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Saturday, June 2, 2012



Author Blog Challenge #1


Describe your earliest memory of writing? How did your writing habit/process/career develop?

The long journey

My earliest memory of writing takes me back to Grade 1, making my first markings on lined paper, under the watchful eye of my teacher. A sad affair for both of us. My chubby fingers holding the crayon in a death grip, which shattered with the first stroke leaving shock waves of wax particles in its wake. I had failed my crayon licence on the first day. I was soon to realize the marks I made on paper had little relevance to the stories in my mind, knowing that unless I learnt how to match one with the other, these stories would never find the freedom I sought for them.  It was a painful process for both teacher and pupil, as she laced her instructions in sarcasm reinforced with the side edge of the ruler against my knuckles and I choked on the humiliation of failure. Did I learn? You bet I did. Like house training a puppy, if you rub a child’s nose in their crap long enough they’re sure to get the message. They may hate the mistress and harbour dark thoughts of revenge, but they learn to contain the low growl and walk with pride to the poop pile in the yard. So it was with my writing, and from slow beginnings a love affair with words began, each letter building a picture of a world beyond the ordinary days of my life.  Not that I ever attained the desired standard of perfect cursive script, my loops lacked uniformity and thin upward strokes cankled into an undefined thickness, evoking derision from teachers and titters from classmates.

I learnt to separate the expected from the pleasure, trying my best to conform at school while writing as I pleased everywhere else. At high school, expectations shifted from aesthetics to content, within legible reason, although correct use of grammar and punctuation often overrode creativity and individual style. I became acquainted with poets of note, from the first casual meeting to the deeper intimacy that comes with peeling back the layers to the naked form beneath and bliss was a lazy Friday afternoon listening to rhythmic rise and fall of words painted by a poet’s pen. In a quest for peer approval I became a humourist of sorts, churning out doggerel and calling it poetry and penning clichéd stories in the guise of wit and satire. Strange that, even through the mists of memory and the rose coloured glasses of older age, it is my own laughter I hear above all others. I think there’s an old proverb about he or she who laugh at their own wit, but it escapes me now. Although the years of my growing up and younger adulthood were interspersed with writing of this genre, in between no writing at all, I somehow missed the angst ridden emotive writings of adolescence, probably because I was too busy living it and adhering to the social mores of the time of not airing one’s dirty linen in public. So far I had yet to establish any firm writing habits. Starting a journal remained at the top of my New Year resolution list for many years before I ceded to procrastination and gave up the dream.

Children were born and stayed until life beckoned them into their own adult years, and a career in welfare travelled side by side with parenting. Creative writing took the form of study assignments, report and submission writing and the preparation of pre court reports designed to sell a child’s worthiness of another chance to the magistrate and their value as a family member to their parents. A tough gig. In between I wrote poems of no distinction about the ordinariness of life, with the occasional fire and brimstone blast of social justice. I began writing my life story several times because others said I should and just as quickly discarded each project  to live in the moment. I once completed a couple of chapters, belted out on my old Remington, only to lose them to a friend who knew someone who knew a publisher – or something like that.

Twenty years ago I got fair dinkum about it and enrolled in a writing Diploma course. I completed the first semester and had just started the second when I began a new high pressure job, or was it my old enemy procrastination tapping me on the shoulder again that made me give it up? Back I went to writing limbo, satisfying myself once again with the creation of program documents, submissions and government papers. In my spare time, between being on call at work and the world of grandparenting, I wrote short stories and began a novel – the obligatory unfinished first novel we read about in writer’s circles – all saved neatly in files on little square discs that popped in and out of that miracle in technology and the busy writer’s boon, the computer.

A move to the country brought more writing material than I could keep up with, it also brought two teenage grandchildren to share my home and a job that had a one hour commute each way, but I was over the hump. I re-enrolled in the diploma course; time managed my multi-tasking and kicked procrastination to the rest home for bad habits while I got on with the business of being a writer. I wrote short stories and poetry, with moderate success in competitions and publication, and this time completed the diploma and the life story I’d failed to protect so many years before.  I joined writing groups and initiated others, and mentored new writers in pursuit of their dream. I am a published writer, but will never be a household word. I continue to be moved by social injustice and use poetry as an expression of this. I always have a cause I am working on and another under my belt. It is what I do. At the moment my passion is to write about the pitfalls in the industry for vulnerable novice writers and the wolves in sheep’s clothing who lurk behind anonymity on swish web pages to pose as editors and appraisers – the snake oil sales people of the literary world. The ancient crest of my family bears the open book of the scribe and I am proud to continue the long tradition of wielding a pen so much mightier than a sword.

~ Merlene Fawdry

Monday, May 28, 2012

About ten years ago I belonged to an online group called East of the Web,a short story review and critiquing community, and this is where I learnt the process of critique, writing almost 400  during my time as a member. I was also an active member, for a number of years, of Zoetrope, which was established 1998 and required writers to review five stories by others writers for each story they submitted. 


