Practical advice

Happy Fountain Pen Day

by
A notebook with ruled pages, cursive, and a fountain pen
Photo by Aaron Burden on Unsplash.com

Inspired by National Fountain Pen day, we’ve created a new forum at the Absolute Write Water Cooler. Analog Tools is about those non-digital, non-computer tools we writers love to use, including fountain pen, other pens, pencils, paper, and typewriters. 

Today is the sixth annual Fountain Pen Day, celebrated every year on the first Friday of November. It’s a great time to try writing with a fountain pen.

Five years ago I returned to writing by hand as a way to take breaks from the keyboard (and pain from carpal tunnel). I made a (to me) startling discovery. Fountain pens are hands-down easier to write with than a ballpoint pen, or even a gel pen (my previous pen of choice). This isn’t just me; this has to do with the basic design of the ballpoint or roller point pen. Ball point pen ink is deliberately thickened to make it less likely to leak. Moreover, the ball that gives the ball point pen its name must be physically propelled with some force across the paper in order to coat the ball with ink and transfer it to paper. The extra force required to propel the pen across paper, and coat it with ink, results in increased tension in a writer’s hand and arm.

Writing with a fountain pen did take some getting used to. But writing has been much less stressful on my hands and arms. I’m not fighting the ink. I’m also not gripping the pen tightly in an effort to physically push the pen across paper while bearing down in order to coat the “ball” with ink, and write. Fountain pen ink wants to spread. If you’re even a little bit curious, I encourage you to try a personal experiment in terms of drafting your writing with a fountain pen, or using a fountain pen for personal correspondence or journals and similar kinds of writing. NaNoWriMo offers a great opportunity to see if writing by hand helps your creativity. It does for some. Switching from my keyboard to writing by hand has helped me when staring at my laptop screen is frustrating rather than fruitful.

Your First Pen

You don’t have to spend much for a perfectly good pen. If you’re brand-new to fountain pens and aren’t sure they’re for you, consider trying a “throwaway” Pilot Varsity (it’s available in several colors) or the refillable Platinum Preppy; both pens are under $5.00. The Varsity is not meant to be re-filled; the Platinum Preppy is, and uses cartridges and can be refilled indefinitely (the Preppy is available in several colors). This is an affordable-no-real investment way to try writing with a fountain pen, and both pens are more than adequate for most writing. Consider using a fountain pen during NaNoWriMo, as a way to jumpstart your creativity.

If you are sure you want to write with a fountain pen, consider one of the highly respected quality “starter pens” under $30.00. These include the Pilot Metropolitan (around $15.00, with several colors of pen and Pilot ink available), the Lamy Vista (around $25.00), and the Lamy Safari (around $30.00), among others. I’ve used and really love all three of these. I’d suggest starting with either a Fine or Medium nib (the nib is the pointy part of the pen that contacts the paper).

Ink

When you first start, you’ll likely want to use pre-filled ink cartridges. Cartridges are sold in packs, they’re portable, and they’re easy to use. You will need to buy cartridges made for your pen; it’s not one-size-fits-all. Ink also comes in bottles, and it’s more economical to use bottled ink instead of buying cartridges (or refills). You need to have a fountain pen converter in order to use bottled ink, and like cartridges, converters are designed for a specific pen. Some pens will come with a converter, others require you to buy one for $5.00 bucks or so.

There are hundreds, maybe thousands, of ink colors. There are also several kinds of ink; inks that are water soluble (not for use on checks or anything that you want to keep), water resistant inks, archive quality inks, inks meant to feather less and thus perform better on poorer quality paper, and specialty inks that change color, glitter, or are invisible. Most people start with a medium or dark blue, a blue-black, or a black ink. But color can be fun, as well as useful, for for editing or for distinguishing one version from another (draft in blue, edit in red, new draft in purple, etc.).

Paper

You want paper that encourages the pen to glide smoothly, with little application of force, but which will display the ink without blots, or clogging the nib, or feathering.

There are numerous sites suggesting the Best Possible Paper for writing with a fountain pen. People often have very decided opinions about paper. The general rule of thumb is that the heaver weight the paper is, from about 70gsm up to say 100 gsm, the better it is for using a fountain pen. You’ll see people debating the virtues of Moleskine vs Leuchtturm 1917, or Rhodia vs Claire Fontaine, etc., but honestly, preferences are personal. Look for paper that is at least 70gsm; less will bleed or feather or otherwise fail.

If you’re writing rough drafts or person notes that aren’t to be kept indefinitely, HP 32lb Premium Paper (you can print your own lines if you want), I’ve found Mead Composition books made in Vietnam, or Mead Five Star notebooks with a Fine or Medium nib fountain pen are usable (if not viable for the long term) with most pens and inks, especially if I only use one side of a page. Amped Docket Gold pads or  Red ’n Black Notebooks usually work well.

The Nib

The nib is the metal part of the pen that contacts the paper when you write. People have pronounced preferences about nibs, but for your first pen, you’ll probably want a fountain pen with a Fine or Medium nib.1)Fountain pens made in Asia tend to have finer nibs because many Asian writing systems work better with a Fine nib; a Platinum Preppy or Pilot M is close to a European F.

TIPS:

  • Use decent paper
  • Don’t grip the pen too hard or use force to propel it across a page, or bear down on the nib. Let the ink do the work for you; gently guide the pen.
  • Practice writing or even scribbling first; try your signature, try a couple of test sentences.
  • Most problems with fountain pens can be resolved by cleaning them; if it’s a refillable pen, clean or rinse it every time you refill it, if possible.

References   [ + ]

1. ↑ Fountain pens made in Asia tend to have finer nibs because many Asian writing systems work better with a Fine nib; a Platinum Preppy or Pilot M is close to a European F.

Interview: Marko Kloos

by

Marko Kloos is the author of the Frontlines series of military Science Fiction and a member of George R.R. Martin’s Wild Cards consortium.

Born and raised in Germany, Marko now lives in New Hampshire with his wife and two children. Their compound, Castle Frostbite, is patrolled by a roving pack of dachshunds. Marko Kloos has a website. His latest novel Fields of Fire (Frontlines Book 5) is due February 28, 2017 from 47North. 

Why did you self-publish initially?

I used to be dead set against self-publishing, but when I finally went that route with Terms of Enlistment, it was sort of a measure of last resort. I had pinged every agent and publisher on my list, and run out of places to send the manuscript. At that point, I was tired of the submission/query treadmill and figured that if I don’t put it out there myself, nobody would ever read it. So I published the novel through Amazon’s Kindle Direct Publishing. I figured I’d see how it would go, and move on to other projects in the meantime.

