Fenimore Cooper)
1. A tale shall accomplish something and arrive somewhere.
2. The episodes of a tale shall be necessary parts of the tale, and shall help develop it.
3. The personages in a tale shall be alive, except in the case of corpses, and that always the reader shall be able to tell the corpses from the others.
4. The personages in a tale, both dead and alive, shall exhibit a sufficient excuse for being there.
5. When the personages of a tale deal in conversation, the talk shall sound like human talk, and be talk such as human beings would be likely to talk in the given circumstances, and have a discoverable meaning, also a discoverable purpose, and a show of relevancy, and remain in the neighborhood of the subject in hand, and be interesting to the reader, and help out the tale, and stop when the people cannot think of anything more to say.
6. When the author describes the character of a personage in his tale, the conduct and conversation of that personage shall justify said description.
7. When a personage talks like an illustrated, gilt-edged, tree-calf, hand-tooled, seven-dollar Friendship’s Offering in the beginning of a paragraph, he shall not talk like a Negro minstrel at the end of it.
8. Crass stupidities shall not be played upon the reader by either the author or the people in the tale.
9. The personages of a tale shall confine themselves to possibilities and let miracles alone; or, if they venture a miracle, the author must so plausably set it forth as to make it look possible and reasonable.
10. The author shall make the reader feel a deep interest in the personages of his tale and their fate; and that he shall make the reader love the good people in the tale and hate the bad ones.
11. The characters in tale be so clearly defined that the reader can tell beforehand what each will do in a given emergency.
An author should
12. Say what he is proposing to say, not merely come near it.
13. Use the right word, not its second cousin.
14. Eschew surplusage.
15. Not omit necessary details.
16. Avoid slovenliness of form.
17. Use good grammar.
18. Employ a simple, straightforward style.”
“They often seem disreputable, like sullen idlers loitering in a public thoroughfare, but they actually do a lot of hard work and are usually persnickety about the tasks to which they are put. They are interjections — one class of them, anyway: those lacking etymological origins but packed with meaning.
But how do you know how to distinguish similar ones — or spell them, for that matter? Here’s an incomplete inventory of interjections (not including variations of actual words such as yeah for yes or onomatopoeic echoes of externally produced sounds like boom):
Ack communicates disgust or dismissal.
Ah can denote positive emotions like relief or delight (generally, pronounced with a long a).
Aha signals triumph or surprise, or perhaps derision.
Ahem is employed to gain attention.
Argh, often drawn out with additional h’s, is all about frustration.
Aw can be dismissive or indicative of disappointment, or, when drawn out, expressive of sympathy or adoration.
Aye denotes agreement.
Bah is dismissive.
Blah communicates boredom or disappointment.
Blech (or bleah or bleh) implies nausea.
Boo is an exclamation to provoke fright.
Boo-hoo is imitative of crying and is derisive.
Boo-ya (with several spelling variants) is a cry of triumph.
Bwah-hah-hah (variously spelled, including mwah-hah-hah) facetiously mimics the stereotypical archvillain’s triumphant laugh.
D’oh is the spelling for the muttering accompanying Homer Simpson’s trademark head-slapping self-abuse.
Duh derides someone who seems dense.
Eek indicates an unpleasant surprise.
Eh, with a question mark, is a request for repetition or confirmation of what was just said; without, it is dismissive.
Er (sometimes erm) plays for time.
Ew denotes disgust, intensified by the addition of one or more e’s and/or w’s.
Feh (and its cousin meh) is an indication of feeling underwhelmed or disappointed.
Gak is an expression of disgust or distaste.
Ha expresses joy or surprise, or perhaps triumph.
Ha-ha (with possible redoubling) communicates laughter or derision.
Hamana-hamana, variously spelled, and duplicated as needed, implies speechless embarrassment.
Hardy-har-har, or har-har repeated as needed, communicates mock amusement.
Hee-hee is a mischievous laugh, while its variants heh and heh-heh (and so on) can have a more derisive connotation.
Hey can express surprise or exultation, or can be used to request repetition or call for attention.
Hist signals the desire for silence.
Hm, extended as needed, suggests curiosity, confusion, consternation, or skepticism.
Hmph (also hrmph or humph) indicates displeasure or indignation.
Ho-ho is expressive of mirth, or (along with its variant oh-ho) can indicate triumph of discovery.
Ho-hum signals indifference or boredom.
Hubba-hubba is the vocal equivalent of a leer.
Huh (or hunh) is a sign of disbelief, confusion, or surprise, or, with a question mark, is a request for repetition.
Hup, from the sound-off a military cadence chant, signals beginning an exerting task.
Hurrah (also hoorah, hooray, and hurray, and even huzzah) is an exclamation of triumph or happiness.
Ick signals disgust.
Lah-de-dah denotes nonchalance or dismissal, or derision about pretension.
Mm-hmm, variously spelled, is an affirmative or corroborating response.
Mmm, extended as needed, conveys palatable or palpable pleasure.
Mwah is suggestive of a kiss, often implying unctuous or exaggerated affection.
Neener-neener, often uttered in a series of three repetitions, is a taunt.