I found the experience of review and critique invaluable in  learning more about my own writing. Zoetrope is still operating, and I have added some other sites her for anyone with an interest in mutual review. I haven't checked any of these out, but would be interested in hearing from those who have.  






Online Writers Groups

    • The Alien Flower Poetry Workshop will fulfill the needs of those interested in poetry. Also, be sure to visit the extensive Poetry Links at this site. They are extensive and useful, I think, for those interested in Poetry.
    • Aylad's Writing Group is an email critique online group. Her site also has a variety of resources that might prove useful, including extensive agent listing.
    • Coffeehouse for Writers is a number of things, including resources, for pay workshops and free critique groups. Most of this handled through mailing lists. Check it out and see if works for you.
    • Comedy Screenwriting Discussion Group is an egroups mailing list with associated egroups page for those interested in comedy screenwriting.
    • Critique Circle is a free-to-join writing forum where both new and experienced writers can post their work online and receive critiques from other members, as well as offer critiques on other work posted. Handy tools to help writers are also available, as well as a forum for discussion with members.
    • Critique Partners Connections attempts to match writers with critique partners. The one cautionary note in this is that you are charged $15 to be added to the database.
    • The Critters Writers Workshop is the first of several writers workshops I hope to have links to from here. Writers workshops that accept and dispense critiques via the Internet. I would also like to point out it's Workshop Library which has a wealth of interesting links to peruse.
    • 4-Writers.Com and Writers' Village University is a combination of free areas and an online writers' group with an annual membership fee.
    • Fantasy Writer's Outlet is an online critique area with an emphasis on fantasy. Check their web site for details.
    • Futuristic, Fantasy, and Paranormal (FFP) Chapter of Romance Writers of America focus is helping those interested in more speculative themes for romance and helping those writers to get published.
    • The Hatrack Writers Groups is a collection of online writers groups based off of the Orson Scott Card site.
    • The Internet Writers Guild is an online free service for those who have used the Internet in general and the web in particular to publish their works and those of others. Well worth a look see.
    • The Internet Writing Workshop appears to have a get serious workshop approach that might appeal to those who need some motivation and structure. Worth checking out at the very least. They have a whole range of mailing list to provide the means for review and critique.
    • Longhand-The Black Quill is an internet based round robin group that describes itself as 'Our current Project is titled, "Catch Me If You Can!", which is a mystery-action-thriller set in the world of cybercrime and high finance. Our next adventure will be ala "24", with this twist ... These project grow synergistically, by topsy and we are never sure of the direction they will take or the outcome of the story.'
    • Mystic Visions is an online community for writers of speculative romance. This could be a possible useful resource for any interested in SF and fantasy romance, psychic romance or cross-time romances.
    • The National Association of Women Writers describe themselves as being 'founded in Jan. 2001 to support, encourage, entertain, motivate, and inspire women writers. NAWW offers a FREE weekly inspirational/how-to e-magazine, an online Member Portfolio, a Member Publications page, a bimonthly printed WRITER'S GUIDE, Daily Inspiration, a Writer's Online Library, and much more.' Check their web site for further details.
    • NovelDoc is the web presence for a mailing list that concentrates on revising and critiquing completed novels of 60,000 words or more.
    • Online Writing Workshop for Science Fiction, Fantasy & Horror is the successor to the Del Rey Digital Writing Workshop and now has a free one month trial and then an annual fee to belong to the workshop.They also have the Online Writing Workshop for Romance which is currently a free workshop while they build up a membership.
    • rememory.com is a very nice site indeed from the land down under. Here is a virtual spot where people from all over the world can share their memories and experiences with each other. This is both an example of electronic publishing and electronic community in a very nice package.
    • The Imaginaries is a global writer's copperative for science fiction, fantasy and horror and also a group that shares stories via the web and solicits critiques as well as many other roles.
    • The Science Fiction and Fantasy Workshop is a by mail critique workshop and newsletter that costs $15.00 for the newsletter and $5.00 for membership in the workshop. It does appear to have possibilities and has been around since 1980.
    • The Science Fiction Writers Workshop is an AOL based writers workshop concentrating on science fiction. They includes critique areas, chat rooms and more. They have online chats on AOL the 2nd Monday of each month and on iPlanet open to the entire internet every fourth Monday. And all of this is free.
    • Screenwriters - Producers Welcome describes itself as 'A virtual meeting place where Spec screenplay writers and Producers do lunch!' What this means is a simple, virtually graphicless message board where writers, producers and others can leave requests.
    • SFRT on the Web is an ongoing online community for readers and writers of Science Fiction, Fantasy and Horror and now it's on the web. Of particularly interest here is their Writers Workshop.
    • Short Story Writers Group is a noble effort to group writers from novice to expert in a mailing list critique group. They also have a bookworm group as well. Check their web page for details, especially (as is the case as of this posting) that their active member list is full and how to get on the waiting list.
    • Spoiled Ink is an online community, news and magazine that describes itself as '
      Spoiled Ink is a community of writers that provides each other with feedback for eachother's short stories and poems.'
    • The Wild Poetry Forum is precisely that, a broad range of forums in which you can share your works with other writers. Take a close look at the requirements for joining. The emphasis here is on producing and rightfully so. Check it out and see if this is a point in your development as a writer.
    • Wolfrunners is an online community for women writers and artists working in the genres of science fiction and fantasy. Their own description of themselves has as their goal 'to encourage members to form lasting ties, both professional and personal, to aid in the conceptualization, composition, and marketing of their work. Works-in-progress may be offered for critique, new markets and submission tips shared, and ideas bounced off the only people who can truly understand the life and mind of the writer: other writers in that genre.'
    • Women Who Write is an AOL based writers group with a website that has a wealth of links and a schedule of meeting times for AOL chats at the Jugglers chat room.
    • The Writer's BBS - Message Forums is a site with a host of discussion areas to leave messages and share ideas. It is a sole effort of Writer's BBS after the closure if inkspot.com.
    • Zeugma is an online workshop and peer group for serious and skilled poets. Zeugma is free, but you must apply to join.

