Third Thursday Preview

Time for our second meeting this month come. We'll be reviewing novel slices from Zack and Billy, and a resubmitted poem from Montana. This reflects a recent change in GFWG policy in which we'll let authors resubmit if substantial changes have been made. Finally we'll get to see how writers reshape pieces, how they change, what advice they choose to use. Rounding out the critiques are previously submitted memoirs selections from Sandy and Joe.

I'm scheduled to do a presentation of the 5 Most Common Editing Mistakes the Group Makes. For those who don't make the group, that will be posted here shortly after the meeting.

We may also see a new member or two who contacted the group and the possible return of David Fiske, a member of the group some seven years ago who now has the chance to come back.

Hopefully our production remains strong after a small slowdown at the last meeting. I'm sure we can do it. The weather's only been nice for a few days!

Details: Thursday, March 18, 7-9pm, in the Holden Room at Crandall Library. See you there!

"Always start your story with action"

"Always start your story with action" is oft-given advice. Jane Friedman at Writers Digest blog thinks you should tread carefully in this regard.

Good Writing Means Not Holding Back

Writer's Digest blog has a good piece entitled "Transforming fear and breaking through the writing wall." It explains how good writing is less about "bells and whistles" and more about taking risks and leaving your emotional comfort zone. It can be read by clicking here.

A Tidbit on Ebooks

Not sure why this subject continues to fascinate me, but I think it goes beyond money. We're watching a new economy unfold, that's true, a new way in which people commit their resources, but... it's ebooks are representative of a new way of viewing that economy. Walmart reductionism in microcosm, a change in technology taking over another art form. But with all that said, here's something I came across in passing:

1. Ebooks represent 3-4% of a publisher's total sales.
2. Authors get 25% of the sale price. Publishers, to their credit, give them 10-15% more of the profit than with traditional books because the retail price is so much lower. Even so, the Bottom Line: Authors make 70 cents less per book, after the increase. (All those accusing authors of being greedy should take note.)
3. Despite lower prices and increased author's percentages, Publishers make roughly $1.00 more per book. However, that is only because advertising, marketing, tech support, etc., are paid for by the hard copies. If that money were taken from ebook sales, publishers would make far less.

Another interesting fact -- a Princeton University study found that students who used e-readers retain less information than those using traditional textbooks. Guess you can't highlight a Kindle. No idea how that information will affect the textbook trade, which has been slow to embrace the new technology anyway.

Of course, ebooks are harder to share, swap, or borrow, meaning additional purchases could put more money in an author's pocket. For now, though, it's a losing proposition for authors. So, welcome, writers, to the world of musicians and filmmakers, who have suffered for years under advances in file swapping, illegal downloads, and electronic transfers. Frank Zappa said "Art is making something out of nothing and selling it." Or maybe making something for nothing. Of course, I think there's a good chance this won't be as rough a road for authors as for other artists, but even smooth roads go uphill sometimes.

First Thursday Review

A somewhat small gather this meeting, as Sandy and Joe had previous engagements, and illness claimed a few others, but neither rain, nor snow, nor 2/3 membership slows us down... We covered a great deal of business early on, though we skipped the individual writer updates. Kay gave a brief overview of Author's Voice (see two previous posts -- more to come), and we discussed the effectiveness of the critique changes so far and whether an author can submit a piece after its been critiqued (yes). Among Kay's proposals are brief presentations from members of various writer-related topics and the business itself.

We reviewed the submissions from Zack, Billy, Alison, Montana, and Michelle, and paid a surprising amount of attention to formatting and appearance. Two novels, two poems, and one personal essay. Still good variety.

Alison also picked up homework. She will be attending the Jon Katz workshop at LARAC and will be reporting back to us when she returns.

Next month, we'll be reviewing pieces from Zack (novel), Billy (novel), and Montana (poem). Throw in previous subs from Joe and Sandy and we'll have enough to fill up the hour. Still, for the first meeting since we switched from monthly to biweekly, production has dropped. We'll have to keep an eye on this.

See some of you in two weeks!

First Thursday Preview

It's First Thursday time, which means, unlike Third Thursday time, there will be parking in Glens Falls. Which is good. We have a lot to get to at this meeting.

We'll be reviewing the next novel selections from Zack and Billy, a brief bio from Alison, and poems from Montana and Michelle. And just a reminder -- the pieces from Sandy and Joe are not due until the 18th.

The GFWG will be going through another format moderation, this time no introductions and no out loud reading, save poetry. I'm happy about the first, not sure about the second. Briefer than usual introductions will be saved for meetings with new members. Instead of the 12-year-old go-round, we'll be discussing the business of writing. Not our writing, but the actual business side, from tips to trends, motivation to markets. Kay has brought up discussing my recent posts on Author's Voice and seeking volunteers to present other writing topics. There may also be a review of a conference critique I received from Cartwheel/Scholastic editor Rotem Moscovich (thank you Rotem!). Given that we only have five critiques this biweek, we should have time to cover everything.

Oh, and we had someone else express interest in the group, as well, a children's book author. Don't know if that mean pic books, chapter, YA, etc., but it would be nice to have her on board. I could use the company!

See you all there!

Details: 7-8:55pm, Holden Room, Crandall Library.

Author's Voice, Part II

There are many techniques to developing voice. The first two are essentially different sides of the same coin, 1A and 1B: Syntax and Diction.

Syntax runs the gamut of language, from the vernacular to the formal, Twain to Austen. It's rare that any author uses highly stylized, formal English. Even in period pieces, where antiquated terms and phrases might be used, a certain informality in tone that makes the piece far more readable. Complete slang, or perhaps more accurately, a complete copy of everyday speech, also makes a piece more readable. After all, a story needs some sense of direction and flow -- life and language meander a bit too much to be copied to the printed page.

The question facing the author, of course, is what end of the spectrum to approach?

Certain authors use essentially the style time and again. It's their style; it's representative of their comfort zone. They may experiment a bit early in their writing efforts, but once locked in, stay locked in. They generally expect to write the same book over and over again. Sue Grafton can't make X look much different than A because that's the formula and voice she's established, and to stray will leave her readers disappointed. Even experimental authors may be trapped by a certain syntax their readers expect.

Generally, however, the story -- and wants the author wants to say with it -- is best for determining syntax, and that's true even within genres. A traditional whodunit murder mystery cannot contain the gritty street language of the hard-boiled detective novel. Let the story determine syntax.

Diction, or 1B, involves word choice. How fancy or simple should the words be? How big, small, descriptive, plain, and so on? Diction flows from syntax. Carefully read and re-read. Does diction -- and beyond that, punctuation -- fit the syntax. The story? Its purpose. Diction, with its complement in punctuation, will give syntax shape after syntax gives it life. It will shape the narrator's voice, dialogue, character impressions, pacing, and so much more. Keep these two tied together. Diction should nestle inside syntax or they ball fall apart.