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Inklings Issue 6.14
*****************************************************************
i n k l i n g s
Inkspot's newsletter for Writers on the Net
http://www.inkspot.com
Issue 6.14 July 19, 2000
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<http://www.inkspot.com/inklings/issues/ink0614.html>
In this issue: Linda Gabris explains how to "season" your
(seasonal) writing, while Charles Deemer discusses whether it's
wise to attempt to adapt someone else's novel to the screen.
This issue sponsored by:
*****************************************************************
XLIBRIS exists to help authors publish. Promptly, permanently.
You retain control. We make it happen: your book in beautiful
hard cover and trade paperback editions, available on-demand,
forever. Call for a free information pack: 1-888-7XLIBRIS, e-mail
info@xlibris.com or visit us online: http://www.xlibris.com/
*****************************************************************
ISSN 1205-6413. Copyright (c) 2000 Inkspot Company Of Canada.
See end of issue for full copyright and contact information.
*****************************************************************
CONTENTS THIS ISSUE:
From the Managing Editor's Desk
Fresh Ink/Book Giveaway
Market Information
Ask the Screenwriter
"How to 'Season' Your Writing," by Linda Gabris
Inkspot Community Chat Update
Writers' Classifieds
*****************************************************************
FROM THE MANAGING EDITOR'S DESK
-------------------------------
Both Debbie and I are suffering from a common affliction this
week: Acute Cardboarditis. I moved from California to Chesapeake,
VA, about a month ago -- and today I unpacked the last box (I
think!). Debbie has just moved from Toronto to Philadelphia,
and is just getting started...
If you're a Frequent Mover (I deserve Frequent Cardboard Miles),
there's a tragic side effect: You get twitchy every time you see
a decent, empty cardboard box. (I should be throwing out my
empties, but so many of them are just too good to get rid of...)
Another side effect is the horror of being "disconnected." Ah,
the good old days, when you could whip out a pad of paper and a
pen and be "at work" in an instant. Now, you have to wonder
where the cables are, and why the screen isn't coming on, and
why your e-mail isn't working...
All this is a roundabout way of saying that if you don't hear
from one (or both) of us quite as quickly as you'd like, there's
a reason. Fortunately, my e-mail system seems to be working
smoothly, and I've finally unearthed the last of my files.
Debbie is still working out the kinks in her connections, and
will rejoin us shortly.
Excuse me now, I have to rearrange some furniture...
-- Moira Allen
*****************************************************************
FRESH INK
---------
Douglas Clegg Interview
-----------------------
In conjunction with this week's Inkspot chat (see Inkspot
Community Update, below), Inkspot is proud to feature a brand new
interview with DOUGLAS CLEGG. Clegg discusses his writing
experience, his revolutionary new e-serial, the future of various
types of publishing, and much more in this fascinating and frank
interview!
http://www.inkspot.com/feature/clegg.html
Prize Giveaway:
Achieving Financial Independence as a Freelance Writer
------------------------------------------------------
by Ray Dreyfack (Blue Heron Publishing)
Learn winning strategies for finding lucrative markets with the
help of Ray Dreyfack's book. Although many yearn to freelance
full-time, few succeed because of the difficulty in earning an
adequate living. Dreyfack uses his expertise to teach you how to
indulge in writing pursuits AND earn a steady wage at the same
time.
To find out how to enter Inkspot's Writers' Challenge and win
this book, please see INKPRINTS, Bev Walton-Porter's bi-weekly
book review column, at
http://www.inkspot.com/books/inkprints.html
** If you have a writing-related book you would like to
be considered for review and/or giveaway, please contact Bev at
bev@inkspot.com. The BookStop: http://www.inkspot.com/books/
**-----------------------------------------------**
Publishing Books for the Money
------------------------------
An excellent article by Terje Johansen that describes various
publishing models (traditional, subsidy, academic, etc.)
http://www.themestream.com/articles/75638.html
Scam Alert
----------
A regular column on scams, threats, and perils to writers, by
Kate Grilley.
http://www.thewindjammer.com/smfs/newsletter/html/scamv3n2.html
The Writer's Nook News Contests Page
------------------------------------
Looking for a writing contest? This site offers a wide selection
of competitions.