Warnings about the schemes, scams, and pitfalls 

that threaten writers at Writer Beware




Tuesday, May 22, 2012

I hadn't realised this story of mine had been published at Narrator Australia 


This site is well worth a visit.



Friday, May 11, 2012

Choosing a Writing Group

I have often been asked what I see as the ingredients for a good writing group; a question that led me to reflect on my own experience and practice, to first define purpose and identify effective functionality. Drawing on my own practice as a leader and member of many such groups, I see a writing group as a gathering of writers who meet periodically to read, critique and support one another's work; a coming together of people with a common aim, requiring a fair amount of trust and self-awareness, and a desire to learn and grow as a writer.
So, when asked to give my opinion as to what makes a good writing group, I have no definitive answer as this depends on who is doing the asking and for what purpose. While groups vary according to demographics, aims and objectives, there is always one word that, for me, defines the best qualities of any group.
That word is respect, broken down in definition as:
v  Esteem: a feeling or attitude of admiration and regard toward somebody or something
v  State of being admired: the state of being admired politely
v  Thoughtfulness: consideration or thoughtfulness
v  Characteristic: an individual characteristic or point
v  To not go against or violate somebody or something: to show consideration or thoughtfulness in relation to somebody or something
Therefore for me, respect becomes the most important quality for a group and within a writing group this can be shown by:
  • Listening
  • Reading
  • Commenting
  • Supporting
  • Encouraging
A well functioning writer's group will have established basic and recognisable guidelines, which provide a supportive environment for everyone in the group, with an aim to improving individual writing skills and habits. Ideally writers should be learning from each other and be enthusiastic about each member's writing, while being able to make and take criticism and not argue or justify their work.

Other ingredients of a good writer’s group
  • Similar goals - whether it is a hobby group, where members write for personal enjoyment and bring this to meetings to share with others, or a group where members are actively seeking publication; people who regularly write and bring this to meetings and who are educating themselves about the broader business of writing, the collective goals of the group must be similar.
  • Genuinely honest critique - detailed, honest, objective critique or comment is one of the most important things a writer's group can offer its members.
  • Frequent meetings - a group that meets frequently creates a stronger desire to produce material to bring to a meeting and promotes a sense of fellowship and support for members, particularly because of the solitary nature of the writing, which can often be misunderstood by non-writers (including family, friends and other loved ones)
  • Encouragement - a group that encourages members to pass on skills and share their knowledge of the industry.

What to avoid
  • Unproductive ego-stroking – where compliments are made no matter what kind or quality of material is presented. This hollow praise does little, if any, good to a writer seeking an objective appraisal of their work.
  • Cutting criticism – there is a difference between constructive critiques, where intelligent and objective comments and suggestions are offered, and destructive ego shredding.
  • Lack of respect – some people will ignore the rules, attack the leader and other writers, try to hog the meeting, refuse to even consider changing a word of their story, and generally make the experience miserable for other members.

 

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Monday, May 7, 2012

The Feedback Process


Giving and receiving feedback is a skill developed over time, through active participation and practice. In addition to constructive critique and positive comments, it is useful to offer comments about general reactions, first impressions, opinion about changes to drafts, agreement and disagreement with feedback from others and your reasons for this. This kind of feedback is useful because it gives the writer a sense of how the text has been received. Additional to helping the writer identify weaker areas in a piece of writing, positive comment is equally important as it offers encouragement and builds confidence by showing  the writer what worked and does not need revision, while helping others to identify and model good examples. In the past I have provided guides for the giving and receipt of comment and critique, here are some tips for processing critique and comments. If someone cannot listen without objecting to the critique being offered, or if they take offence on a personal level, it may be that this is not the right type of writing group for them, or it would be better for them to work alone rather than submit work they do not want to change.
          It is worthwhile remembering that all groups are made up of different personality types, skill levels, and life experience and all add to the fabric of a writing community. What is learnt from critiquing one person’s writing, leads us to be more critical of our own endeavours, as we subconsciously apply the rules of grammar and writing. Although it is less complicated to stroke egos with insincere positive comment, it lacks integrity and does nothing to advance the writer’s skills. All critiques and comments are gifts. They are
suggestions to be considered and it remains a choice as to whether they are used or not. Taking advice from those who have been published can assist beginning writers to move their work toward to such goals and, while some may perceive a few comments as negative, this is nothing compared to what actual publishers may say about the work. I advocate an early growth of a ‘writer’s skin’ to avoid later misery. When others take the time to read work, and make comment, it is out of respect for the writer that changes are suggested, just as those who give in-depth critiques are providing tools for them to progress as a writer.