Now (often repeated “Now, now”) is uttered as an admonition.
Oh is among the most versatile of interjections. Use it to indicate comprehension or acknowledgment (or, with a question mark, a request for verification), to preface direct address (“Oh, sir!”), as a sign of approximation or example (“Oh, about three days”), or to express emotion or serves as a response to a pain or pleasure. (Ooh is a variant useful for the last two purposes.)
Oh-oh (or alternatives in which oh is followed by various words) is a warning response to something that will have negative repercussions.
Olé, with an accent mark over the e, is borrowed from Spanish and is a vocal flourish to celebrate a deft or adroit maneuver.
Ooh, with o’s repeated as needed, conveys interest or admiration, or, alternatively, disdain.
Ooh-la-la is a response to an attempt to impress or gently mocks pretension or finery.
Oops (and the jocular diminutive variation oopsie or oopsy and the variant whoops) calls attention to an error or fault.
Ouch (or ow, extended as needed) signals pain or is a response to a harsh word or action.
Oy, part of Yiddish expressions such as oy gevalt (equivalent to “Uh-oh”), is a lament of frustration, concern, or self-pity.
Pff, extended as needed, expresses disappointment, disdain, or annoyance.
Pfft, or phfft, communicates abrupt ending or departure or is a sardonic dismissal akin to pff.
Phew, or pew, communicates disgust, fatigue, or relief. (Phooey, also spelled pfui, is a signal for disgust, too, and can denote dismissal as well. PU and P.U. are also variants.)
Poof is imitative of a sudden disappearance, as if by magic.
Pooh is a contemptuous exclamation.
Pshaw denotes disbelief, disapproval, or irritation or, alternatively, communicates facetious self-consciousness.
Psst calls for quiet.
Rah, perhaps repeated, signals triumph.
Shh (extended as necessary) is an imperative for silence.
Sis boom bah is an outdated encouraging cry, most likely to be used mockingly now.
Tchah communicates annoyance.
Tsk-tsk and its even snootier variant tut-tut are condemnations or scoldings; the related sound tch is the teeth-and-tongue click of disapproval.
Ugh is an exclamation of disgust.
Uh is an expression of skepticism or a delaying tactic.
Uh-huh indicates affirmation or agreement.
Uh-oh signals concern or dismay.
Uh-uh is the sound of negation or refusal.
Um is a placeholder for a pause but also denotes skepticism.
Va-va-voom is an old-fashioned exclamation denoting admiration of physical attractiveness.
Whee is an exclamation of excitement or delight.
Whew is a variant of phew but can also express amazement.
Whoa is a call to halt or an exclamation of surprise or relief.
Whoop-de-doo and its many variants convey mocking reaction to something meant to impress.
Woo and woo-hoo (and variations like yahoo, yee-haw, and yippee) indicate excitement. (Woot, also spelled w00t among an online in-crowd, is a probably ephemeral variant.)
Wow expresses surprise.
Yay is a congratulatory exclamation. (Not to be confused with yeah, a variant of yes.)
Yikes is an expression of fear or concern, often used facetiously.
Yo-ho-ho is the traditional pirates’ refrain.
Yoo-hoo attracts attention.
Yow, or yowza, is an exclamation of surprise or conveys being impressed.
Yuck (also spelled yech or yecch) signals disgust. (Not to be confused with yuk, a laugh.)
Yum, or yummy, is a response to the taste of something delicious and, by extension, the sight of an attractive person.
Zoinks is an expression of surprise or amazement popularized by the cartoon character Shaggy, of Scooby Doo fame.
Zowie, often in combination following wowie, a variant of wow, expresses admiration or astonishment.”
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“David McCloud, the Chief of Staff of the Governor of Virginia, taught me how to write a great speech:
• Great speeches are primarily emotional, not logical
• Small shifts in tone make an enormous difference to the audience, so sweat the details
• A great speech has a clear voice speaking throughout
• A great speech conveys one idea only, though it can have lots of supporting points
• A great speech answers a great need
The lesson nearly killed me. I had a PhD in literature and rhetoric, and I was teaching at the University of Virginia, when the Governor, Chuck Robb, plucked me from academic obscurity to write speeches for him. The previous speechwriter had cracked under the strain, and had taken to shouting Nazi war slogans and charging around the office barefoot using his hatrack as a battering ram. So of course he had to go; he alarmed the Governor’s State Police detail too much.
I don’t know why that didn’t worry me too much at the time. I suppose I was blinded by the opportunity to put my academic ideals into practice. I was installed in the same office, and I spent most of the first day or two looking at the hatrack and wondering how bad it would have to get before I was tempted to pick it up and go horizontal with it too.
David called me into his office on Day Three for my first assignment. Four death-row inmates had escaped from Mecklenburg State Prison and were wandering around loose in the Virginia countryside alarming everyone. The Governor had to give a speech to show that he was in control of the situation.
“The truth is,” said David, “that no one pays any attention to prisons until someone escapes. Then everyone wants to know why we don’t spend more money, hire more guards, do whatever it takes to keep scary people from getting out. Write a speech which says that we care about voters’ security but won’t waste their money either.”