Did you handle the book production yourself when you self-pubbed?

Yes, but it wasn’t very difficult. I bought a commercial license for cover art I wanted to use and uploaded the ebook to KDP and iBooks. My writing software, Scrivener, can compile ebook formats, but in KDP’s case, it wasn’t even needed because you can upload the book as a Word document and let the Amazon software handle the conversion. (I did compile the book in all current ebook formats to have on hand for direct sales.)

Did you plan to involve the Lankies (aliens) at the start or was that something that occurred to you later?

I didn’t have the idea for the Lankies until I was in the middle of writing Terms of Enlistment. But once I knew I needed aliens to fuel a conflict for more than one novel, I wanted to subvert the “bug war” trope and make humanity the bugs, so I knew I would need unusual and formidable aliens, vastly bigger and stronger than individual humans. Everything else just came out of that requirement.

How do you track the back story data (i.e. weaponry and station names, etc.)?

I keep a whiteboard in my office with data for the current novel in progress. I also have notebooks for all the ancillary data that comes with writing novels in a military SF environment: ship classes, hull numbers, lists of names for key unit members, and so on. And I still contradict myself and list the same ship in different books with two different hull numbers. (It has only happened once, and the copyeditor caught it, but it was definitely a “d’oh!” moment. Keep detailed lists and refer to them often, kids.)

Did you have a playlist for Fields of Fire?

I did! I have a playlist for every book. For Fields Of Fire, it was a lot of video game soundtracks, particularly the Halo series, and the soundtrack for Mad Max: Fury Road. (Terms of Enlistment and Lines of Departure were written to the Battlestar Galactica soundtracks from the first few seasons. Angles of Attack was written to the M83 soundtrack for Oblivion and other assorted electronica.)

I know you’re going to be writing for George R. R. Martin’s Wild Card consortium. Can you tell us a little about that?

George asked me to join the consortium in late 2015, and I was both elated and terrified at the same time to be invited into such an experienced and talented group of writers. My apprentice piece, if you will, was a novella called Stripes, which will be part of a Wild Cards novel called Low Chicago, out next year from Tor Books. Since then, I’ve played with more ideas for characters and storylines, and I’ll be contributing more stories to the Wild Cards universe in future books. Wild Cards is out of my usual wheelhouse, but it’s a really fun world to play in, and having to work with the constraints of someone else’s sandbox is a great creative challenge.

What’s your writing environment like (your work area and tools of choice)?

I have an office in the back of the house, between my kids’ bedrooms. It has just enough space for a chair, a big desk that can be turned into a standing desk with a button push, a bookshelf, and some whiteboards, brag trophies, and movie props on the walls. (I rented an office in town for a year, but it didn’t work out as well as I thought it would, so I moved back into my home office last year. It’s much easier to get up and running in the morning if you don’t have a 40-minute commute.)

I wrote the first two Frontlines books in longhand with a fountain pen, but the current publication schedule means that I only write longhand occasionally now—a chapter here and there, just to mix things up. But most of the time, I write directly into Scrivener on the laptop. For the longest time, I used a Macbook Pro, but the latest iteration had me underwhelmed. The current laptop is a Surface Book, which has a detachable screen that serves as a tablet in a pinch. For software, however, it’s always Scrivener, whether I write on the PC or the Mac. It’s an indispensable tool for me when it comes to structuring a novel and keeping track of the flow and beats of the story.

I know you used to have full-time munchkin wrangling duties; any suggestions about time management for writing parents?

Writing while parenting full-time is rough. To be able to be productive in that sort of setting, you need to let go of ritual and forget about writing when you’re “in a creative mood.” Kiddo goes down for a nap, you have an hour or two to crank out as many words as you can, even if you feel like taking a nap yourself. No special setups or circumstances allowed—it takes too long to get your special writing tea and fill your special writing pen with your special writing ink. I’ve written hundreds of pages on playground benches while the kid was running around and playing on the swings. Get a notebook and a pen, something that doesn’t need a charged battery or a power cord, something you can stuff into the diaper bag on the way out of the house. Writing while parenting will teach you how to make the absolute most of your limited time, and you will learn to be able to write anywhere with any tool at hand.

Why dachshunds?

Because they are a lot of dog in a low-slung package. Smart, stubborn, tenacious, ferocious little killers, admirable in their single-minded pursuit of small prey and kitchen scraps. Of all the dog breeds I’ve ever owned, dachshunds have the most distinctive individual personalities.

What have you read lately (in the last year or so) that you really liked?

The two novels that stick out in my head immediately are N.K. Jemisin’s The Broken Earth books—The Obelisk Gate. It’s a fiercely inventive fantasy/SF mix with terrific world building and believable character and social dynamics.

I’ve also been on a bit of a YA binge. I read Lauren Oliver’s Before I Fall and then tackled her entire backlist. And Paul Kingsnorth’s The Wake blew my socks off—it’s an apocalyptic narrative taking place during the Norman invasion of England in 1066, and it’s written in a sort of “shadow tongue” that mimics Old English. The first few pages will seem bewildering, but then you get into it, and it’s a mind-bender. (The audiobook is considerably easier to get into, because the narrator already parses the spelling for you.)

Do you have any particular favorite books about writing?

My favorite books about writing aren’t so much about technique and nuts-and-bolts stuff as they are about general mindset. Stephen King’s On Writing is great, of course. But the best “How To” writing books I’ve read are Lawrence Block’s Telling Lies for Fun and Profit, and Spider, Spin Me A Web.

Is there a question that you’ve never been asked that you’d really like to answer?

“Which dessert is best?”, to which I would have to answer, “Crème Brulee. Always Crème Brulee. It’s the perfect union of texture and flavor.” (Although a good tiramisu is a close second.)

What’s your favorite charity?

I have a lot of fans who are in the military or not too long out of it, so the charity I’ve picked for my own fundraising efforts in the past is called the Semper Fi Fund. It assists wounded, critically ill, and injured service members and their families. They do much-needed work, their administrative expenses are low, and their accountability and transparency ratings are very high.

As of this posting, Marko Kloos first four Frontlines books are on sale for Kindle in anticipation of the Fields of Fire release. I read the entire series over the course of a week, and enjoyed them for their characterization as much as for the story. 