Ø  Keep your mind open and remain objective as comments are made – they are not personal.
Ø  Do not waste this opportunity, listen carefully and take notes.
Ø  Critique can reveal how your writing may have been interpreted or misinterpreted, enabling you to get your point across better next time.
Ø  Critique can measure your development and growth as a writer. 
Ø  Do not try to defend your work, save any response until everyone has spoken. Then, if the critique is unclear, ask for more specific information.
Ø  Reflect back comments to check you have heard correctly.
Ø  Do not explain your work, as it should be able to stand on its own merit.
Ø  Remember that, even if you don't agree with it, all feedback is useful.
Ø  Work through the critique points at home and address one issue at a time.

Writers' groups offer the opportunity to learn about the business of writing and to hone your writing skills. The benefits of being a member of the group are greater than having the strengths and weaknesses pointed out in your own stories. Making comments about the work of others, you will learn about techniques you can apply to your own writing, and learn more about the elements that go into good writing. The writing profession is filled with people who find it hard to accept criticism, even more so for those who cannot separate their ego from their work, therefore, perceiving critique as a personal attack.
Anyone hoping to become a published writer has to separate critique of self from critique of work. It is not about the writer; it is all about the written work. It is the process by which you learn to identify strengths and weaknesses of your work. You will never be able to overcome weaknesses or fully exploit your strengths until you learn to identify both.
Input from other writers can help improve your own writing, as it is often easier to see mistakes in the work of others than it is to see what is not working in your own – you are too close to your own work to see its flaws. Through participation in the group process, you will be able to apply your new analytical skills to distance yourself from your own writing, allowing you to recognize and avoid those same weaknesses. 



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Saturday, May 5, 2012

On Writing Groups


I learnt early that, unless a writer was extremely gifted, lucky, in/famous or well connected, there were no shortcuts to becoming a published writer. Like any other vocation, there are skills and aspects of the art to be learnt and all require diligence, practice, and the commitment to achieve personal goals. There is so much more to writing than throwing words onto paper or into a word processing document. At the very least there is the need to have a basic
understanding of the written language, or a willingness to learn the fundamentals of grammar and punctuation. To set out without these tools of trade would be like a carpenter building a house without hammer and nails. There may be a vision of the finished structure, but it will remain just a vision unless the right equipment is acquired. Likewise, there is no art or trade that allows an individual to progress from novice to adept, without serving some sort of training period or apprenticeship under the guidance of a mentor. In the world of writing, mentoring can take many forms, from formal learning, short or long courses, workshops, feedback from competitions, or participation in writers’ groups. Each of these involves the gaining of knowledge, practice, revision and feedback. The process of learning can be an exciting and personally satisfying experience, with self-pride and appreciation at each new skill learnt, or level reached, however, the nature and degree of skill development is determined by the receptiveness of the individual and their ability or willingness to embrace each learning opportunity.
I have always chosen to be part of a writing community where interests are shared, skills developed, and creativity nurtured, finding this beneficial to my growth as a writer in many ways. Writers’ groups also provide a support network to develop and advance writing, and can be a vital resource when people begin to submit their work to competitions and publishers. The fellowship of like-minded people, who freely share their skills, knowledge, and experience, can strengthen self-confidence as a writer, depending on their expectation of the group and understanding of its function and limitations.
Through my involvement with groups, over many years, I have seen people lose confidence in their writing ability and there are a number of reasons for this. It may stem from the lack of understanding
that good writing is more than simply having a great idea or story line; it is the translation of a concept into a coherent, written form that determines the quality or value of the work. For some, it is the self imposed expectations and impatience to attain goals that causes them to ignore essential elements of the learning process. Lack of self-confidence is frequently interpreted as writer’s block, and so much has been written on this subject that I have no need to expand on it here; however, overcoming this is the sole responsibility of the writer. It is not a phenomenon where blame must be apportioned, it is simply a
temporary state of being, and the more time spent placing external culpability, the longer the condition will continue. Writers, who place responsibility for their shortcomings on others, are wasting an opportunity to gain valuable insight into their functionality as a writer. By becoming solution focused, strategies can be put in place that has lasting benefit.
Writers’ groups are not for everyone. There are those who feel they have reached their capacity for learning, who may not trust the opinions or motives of others, or who do not understand the objective nature of the critiquing process. Preciousness exists within us all and the writers’ ego can be the greatest obstacle we face in our quest for positive recognition in our chosen field. This may manifest as an emotional attachment to a particular piece of writing, resulting in the inability to give or receive objective reflection or feedback, or from an unwillingness to accept that a piece of writing may be less than perfect from the point of view of others in the group. Others perceive themselves to be victims, validating this with inappropriate remarks and pained expressions when their work is being critiqued, although they have no qualms about giving candid comment on the work of others in the group. We all experience brief episodes of preciousness at one time
or another; it is only when this becomes chronic that it has the capacity to infect the group with different strains of the virus.
One possible solution for anyone experiencing difficulty in getting words onto paper is to revisit their personal writing goals and
how these relate to the group they belong to. If they previously found the group process of critique constructive, I suggest they try to identify a point of change and what factors were present at that time. If there have been no major changes in the functioning of the group, look at what changes may have occurred on a personal writing level, or whether there has been significant progress in their writing that would render critique from the group unnecessary. This self-assessment requires honesty. It is useful to take notes and summarise findings to determine whether a writing group is conducive to their needs at this time. As part of this review, it can be helpful to revisit the purpose of 
the writing group and the processes in place for providing effective critique, using the following checklist on the following page.


