Eight Cousins
What a great honor for the Eight Cousins book store, located in the center of Falmouth, MA to be named the best children’s book store in New England. Kudos to its owner and diligent overseer, Carol Chittenden. Her innate sense of what’s appropriate and fun for children shines from the moment one steps through the door.
For those of us, who live and write in the area, it is especially exciting because some of our own children’s books are among those for sale there. Two fellow authors in our group, the Cape Cod Children’s Writers, have books included at Eight Cousins. Joan Walsh, founder of the Cape Cod Children’s Writers, is the author of CAPE COD MEMORY MAKERS, and Melinda Mancester’s children’s books, TYLER and SPIDER and GRANDMA, tell me if you can, are also on display. One of Melinda’s poems, “Echoes” hangs in the Hyannis JFK Museum. Each member of the Cape Cod Children’s Writers belongs to SCBWI, the national Society of Children’s Book Writers and Illustrators. Every published, children’s author and/or illustrator in the society is provided with news of on-going writing classes, national conventions, newly published books and available contests.
As a young girl, blessed with a mother who loved to read, I was introduced to Eight Cousins early. I yearned for the day when my own book might meet the high standards of that prestigious store. Eons later, the dream came true with my WERFUL and the CAPTAIN prominently displayed in the front window. What a proud moment of accomplishment as friends snapped pictures of Werful in the window. Neither everyday shoppers, nor the employees could fully understand how exciting it was to be signing my own book in the book store of my childhood dreams. Each child needs a dream, especially when life is strewn with sadness. One might not realize that an inanimate object, such as a book store, could provide a young child with a reason to dream a wonderful dream, but it did.
Until next time, keep your dreams alive, no matter how small or large, or how long it takes;  dreams can sustain a spirit, when in turmoil, and inspire hope for a better way and a better day. Be well. Linda

Greetings;
Life has certainly changed in the writing contest world. The writing, itself, used to be the prime factor in competing, but no longer. Once the job of writing, re-writing, and the final read-out-loud check is completed, the modern phase begins—placing one’s work onto the internet rather than into snail mail. No cover letter is needed for an electronic submission, but, when the contest rule states “no attachments or signature blocks,” (I JUST got used to doing THAT!) believe it.
One must then insert the precious cargo into an e-mail. Your name only goes into the “subject line” of your e-mail. With poems, include entry title and word count/line count.
(i.e.: Jane Smith, Moving On, 859 words/28 lines)
Formatting: SINGLE SPACE the entry or entries using TIMES ROMAN, FONT 12 or
ARIEL, FONT 12
For stories: one extra space between paragraphs, no indentations, flush left-hand margin.
For story point-of-view changes or time breaks, CENTER five asterisks (*****) with one extra space before and after the asterisks.
For poems: These may be set in stanzas if desired.
Entry titles should appear BOLD and FLUSH LEFT at top of the entry with word count or line count set JUST BENEATH the title. NOTE: Do NOT include those words in your total word count.
Here is a hugely important rule: i.e.: Story not to exceed 1200 words. Poems not to exceed 50 lines. If you go over the limit, your long-labored-at masterpiece WILL be disqualified. When writing, don’t fixate on reaching the limit. Often, shorter is better.
Note: Nowhere in the body of the e-mail should one see: author’s name, headers, footers, or page numbers. (Still with me, I hope.)
Is your work finally done? Afraid not. Some contests require a second e-mail with up to a fifty-word bio, a picture as an attachment in JPEG format (300 dpi attached) and if desired, a website address. The subject line should state the author’s name, entry title and the words “bio/photo/web”.
When you win, (You could!) the author normally retains the copyright to the work. “First-time publishing rights in North America only” is a frequently used term. When the winning entries are to be included in a book-for-sale, including electronically, there are more requirements, but I think I’ll stop now and get a drink of water to wash down my Tylenol. I do hope the above contest rules are a bit more understandable. Here’s hoping.
Until next time, please don’t let all those new rules keep you from enjoying your love of writing. Take heart that there are still a few publishers, who will accept your “babies” the old fashioned way. Be well. Linda