http://www.twnn.com/Contests.htm
Speech and Debate
-----------------
If you'd like to break into speechwriting, here's a set of links
that can help get you started.
http://www.zapme.com/net/class/english/english_speech.html
Internet Reference Desk: Speechwriting
--------------------------------------
More great links for speechwriters, including historical
documents and speeches, quotes, and writing guides.
http://www.familyhaven.com/InternetReferenceDesk/aaspeech.html
The Muse's Muse
---------------
If you'd like to put that speech to music (or are interested in
any aspect of songwriting), you'll find a host of resources,
including songwriting contests, here. (Note: while I had no
problem accessing this site, another person reported receiving a
number of javascript errors.)
http://www.musesmuse.com/
lyricist.com
------------
More great features and songwriting links.
http://www.lyricist.com
Ten Great E-Book Publishers
---------------------------
And finally, yet another great article by Terje Johansen, this
one listing and describing ten major e-book publishers.
http://www.themestream.com/articles/101140.html
** Please send suggestions for Fresh Ink to freshink@inkspot.com
*****************************************************************
MARKET INFORMATION
------------------
Please get current, detailed guidelines before submitting to
publications if possible. Don't submit to email addresses unless
specifically stated. Include a SASE for surface mail replies.
More market info at: http://www.inkspot.com/market/.
**-----------------------------------------------**
"FNASR": First North American Serial Rights, "SASE":
self-addressed, stamped envelope, "simsubs": simultaneous
submissions, "mss": manuscript, "RT": response time, "GL":
guidelines, "cc": contributors' copies.
Markets Editor: Sal Towse (ST). Research assistants: Shane Stacks
(SS), Margaret Shauers (MS), Jan Edwards (JE), Jerri Ledford
(JL).
**-----------------------------------------------**
FOLKS ONLINE
Editor: Patti Moy
FOLKS ONLINE is an online community composed of people helping
one another use web and computer technology. The site is for
nontechnical "folks" and contains information, practical
resources, how-to articles, personal stories and a newsletter.
FREQ: Updated as new articles are published; currently showcasing
two new stories or articles per month. CIRC: 30,000 hits/month.
NEEDS: Articles/stories within the following categories: "True
Stories" -- Personal stories about how computers or the Internet
have enhanced your life or opened up new worlds; "Look Ma, I did
something useful on the web today" -- Articles about using the web
as a resource or about learning, exploration or creative discovery;
"Promoting My Business/Interest on the Web" -- Articles about how
web sites are used to market products or services; "Cyberfolks web
tours" -- Host a web site tour featuring a theme around favorite
subject areas; "Folks Family Trees" -- Share tips and experiences
with genealogy enthusiasts or write about your journey of discovery.
LENGTH: Between 600-1,200 words; varies by category. Refer to
guidelines for more information. RTS: Non-exclusive rights to
display, publish, reproduce or license or use all or any portion in
all forms of media. PAY: Between $50 and $100; payable by the end
of the month following publication. RT: 5-7 DAYS, depending on
volume of mail. SUBMISSIONS: Send articles to Editor@FolksOnline.com.
COMMENTS: "Authors will get a better feel for what we like to
publish, from both a content and style standpoint, by reading
published pieces in all categories." TIPS: "See the website for
detailed guidelines in all categories. We suggest that authors
take advantage of the many online editing and writing workshops
to review your work prior to submission to any publication." (JE)
URL: http://www.folksonline.com
GL: http://www.folksonline.com/folks/sd/contrib.htm
E-mail: Editor@FolksOnline.com
**-----------------------------------------------**
FORECAST INTERNATIONAL
Executive Vice President and Partner: Douglas A. Nebinger
22 Commerce Road, Newtown, CT 06470
FORECAST INTERNATIONAL is a unique market, providing "Market
Intelligence and Analysis for the Aerospace, Defense, Gas Turbine,
Electronics, Transportation and Infrastructure Industries."
FORECAST INTERNATIONAL publishes a stable of over 250 various
publications, both print and electronic. NEEDS: Non-USA based
short articles, news and abstracts. LENGTH: 250 wds average. GL:
Submit articles and samples (clean spelling, grammar, etc.) via
e-mail, as block text in body of e-mail (if accepted, author will
be sent a template for final submission). Queries also accepted.