Critiquing Checklist

v Everyone taking their turn.
v Each person feeling their opinion is valid and useful.
v Equal time to speak.
v Encouragement and support of others.
v Comments on the writing, not the writer.
v Alternatives and solutions offered as a point of view only.
v Building on the comments of others.
v Remaining focused on the task.
v Enabling others to contribute to the discussion.
v Offering comment that is specific, concrete, constructive, and suggests alternatives and solutions.
v Raises both negative and positive points.
v The understanding that the writer will consider the comments and make up their own mind.
v Focuses upon substantive issues in the writing, suggesting corrections for the first few minor errors and leaves the writer to correct the rest. 



Sunday, March 25, 2012

Judging writing competitions

Recently, I co-judged a short story writing competition and had it been my decision alone, I would not have awarded a prize to any, because this gives the wrong message about their writing. Winning an award infers the work is of award winning standard and this was not the case with any of the entries I read. All except one lacked the accepted Australian style of single quotation mark for dialogue, formatting in most was abysmal, and the majority failed to meet the expected elements of short story writing. I found it difficult to move beyond the first page on most of the entries as I was bombarded with telling the story and a marked absence of descriptive showing.

As there was no set theme for this competition, I can only conclude many entrants belonged to the same community writing groups as there appeared to be themes emerging in the entries; alcohol and other substance abuse, pregnancy, and writing, so I assumed the stories began their life from a writing prompt. I have no problem with this, but it does create an assumption on my part about the value of writing groups where there is no honest and planned critique of work. I can imagine these stories being read aloud to a group and the accompanying oohs and aahs of the ego strokers, while the writer bypasses all reasonable story ‘writing’ in favour of their ‘spoken’ version of their work. I have found that writers reading their own work to a group, read it quite differently than the punctuation would have it - knowing a story well enough the writer often reads what they know rather than what is on the page in front of them.

With errors dotted throughout the entries, there appeared to be an obvious lack of proofreading and editing, leaving most looking like first drafts. What disappointed me the most was seeing the potential in some of these stories and knowing that, without honest comment, there would be minimum creative development for the writer. I appreciate the competition organiser did not offer style guidelines for the entrants, and that is another issue entirely, however, any would-be-writer is capable of researching the internet or local library for advice on presentation and formatting. There is more to being a writer than throwing words at the computer screen and printing it off.

I have seen some ordinary competition entries over the years. I have also experienced those where the shortlisting process has been a difficult task by virtue of the high quality of the entries, but this lot was the worst I have ever seen.

In the next few days I will create and post a generic style guide for short story competition entries.