Greetings;
Today, I’d like to digress from writing to teaching etiquette because many of you, who are now learning, will one day be skilled enough to teach. I recently attended a critique workshop from ten to noon, where the leader, I’ll call him Joe, spent the first thirty-five minutes regaling us with his ego, his self-published book, with which he had won a contest, his “important” positions on one board or another ad infinitum. Perhaps you were unfortunate enough to have been cocooned in a classroom with such a person. Finally, at 10:35, Joe began the critiques; guess who went first? He did.
There should be a teacheing rule, which states an instructor must limit one’s achievements and the reasons for being the leader to ten minutes. If using one’s own material to make a point, keep it to one paragraph or make copies, which attendees can then take home.
One woman wrote about Big Foot. When Joe asked for comments, one was, “I loved her last sentence, “She touched the piece of fur hidden in her pocket and smiled.” He decided it wasn’t a good enough ending, and proceeded to change her last paragraph all around untril it said the same thing, but in his words.
An elderly man read a poem about children and wishes. A few lines didn’t rhyme, but the idea of children having fun dreams was a great premise. The leader asked, “Do you have another poem? I’ll read it for you.” The man pulled one out, and Joe once again took center stage. I’m sorry to say the only lesson Joe reinforced for me that day was how not to run a class.
Joe did make a good point stating that while a story is being critiqued, the writer should not defend against  suggestions for improvements or changes. Once all of the critiques have been discussed, there is time allotted to go over the writers’ questions and comments. The problem was he didn’t take his own advice, and kept “explaining” what he meant. Yes, there is always an urge to defend one’s work, but one must remember, when an editor reads your manuscript, you will not be there to “explain.”
I think of my first draft as the “telling” story. Then begins the task of re-writing to include the sub-plot–the “showing” mechanism of a successful manuscript. What are the characters thinking,saying,feeling,and observing in their world? Because each person sees something unique, according to his or her own needs, what does that world look like to an individual? How do they interact, and what emotions are stirred by those interactions?
Writing workshops deal with first drafts and re-writes, so there is room for great learning. Aside from Joe, there were three other writers in our group, who were spot-on with their critiques, and I came away with several improvement suggestions. I can’t stress enough how important such workshops are for a writer’s literary growth. Whether as a beginner or a seasoned writer, the learning never ceases.

Until next time, please trust in your goals.  Be well.  Linda

Greetings;
It’s a new day; Christmas shopping for presents, opening presents, and discarding wrappings is yesterday’s news. Wouldn’t it be wonderful if we could also discard the bills and returns. Not likely.
Before a writer sets his or her first word into print, the first job is to determine which age group one hopes to attract; specific vocabulary and reasoning appropriate for that age will determine dialogue and emotional responses.
For me, the fun part of writing is my first draft. Creativity flows like a stream of water meandering through deep, unchartered forests. Deciding which inlet to follow is in the writer’s power alone in creating plot, place, time-span, and a most important job–providing fictional characters with character. As each step falls into place, excitement mounts. When a writer enters that world, reality’s dismal, rainy, or lonely hours evaporate into a welcoming mist of creativity, enveloping the writer’s senses, while emotionally moving one to a place where all things new and exciting are possible.
Avoiding necessary jobs is an alluring prospect but they don’t go away. After all excuses are expended, they’re still there. That’s how it is with necessary jobs. For serious writers, a major job is the re-writing process. Leave the first-draft in a drawer for at least a week to provide new perspective when re-reading it. After retrieving it, settle in for the in-depth job of cutting unnecessary or redundant words and phrases and exchanging dialogue for telling sentences to explain the reasoning behind a character’s reactions. Replacing a telling sentence of, “Rachel was so angry,” with her own showing words of, “That disgusting piece of humanity stole my money, while I slept,” makes one’s story come alive.
A new job has surfaced in recent years with back-story. It used to be traditional to use back-story only for a few sentences or one paragraph, often incorporating the change from present to past and back again by the use of dialogue. Not so much anymore. Proficient authors are now alternating whole chapters from past to present and back like Ping-Pong balls, no longer following the old rule of time-sequence continuity. Consequently, another important job for writers arises of keeping up with new writing practices by attending on-going writing classes, reading authors’ blogs, and belonging to writers’ groups. Have you noticed newer authors are no longer placing a comma before the word “but” in sentences? A new rule?
A most important job of writers is to set a specific time each day to write, and mine are between the hours of four-to-eight in the morning; no phones or people to interrupt the thought processes. When someone asked me, “What happens at eight?” I smiled and replied, “Real life begins.”
There’s much more to re-writing but I’ll close for now to return to paying bills and returning un-needed items. Until next time, may your real life in the New Year include time for you to dream and create and to finish necessary jobs. Be well. Linda