Simsubs, multisubs, and previously published material okay. RIGHTS:
"We retain rights of republication, but do not prohibit authors
from reselling/publishing their work(s)." PAY: "We pay on a per-
piece basis, which is negotiated with the individual authors."
Pays on acceptance. Bylines given. RT: 48 hours. NOTE: From
working with this market while drafting the listing, I surmise
they are looking for crisp, clean, timely material that would be
relevant to the industries mentioned above. (SS)
URL: http://forecast1.com/
GL: query for guidelines
E-mail: matrix21@forecast1.com
**-----------------------------------------------**
INDIGENOUS FICTION
Publisher and Senior Editor: Sherry Decker
Associate Editors: Evelyn Gratrix & Becky Warden.
P.O. Box 2078, Redmond, WA 98073-2078
INDIGENOUS FICTION is a periodical for "literary fiction." FREQ:
Tri-yearly (Jan/Feb, June/July, Oct/Nov). CIRC: 300+. NEEDS:
Average and short *literary* stories from all arenas, including
mainstream, dark fantasy, science fiction, mystery and horror
(no gratuitous sex or gore). No longer seeking poetry of any sort.
LENGTH: Accepts 1,000-8,000 wds (most between 2,000-4,500 wds).
Short-Shorts: 1,000 wds and under. GL: Use proper ms format,
including *approximate* word count, include SASE for reply. No
colons or semicolons in ms; use long dashes ("yes, really").
Don't summarize the story in your cover letter. No e-mail, fax or
disk submissions unless requested. No multisubs accepted; simsubs
and previously published material okay. NOTE: Please notify in case
of simsub; reprints are *rarely* accepted ("only 2 so far").
RIGHTS: FNASR, or One Time Print for reprints. PAY: Normal-length
fiction (1,100-8,000 wds) pays $10-20 plus cc; short-short fiction
(under 1,000 wds) pays $5 plus cc. Pays on publication. RT: wks.
TIPS: "Short genre fiction is often heavy on plot, dialogue and
action but lacks beauty, narrative and atmosphere. *Literary*
fiction is famous for beauty, but also for being slow and dull.
We want only the best of both. We want deja vu, the supernatural
or unexplained merged with stark realism -- told with a sense of
wonder. Stories about life off-track. Grab and hold my attention
from page one. NO techno-babble, essays, memoirs, gore, 'told'
stories, novel excerpts unless complete stories, descriptions of
cruelty to children/animals, it was all a dream/dead all along
plots, retold fairy tales, or gratuitous sex scenes. Style alone
doesn't impress, but we must have wonderful writing. Unless
you're Margaret Atwood, avoid adverbs (yes, I'm serious). Stay
away from silly tags like 'she said incredulously'. Don't have
your characters 'starting' or 'beginning' anything -- just
describe what s/he is doing -- the readers will comprehend it
'began' at some point. 'Could see, could feel, could hear, could
taste' is weak. Write 'saw, felt, heard, tasted' (cleaner,
stronger writing). Condense your words. Watch out for point-of-
view breaks. If you're smart, you'll send for a sample copy." (SS)
URL: http://home.earthlink.net/~deckr/ (under construction and
subject to change; will be fully available soon)
GL: Available by e-mail and postal queries
E-mail: deckr@earthlink.net
[INKSPOT NOTE: This market originally appeared in the May 25,
1999 edition of Inklings, but has been re-listed due to changes
in their editorial needs and format]
**-----------------------------------------------**
UPDATE: "EXTREMES: FANTASY & HORROR FROM THE ENDS OF THE EARTH
Editor: Brian A. Hopkins
Lone Wolf Publications, 13500 SE 79th St., Oklahoma City, OK
73150
(For the original Inklings market listing this refers to, please
see the archived 1/5/2000 Inklings at
http://www.inkspot.com/inklings/issues/ink0601.html.)