Handwriting: Is it Part of Your Process?

by

I still like writing by hand. Normally I do a first draft using pen and paper, and then do my first edit when I type it onto my computer. For some reason, I much prefer writing with a black pen than a blue one, and in a perfect world I’d always use “narrow feint” writing paper. — J. K. Rowling 

Image credit: Petar Milošević

I prefer to take notes by hand because I’m actively listening when I write, in ways that I’m not when I’m typing. Sometimes I choose to handwrite because being able to write with paper and a pen or pencil and a convenient light source makes it possible to write in places where even a Chromebook or iPad are cumbersome.

The primary reason I choose to write by hand that my brain works differently with pen (or pencil) and paper. I’m less distracted by aesthetics (typography, for instance, is not an issue). I often turn to pen and paper (or pencil) when I get stuck, particularly on when I’m writing books, or lengthy research articles. Often, I’ll draft in long hand, then edit in longhand, then keyboard it and edit again before I submit.

Recently, I’ve noticed a lot of other writers also choosing to write in longhand, or print, even when they could use a keyboard. I was surprised by how many of my favorite novelists are prefer pens and paper for drafts.

When you’re writing with pen and paper, you’re working in the same direct mode you use to tell a story to children, and for a first draft, that’s maybe not a bad thing. — Joe Hill  

J. K. Rowling deliberately chooses to write by hand, though as she notes, she prefers narrow-ruled paper and black pens. Neal Stephenson, in a now defunct interview for Barnes and Noble (quoted here) notes that he started writing his novels with a fountain pen with Quicksilver, the first volume of his Baroque Cycle. Stephenson said

What I was noticing was that I’ve become such a fast typist that I could slam out great big blocks of text quite rapidly — anything that came into my head, it would just dribble out of my fingers onto the screen. That includes bad stuff as well as good stuff. Once it’s out there on the screen, of course, you can edit it and you can fix the bad stuff, but it’s far better not to ever write down the bad stuff at all. With the fountain pen, which is a slower output device, the material stays in the buffer of your head for a longer period. So during that amount of time, you can fix it, you can make it better, you can even decide not to write it down at all — you can think better of writing it.

I think that’s true. I noticed that the amount of time it takes for me to formulate a thought into a sentence, because it’s slower to read the paper than the screen, often means that I realize that it’s not something I want to write, that the idea or sentence isn’t ready for committing to paper. ItÆ’s less a matter of the internal editor interfering, than one of my “inner ear” noticing that those aren’t quite the words I want, In the time it takes to hesitate before committing the words to paper, my brain supplies other, better words. In other words, there’s less to edit or delete. Stephenson comments on that too, observing that the process of editing is often easier with pen and paper:

Editing, strangely enough, is quicker and easier with a pen. Because drawing a line through a word is just faster than any sequence of grabbing your mouse and highlighting the word and hitting the eject key. That act of editing leaves behind a visible trace of the word that you decided to change, and sometimes that’s useful; you may want to go back and change your mind about that. Finally, I find that writing with a pen is a physically healthier activity. There’s actually more range of movement involved with it than there is sitting with your fingers on the keys for hours at a time. So I just physically felt better when I was using the pen rather than typing.

Jonathan Carroll, famous for his contemporary fantasy and slipstream novels, notes that:

Handwriting anything makes me think hard about what I really want to keep or throw out. Because the process is generally slow, I’m thinking all the time while my hand moves across the page. While using any kind of keyboard device, my fingers are whizzing much faster than my mind can think and that is a dangerous thing if you want to write it right.

I find that the experiences of novelists in terms of their writing process, is true of my much less interesting process as well, when I’m writing scholarly or academic pieces or even when I’m writing pieces that I know are destined for Web publications; I think differently, and write differently with a pen in hand. As Joe Hill says:

Finally, in a notebook, you’re stuck with yourself. You’re cut off from your games, the internet, Twitter, Facebook. The only thing you have to entertain you is your own imagination.

What about you? Do you write by hand? Have you ever tried switching to pen-and-paper (or a pencil!) when you’re stuck? Is handwriting part of your process? If not, consider trying it.

From The Dishwasher Froths Success

by

By C.S. Paquin

Success as a freelance writer has come from the dishwasher— no, not via a lucrative commercial-copy gig bubbling with the attributes of a kitchen appliance, but from the old dishwasher installed in our new apartment.

The state of my kitchen defines my professional success and pre-dishwasher, chaos reigned! Last night’s dishes piled high don’t auger well for a productive morning, but once those counter tops sparkle, well, I’m free to tackle whatever chore is next. The only problem is, I hate dishpan hands, and in avoidance, it’s easy for me to waste an entire day—in fact, the task only takes on a sense of urgency when it’s time for dinner. This disorganization sounds the death knell for my writing career—haphazard working hours, staying up too late to make deadline after hours of procrastination, and working fitfully amidst the laundry, vacuuming, and errands—all impatiently demanding attention once I’m done in the kitchen.

But now, the delight of dealing with dirty dishes without delay, has sparked a catalyst. Each morning, after my daughter goes to school and the baby to the sitter, I tidy the apartment and throw in a load of laundry while the dishwasher sings its sloshy song. By 9 a.m., cappuccino time, I’m opening the mail, and with the rest of the place clutter-free, it’s prudent to keep my desk as pristine and file my papers and pay the bills. I’ve discovered, too, that if I balance the checkbook every few days, then it takes just a few minutes, and I even remember what I bought.

By 9.30 a.m., in disbelief at how early it still is, I switch on my computer and check for looming deadlines. I have regular editing jobs, a small column for a regional magazine, as well as sending out queries to new markets. The difference is, I’m really writing the queries and mailing them. Pre-dishwasher, I’d sit and dream about it, because with a brimming sink, I couldn’t possibly start the query process. So, with my attention not distracted by the chores, I set up and conduct interviews, write and edit what needs to be done, and send in work not only hours, but days before deadline. Ticking off the tasks on my list is addictive and the more I check off, the more inspired I am to find and complete new projects.

Within a few weeks, my flailing career takes new shape—more gigs appear, and checks trickle in. “Aha,” I think to myself, as I add regular banking to the task list: Self-discipline does pay!

This revelation chases away the nagging suspicion that haunted me—that I’m more in love with the idea of writing, than actually writing. These days, as I see my reflection in the shiny plates, I say to myself quite proudly: “I am a freelance writer!”