Greetings;
The once-normal audience boundary for picture story books no longer ends at seven or eight because this generation’s children are so much more visually oriented. From infancy on, they’re exposed to videos like the Baby Einstein series and are used to watching colorful hours of television. (A long way from the black and white tv programs of the fifties.)
Colorfully illustrated books no longer seem “babyish”, now offering a different visual experience as illustrated versions of classic fairy tales attract upper-age readers as well as first and second graders. Allen Say’s biography of a Chinese American bullfighter, El Chino and David Macaulay’s Caldecott Medal winner, Black and White, found favor among young adults. T.M. Murphy’s rendering (Falmouth’s renowned author of the Belltown Mystery Series.) of Saving Santa’s Seals is a fun picture book story with a title sounding like it was written for young children, but it’s written and illustrated to entice the older readers too. Its modern depictions by illustrator, Adam Taylor (A bit of nepotism here—my nephew.) draw in the upper-age group with its dynamic, futuristic visuals.
One doesn’t have to be an illustrator to think visually, but it is an essential skill for a writer of picture books. Stick figures are the limit of my illustrative skills, but in writing A Child’s Keepsake, I imagined what I wanted the pictures to say, and then transferred the images through my words, to SHOW the story. The illustrator was then able to capture them with his skills, so both words and pictures fit our targeted age group. (More nepotism—the illustrator was my gifted, then twelve-year-old son, Jeff Williams.)
Long-term writers have learned that a good story revolves, not only around plot, but also the sub-plot. Picture book stories must be creatively and concisely written to provide a precise background for illustrators to work their craft. Once the plot is there, it’s time for the writer to go back and fill in the characters’ outward emotions and thoughts, and descriptions of time and place so the illustrator has a basis to accurately create what is wanted. It doesn’t mean the writer can leave notes on the manuscript detailing which paragraph needs illustrating-not our job! If we have done our job of SHOW, the illustrator will know.
Books for older age groups are not “cute” stories about young children or little animals. In the bullfighter story, the point-of-view character starts out as a boy but soon grows into a man embodying imaginative concepts, which can be appreciated by a wide age range.
To think visually, one must: 1- Emphasize dialogue and action within the text. Characters, who are sitting still while talking, is boring. Add action around them or in their body movements to show emotion. Keep POV and minor characters moving, even if it’s simply dusting furniture or traveling from one room to another so the illustrator will know how to create WHAT your words imply.2-Have scenes take place in different settings, indoors and outside, to maintain the reader’s attention. 3-The illustrator needs to know, not that a character is “running,” but HOW. Does he scamper, race, shuffle, or drag his feet? Your words must SHOW emotion. 4-Keep words concise. Too many “dead” verbs make readers nod off. 5-Avoid lengthy descriptive passages. (We have all encountered those, where we finally skipped over the words to return to the plot.)
Until next time, have a blessed holiday season, and when something occurs, which creates inner emotions, please take a moment and write it down. You can use it later in a story. Be well. Linda

Greetings;
There are several common errors seen in the papers of blossoming writers, and those mechanical mistakes will distract an editor’s attention. When quoting material: Periods and commas go inside the quotation marks. Question marks, exclamation points, dashes, colons and semicolons are set outside the quotation marks. (Unless they’re part of the source quote.)
Checking Usage: “alot” isn’t a single word, nor is it specific enough to use.
“Its” is a possessive pronoun. “ Its characteristic are…”
“ It’s” is a contraction of “it is.”
When unsure which word to use in a sentence, replace the word with “it is” to see if the sentence makes sense. “Its legs were long,” makes no sense if written, “It is legs were long.” If it doesn’t sound right, it isn’t. Correct sound: “It’s worthwhile to remember this hint.” It is…
“There” refers to location. (Remember “here and there”.)
“They’re” is the contraction for “They are”. Break the word into its two components and read the sentence again to verify the correct usage.
“Their” is always plural. (Having fun yet?)
Be careful when using homophones (words that sound the same but mean different things like accept/except effect/affect.) When unsure, check your dictionary because editors do know the difference.
Style: Is it appropriate for your intended audience?
Are there too many linking verbs (is/are/was/were—I call them “dead” words) in the writing? Substitute action verbs.
A most common error: Overuse of the passive voice (“was written”).
Writing well demands a lot of memorizing but it’s worth the effort, when you see your name in print.
The holidays are upon us, providing a special time to connect with old friends and distant family members. I understand it can be a stressful season but please make the effort to enjoy its plus side. What fun to give children presents for no other reason than to give them joy. It’s even more fun to be a secret Santa.
Until next time, please hug a child to let her or him know someone cares. God bless. Linda

Greetings;
A young child loves to have picture books read to them. It’s a time of peaceful fun on a rainy day, when ill, or at bedtime. It also provides a warm feeling of security, being close to one who cares for and about him or her. Picture books contain simple words, short sentences, and lots of pictures. Once the light dawned in my brain, however, that joined letters made words, and joined words made stories, I was hooked. Although the illustrations in basic picture books are of prime importance in showing stories, the easy-reader’s plot’s significance is transferred to the wording, and I yearned to learn how to read so I could enjoy longer stories.
A writer of easy-readers needs to remember it is now the child, not an adult, who is doing the reading. The vocabulary must be kept simple so a new-to-reading child can handle it. That age group loves simple rhyming books like One Fish, Two Fish, Red Fish, Blue Fish, which remains on book store shelves long after others have gone out of print. When sentences are too long and words too difficult to sound out, discouragement sets in. There-in lurks the danger a frustrated child will give up, close the book, and decide, “I hate reading.”
Remember the thrill of reading that first book to yourself? The Little Engine That Could was my first. It belonged to my brothers, but that didn’t matter to me. A whole new world opened up, because I was the boss of when the book would be closed; exhilarating. For my eighth birthday, my mother presented me with Miss Sniff by Jane Curry and illustrated by Florence Sarah Winship. The delicate story about Miss Pink and her kitten was the first book belonging only to me. I treasured it, and am happy to say it still holds a place of honor among my antique (Yikes) books. When it came to writing a story, (I was in fifth grade.) I never wanted it to end, perhaps a throwback to the discontent of being read only short stories. Lengths for easy-readers can vary from several hundred to 1500 words.
Easy-reader books must be built around a carefully selected vocabulary list. If a publisher’s guidelines call for a controlled word list, use it, but don’t let it cramp your unique writing style or voice. Consider what Theodor Geisel (Dr. Seuss) achieved with his The Cat In The Hat. It uses about two-hundred words, often repeating the same word. One note on Dr. Seuss: his book was rejected some eighty times before it was accepted, so, please, never give up on writing a story dear to your heart.
Finally, series dominate in this area because children, who are beginning readers, want more of the books they like. Captain Underpants flew off the shelves. The Arthur series by Marc Brown is another first easy-reader children chose. Author Larry Dane Brimner lists his basic distinctions concerning books for the beginning reader as: 1) Easy-reading picture book: 32 pages with easy-reader vocabulary and sentence structure. 2) Easy or early reader: 48-64 pages. 3) Early chapter book: 48-64 pages. The Ready-to-Read books by Simon & Schuster are a good example for writers of the gradations between its program levels. I hope the above information has clarified the definition of an easy-reader book.
Until next time, please buy a book for a new reader; it’s so important to begin one’s library at a young age. Besides, you just might be the reason that child learns to love reading and, maybe, even be the influence, which begins his or her profession as a writer. The holiday season is coming. Take some children to a book store and let them choose their own book. Have a fun week. Linda

