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Our September Author Interviews--9/6 Kathleen Valenti, 9/13 David Burnsworth, 9/20 Jeri Westerson, 9/27 Frances Brody. Please join us in welcoming these authors to WWK.
September Saturday Guest Bloggers: 9/2--Anne Bannon, 9/9 WWK Bloggers, 9/16 Margaret S. Hamilton, 9/23 Kait Carson, and on 9/30 Trixie Stiletto.
“May 16, 2017 – The Women’s Fiction Writers Association (WFWA) today announced the finalists of the second annual Star Award, given to authors of published women’s fiction. Six finalists were chosen in two categories, General and Outstanding Debut. The winners of the Star Award will be announced at the WFWA Retreat in Albuquerque, New Mexico on September 23, 2017.” In the general category, WWK’s Carla Damron was one of three finalist for her novel, The Stone Necklace. Go to Carladamron.com for more information. Congratulations, Carla!
Congratulations to our writers for the following publications:
Warren Bull's new Lincoln mystery, Abraham Lincoln In Court & Campaign has been released. Look for the Kindle version on February 3.
Shari Randall's "Pets" will be included in Chesapeake Crimes: Fur, Feathers, and Felonies anthology, which will be published in 2018. In the same anthology "Rasputin," KM Rockwood's short story, will also be published. Her short story "Goldie" will be published in the Busted anthology, which will be released by Level Best Books on April 25th.
In addition, our prolific KM will have the following shorts published as well: "Sight Unseen" in Fish Out of Water, Guppie (SinC) anthology, just released, and "Making Tracks" in Passport to Murder, Bouchercon anthology, October 2017.
Margaret S. Hamilton's short story, "Once a Kappa" was published as a finalist in the Southern Writer's Magazine annual short story contest issue. Mysterical-E published her "Double Crust Corpse" in the Fall 2016 issue. "Baby Killer" will appear in the 2017 solar eclipse anthology Day of the Dark to be published this summer prior to the eclipse in August.
Monday, January 31, 2011
To me, first draft writing is like creating in a vacuum. I fill the empty page with words, hoping that readers identify with characters and find my story intriguing. Without obtaining reader reaction, my writing gauge, I have no way of knowing if I’ve achieved my writing objectives, as if my sonar depth finder hasn’t bounced off the ocean floor to give me a picture of the underwater landscape. Obtaining critiques gives me a map for revisions. The following elements seem to be those I hone with frequency.
• Tone My main character’s attitude and perspective sets the tone of my work. In revisions, I make sure that readers like my main character, feel the character has authenticity, and that the language I’ve used portrays her to full potential.
• Plot Elements Writers know the full story, including the backstory, and forget that the reader doesn’t have this knowledge. What seems like a logical action made by the main character may seem unrealistic to the reader, which blows the writer’s credibility. In revising, any deficit in this logic must be overcome by providing a natural basis substantiating the main character’s actions, bolstering authenticity, or the plot must be adjusted. Plot revisions may require additional research to provide factual data, helping the credibility factor.
• Tension Insight gained through critiques is invaluable for gauging emotional intensity, which also affects pacing. Atmosphere, psychological landscape, pivotal plot elements all contribute to creating tension, but the building block applies to the next revision item—
• Action Bringing more action into a scene doesn’t just mean car chases and gun fire, it may mean cutting those previously crafted feelings that your character reveals to the reader through her thoughts. When I critique others work, the first thing I edit out is, “Sallie thought and realized...,” and ask what did Sallie do? Actions speak louder than words. Your character’s thoughts don’t add action.
• Pacing has more to do with what is left out than what is left in the story. If your story keeps referring to the past, you’re writing the wrong story. Timing, when your character gains knowledge and reacts to it, creates the pace. Revealing too much too soon can blow pacing, as can doing the opposite.
• Word Smithing—which leads back to the first element—tone. Crafting sentences conveying accurate meaning defines word smithing. In writing short stories, I’d add using the fewest words to that meaning. It’s nearly impossible to perfect and is a waste of time to word smith in the first draft. Why smith what may change? Once your critique partners have given you the thumbs-up, sculpting the language appropriately for the characters and plot finishes your manuscript like that top coat of nail polish. One note: An occasional passive tense sentence is normal, but passive language bores readers.
What part of the writing process do you like best? When you revise, what elements do you find yourself habitually rewriting? Have you tried a professional editing to advance your writing?