C.S. Paquin is a nationally published writer in a variety of genres—from news writing to humor. She holds a Master of Arts degree in Journalism, and dreams of being a best-selling author. Her first writing love, however, is creative nonfiction and personal essays.

Four Scary Things Writers Must Learn to Embrace!

by
monster illustration

Guest post by Francesca Nicasio

When I first started out, there were some things that I tried to avoid as much as possible because they were uncomfortable scared the crap out of me. It didn’t take long though before I realized that my avoidance was getting me nowhere and if I really wanted to succeed in freelance writing, I had to not only face my fears, I had to embrace them.

Below is a list of those fears. I’ve also included the things that I learned from facing them, and what you can do if you share the same fears or apprehensions.

monsterEdits or Criticism

Getting edits and constructive criticism is a good thing. Those red marks on your article may not look pretty, but they will make you a better writer. They can improve your style and develop your attention to detail. As writers, we are often too close to our creations to see flaws or errors. Having someone scrutinize your work will make it sharper and more compelling.

How to deal with constructive criticism: First of all, don’t take it personally. The person scrutinizing your work is just doing their job. Also remember that having your work edited or criticized doesn’t make you a bad writer. It only means that there’s some room for improvement and growth.

When you get the edited piece back, thank the person and revise your work. If you don’t agree with the way they edited your article, say so. Tell them (in a polite way, of course) why you wrote it the way you did and hear out their response. This opens up constructive discourse between the two of you, and you’ll likely pick up helpful insights in the process.

Rejection

The path to freelance writing success is littered with rejection letters. It’s just part of the territory. As writers we must learn to accept — nay —embrace rejection because each “no” that we get brings us closer to that coveted “yes.”

Rejection can teach you some valuable lessons in persistence and resilience. It also tests just how badly you want success. More importantly, rejection enables you to develop a thicker hide–an attribute that you must possess when putting yourself out there.

How to deal with rejection: There’s no shortcut or sugar-coated way to handle rejection. You just have to dust yourself off, learn from the mistakes that got you rejected (if any), and keep going.

You can also think of it this way: If you get rejected by a prospective client or publication, it doesn’t necessarily mean that there’s something wrong with you. It just means that you and the other party aren’t a good fit for each other. They’re not the right client or they simply aren’t looking for someone like you at the moment. It’s nothing personal and it’s not anything against you, it’s just the way it is.

Haters

Okay, maybe “haters” is too strong of a word. Let’s call them “negative commenters”.

Unpleasant as it may be though, receiving negative comments should be taken as a compliment. Why? Because it means that what you wrote sparked enough emotion to compel people to leave a comment.

Don’t feel bad when you get negative comments, be upset when you don’t get any.

How to deal with negative comments

If you choose to dignify their comments with a response, always be calm and respectful. Recognize that each person is entitled to their own opinions. Additionally, do not respond from a place of defensiveness or emotion. Instead, state the facts and be cool. And be sure to thank the person for taking the time to comment.

PS: This doesn’t apply to trolls.

Outreach

This is for all the shy ones (myself included). Reaching out to other people may be out of your comfort zone, but it’s absolutely necessary. Reaching success is not something that you can do alone, so get out there and network away. Growing your contact list is essential especially when you’re looking to promote your work or collaborate with others.

Reaching out to others is also something that you must do again and again throughout your career because it’s the only way to find new audiences and/or clients.

How to reach out

Do your research on the person that you’re touching base with. To be effective, reach out with their needs in mind, not just yours. For instance, if you’re contacting them to start a joint venture, tell them why a JV would benefit them and their audience. Remember, they’ll be asking the question of what’s in it for them, so be sure to answer it when you first get in touch.

Your Turn

Have you ever avoided any of the things mentioned in this blog post? Share your thoughts in the comments below!

 Francesca Nicasio (formerly Francesca StaAna) is the founder of CredibleCopywriting.net and is currently developing Copywriter2.0, an online course that teaches aspiring freelance writers the ins and outs of the biz.

Download her free eBook, 25 Types of Writing Gigs that Pay Well (and How to Find Them) here.

 

Breaking Out Of Writer’s Block

by

By Apryl Duncan

You stare at the blank page. The white of the page embeds itself in your brain, resulting in your mind going blank.

Breaking out of the block doesn’t have to be a mind-boggling challenge, though. Explore the causes and the cure and you’ll be writing again in no time.

Common Causes

  • Unrealistic GoalsIf you’ve decided that you’re going to write from 8 a.m. to 5 p.m. every single day – no matter what – then you’re probably pushing yourself too hard.Your writing will become dull and drab. The natural flow you once knew will temporarily escape to Writer’s Block Island with the rest of your writing talents.
  • Stress!We all know how stress can affect your mood. But stress can also affect your writing.For instance, say all you wanted to do was come home from work and write until bedtime. Your boss makes you stay late. Your supper was a half-cooked hamburger and cold fries from a local fast food restaurant. Your dog wants to go out. And all you want to do is crawl in bed and forget the entire day.

    As much as we try to carry a stiff upper lip, we’re still human. External factors can affect our mood and ultimately affect our writing. Our focus shifts to all the bad things that happened in our day and writing becomes the last thing we want to do.

  • Neglecting Our WritingSometimes Writer’s Block comes from not writing! Writing every day is essential to keeping those creative juices flowing.You don’t have to make an impossible deal with yourself to write 100 pages of your manuscript in one sitting. Taking as little as 10 minutes a day helps keep you writing and words will flow from your mind much easier.
  • PerfectionismThe perfect paragraph, word after word, is a carefully constructed piece of art. But hanging yourself up on creating that perfect paragraph will win you an all-expense paid trip to Writer’s Block Island.If you run into this problem, give yourself and your writing a cooling off period. After a couple of days, re-visit your work and see where or even if it needs improvement. Your mind will be fresh and clear, giving you a whole new perspective on your own writing.
  • Research-RelatedA lot of writers don’t realize how research can even be a hang-up. Maybe you can’t finish your crime novel because you don’t know how police would handle a certain situation in reality.Sometimes the answer isn’t so obvious and we try to write our way around it. All we really need to do is a little more research.

The Cure!