Greetings;
Many people love working with animals, while others prefer tinkering with machines. When a friend found her kitchen radio in pieces and asked her son, “Why on earth did you do that?” He replied, “I wanted to see how it works.” Some educated souls say a person’s life choices are pre-determined in their genes, while others claim the environment plays a major part. Those, who choose to delve into such thoughts, may also have pre-determined reasons for doing so.
Babies and toddlers can pet an animal or not. They can play with a toy or not, but as a rule, (There are always exceptions.) a young child can’t write or read by themselves. The Baby Einstein DVDs hit the market a few years back with some innovative marketer attempting to enhance a child’s abilities, while making lots of money. Some parents insist the program taught their child to read, while others—researchers–insisted the only thing enhanced was the child’s memory. He or she wasn’t actually reading words, but had memorized what was heard and on what page. I find that an amazing accomplishment in itself.
Were you or I born to be a writer or did our environment mold us? When I “became” an author, a proud, elderly aunt insisted it was because one of my aunts, three-times removed, had been an author. Okay, maybe one point for genealogy. When I began writing at the age of seven, the first things I wrote about were animals and farm life because I lived on a farm, so one point for environment. Which is more important? I think each has a part to play, but don’t really know, nor do I care to know. It’s probably why I didn’t enter the research field.
When did your interest in writing take precedence over being with other people or playing outside? Can you pinpoint the age or why? When I realized that the putting together of words in different orders created new thoughts, I was hooked. My dad, who was an outdoors-man, couldn’t understand why his ten-year-old would rather sit in an over-stuffed chair reading the dictionary than playing outside. I didn’t understand, either, but knew that even though I loved petting our animals and playing with Lincoln Logs, I was happiest when immersed in words and their meanings.
Did you read cereal box labels during breakfast, when you were young? While my three rowdy brothers argued back and forth, I’d pensively stare at the word Nabisco wondering if it was sounded out Nab’ -is-co or Na-bis’-co? And street signs with words like “pedestrian” left me sitting in the back seat of our old Buick, again sandwiched between boisterous brothers, pronouncing the word to myself in different ways. Was it ped’-es-strian or pe-des’-trian? Child psychologists might say I was using an emotional “tool” to block out my brothers, and they’d be partly right, but I also noticed unique words, when alone. Even as a child, I dreamed of one day seeing my own book in a bookstore. So, I studied to become a writer, yearning to one day be recognized as an author. Now I’ve achieved that goal, and when asked what I do, I feel comfortable responding, “I’m a writer.” If asked, “Why did you become a writer?” I’d reply, “Because of my love of words.”
Until next week, think about why you became a writer. There’s a story there. Be well. Linda