This just in from Brian Hopkins: "This is an update to the
original guidelines, released last December. I am still reading
for three additional volumes of EXTREMES, one to feature horror/
dark fantasy stories set in locations other than the continental
United States; one to feature stories set on, under, or in close
proximity to the ocean or another large body of water (subtitle:
TERROR ON THE HIGH SEAS); and the third to feature stories set on
the continent of Africa (subtitle: DARKEST AFRICA). Submissions
actually aren't coming in fast enough to suit me. I'd planned to
have one of these three volumes out before the end of the year,
but if I don't fill it in the next couple of months, that will be
impossible. I need some quality stories, folks. Note, however,
that I do not need to see any more sea monster stories (unless
you have something truly unusual or incredibly well written). I
also do not need to see traditional fantasy stories (wizards and
elves and fairies and whatnot). I also do not need to see stories
set in the United States, in completely ambiguous locations, or
in locations that do not have some bearing on the story. No
reprints. Payment is an equal share of all profit from sales of
the anthology (the first volume, released just this April, is
already earning out). Response time is four to six weeks. E-mail
subs are fine (embedded or attached, any format). Be sure your
e-mail address is on the manuscript (I do NOT save your original
e-mail)." (SS)
URL: http://www.dm.net/~bahwolf/extremes2.htm
E-mail: lwpub@aol.com
**-----------------------------------------------**
CONTEST: JOBS IN HELL/FEO AMANTE'S FICTION WRITER'S CONTEST
Feo Amante and Brian Keene, Editors
No entry fee. "The JOBS IN HELL/FEO AMANTE'S FICTION WRITER'S
CONTEST is open to any writer, professional or beginner, even if
they have been previously published at Feo Amante's Horror Home
or in Jobs In Hell. We have added a non-partial third judge to
avoid any conflict of interest. Submissions will be accepted
between May 15th and September 15th only. Stories sent before or
after these dates will be automatically discarded. Length is
1,000 to 6,000 wds firm. Open to all forms of horror, dark
fantasy, and dark mystery. From in-your-face splatterpunk to
quiet, eerie supernaturalism, we want your best and we will
accept only your best. Electronic submissions only, pasted in the
body of the e-mail. No attachments. All submissions should be
e-mailed to contest@feoamante.com or jobsinhell@hotmail.com.
Please include a brief biography. Winners will be announced
October 1st. Publication will be before October 31st. Payment is
on acceptance. We promise to publish all stories in the same
professional and eye-popping manner that previous stories have
been presented in. PRIZES: First Place: Publication at
http://www.feoamante.com in the "Story Time" section. Payment is
3 cents per word for Exclusive Electronic Rights. Print rights
will revert to the author after 60 days, but the story will
remain archived at the website. First-prize winner will also
receive a free two-year, 104-issue subscription to Jobs In Hell.
If already a subscriber, the subscription will be updated. First-
place winner will also receive a free web bio page, designed by
Feo Amante. Second Place: Publication at http://www.feoamante.com
in the "Story Time" section. Payment of $25 (flat fee) for
Exclusive Electronic Rights. Print rights will revert back to the
author after 60 days, but the story will remain archived at the
website. Second-prize winner will also receive a free one-year,
52-issue subscription to Jobs In Hell. If already a subscriber,
subscription will be updated. Second-place winner will also
receive a free web bio page, designed by Feo Amante. Third,
Fourth, and Fifth Place: Publication at http://www.feoamante.com
in the "Story Time" section. Payment is a free one-year, 52-issue
subscription to Jobs In Hell in return for exclusive electronic
rights. Print rights will revert to the author after 60 days, but
the story will remain archived at the website. If the winner is
already a subscriber, subscription will be updated.
URL: http://www.feoamante.com
E-mail: jobsinhell@hotmail.com, contest@feoamante.com
**-----------------------------------------------**
GLOBAL WRITERS' INK
Editor: Moira Allen
GLOBAL WRITERS' INK is an Inkspot publication covering the
international writing scene. Formerly an e-mail newsletter
available only by paid subscription, GWI will become a free
e-zine in September 2000. We're looking for articles that cover
any and every aspect of international writing: travel writing,
writing for international markets, selling reprints abroad, how
to sell international topics to North American publications, how
to market fiction and nonfiction books to international agents
and publishers, the business of international writing... If it
has an international focus, and would be of interest either to
international writers or North American writers interested in
the international marketplace, we'd like to see it. What we
don't want to see are generic "how to" articles that can apply
to any writing market (e.g., "how to write a great query letter").
The focus of the article must address the international writing
scene. FREQ: Two new articles added to the section per month.