I made a face. “But those two things are logically contradictory.”
“Your first lesson in real speechwriting,” said David. “Logic has nothing to do with it. Figure it out.”
Clutching my logic and my expensive education in rhetoric, I went back to my office to figure it out. For about half a day I stared at the computer screen with no idea how to begin. At some point, David popped into my office to see how I was getting on. He took in my lack of progress at a glance.
“Think John Wayne,” he said. “Make the Governor tough.”
So I thought about what John Wayne would have said if he’d been the governor, and shortly a script began to form on the screen. I wrote, re-wrote, and finally had a draft that I thought was pure gubernatorial magic. I handed it in to David.
A few hours later, an email arrived. “My office. Now.”
David scowled at me when I walked in. “This is the worst first draft I’ve ever seen,” he said. “It’s ridiculous. It’s too much John Wayne, not enough Governor. Go back and try again.”
So I did. I took John Wayne out and let in the sweet light of reason instead. I handed in what I thought was a much more measured draft to David the next morning.
This time he came to me. “This is the second worst draft I’ve ever seen,” he said. “The governor sounds like a Sesame Street character. Give him his cojones back.”
He left. I bowed my head over the screen. This was not the enlightened political discourse I had been expecting. I looked at the hatrack. Then I wrote another draft.
Before I got that speech right – and David satisfied with it – I wrote twelve drafts. John Wayne and Sesame Street came and went. I added sections on prison spending and took them out. I put in an update on the search for the escapees and revised it over and over again. I researched Thomas Jefferson’s attitude toward prisons and put in a section quoting him. It wasn’t until Draft 11 that David thought it was even worth sending it to the Governor for him to look at.
“OK,” he said. “It’s not great, but it’s OK for a first try.”
David was not my favorite person in the world that week, or for a number of weeks after. But in the end I realized that in being tough on me he had given me an enormous gift: he had taught me how to push myself to do better than I thought I possibly could. And he taught me how to write a speech. In the real world. Great speeches are primarily emotional, not logical. Small shifts in tone and phrasing make an enormous difference to the audience, so you sweat the details. A great speech has a clear voice speaking throughout. A great speech conveys one idea only, though it can have lots of supporting points. And most of all: a great speech answers a great need.
Thanks, David.”
“Doing research to strengthen a current story or article, or to get ideas for a new one? You can google all you want and hope for a productive return, but to engage in a focused search, try one of these mediated experiences instead:
1. Infoplease
From current events to reference-desk resources to features about history, this site puts a remarkable array of information within reach. Guides to the nations of the world, timelines of political, social, and cultural developments, special quantitative and qualitative features like “The World’s Most Corrupt Nations” and “Color Psychology,” and more cover just about anything you could think of.
2. The Internet Public Library
Unlike the other reference centers on this list, the IPL is a portal to other Web sites, brimming with directories of links in topics like Arts & Humanities. (Dictionary of Symbolism? Check. Ask Philosophers? Right. Legendary Lighthouses? We got your legendary lighthouses right here.) If you need background information on either fiction or nonfiction projects, stop by for a visit — I just dare you to leave without a digressive click or ten.
3. The Library of Congress
The online presence of the official repository of knowledge and lore of the United States is an indispensable resource not only for nonfiction writers seeking background information for topics but also for fiction authors seeking historical context for an existing project or inspiration for a new one.
4. Merriam-Webster Online
The publishing world’s dictionary of record is at your fingertips online as well as in print, with a thesaurus and Spanish-English and medical compendia, to boot. The dictionary also includes refreshing can’t-we-all-just-get-along usage commentary. (That and which, as pronouns that introduce restrictive clauses,are interchangeable.) You’ll also find video tutorials on usage from dictionary staff, a Word of the Day feature, word games, and a variety of language-watch features.
5. Refdesk
Refdesk.com, like Infoplease, is a clearinghouse for online research, with links to headline news and timeless information alike. You can easily get lost in its Daily Diversions directory, which includes links not only to humor, games, and trivia sites but also to more respectable resources like DailyWritingTips.com (whoo!). If you have a question, chances are you can find the answer on this site.
6. Snopes
How do you verify that this self-described “definitive Internet reference source for urban legends, folklore, myths, rumors, and misinformation” is what it claims to be? Go to the site and find out. The fine folks at Snopes.com will set you straight about any one of hundreds of posts — each with a prominent judgmental icon, and commentary to back it up — about that one thing you think you remember you heard about that one thing. (For example:Posh comes from an acronym for “port out, starboard home” — the ideal respective locations for accommodations on a luxury liner — right? Cue the buzzer. Bogus.) TruthOrFiction.com is a similar site.
7. Wikipedia
This user-generated online encyclopedia got a lot of flak a few years ago for some inaccurate information posted by someone with a grudge, but that was an isolated incident. Also, many sources warn against using Wikipedia as a primary source for research. That said, don’t hesitate to avail yourself of the wealth of information available on the site — much of which is written by subject-matter experts in the field in question. Then click on one of the online sources linked in the footnotes, or take your search to one of the other sites in this list.”
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