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Tuesday, March 13, 2012

From Hornsby to New York: how an erotic e-book became a $1m blockbuster

David Marr
March 12, 2012


SO MUCH has happened to Amanda Hayward in the past few weeks she admits to feeling a little disoriented. An erotic novel published by her Hornsby company, the Writer's Coffee Shop, has hit the No.1 spot on The New York Times e-book fiction best-seller list and been sold for more than $1 million to Random House.
This is a publishing triumph of an entirely new kind. You haven't seen stacks of Fifty Shades of Grey, by E.L.James, in your bookshop. Hayward has never had her name in the Australian press. Until The New York Times broke the story this weekend, she and the Writer's Coffee Shop were the unknown unknowns of Australian publishing.
"We were going to appear the other day on the Kyle and Jackie O Show [on 2Day FM]," Hayward told the Herald. "But we cancelled out of consideration for the author until the deal with Random House was finalised."
HaywardPublishing triumph … Amanda Hayward. Photo: James Brickwood
There is no coffee shop and the only address in Hornsby is a post office box. Everything that matters in this story happened on the net. There, a few years ago, Hayward and a partner in the US set up a site where amateur romance writers could publish their work free to all readers.
Early last year Hayward noticed that E.L.James, a London television executive, was attracting "a lot of readers" with the erotic adventures, posted chapter by chapter, of a young student, Anastasia Steele, and "dashing but damaged" entrepreneur Christian Grey.
So an e-book version was launched in May. Despite having a US partner, Hayward says: "I was the one who invested the money, so it started in Australia." A few paperbacks were printed for the trade only in England and the US. It hit the spot.
In high demand ... the erotic novel, Fifty Shades of Grey.In high demand ... Fifty Shades of Grey.
The New York Times reported: "Fifty Shades of Grey, an erotic novel by an obscure author that has been described as 'mommy porn' and Twilight for grown-ups, has electrified women across the country, who have spread the word like gospel on Facebook pages, at school functions and in spin classes."
Critics on blog sites were cruel but it made no difference to sales. "It's sold 250,000 copies, most in the last couple of months," Hayward says.
Some of the success may be due to an unconsidered advantage of e-books: they can be so discreetly downloaded.
James rapidly provided two sequels. Fifty Shades Darker appeared in September and Fifty Shades Freed was launched in New York in January.
Though now more than 1000 pages, the story of these star-crossed lovers may not be over. "Just when it seems that together their love can conquer any obstacle, misfortune, malice and fate combine to make Ana's worst nightmares come true," reads the blurb for volume three. "Alone and desperate, she must face down the poisoned legacy of Christian's past."
Meanwhile, author and publisher are enjoying their fortune from the Random House deal in which 750,000 copies of the trilogy will hit US bookshops from next week. In April or May Fifty Shades of Grey will at last appear in bookshops in Australia.
It has been a strange journey: a book that made its mark first on the internet, then as an e-book, will finally appear as books always appeared, in print. It's how Hayward would have wished it all along. ''Unfortunately, print doesn't look as though it's going to survive much longer," she says.
The Writer's Coffee Shop has a long list of e-books on the market - not all erotica. Hayward says a little of the windfall may be spent setting up a coffee shop for writers and readers, not on the net but down here on the ground - maybe in Hornsby.


Read more: http://www.smh.com.au/entertainment/books/from-hornsby-to-new-york-how-an-erotic-ebook-became-a-1m-blockbuster-20120311-1uso5.html#ixzz1owepcQyP

Henry Miller and the Process of Writing a Novel or Screenplay - Roland's Creative Writing Blog - The Writers Studio offers creative fiction writing courses and classes live at our Sydney studio or online writing classes on the internet, online novel writing courses and online film script writing courses..

For most people, writing a good story, whether it be a novel or screenplay, requires a step-by-step process.
There are many different facets to the process. Broadly speaking, they are - planning, writing, re-writing and editing.
One mistake many aspiring writers make when starting out is that they mix the tasks up and then find it very hard to move forward to completion.
In order to realise the full potential of any story you are writing, it makes a huge difference if you have a process and that you follow it through to the end.
This is something we stress in all our classes, particularly to those in the Novel and Script First Draft class. Nearly everyone doubts their story at some time or other when writing it.
However, you must keep going until your story is finished. Often, it is only when writers complete the full process that they see their stories really come together and work as a unified whole.
In the early 1930s while working on his hugely influential book, Tropic of Cancer, Henry Miller wrote the following list of 11 Commandments:
  1. Work on one thing at a time until finished.
  2. Start no more new books, add no more new material to Black Spring.
  3. Don't be nervous. Work calmly, joyously, recklessly on whatever is in hand.
  4. Work according to Program and not according to mood. Stop at appointed time!
  5. When you can't create, you can work.
  6. Cement a little every day, rather than add new fertilizers.
  7. Keep human! See people, go places, drink if you feel like it.
  8. Don't be a draught-horse! Work with pleasure only.
  9. Discard the Program when you feel like it - but go back to it next day. Concentrate. Narrow down. Exclude.
  10. Forget the books you want to write. Think only of the book you are writing.
  11. Write first and always. Painting, music, friends, cinema, all these come afterwards.
Here are a few comments about the power of process from people who have recently completed our Ten Month Novel and Script First Draft Course that reflect some of Henry Miller's principles.
"The process of writing a first draft has been a revelation to me, sometimes slow and painful but the many 'aha' moments have kept me going. While I am still sometimes too self-critical and hard on myself, I and my character have both learned to let go and trust and have faith that the universe will help us out." Claire
"To allow the story to emerge with creativity, spontaneity and 'juice' you have to surrender to the process. Creativity walks through the doorway of the formal story step process." Gilbert

"I've spent a very enjoyable 10 months exploring the importance of structure in the creative process. What at first sounded like a total contradiction actually made complete sense by the end; it made everything fall into place." Rachel

"I have learned that writing takes commitment and persistence. It also takes courage and a willingness to grow through the process.
"When there is this willingness it is very rewarding. The joy of not knowing what will appear next in the story and seeing new characters reveal themselves makes facing that blank page worth it." Satyam

Friday, March 9, 2012

Editing and Proofreading

JI have now completed eleven out of twelve subjects completed. Even though I have a diploma in Professional writing & editing, I have found this course invaluable for filling in the gaps and keeping skills current.