PAY: 6c/word, on acceptance. RIGHTS: One-year exclusive
electronic rights, with the nonexclusive right to archive the
article online thereafter. No print rights; author is welcome to
resell the article to any print publication once it has been
posted on Inkspot. SUBS: Send query or completed article by
e-mail to moira@inkspot.com. RT: 1-2 weeks. For more
information, see our guidelines or read the sample copy
available at Inkspot's "global" section.
URL: http://www.inkspot.com/global/
GL: http://www.inkspot.com/global/guidelines.html
Sample: http://www.inkspot.com/global/sample.html
E-mail: moira@inkspot.com
**-----------------------------------------------------**
MARKET UPDATES: The annual submission window for ANOTHEREALM --
quarterly webzine of Speculative Fiction <http://anotherealm.com>
-- has closed. The next regular reading period is 1 Jan - 31 Mar
2001. Pays $10/story. (ST) AT THE BRINK OF MADNESS -- monthly
webzine is kaput. (ST) ETERNITY ONLINE
<http://www.pulpeternity.com/gl/eol.htm> shows the following:
"Effective immediately, Eternity Press has decided to split its
online publication into two unique publications: the classic,
original Eternity, The Online Journal of the Speculative
Imagination, and Ragz Literary Review. Plans for Pulp Eternity
Online have been scrapped, instead being replaced by Ragz. Both
publications are currently overstocked, however, so submissions
will be suspended until next year." (ST) The ORPHIC CHRONICLE has
ceased publication. Note on site reads "Yes, the rumors are true.
Because of extenuating personal circumstances, I am no longer
publishing The Orphic Chronicle. We are no longer accepting
submissions. Please direct any inquiries to
editor@orphic-chronicle.com" (ST)
Please send market news to Sal Towse, towse@inkspot.com.
*****************************************************************
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) judith@judithbowen.com
David Breeden (POET) dbreeden@schreiner.edu
Charles Deemer (SCREENWRITER) charlesd@inkspot.com
Mark Fowler (LAWYER) askthelaywer@inkspot.com
Ginger Knowlton (AGENT) agent@inkspot.com
Michelle West (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) lee@inkspot.com
Marcia Yudkin (FREELANCE WRITER) yudkin@inkspot.com
Columnists may be unable to reply privately to every message,
but will answer selected questions in future issues of Inklings.
Please keep your question BRIEF and send it to *one* columnist.
*****************************************************************
ASK THE SCREENWRITER
-----------------------------------------------------------------
by Charles Deemer <charlesd@inkspot.com>
How Does One Adapt a Novel to the Screen?
-----------------------------------------
Q: I recently read a novel that would make a terrific movie.
Should I go ahead and write the screenplay, or is this a waste
of time?
A: This is a frequent question I'm asked; after all, from time to
time, we all read something that strikes us as movie material.
When this happens, what's the next step?
I'll begin by taking you through my own recent steps after
reading a novel that I knew was great film material. First,
using the biographical material on the book flap and the Internet,
I managed to find the author. I phoned to ask if the film rights
were still available. As it turned out, the author did not own the
rights (bad contract!), so I called the publisher. Yes, the rights
were available. How much? I asked. The publisher said they'd have
to think about it and get back to me. (If they could find someone
else interested, they could start a bidding war!)
Next, I let my agent know I was interested in getting the rights
-- and learned something I didn't know. In general, it's not wise
for a writer to obtain film rights to printed material, because
the writer is the least powerful person in the Hollywood equation
and can easily can be squeezed out of the project after alerting
more powerful people to the material. Producers, not writers,
usually option the film rights -- and then hire a writer to do
the script. The danger, my agent explained, is that by adapting
a novel myself, I might do no more than alert more wealthy and
powerful producers to the book, who then would option it
themselves as soon as my option expires. This doesn't always
happen, but it's a risk to be aware of.
A way to minimize this risk is to include the book author or
publisher (whoever owns the film rights) in the script development
in some way. Since I didn't want to pay an arm and a leg for the
film rights anyway, my agent suggested this: split future income
from the script 50-50 with the publisher in exchange for a free
one-year option with a one-year extension for a negotiated
payment. The publisher then has a stake in my success. Even then,
the writer can later be squeezed out of the picture -- in fact,
the writer is always vulnerable to being dropped.