After you’ve beaten your fists on the keyboard and taken two aspirin for that migraine, try these cures for writer’s block:

    • RevisitRe-read some of your previous works. Maybe it was a journal entry. Perhaps you wrote a poem once. It doesn’t matter if you’re working on a novel. You can still gain insight and even inspiration from something else you’ve written.
    • Change of SceneryHow many times have you heard a song that reminds you of something? Perhaps you heard that song a dozen times a day when you were in college. So that particular song brings back memories. The same goes for scenery in your every day life.If you’re sitting in the same room, day after day, the scenery’s going to get old. That scenery starts to remind you that you’re not writing. That you’re stuck in what seems like a hopeless case of Writer’s Block.

      The solution is simple. Seek out a change of pace. Go for a walk. Take a drive.

    • Rewrite Another’s WorkCheck out a newspaper or magazine article. Now rewrite that story from a new angle. Maybe a young girl was kidnapped. Police are still looking for the suspect and the little girl.Your version of the story might portray the young girl as the daughter of a lawyer. Perhaps one of his clients wasn’t happy with the way his own daughter’s murder trial was handled. So he kidnapped the defending lawyer’s pride and joy.
    • Use Real PicturesFlip through a magazine. Cut out pictures, headlines, even certain blocks of text. Now write a short story based on your clippings.For example, you might cut out a picture of a man riding a bicycle on page 14 of your favorite magazine. On page 22 you cut out a quote that says, “Anyone caught doing this will be prosecuted to the fullest extent of the law.”

      Your story could turn into one man’s crusade. Perhaps this man’s riding his bicycle across country because he’s outraged by automobile pollution levels. His point is to raise people’s awareness about the effects of pollution.

      Meanwhile, police keep hindering his efforts because the man’s riding his bicycle on the freeway, a violation of the law. So you have a man on his bicycle and the police quote, “Anyone caught doing this will be prosecuted to the fullest extent of the law.”

    • DoodleYes! You were scolded in elementary school for doodling on your paper. Now you have full permission.Free your mind while scribbling. No need to think about your character’s next move. No plot structures to consider. Just a sense of connecting your pen to paper.
    • Object FocusTake a look around you. Does something catch your eye? Even something as simple as a stapler. Describe an object in full detail. Start with its size, shape, color.
    • Building BlocksRomance. Mystery. Thrillers. All genres have their own keywords. Build keywords from your own genre.If you’re a romance writer, you could come up with words like love, marriage, betrayal, lust, happiness. Jot down as many words as you can think of.
    • Life EventsThe birth of a child. Holidays. Graduation. Weddings. We all have our favorite life events. Pick one of your own and write down all your thoughts and feelings about that day. Turn it into a story.
    • NetworkMany authors beat Writer’s Block or avoid it altogether by networking with their fellow writers. Bulletin boards, chats and writer’s Web sites all offer you the chance to meet other authors and work your way through the many facets of fiction writing.Think of talking with other writers as your own personal support group.

Writer’s Block may attack you at some point in your writing career but always remember:

WB isn’t fatal.

Overcoming WB is not impossible.

WB’s only temporary.

Apryl Duncan is the founder of www.FictionAddiction.NET, an award-winning site for fiction writers and readers. She is an author and professional freelance writer who enjoys writing everything from mystery novels to how-to articles on the writing craft.

What’s Your Novel About?

by

By Marilyn Henderson

You have finished your novel and are attending a writers’ conference hoping to get an agent or editor to read your manuscript. You work your way through the crowd with your gaze focused at name-tag level. Suddenly you spot a gold-bordered tag reserved for editors. Heart pounding, you approach and introduce yourself and say you have just finished your novel.

The editor smiles and replies, “What’s your novel about?”

Suddenly the moment of truth is at hand. This woman knows why you’re here. The conference brochure described the reception as the place where writers could meet editors and agents. This is when you make your pitch.

Now’s your chance to convince this editor to ask you to send her your manuscript. So how do you answer her question?

Just as she had her question ready, you need to have your answer prepared. If you’re a savvy writer, you began working on your plot statement as soon as you signed up for the conference.

What’s a plot statement?

A plot statement is the hook you need to make your storyline sound like a winner so the editor asks to read the manuscript. In screen play writing this is called a pitch.

Just as she got right to the point in talking with you, she expects you to get right to the point by telling her what your novel is about. She doesn’t want a long rambling dissertation about the characters, background or details of who does what in the plot. She wants you to capture her interest by making the book sound too exciting to pass up.

Any book she recommends the publisher buy must be one she can convince others in the publishing house will sell. Publishers are in business to make money, and she hopes to find a winner among the writers at this conference.

Like a query letter, your plot statement or pitch is a selling tool. It’s time to forget all those great enthusiastic descriptions of your story you envision on the cover of your published novel.

Cover copy is written to entice the reader to buy the book. It tells exciting details of the story to entice the reader to want to read more. A plot statement is written to excite the editor enough to think the story will sell. Pitching is how you sell your novel.

The editor at that conference wants to know if the book will sell and make money for the publishing company.

How do you tell what the story is about without telling the story?

Don’t think about the story, think about the original idea that developed into your plot. What about that idea made you decide it could become a novel? What excited you enough to spend months working on it?

The initial spark usually stirs your curiosity or an emotional reaction. You may want to know who, what, when, where or how such a thing might happen. You may wonder what would happen if one of the people involved took a different turn or made a different decision. The idea may have infuriated you, driven you to tears or scared you enough to check the locks on your doors and windows. In other words, it stirred an emotional reaction. Now your pitch must do that to the editor.

The How-to’s of Plot Statements and Pitching

A pitch is a statement that conveys the main storyline in a way that impacts the editor emotionally so she wants to read the manuscript. You write it after your novel is finished because you don’t know everything that happens until then. You need to look at the story as a whole in order to recognize the most important and emotionally charged highlights of the storyline.

Six Do’s and Don’ts for Writing a Plot Statement and Pitching

  • Write it in only one sentence
  • Write in the present tense
  • Write in the active voice
  • Don’t give details of the plot
  • Don’t use characters’ names
  • Choose words that evoke an emotional response

The rules are easy, but don’t make the mistake of thinking you can toss off the plot statement for your novel in a few minutes. I have challenged numerous writers to do a plot statement, and none have succeeded quickly. The plot statement is a key part of pitching. Most writers need a considerable amount of time and help. One writer sent an excellent one, along with the admission it had taken him three weeks and fifteen tries.

Once you do one well, it’s easier to repeat your success

One picture is worth a thousand words. The old adage holds true for plot statements. Paint a word picture that makes your listener form his own mental images that cause him to feel angry or sad or nervous.