  • Introduction to editing and proofreading
    • Introduction to your course
    • Grammar: part 1
    • Making a living as a freelancer
    • Mistakes people make
    • How the course is structured
    • The industry of editing and proofreading
    • Introducing proofreading marks
  • Proofreading marks
    • Creating the perfect environment
    • Proofreading marks: part 1
    • The successful career of a freelance proofreader
    • Welcome to the wonderful world of proof correction marks
    • Computers and editing
    • Test your knowledge
  • Structural editing
    • Structural editing of novels
    • Structural editing of non-fiction
    • Editing versus proofreading: an update
    • The spelling debate
    • Language is going global
  • Continuity
    • The importance of consistency and continuity
    • Looking out for continuity
    • The importance of reading
  • Copy editing
    • How to get started in the freelance editing and proofreading industry
    • What is copy editing?
    • Becoming a copy editor
    • Freelance and editing rates
    • Publishers' requirements
    • Standards of punctuation
    • The copy editor's task
    • Proofreading tips
  • The editor and the author
    • Establishing a good relationship with an author
    • Who has the final say?
    • The editor and political correctness
  • Editing notes and colloquial speech
    • Presentation of editing notes
    • How to mark editing notes on a document or manuscript
    • Understanding colloquial language
    • What is colloquial language?
    • Colloquial language is essential to many documents
      General knowledge and playing with words
      • What is general knowledge?
      • Case study
      • How do you fact check a document?
      • Grammar part 8: compound verbs and adverbs
  • Computer editing and electronic publishing
    • Editing using a computer
    • Making editing corrections on-screen
    • Electronic publishing and e-books
    • Test your general knowledge
    • Grammar part 9: what is a split infinitive?
  • Copyright and author's style
    • Protecting your work
    • The pitfalls of copyright and defamation
    • The difference between defamation, libel and slander
    • When is a document out of copyright?
    • Are titles of songs covered by copyright?
    • How does an editor protect himself or herself from breach of copyright?
    • Australian standards for editing practice
  • Proofreading and design
    • Proofreading
    • Design
    • Welcome to the efficient world of computers!
    • Illustrations, photographs and graphics

******************************************************************
Still to go:
  • Getting down to business
    • Tutorial review
    • Reference guide
    • Parts of speech
    • Setting yourself up as a freelancer
    • Starting out
    • Getting paid
    • Promoting yourself

Thursday, March 8, 2012

Falling into March

Whew! I have just finished updating writing and poetry competition details for March, April, May 2012 so be sure to check these out.

I am pleased to say I have now completed the digital photography course with a final grade of 97%. This course taught me so much about my camera and its various functions that I don't think I would ever have learnt on my own - manuals being printed in the smallest type they are almost impossible to read.


What I learnt:


Lesson 1 What Is Digital Photography?

Digital technology evolved from and is related to the same technology as television cameras. The Bing Crosby Laboratories and a research team funded by Crosby created the first videotape recorder.

Lesson 2 Understanding Your Camera

Digital cameras have opened up a world of artistic expression not possible with conventional film photography. For this reason, the more you understand about the sophisticated parts of your camera, the better a photographer you will become.

Lesson 3 Digital Photography and Your Desktop Computer

At a minimum, your computer should load your pictures onto its hard drive and print them out onto a higher grade paper. This is pretty simple and requires minimum practice to perfect the techniques.

Lesson 4 The Power of Light

Daylight photos taken indoors are challenging for the best of photographers. You can improve your daylight photos by keeping a few things in mind.

Lesson 5 Still Life, Group, and Landscape Photography

Still life has been described as a composition of several lifeless objects brought together by a certain theme. It can include arranging things on a tabletop and using lighting techniques or other still life methods.

Lesson 6 Exposure and Shutter Speed

In this lesson, we will focus on the technical knowledge necessary for you to take professional-looking pictures. The digital camera, as a technical device, brings many functions into play. One function is digital camera metering.

Lesson 7: People and the Environment

Think about what happens when you page through an album of photos. Those photographs grab your attention if they have a subject and interesting surroundings.

Lesson 8: Magical Water Photography

We all love to see a rushing stream, a cascading waterfall, or the silky white look of rushing water. There are many layers involved to shooting a great water picture, or for that matter, any great picture.

Lesson 9: Improving Your Camera Techniques

You have owned a digital camera for quite a while, yet you are just not satisfied with the way your photos are turning out. You think it could have something to do with your camera techniques.

Lesson 10: Understanding Image Quality

Some of you are probably thinking, "What the heck are CMYK and RGB?" To explain, this is something you would need to be aware of if you decide to become a professional photographer and have a need to deliver "press-ready" digital photos.

Lesson 11: Black and White Is Back

In a digital camera world, if you do not want the sky to be plain blue, you can change the color in a digital imaging program. There are photographers who would not even consider using camera filters as an option.

Lesson 12: Portraits

Portrait lenses are designed for the photographer who is passionate about people. Before you set out to buy a portrait lens, you need to own a digital single lens reflex (SLR) camera.

Lesson 13: Creative Tips for Your Photography Hobby or Career


I  have also learnt not to undertake too many different courses of study at the one time when I have so many other tasks to complete, because it is important to me that I enjoy the study process and not feel under the pump all the time. A downside of networking is the time one must put in to be effective - and to respond to the reaching out by others - having social networks linked is a time saver, but this can never take the place of a personal comment or acknowledgement of appreciation of the efforts of others.