Greetings;
An agent, who, after reading the first ten pages of my memoir, noted that although well written, it would probably have little commercial value. She considered it more a non-commercial account, which would interest family and friends. Her decision was disappointing, but I am grateful for her following thoughts. She suggested a very good point: When telling a story, one must include the story WITHIN the story. What does that mean? Instead of writing that the POV character has blue eyes or brown hair–never as important as knowing who the person actually is–it’s more important to include what that character, and other lesser characters, are feeling or thinking at a given time. How they react to other people and their thoughts behind such actions, both pro and con, allows the reader to form a truer picture of the character. With that knowledge in mind, I have begun re-writing for the umpteenth time to SHOW my real people. Rejections aren’t a bad thing, when a writer can move beyond initial disappointment to improve what can be improved, because whether a book is dispersed locally or nationally, a good writer should want only his or her best work seen.
In today’s publishing world a writer has varied choices beyond traditional publishing. One can self-publish which can and often does, run into thousands of dollars. Depending on a writer’s desire, however, the expense can be worth the joy of holding one’s own book and then being featured as the principal person at a book signing.
E-book is another publishing venue. I took a computer class to learn about e-books, established in 2008. What a revelation. Microsoft-Word, says Brain Schwartz, the instructor, lends itself well to e-books. He also stated that once an e-book is “in the air” it will always remain there. Your great-grandchildren will even be able to pull it up, and royalties will go on forever.
An e-book can be downloaded to companies like Kindle and Nook for prices ranging from $.99 to $9.99, and the writer keeps all rights. Important note: E-book publishers ask for 10-20 reviews, but neither an ISBN#, nor a spine is needed. Royalty checks are forwarded to the writer, usually on a quarterly basis.
Soft-cover and hardbound books are also published by Print-on-Demand publishers. The service is available from companies like Lightning Source, (Ingram owns it.)Amazon, and Apple, the three “big ones.” Free shipping is available. Brian added it’s a good idea to also publish some Print-on-Demand copies in soft or hard cover to send to family and friends, and for radio, TV stations, and local newspapers to increase marketability.
To sell one’s books on the internet, Brain Schwartz stressed the need for a “clean web page,” warning his class to be careful not to give too much away because less IS better. I would have learned more, but sickness caused me to miss the last two classes. Such is life. My mother once said, “Nobody ever said this life would be easy.” She was right, but it’s no excuse for giving up. Dad also told me, when I was child, “If you can’t learn the easy way, learn the hard way.” They were both right.
Finally, accept that life isn’t always fun or easy, but is what YOU make it. One must persevere through the hard times to achieve success. Until next time, be well. Linda

Greetings;
How does one define a cultural and educational experience? One definition is a writers’ conference. Amazing instructors, re-visiting friends from previous conferences, saying goodbye to dear friends, who are moving away- Jacqueline Loring and family off to New Mexico—but the major event is the learning itself. Three dozen instructors, editors, publishers, and speakers on hand to impart knowledge to fellow writers for a week!
God bless the organizers of this year’s fiftieth anniversary celebration of the Cape Cod Writers Conference. On Sunday evening a cocktail party was held to say hello to the week’s speakers and organizers. Conference participants picked up individual packets explaining each person’s particular week’s schedule. (A huge job of organization. Thank you, Moira.)
From Monday through Friday, writers attend classes all day at the conference center in Hyannis across from the Melody Tent. For those of you, who were unable to attend, plan for next year’s August conference. Over 220 writers in attendance; imagine the amazing discussions and camaraderie shared around the lunch and dinner tables. What fun! In the evenings, from seven to eight, authors, editors, and publishers add to our education on writing with programs like how to “pitch” one’s book to an editor in sixty seconds. Not easy; they’re also called “elevator pitches” meaning if a writer steps into an elevator and finds a publisher there, he or she has about one minute to “sell” a manuscript. Time yourself; can you get across story plot, marketability, your bio, and “Voice” in one minute? It’s a good exercise.
Handouts are numerous and will be read more thoroughly, once we writers recover from the surge of new information shared with us all week. I like the one titled, The Proper Care And feeding Of Agents. Unique title—the hook that keeps one reading further. Important points: When sending a query—that one-sided sheet of paper asking if a particular editor will consider your work—use #20 plain white paper and standard 12 point font. Please have someone check it for errors before you send it. Your SASE—self-addressed, stamped envelope—should be the peel and stick kind with your name and address clearly printed on the front. (On the reverse side, I add in small print at the bottom, title and date sent for my own record-keeping because some are not returned right away.) Always affix stamp; if left in envelope, it can be lost, and the publisher isn’t going to stamp it for you.
When sending out a manuscript or a proposal, DO NOT send them as requiring a signature. Agents and editors are busy people, and don’t appreciate being interrupted. It’s also a waste of money to send then express mail.
On book proposals: Non-fiction and memoir need a book proposal sent before an editor will ask for the whole manuscript. (Fiction doesn’t need one.) It can range from forty to over one-hundred pages because each chapter is summarized, marketing techniques must be explained, audience listed, who will consider buying the book, and the writer’s educational biography explaining why you are the one qualified to write such a book. For examples, check out books written on how to write a book proposal including samples to follow.
Important note: If you’re pen name is other than your real name, or if you list yourself as F.E. Forest, state your real name in the query, and then let the editor know if you’re writing under a pen name or with initials.
Enough knowledge for now. Until next time, keep writing and do consider attending a writers’ conference in the next year; you won’t be sorry. Be well. Linda