Examples of this appear every day in our daily newspapers. Can you read an account of a nursing home fire in which four patients died without feeling sad or angry at the people or circumstances that led to the fire? Can you read a story about a child being abducted without heart-felt gratitude that your little boy is safe and sound asleep in his bed?

Our emotional responses to other people’s troubles develop out of our fears and concerns for our own and our family’s safety and well being.

This is true for editors just as it is for you and me. Editors react to the emotional appeal of a pitch; the plot statement is a key part.

How Emotion in a Plot Statement Works

Let’s look at a plot statement that worked and why it did. The example is a plot statement for a woman-in-jeopardy suspense novel:

“A recently widowed young mother brings her sick three-year-old home from nursery school during a devastating Southern California storm and discovers they are not alone in the house.’

I had chosen woman-in-jeopardy as the subgenre for the novel because it is one of the biggest sellers in the mystery and suspense field. Most readers and editors of these books are women. For those reasons, I aimed my plot statement at emotions women can relate to and understand.

A recently widowed young mother is a sympathetic, vulnerable heroine. Even if the editor hasn’t experienced those problems personally, she can’t help but feel sadness at this woman’s plight.

Then I add a sick child, something every parent and non-parent can relate to and worry about.

With the main character hitting these two emotional buttons, I add a setting that hits another one: “a devastating Southern California storm.” Newspapers and television have brought the horror of flooded homes and collapsing hillsides in California into living rooms across the nation. We shudder at the thought of the unpredictable destruction and losses or give earnest thanks that we don’t live in an area where they occur.

And finally I hint at the menace to come: she discovers they are not alone in the house. An unknown person invading her home plays on the fears of every woman.

Every story element included in the plot statement is an emotional trigger. Together, they create a dark mood of danger and suspense. And more important, they make the editor curious about how the story will evolve and work out.

I admit I didn’t come up with the plot statement on the first try. I didn’t count how many bad starts I had or how many refinements I made once I had a passable draft, but it took me several days to reach this one. The early ones suffered from my trying to tell too much, especially about the intruder. Eventually I realized that the less I told about him, the more sinister he became, and the more “fear” he roused.

The descriptive words in the statement also were chosen for the effect they helped produce. A “recently widowed young mother” has a “sick” child. The storm is “devastating.” These add to the dark mood that enhances a suspense novel.

This statement tells the basic storyline without any details of the action or characters. At the same time, it pushes three emotional buttons for the editor:

  • Compassion (widowed mother and sick child)
  • Worry (the storm)
  • Terror (the intruder in house)

The editor knows these emotional triggers sell books, so she may be willing to read the manuscript to see if the story delivers on its promise. The plot statement did what it was supposed to do.

If you have finished your novel, start working on your plot statement now so you’ll be ready when that editor or agent you meet says, “What’s your novel about?”

The Seven Deadly Sins of Freelance Writing

by

Guest Post by Francesca StaAna

Image of a woman sitting a a table with a pencil and a book, and several crumpled pieces of paper, about to toss a crumpled up paper over her shoulderWondering why your articles aren’t getting a lot of views or clicks? Stressing about the fact that you’re not getting enough repeat clients?  You might be committing these deadly freelance writing mistakes:

Silence (Not following up)

Contrary to what some might think, just because a prospect doesn’t immediately respond to your first call or email, it doesn’t necessarily mean that they’re not interested. Yes, most of them probably don’t need your services, but there ARE some potential clients who are simply too busy to respond. This is especially true when it comes to sending emails. People are bombarded with emails on a daily basis, so you can’t really blame them if they overlook yours.

Always follow up. Don’t let fear, pride, or laziness stop you from doing it. Whether you’re cold-emailing a potential customer or reaching out to blogs to see if they’re willing to publish your guest post, make it a point to reach out in about a  week or so after you’ve first made contact to see if they’re interested.

Ignorance (Not reading enough)

Reading should be a necessity for writers. Reading on a regular basis allows you to appreciate the beauty of the written word, gives you inspiration, and more importantly, makes you a better writer. It opens you up to different styles of writing and helps you develop your own.

On a more pragmatic level, reading can give you new material to write about. Can’t think of anything new to jot down on your blog? Pick up a recent issue of an industry magazine and see what’s happening in the world. Check out the latest posts on your favorite websites and get different points of view on issues. I guarantee you’ll find something to write about.

Carelessness (Failing to catch typographical and grammatical errors)

Committing typos is unavoidable. Publishing them on the other hand, is a different story.

Typographical and grammatical errors are embarrassing at best, and misleading at worst. One misplaced letter or punctuation mark can shift the meaning of a statement, so make sure that you thoroughly proofread your writing especially when it’s supposed to go out to the public.

Have a second set of eyes read through your work before sending it in. If you’re on your own, step out of the room for a few minutes or do something else for a while then go back and re-read what you’ve written. Personally, I’ve found that changing the font and color of the text, as well as reading aloud makes proofreading so much easier.

Self-Absorption (Focusing on yourself rather than the audience)

Whether you’re pitching to clients or writing a blog post, always remember one thing: It’s about THEM, not you. Think about it. When you’re out on a date, wouldn’t you be turned off by someone who only talks about himself or herself without bothering to ask you about your life?

Similarly, one of the quickest ways to get readers to lose interest is by failing to answer the question, “What’s in it for me?” (Trust me, they’re all asking that question.)

In most cases, writing isn’t about sounding intelligent. It’s about getting your message across in the most effective way possible.

Unoriginality (Failing to use your own unique voice)

One of the biggest mistakes that you can make as a writer (and as a person in general) is trying to be someone you’re not. While it’s perfectly acceptable to admire and be inspired by other people’s writing styles, it’s another thing to try and copy them. Instead, study the writing styles of others to develop your own unique flavor. You’ll be a much better writer and have more fun while you’re at it.

Also avoid using words or phrases that are not “you” in an effort to sound smart and important. In most cases, writing isn’t about sounding intelligent. It’s about getting your message across in the most effective way possible.

Close Mindedness (Refusing to try other things)

So you’re set in your ways. I get it. I can be the same way too. However, not going out there to try new things can seriously hinder your growth.

For instance, I know some writers who were reluctant to market using Pinterest because it was too “image based” and they assumed that it wouldn’t be an effective medium to promote their work. I paid no attention to those claims and tried it anyway. I used tools such as  PicMonkey and  Share As Image to make my words “pinnable,” and guess what? The Pinterest community took notice. My site got more clicks and I even got a few client calls because of it.