Monday, February 20, 2012

February winds down

This has been a stop/start month so far, with more stopping than starting, I'm afraid. Studying takes up a lot of writing time, and vice versa, and procrastination takes care of the rest. In between times, I have been critiquing the work of other writers and enjoying reading their stories immensely. That is part of the three way benefit when undertaking critiques - the privilege of previewing a yet-to-be published work - the greater understanding of one's own writing that comes from closer analysis of the work of others - and the gifting of your knowledge and experience to others.
I have my first workshop for the year this week and then they begin in earnest for the year. A writer friend cautioned me against over extending myself and I tell him it's under control - it is, but maybe I'm destined to spend my life, what remains of it, stretching out to...
Poetry will take a back seat this year and, apart from posting on Haiku on Friday each week, I've written very little and now - it's back to the grindstone to mill those words.

Tuesday, January 31, 2012

End of the month

The first month of 2012 is almost over and with it goes the January, A River of Stones, challenge. In some ways it's not a challenge, as the theme for the month is set and takes less mental energy than posting daily and thinking about the month ahead.

Applications have been coming in for the Write a Longer Work series of workshops. The original plan had been to offer a Longitudinal Novel Writing  workshop; however, with many people writing in other genres, it seemed fairer to open it up to include all forms and lengths from Novellettes to memoirs or other non-fiction. This workshop is a community service initiative of the Wordsmiths of Melton to encourage and foster literary interest from those living within the Shire of Melton.

Studying three subjects online at the one time is another commitment - and a challenge to meet deadlines. For anyone considering online studying I would suggest two subjects at a time is enough unless you have plenty of time on your hands - I don't. Often it can mean the difference between a high distinction grading and a distinction.

The writing of my own novel continues, although not at the pace set during Nanowrimo. This is a learning experience for me, having begun the project with only a beginning and an ending in mind and letting the story write itself. This proved to be an enjoyable and productive experience until I reached a point wher I needed and outline or I was in danger of losing my way completely. This is where writing groups or writing peers can be invaluable, to throw ideas around and see what you catch on the back toss. I'm pleased to say I've found my way before I got too far off the beaten  lexiconic track - and have now completed an outline for the remainder of the story - as well as retrospectively.

~Merlene

Tuesday, January 17, 2012

Change of title

This year my focus will be extend beyond the development of poems and I have changed the title of this blog to reflect those changes. My posts are always what fall from my metaphoric pen, therefore will always be in the rough - often the first and only draft. I had thought of posting random paragraphs from the novel I'm currently writing, which has a working title of The Run, but need to think whether there is any purpose to this before I rush off at the keyboard. Poetry, for this month, is covered by short form observations posted on http://aros-merlene.blogspot.com/ and competition updates continue at  http://writingandpoetryopportunities.blogspot.com/

Thursday, January 12, 2012

Symbiotic or symbolic?

Today I used the words hieroglyphics and sarcophagus in two unrelated haiku - symbiotic or symbolic? The first related to editing markups and the second to a desk tidy. Could both be symbolic of the mystery of death - death of a manuscript from author's intention to editor's correction, and the other as the holder of dead pens? Obviously I am procrastinating from the real job of writing and need to take a self-discipline pill.

Tuesday, January 10, 2012

A question of integrity - or not


At a local writing group I attended last Sunday the question was raised about the integrity of entering work in a competition after it had been critiqued by a number of other people – the question being at what stage did a story move from being a sole effort to one of collaboration. The person who posed the question was not asking from a position of ‘sour grapes’, as she neither wrote for nor entered competitions, so I accepted her concern as genuine.

As the founder of a critiquing  group (and as a member of many writer’s groups over many years)  where the focus has always been on assisting the writer further develop their skill, I have openly encouraged beginning writers to present their work for critique prior to submitting anywhere (be it competition or publication). The purpose of this was to ensure their work was at its polished best; to optimise their chance of having their work accepted. I saw this as an integral function of the group.

Alternatively, I have seen some stories presented in their rawest, most grammatically incorrect form – little more than a concept thrown on the page - and watched them over a period of critique sessions, and with the input of half a dozen other writers, transform into a well-shaped, fine piece of writing. I never gave a thought as to whether these stories might then be entered into a competition and the question of integrity in this regard never arose.

These were my thoughts as I attempted to respond to her question, as several of my own arose from her single one, so I’m asking for opinions on the following:
  1. Would it be a more appropriate to submit a group -worked story to competitions or publications where entries are invited from collaborative efforts of writers rather than an individual?

  2. If a writer pens the original concept, does that make them the sole author, despite input on grammar and syntax from others?

  3. As writing competitions are judged on a number of elements, not the least being use of language and punctuation, and if the story has been critiqued and structurally edited by a series of writers, is it ethical for it to be submitted as the work of one writer? 



Please help with this one – it would be much appreciated. ~Merlene