Greetings;
Sorry for no recent blogs. I’m just home from Ireland. While there, friends invited me to play golf in Dublin. Getting older isn’t for sissies, but when health is maintained, life is an adventure. I won two bottles of wine in the tournament. (The wine was made in Chile! What a hoot.)
When an editor rejects what a writer has written, there can be and usually is more than one reason for doing so. Some manuscripts come through with so many misspellings and grammar errors that an editor must wonder if the author has even heard of writing guide books like Strunk & White’s THE ELEMENTS OF STYLE.
I recently received a note from a well-educated woman, who had written her first book. She was so excited about finishing the manuscript and was making preparations to send it to a publisher. Seasoned writers will recall that exhilaration when we were SURE our work was done. (God bless the uninformed.) One also remembers the crushing of spirit when the manuscript was returned after months of waiting that had included the time when we sure-to-be-authors were dreaming about our first book signing. (I had excitedly told everyone who asked—and some who hadn’t– my book was with a publisher, as if the simple statement insured publication. Wrong.)
Thank goodness Sally asked if I’d “…take a quick look at it.” As is often noted in how-to books, within the first five pages, it was evident there was much work needed BEFORE it went to a publisher. Her spelling and grammar was great, but it was a memoir and there soon appeared an obstacle so many writers fall into—the over-use of the word, “I.”
It was also apparent the writer had written at separate times for there were redundancies of events and in explaining her feelings. (A huge reason for setting a specific writing time each day to keep the writing fresh in one’s mind.) Because the manuscript had been written at different periods, it read choppy, as if I were reading singular essays all strung together. They were good essays, but not the writer’s purpose. Now the tough part. How does one explain to a new (fragile) writer, what needs to be done to make it better without breaking a spirit?
Years ago, I wrote a young child’s story. I’d grown up on a farm and often wrote about animals, so with great expectations, my precious manuscript (Yikes, the original!) was sent out. Months later, I received a rejection from the editor noting, “I expected more. It began well, but trailed off. In truth, I must admit, I don’t like stories about talking animals.” Crushed in spirit, I almost threw story and rejection away, fuming that if rejections were part of writing, forget it. Instead, I tossed the story into a drawer for a week. When returning to it, it was apparent there hadn’t been enough research. It had gone to the wrong editor. I bought my first edition of BOOK MARKETS FOR CHILDREN’S WRITERS, signed on for writing classes, and joined a writing group. Toughening one’s spirit and accepting rejections took time, but with friendly critiquing from kind writing peers, and keeping up with what editors wanted proved fruitful. Stories took on a professional appearance with concise wording, and thanks to how-to books, articles, and classes, dialogue brought life, plot evolved into a beginning, a middle, and an end, and the word-count and age-appropriate language became important considerations. Such facts needed to be conveyed to my aspiring writer.
When we met again, Sally’s first question was,” Do you think it’s publishable?” I answered, “It’s possible, but there’s much work needed.” It wasn’t what she wanted to hear, but she took it well. It’s difficult for a person, well qualified in one field, to accept that in a new field, elementary classes must be taken. Had she considered joining a writers’ group? No. Had she taken any writing classes? No. She hadn’t known of such groups. I suggested she call her librarian and visit a book store to locate a writing group centering on her specific writing forte. While detailing what was needed, I praised her spelling and grammar use. When shown repeated redundancies, she was amazed noting, “I never caught that.” When we were through, she understood what was needed. Her first reaction was normal with a new writer. “Should I throw it away and start over?” I assured her she needed it as a work sheet because of the good material in it.
The next time I saw her, she grinned saying, “I was so sure my work was done. Thankfully, I sent it to you instead of a publisher. I’ve joined an area writing group. What fun to be able to discuss my thoughts with like-minded people. I’m also looking into a fall class for writers at the college. My writing group friends agree, if we value our manuscript, it should be critiqued by someone, who’s capable. One woman sent hers to a book doctor. I’d never heard of them, but now I know better.”
Until next time, take what knowledge you possess and share it with someone, who wants to know what you know. Then watch and feel the warm satisfaction of helping a person become what they want to be. Be well. Linda

Greetings;
Reasons to self-publish: 1-Traditional publishing can take years, and I can’t wait that long. 2-I can deal with self-publishing costs because it’s important enough for me to hold my own book in my hands. 3-I want to more than a writer; I want to be an author. 4-I want to be the one in bookstores signing a new book. Sound familiar?
I recently attended an all-day book fair in Florida. Fifty-six authors attended and over ninety-percent of the authors had self-published their latest work; most of them were well done. However, noticeable in too many was the absence of a professional critique–glaring mistakes in spelling, adverbs jumping off the page s like fleas, and time sequences jumbled. When authors were asked about using a professional editor to do a final critique, the most frequent response was, “…costs too much.” Prices ranged from four-to-six-hundred dollars with some editors charging two-to-three dollars a page for each error found, and/or twenty-five dollars an hour. Big decision to spend so much money, when the initial cost can run into the thousands, depending on how many copies are ordered.
When asked, “Who critiqued your book?” many authors responded, “… friends and family members read it for me.” (How many loved ones are going to be honest enough to say, “This needs work ,” or learned enough to know how to fix it.) One elderly woman said, “I have my computer’s spelling and grammar check.” When I noted computers can’t tell the difference in spelling words like, “their, there, and they’re or to, two, and too,” her eyebrows lifted and she responded, “I suppose that’s so.” Friends and family will buy her book, and perhaps it’s enough.
There are myriad self- publishers, who will publish you book without a professional critique because you’re already paying them. Extra charges include everything from the critique to searching for screen rights. (One friend was quoted $5,000 for that service.) Finally, an important question should be, “What will it take to complete your dream?” When you know that answer, work toward your goal.
Until next time, never give up on your dream. Be well. Linda