The takeaway? Don’t automatically turn your back on ideas or tools just because you’re not familiar with them. Keep an open mind at all times and try new things—even if you’re not used to them. After all, you never know how effective (or ineffective) something is until you try it out for yourself.

Social Aversion (Refusing to network or collaborate with others)

Don’t treat all your fellow writers as the competition. Instead, see them as teachers, peers, or even friends. Similar to being closed minded, not opening up your professional circle can stop you from growing and learning new things.

You can pick up a lot of new ideas and connections by attending conferences and networking mixers, so try to be present at these events whenever you can. If you’re more of an introvert, start by networking online. Comment on blogs and connect with people via social media

Your Turn

Are you guilty of any of these sins? Share your thoughts and stories in the comments below.

______________________________________

Francesca is the founder of Credible Copywriting and specializes in writing blog posts, web content and press releases for startups, Internet companies, and mobile app developers. She’s currently developing Copywriting 2.0, an online course that teaches aspiring copywriters the ins and outs of the biz. Sign up here and get notified when the course launches.

Building a Better Biography

by

By Ami Hendrickson

Whether you are a beginning writer or an established byline, it behooves you to construct a biography as a means of introducing yourself to those who haven’t yet had the pleasure of reading your work.

Bios are more important than you might think. They give the reader a quick overview of your qualifications to write whatever it is you have to say. They offer a bit of your writing history. And they provide an opportunity to connect with your readers on a personal level.

It doesn’t matter if you don’t have a string of best-sellers to list on your bio. In fact, it doesn’t matter if you have few (if any) credits to your name. The biography is a fluid piece. As you start accumulating credits, you can easily add them and allow some of the less impressive things to fall by the wayside.

Bio Building Guidelines

Writing your bio doesn’t have to be a chore. Some simple suggestions:

Write in the third person. Use your full name in the first sentence. Afterward, refer to yourself either by your first name only, your last name only, or the pronoun “she” or “he.”

Say you are a writer in the very first sentence. If you specialize in fiction, nonfiction, poetry, or screenwriting, say so. If you have a niche area that you are especially known for, say so. (“Jane Smith is a freelance writer specializing in worsted yarn and the humor of Albert Einstein.”)

Brag. Tell people what you’ve done. This is no time to be shy. If your writing has ever won any sort of recognition or contest, use the term “award-winning.” If you have written a best-seller, say so. If you have published ten, 20 or 100 articles, mention it. If your mother thinks you’re brilliant—keep it to yourself.

It’s okay to be eclectic. If your credits are all over the map—if you’ve done a little of everything, that’s fine. Something like “Smith has written greeting cards, warning labels, and street signs. She has also provided copy for breakfast cereal boxes,” would be appropriate to highlight your range.

No experience is necessary. If you don’t have many (any?) writing credits to include in your bio, don’t panic. Identify areas in which you specialize, or that you know more about than the average person. Write those down and don’t worry about perceived shortcomings in the byline department. (“Smith has climbed Mt. Everest twice, walked on the moon, and appeared as a Playboy Playmate. She is a double black belt in Tae Kwon Do and enjoys knitting potholders in her spare time.”)

Location, location, location. If you wish, include a short sentence about where you live. Don’t be so specific that the loonies out there can find you and stalk you. But a reference to your family members, your pets, and your hometown can help make you more accessible to your reader.

If writing about yourself in the third person, or “bragging” about your abilities is difficult, write some sample bios for famous people, or for people you know well. Once you get a feel for the exercise, then apply it to yourself.

If you don’t have a bio, I urge you to spend some time creating one. Make it as lengthy and as packed with information as you wish. Then leave it for a few days, come back to it and edit it.

When you’re done, ask yourself if you would read something written by the person the text describes. Work at your bio until the answer to that question is “Yes!”

Bringing Your Bio on Board

Once you have drafted your bio, you will discover that opportunities to use it are plentiful. For instance:

Websites, weblogs, book jackets, and brochures are useful places to include such information.

A short space at the end of magazine articles is often devoted to the author’s biographical information.

If you ever teach or speak publicly, a short bio allows someone to easily introduce you to your audience.

You can also include your bio in a short paragraph in letters introducing yourself or your work to a potential publisher, editor, agent, or manager.

When you use your bio, tailor it for the situation. Use the whole thing on a resume of writing credentials. Shorten it to a single paragraph for inclusion in introductory letters. For speaking introductions, you may wish to shorten it still further. And for “about the author” blurbs, condense it to one or two sentences.

The point, however, is that you cannot utilize something you do not have. So spend some time thinking of how best to introduce you and your writing to the world. Then have fun looking for creative ways to make your bio work for you.

Ami Hendrickson is an award-winning writer, screenwriter, educator, editor, and consultant. She has written for some of the leading horsemen in the world including Clinton Anderson, of Downunder Horsemanship, and hunter trainer and judge Geoff Teall. Find out about her latest projects Website, or visit her blog at Museinks.

Writing a Synopsis: Overcome your Fear

by

By Vicki M. Taylor

If you noticed, I didn’t title this article “Overcoming YOUR Fear of Writing a Synopsis.” I don’t think you own the fear anymore than I do or any other writer. We all share a common emotion, one that can be summed up in one word: Formidable.

What is it about this particular piece of writing that brings out more moans and groans from writers than a room full of sixth graders getting a surprise math test?

What is a Synopsis?

Look at the word. Synopsis. Say it with me. “Sin-op-sissss.” Even the sound of the word emanates dread. What is a synopsis? Webster’s defines it as “a shortened statement or outline, as of a narrative. Abstract.” Nothing sounds particularly evil in that definition. Let’s look at it a little closer — “shortened statement or outline.” Hey, look at that, “outline.” Now, there is a little word we’re all familiar with. Does “outline” make you cringe as much as “synopsis”? What about “shortened statement”? Not me. Probably not you, either.

Start with a Simple Sentence

Let’s start with the shortened statement. I’ll use the popular children’s story Lady and the Tramp to demonstrate my points.

What is our story about?

Lady and the Tramp is a story about dogs.

True, but the portrayal is dry and uninteresting. Would you want to just read a story about dogs? What makes this dog story different? Let’s see if we can add some more information to better describe the story.

Lady and the Tramp is about two dogs from different sides of the track.

Good. Now we know that there are two main characters. And, we know that these two characters are different in some way. Let’s see if we can do a little bit better.