Learning this, and the potential pitfalls, I decided to drop the
idea.
But now let me give you some happier stories. A student of mine
wrote an adaptation of the 19th-century novel, THE AWAKENING,
even though Turner had already done a TV movie based on it (to
mixed reviews). She optioned the script rather quickly, and
although the year went by without further development, she
opened many doors of producers, who now will read whatever she
writes.
This same student wrote a script for her Masters thesis based on
a book to which Danny DeVito owns the film rights. When the
script was done, she wrote Jersey Films, DeVito's company, and
confessed her "sin" (after all, she can't legally market a script
based on a book to which she doesn't have the rights) -- and to
our mutual surprise, DeVito's people phoned her to ask for the
script. They still hadn't found an adaptation they like, and as
I write, my student's script is still under consideration. How
nice if her Masters thesis becomes a movie!
Scripts based on books to which you don't have the rights can
also be used for "showcase scripts," something to show off your
screenwriting skills to an agent or producer. You just can't
market them.
In general, then, your first step is to determine if the rights
are available. If so, most often you will have to pay something
to option the film rights for a year. According to my agent, an
unknown novel might get around $5,000, a well-known novel six
digits. However, sometimes you might find an author so happy to
have interest in the book that the rights will be much less, or
even free.
However, be aware of how vulnerable you will be even after you
do the adaptation. All in all, it's a pretty risky way to write a
script and, in fact, a writer obtaining the rights is working
backwards from the usual process of a producer getting the rights
and then hiring a writer.
**-----------------------------------------------**
Charles Deemer is the author of "Screenwright: the Craft of
Screenwriting," which has been called "the bible of screenwriting
for the novice." For more information, visit Deemer's website at
http://www.teleport.com/~cdeemer/book/index.html Also see the
Screenwriters' and Playwrights' Discussion Forum:
http://writers-bbs.com/inkspot/threads.cgi?forum=screen
Copyright (c) 2000 Charles Deemer.
*****************************************************************
HOW TO "SEASON" YOUR WRITING
-----------------------------------------------------------------
by Linda Gabris <sulaco2d@msn.com>
"How do you write ice fishing when it's a sweltering day in
August, or flower gardening in the gloom of January?" asked a
participant in a recent writer's workshop I was instructing. I
had been explaining that the freelance magazine writer must work
at least three, and often up to six months or more in advance of
the season.
Learning to work in advance of the season -- to write about
foraging for delicious spring morels in November or bringing the
joys of an old-fashioned family sleigh ride at Christmas to life
during the sweltering days of July -- can sometimes be a difficult
task. Successful writers must get into the habit of 'seasoning'
their writing. They have to learn how to capture snowflakes and
sounds of sleigh bells while listening to the monotonous hum of
distant lawn mowers...
Advance Planning
----------------
Magazine editors plan their issues well in advance for a number
of reasons. One is that it can take three months to put together
an issue and get it printed. Since most magazines hit the stands
a month or so earlier than dated (e.g., Christmas issues in
October or November), this means editors needs lots of time to
sift through submissions and assemble an issue. Thus, if an editor
asks for material three months in advance, this means the deadline
for their Christmas issue is September. If material is needed six
months in advance, you should be sending out your holiday tips no
later than June.
If you miss these deadlines, most likely your piece will be
rejected. If you're lucky and the editor reads your ill-timed
submission, you might be invited to submit the article next year
-- or, the work could be put on hold until the next year, with no
pay or guarantee of acceptance. In any event, you will appear
novice and have wasted your time and money and the editor's. So
how do you start thinking "Christmas" when it seems as if you've
just put away last year's decorations?
Seasoning Your Writing
----------------------
Years ago I learned a simple creative writing exercise that has
been one of the best tricks I have come across in nearly 20 years!
It not only works well for article writing, but can also be used
when creating fiction or poetry. The exercise is also a sure cure
for writer's block.
In the creative workshops that I instruct, I call the exercise
'How to Season Your Writing'. Each person is asked to pick a
favorite holiday, sport, hobby, recreation, season... and then to
write down words or phrases associated with their topic.
If the assigned word was Christmas, common words on each list
might read: Santa, tree, toys, sock, candy canes, cookies, nuts,
mistletoe... The student with the most words got a prize. Anyone
who came up with "unexpected" words or phrases like grace pudding,
old Clary, a silver shoehorn, or tumbler would be offered floor
space and time to share. It is the unexpected entries that add
flavor and make our stories unique.