Greetings;
In order for a story to come alive, the author’s presence in the form of dialogue is necessary. Without a strong voice, imagination isn’t stirred within a reader and attention is soon lost in boredom. Our goal as writers is to immerse our young readers into a story without them realizing an adult is behind the words. They must believe the POV (point-of-view) character is the one creating those thoughts and words.
How is such a feat accomplished? First, decide what age group you want to target. Then take time to sit back and remember what was happening in your life at that age, (A good writer only writes about what he or she knows or has thoroughly researched. Otherwise, the story falls into a “telling” mode, and that is boring to children.) How did you, the child, feel about life at a particular age? What is experienced at five is vastly different from experiencing a similar situation at ten.
Follow your memory. Your unique voice is easy to acquire because it’s already within you. What can be difficult is pulling it out and trusting yourself enough to use it. What you’re resurrecting is real because you experienced it. Set a scene and insert your memory-emotions into words being spoken by the POV character, and also by minor characters. (It’s a great catharsis to move sad memories out into the open, to be reasoned with as an adult. Psychologists use the method to help heal old, emotional wounds. Be courageous. Use your experiences.) The more a writer practices, the better the results, for when one memory surfaces it often sets another one free. Along with good memories, the process is apt to resurrect negative emotions, but it’s a good thing for there is much stress experienced in growing up, no matter what the time period, and those thoughts and emotions are what you need to capture and hold the readers’ attention.
Most important is the vocabulary used. In order to write effectively for today’s young readers, one must spend time around them and simply listen to what is being said, their current vocabulary, and the body mechanics used while speaking and interacting with their peers. If there are no children in your life at present, go looking for them. The mall is a great place to listen to teens. (They openly talk about their lives as if in a private room.) Wherever you go, take a small, unobtrusive notebook and pen to record what is being said, the topics discussed, and the reasoning and emotions displayed when speaking. Volunteering at a library or school for a few hours a week is a great avenue for listening and learning.
Finally, when your story is written, ask yourself those over-all questions, which must be considered if a story is to be successful. Would the content have aroused my interest enough to want to read it at that age? Is there conflict between the characters, which is resolved? Does the POV character emotionally mature as the story progresses from selfishness (The “Id” or initial stage of development.) into a more sharing person? If there is a moral point, was it interwoven within the plot without being preachy? Lots to consider, but when an editor accepts your work, the joy is worth the work.
Until next time, have a fun week, listen to a child, and be well. Linda

Greetings;
I’ve spent time this week critiquing the work of five promising writers, who want to write for children, and am delighted to see so much creativity. As with most blossoming writers, a common error continues to be, “When do I begin a new paragraph?”
Three basic rules for beginning a new paragraph include: 1-Each person’s dialogue deserves its own paragraph. 2-When a scene changes. 3-When there is a time period change. When those rules are followed, it is much easier for the reader to read the text, an important aspect of a successful writer’s job. Note the scene below between a mom and her twelve-year-old daughter.
“We’re late. I’m leaving!”
“Okay, okay, I’m coming.”
“As Mom drives full-speed to the dentist, Molly buries her nose in a book. (New scene.)
“Yesterday, (Time change.) Molly and her mom had argued about curfew.
Note: Dialogue SHOWS Mom is upset and Molly has no intention of speaking to her.
Rule: “he said, she said” not needed; only two people are speaking.
Another common error: When to capitalize a pronoun? If using mom, dad, sister, or brother, etc. as a formal title during conversations, the pronoun is capitalized. If those pronouns are preceded by adjectives like “my” “her” “their” (see above conversation.) the pronoun carries no capital.
Note: A good writer always writes with his or her reader’s age in mind. Writing for a 3-5 age group is worlds away from writing for the 9-12 group, and those authors, who normally write for adults, often don’t grasp that concept. The level of reasoning and vocabulary use are much different when conversing with a five-year-old and a twelve-year-old child.
Until next week, enjoy our spring weather and be well. Linda

Greetings;
A happy new year for a writer stems from the successful completion of a manuscript, publishing something new, or working on the marketing of one’s recently published book. Is there an unfinished manuscript calling to you, pleading for not only a beginning and a middle, but also a concise ending where all facets of the story blend? If not, begin now, if only in your mind, to construct a new beginning to something.
Even when there are pressing issues within one’s life, which must be considered a priority, there are myriad pauses, whether it’s waiting in a car at a red light, standing in a grocery line, or walking a baby, when one’s mind is free to create something. Standing in a shower, relaxing in a tub, or folding clothes also provide opportunities to create a new scene, a new story—a new something.
Every person’s life is unique in its responsibilities or obstacles, so do what is feasible for your lifestyle. Work on moving that something, today, from the back burner of your creative stove to the front remembering it’s up to you how much heat you can generate right now. Keep in mind, however, food-for-thought, whether placed on high, medium, or low can produce a masterful product if stirred often enough. It’s a good time for new beginnings. Have a Happy New Year.
Be well. Linda