Lady and the Tramp tells the adventures of an upper-class, well bred cocker spaniel and a roguish mutt from the wrong side of the tracks.

Okay. Now we have some description and a hint at a story. We know that these two distinctly different characters are going to have at least one adventure.

Describe Your Story in 25 Words or Less

So, now we need to think about our audience. The synopsis generally goes to an editor, agent, or publisher. So, we must capture their attention. Give them something to grab onto and not let go. This is where you can really get creative and meet the “describe your story in 25 words or less” synopsis challenge.

Lady and the Tramp is filled with exciting adventures of Lady, a lovingly pampered cocker spaniel, and Tramp, a roguish mutt from across the tracks.

Whew! There it is — 25 words — exactly. We’ve just written a strong hook for the opening of our synopsis.

Every synopsis should start out with a statement that describes your story in approximately 25 words. However, don’t be a stickler about trying to hit the “magic” number. There isn’t really a magic number. But, keeping your description to approximately 25 words helps to focus your writing on the key elements of your story.

Key Elements — Not That Difficult to Identify

Speaking of key elements, those are what we now need to identify so that we can create our synopsis.

Wait, wait. Stop groaning. I promise we’ll go slowly. Okay?

I think I’ve read every article and book written on creating a synopsis and even though every writer has their own formula for creating the “perfect synopsis,” I admit that authors agree on one thing — You need to practice. So, my suggestion is that you do what I’ve done here. You find some simple stories and practice creating the synopsis for them. Once you’re able to pick out the key elements easily, you’re ready to create a synopsis for your own story.

So, back to our story, Lady and the Tramp.

First Element — Structure

The basic structure of the synopsis should be a complete summary of your story from beginning to end, written in present tense. Simple, right? So far. Let’s see how that helps us with our story.

Lady and the Tramp is filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks. Lady’s owners love her but ignore her when their baby arrives. The owners leave her with a cat-loving aunt who locks Lady out of the house. Lady runs away and straight into a street-wise mutt named Tramp who shows her how good he has it being free from owners. Lady is caught by the dog catcher and spends time in the pound learning some of Tramp’s secrets. Hurt and jealous, Lady is returned home and exiled to the doghouse once again. Lady discovers a rat making its way into the house and is helpless to defend her home. Tramp helps her by getting into the house and killing the rat. However, he’s accused of attacking the baby and is placed in the dog catcher’s wagon to be taken to the pound. Lady’s owners return home just in time to see how Lady has been treated and have Lady show them the dead rat.

More Key Elements — Setting, Main Characters, Conflict

Not bad for a first draft. We’re missing a few items that would make the story more dramatic and compelling for the editor, but those can be added easily. First, we should make sure that we’ve established the setting for the story and identified our main characters.

We’ll have to identify real conflict between these characters and their motivations. Then, we’ll have to show the resolution of the conflict. It isn’t as important to name every character in the synopsis, but you must name your main characters.

Final Key Elements — Tell Your Ending

Finally, we must make sure that we’ve wrapped up our story and told our ending. Yes, that’s what I said, we tell our ending in the synopsis. You must never, ever tease editors and leave them guessing about the ending of story.

As a side note for romance writers: If your story is a romance, make sure you always establish the love relationship between the two main characters by showing how they met and why they’re fighting against their attraction.

With that advice, let’s see how our synopsis shapes up after adding these key elements.

Lady and the Tramp is an early twentieth century story filled with exciting adventures of Lady, a lovingly pampered cocker spaniel, and Tramp, a roguish mutt from across the tracks in New England. Lady’s owners lavish attention on her until a new baby arrives that takes all their attention. Ignoring Lady’s needs, they go away on a trip leaving her and the baby with a callous aunt and her two Siamese cats that wreak havoc. Lady, wrongly accused of the mischievous cats’ pranks, ends up in the backyard doghouse and eventually fitted for a muzzle.

Fearful, Lady runs away and straight into a street-wise mutt named Tramp who shows her how good he has it being free from owners. He treats her to a night on the town, complete with a romantic Italian dinner from his favorite restaurant. Unfortunately, even though he protects Lady from a vicious dog attack, Tramp can’t protect her from the dog catcher. Lady spends time in the pound learning some of Tramp’s secrets from his other wayward, albeit intimate, acquaintances.

Hurt and jealous, Lady returns home and is once again exiled to the doghouse. Lady’s other neighborhood dog-friends advice her to forget this scoundrel and chivalrously offer to take care of her. Tramp returns, hoping to change Lady’s mind about him. She rejects his advances and sends him on his way. Moments later, she’s alarmed that an ugly rat enters the house, but can’t do anything about it because she’s chained. Tramp comes to the rescue by finding a way into the house and killing the rat before it can harm the baby. However, the heartless aunt accuses Tramp of attacking the baby and calls the dog catcher who places him in the wagon to be taken to the pound.

Lady’s owners return home just in time to see how Lady has been treated and have Lady show them the dead rat. Lady’s friends run to stop the dog catcher’s wagon and everyone is reunited after a thrilling chase scene. When the commotion settles, Tramp chooses the family life and abandons his drifting ways to stay with Lady and her owners.

And, there you have it. Your synopsis. Was that so painful?

This synopsis is rather short when compared to the longer books you desire to write. Don’t let that intimidate you. The concept is still the same.

Final Advice

Editors have specific requirements when it comes to the length of your synopsis. Unfortunately, just like snowflakes, no two editors are the same. One editor requires a ten-page synopsis while another may only want two pages. My advice to you is that you follow the requirements of the editor and make sure you include enough information in your synopsis to tell your story but not so much to slow it down. Focus on the story’s development from beginning to end and make sure you emphasize the resolution of the conflict and/or romance.

If you’re having trouble writing your synopsis, don’t beat yourself up about it. Go back to your story. Have you developed the plot completely? Do you understand your characters and their motivation? Is your conflict believable and resolvable? If you can’t answer those questions, the problem isn’t with your synopsis. If you don’t understand your story how do you expect an editor to?

Good luck and remember to practice, practice, practice.

Vicki M. Taylor has been writing technically for nearly fifteen years and has recently published fiction. She enjoys writing stories with strong women as the main characters. When she’s not writing, you can find her lurking about the many writing boards chatting with others and dispensing little pearls of wisdom from her computer in Tampa, Florida. Vicki M. Taylor has a website, where you can read more of her writing.

Lady and the Tramp is owned by Disney Enterprises, Inc. All rights reserved.

I ♥ footnotes