As the group exchanges word lists, we easily traverse from one
setting to another and from one season to the next. And it's
amazing to see how fast words grow into stories with limitless
marketing direction and creative opportunity.
In one class, a lady named Jane shared her list for autumn:
"Fall, colored leaves, pumpkins, cranberries, beechnuts, cabbage,
wood piles, smokehouse, crackle-jacks..."
"What on earth are crackle-jacks...?" we all wanted to know.
Jane told us a story about growing up on a farm during the
Depression years. She mentioned hog dressing, but refused to say
anymore. Crackle-jacks, she said, would be the title of an
autumn article that she hoped to write! She was not only
thinking out of season, for we were approaching spring, but
generated two more story ideas from her list.
Making Your List, Checking It Twice
-----------------------------------
Just for fun, why don't you give it a try? For example, suppose
you want to write an article about ice fishing for a magazine
that requires seasonal material eight months in advance, but
your mind is filled with chirping birds and flower gardening.
No problem! Try making an associated word list. Give your pencil
lots of freedom and never restrict any word that comes to mind
from your list. The whole idea is to help refresh and enliven
your memories. And remember, one word will always spur another
and soon your train of thoughts will be rolling...
Soon, your list for ice fishing might read:
-- fish hut, snow shoes, mackinaw trousers, grandpa's old
sheepskin coat, auger, sleigh, jiggers, willow branch, brook
trout, white fish, Bob Tail, Old Mill Lake, the elusive Bay Lake
Sam, snow capped mountains, howling wolves, brittle ice, leaky
Thermos, scalding coffee, diamond watch...
Use the list to help create a setting. Mull it over to see if the
list generates any sense of direction. Do your entries hint of a
how-to or where-to approach? Do they have a nostalgic feel?
Humor? Does the list spur any ideas that could be woven into
fiction? Are there fixin's for a poem? Is a title waiting to be
plucked?
Feel free to add words to your list as you work. And never fret
over unused words. Remember, the list is there to help season
your writing -- not over-spice it!
**-----------------------------------------------**
Linda Gabris is a full time freelance writer and creative writing
instructor. Her articles, fiction and poetry have appeared in
magazines across North America.
Copyright (c) 2000 Linda Gabris
*****************************************************************
INKSPOT WRITERS' CHAT CENTER UPDATE - by Shane Stacks
-----------------------------------------------------
UPCOMING CHAT: Douglas Clegg
Date/Time: Thursday, July 20th @ 8 p.m. Eastern/7 p.m. Central
Place: Inkspot Java Chat
Join best-selling author Douglas Clegg (NAOMI, GOAT DANCE, THE
HALLOWEEN MAN) as he discusses his writing and his new e-serial
THE NIGHTMARE HOUSE (a publishing first, available July 30th)
during an hour of great chat. To learn more about NIGHTMARE
HOUSE, visit http://www.ehaunting.com.
ALSO: Clegg will be giving away two hardcopy editions of his
novella PURITY in random draws. Who knows, it might be you!
For more info: http://www.inkspot.com/ss/iwcc
Doug's website: http://www.douglasclegg.com
Exclusive Inkspot Interview with DOUGLAS CLEGG:
http://www.inkspot.com/feature/clegg.html
NOTE: Thanks for the great response to our recent guest speaker
request! I'll be contacting everyone personally soon.
INKSPOT CHAT MAILING LIST: Send blank e-mail to
icc-subscribe@topica.com
DISCUSSION FORUMS: Join this growing community of writers!
Wide variety of topics and events, everyone welcome.
http://www.inkspot.com/forums/topics.html
FOR MORE INFORMATION:
Inkspot Java Chat: http://www.inkspot.com/ss/iwcc
(open 24/7, chat anytime!)
Inkspot Community Events Newsletter:
http://www.inkspot.com/forums/forumevents.html
Or send e-mail to Shane Stacks at staxx@inkspot.com
NOTE: Interested in being an Inkspot guest speaker? Contact Shane
Stacks with your name, publishing history, and possible focus of
the chat.
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W R I T E R S ' C L A S S I F I E D S
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