Greetings; Last week, I visited a third grade class of twenty-five students for an hour. What fun. During a question and answer period about the how and why of creative writing, we discussed when and where they might find at least fifteen minutes a day to write about something they have actually experienced or seen. When asked, “When do you write,” I related, “…between the hours of four and eight in the morning.” Shocked expressions all around. The next question, “Why do you stop at eight?” prompted, “Because it’s when real life begins for me.”
Real life doesn’t stop because a writer yearns to write, but people and their needs must rest at some point; the noise of telephones and televisions ceases, i-pods and the like go into rest mode, and children do finally sleep. Such peace. When my children were small, I had to plan ahead for those precious moments to connect my thoughts to paper. During their naps, while they worked on homework, or when they were away at school became valuable writing moments as I hastily scribbled thoughts to work on when there would be more than fifteen minute intervals, later, to concentrate. My first children’s book wasn’t published until I was fifty, but it WAS published. Don’t give up hope; there will be time for you if you persevere. Stress is a sad by-product of wanting and/or needing to do something more than working one’s way through life, but each person must decide what is more important—the written word or a live person. Every person actively involved in the rigors of outside work to pay bills, raising decent children and/or caring for ill or elderly parents has experienced frustrating feelings of wishing he or she were somewhere quiet and alone. As for my third grade students, stresses include school work, minding younger siblings, putting up with an older sibling’s verbal abuse, and having no quiet place to write. Grown-ups too often don’t understand that even though children are small, it doesn’t mean they have no cause for stress. (Years ago, when I worked at Boston Floating Hospital, a ten-year-old boy was admitted with bleeding ulcers. After evaluation, stress was considered the prime factor in his disease.) A valid question then arises, “Will I cause undue stress to loved ones if I separate myself to write?” In order for the answer to be, “No,” one must prepare ahead for such moments. I decided to write at night, when life’s noises and responsibilities for loved ones are “on-hold.” Works for me. What can work for you? Decide, when is the best time for your responsibilities to be placed on-hold? Out of ninety-six, fifteen minute periods in a day, (or more with good planning.) one can be yours, but it’s up to you to set the plan in motion. Make a resolution for the New Year to include a writing pattern in your life for you. Plan ahead and make it happen.
Until next time, strive to feel fulfilled. If not, stress will surely make you sick. Be well. Linda

Greetings;
A high school student, whom my daughter teaches, was telling her about a recent happening, and in the telling of her story she repeatedly included the F— word. (I’m in the age span, where to say or write such a word was to intellectually lower oneself. I must admit, I’m still there concerning that particular word.) Then the student spelled out “ass,” as if IT were the word, one shouldn’t say. Go figure. We, who write for young people, should be aware of current speech usage, not so much to add them to our writing, as to understand which words are perceived to be okay in today’s culture.
In 1960, the first edition of A DICTIONARY OF AMERICAN SLANG was compiled by Henry Wentworth and Stuart Berg Flexner. (I think there’s a book out there about everything.) It contained current slang definitions and origins of that era and before, like “holy cow”, “guzzle”, and get this one, “abortion:–any plan or act that is so unusual as to be a travesty.” It’s no longer unusual, but whether or not it’s a travesty is up for discussion. One of the final words, “zot”, is a grade or a score of zero.” (good word for Scrabble.) The American language has come a long way from there.
I forget, sometimes, about the different levels of vocabulary until I hear current trends. We have standard usage, (speaks for itself,) colloquialisms—plain talk which “hits the nail on the head,” and dialects—speech specific to a geological location, eg. “Y’all come back now.” But, there are also words and expressions peculiar to special segments of the population, and those are termed, cant, jargon, and argot. Cant is the conversation generally understood by a particular profession, trade, age or interest group, while “jargon” is the technical (shop talk.) and even secret vocabulary of specific groups. “Argot” is a combination of cant and jargon, used by the underworld. (good question for Jeopardy.)
Eventually, some slang passes into standard speech like“jazz,” and the f-word appears headed there. Think of all the new slang, which has evolved with the advent of the automobile, television, space travel, and especially, the internet. Language never stops changing, but how we use it when writing and talking still speaks volumes about our nature, where we come from, and how intelligent we have become. So, what’s the moral here? I don’t think there is one. I believe writers simply must remain aware of language trends, so our writing doesn’t become dated because of the words we use.
Until next time, have a “killer day”, and take good care of your health in this busy holiday season. You deserve to be well and happy because I think, you’re the bee’s knees. Linda

Greetings;
If asked to write about either the best part of yesterday’s Thanksgiving Day or the worst part, what comes to mind? Was the experience one of seconds, minutes, or the whole day, and did it involve other people or just you and your feelings? Every experience, if set into words, tells us something about ourselves. How one reacts to joy or pain, fun or anger, or thoughts about loved ones, who were here last year and are no longer living, says much about the person. Life overflows with emotion, but some people never get beyond their own mind set (the ID stage of development.) to understand what is really happening around them. So much is missed, but in such situations, a writer is blessed with an added tool of remembrance. The gift of being able to set emotions into words is immense, because in the writing of a situation, inner emotions are “let out.” Writing about a joyful experience gives one the chance to relive it over the years and smile again. Writing about sad situations, presents a tangible reminder of being a survivor of sadness. Memory may fade, but the written word remains intact. How lucky to be a writer. Be thankful and be well. Linda