FRIDAY'S FIND

(In the interest of full disclosure, I must confess that I may not have actually found "Friday's Find" feature on a Friday.)


The Find:  Tammie Edington Shaw--Letters Across the Page, "Splickety: A New Magazine"; Friday, January 20.


How did I find the find? Shaw, a fellow member of ACFW's 19th Century Writers email loop, announced her interview with Splickety's executive editor, Ben Erlichman.


My reaction to the find? Though the main purpose of the article is to announce the inaugural issue of Splickety, a publication in both print and digital formats that specializes in flash fiction, three other magazines, also imprints of Written World Communications, are listed: Harpstring (Christian fiction); Other Sheep (Christian speculative fiction); and Starsongs (fiction for kids by kids). I'm always thrilled to hear about new potential writing markets.
          The first issue of Splickety features a story by Brandilyn Collins. According to Shaw's article, each issue will feature a well-known author, but Erlichman also welcomes submissions from lesser-known and new writers. I see it as an opportunity to become more familiar with the work of several writers. I also might submit a short, short story of my own occasionally.


Write on!
Because of Christ


Postscript: Yes, yes, I know. Technically this is a "Saturday Find." Sorry.

Two Constants

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Two constants exist. One is change. People. Politics. Circumstances. Geography. Writing conventions. Word meanings. They all change like the clouds in an Indiana sky.

At my age, I should be used to change, I suppose. I should take it in stride. I've certainly seen enough of it. "Of such is life," I should say. Fact is I don't accept change easily.

Therefore, when the email arrived announcing that our ACFW Scribes small critique group had been disbanded, I was sad. It didn't come as a surprise. Some members now have agents and/or contracts, and their critique needs have changed. While I celebrate the victories in the lives of my fellow Scribes, I will miss the camaraderie, the tough critiques, the prayers and encouragement we shared. 

This year brought other changes, also. I attended two Writer's Digest webinars and the Indianapolis Christian Writers Conference. I also finished the first draft of my second middle-grade novel. Even as I revise that work, I'm writing a third MG and researching for a historical novel set in southern Indiana (using a pseudonym).

What changes will 2012 bring? That's not for us to know.

Which brings me to the second constant: God, our immutable Sovereign. Isn't it a comfort to know that whatever the new year holds, He Who said, "I Am that I Am," already is there. What security! What peace!

New Year's Resolutions--
Resolved: I will write, as the Lord enables and leads.
Resolved: I will submit to select agents and publishing houses.
Resolved: I will wait upon the Lord to work His will in my life and career, acknowledging Him as my Supreme Agent.

Your Turn!
What changes occurred in your life this year that affected your writing? What do you anticipate for 2012? What resolutions have you made relating to your writing? Please leave a comment.

WooHOO! The February 2011 Issue is Out!

It's always a good day when word comes that ACFW's premier ezine, Afictionado, is up for viewing. The latest issue features articles by ACFW president, Margaret Daley; Randy Ingermanson (the Snowflake Man), who writes "Writer's Toolbox: Selling Your Novel in 25 Words or Less"; and many others. Write fiction? Click over to read some informative articles.

Stay cozy and. . . 

Write on!

Because of Christ,

Sharon

A Chat with Jennifer Hudson Taylor

An interview with the author of Highland Blessings

1. What intrigued you about fifteenth century Scotland so that you chose it as the setting for Highland Blessings?

I’ve always thoroughly enjoyed history, but there is something romantically intriguing about the late Medieval period and the clan system of the highlands. I’m amazed at how the clans can fight among themselves, and yet, fiercely defend each other against the English and any outsiders.

2. How did you choose the setting?

The setting of the loch where Akira nearly drowns is from an area in a park where I used to practice running. I was on the Cross Country team in high school and ran several miles a day. The rest of the scenes were a combination of my research of Scotland and castles and my imagination.

3. Does the story line of this novel parallel a particular Biblical account?

No, if there is a biblical parallel, it was not a conscious decision on my part. I originally wrote Highland Blessings as a secular novel in 1998. I didn’t convert it to Christian fiction until 2006 after I discovered Kathleen Morgan’s novel, Embrace the Dawn. Once I realized there was such a thing as a Christian fiction Scottish Medieval, I was elated and determined to try and get mine published.

4. Which comes first, the plot, the place, or the people? Why?

The people. I can’t write a story unless I’ve created a character sketch of the main characters. I can create a plot around the characters, but I think it is the people that make the story. I think that is why I tend to love character driven novels like Jane Austen’s stories.

5. Which novel was the more difficult to research, Highland Blessings or Beloved Liberty, your book set in early nineteenth century South Carolina?

Beloved Liberty required the most research. The story idea is loosely based on my real family history from the actual genealogy research I conducted on my Hudson line. Then I had to research slavery laws for 1810. It takes place during the Regency period of England, but the setting is on a rural plantation in SC. Most of my southern plantation knowledge is either during the colonial period before 1800 or much later in the Victorian period between 1840-1865, so I had to do extensive research for 1810.

6. How did the research between the two differ? The writing?

The writing is very different as the two books contain different cultures, accents in the dialogue, and time periods. The vocabulary for Highland Blessings in 1473 is extremely limited compared to 1810, so in that regard Highland Blessings was harder to write. I had to keep looking up alternative words for those words that were not yet in existence. It was difficult to verify some of the clothing in 15th century Scotland. There are so few authentic references and most date from the late 16th century. For instance, the Scottish kilt as we know it today was not in existence until around 1725, nor wore the family clan tartan colors.

7. How do you develop your characters?

I develop a character sketch that includes physical traits and personality traits. Each character must have at least one spiritual flaw, and one personality flaw, if appropriate, even a physical flaw. In Highland Blessings, Akira MacKenzie is extremely tall for a woman, and she isn’t very fond of her auburn hair. In Beloved Liberty, Catherine Oakes has a mole on her cheek that she thinks is hideous, but the hero views it as a beauty mark. The last thing I establish is their background, their goals, and why they want to achieve them and how they will go about achieving those goals based on their personality and character.

8. How do you name your characters?

Names are very important. I use the Character Naming Sourcebook, and I sound out first and last names aloud. I run them by my husband. I even look up street names and small towns in the areas where the novel is set. I do this because lots of streets and towns are named after the local people and families in the area.

9. What is your writing regimen?

I don’t have a set schedule because I work another full-time job. I squeeze writing in between lunch hours, doctor visits, evenings, weekends, road trips while my husband drives, wherever and whenever I can. Sometimes I fear that my writing won’t be as good as others who have the opportunity to sit down and really concentrate and work on their novels throughout the day. Then I quit feeling sorry for myself and just deal with it.

10. What has surprised you most about the whole process, from inception of the idea to release of your debut novel?

When I first received the contract offer, the release date was a whole year and half away. I’m surprised at how fast that time passed.

11. What have you learned about God through this journey?

I’ve learned that God will help me in ways that I never imagined. He is with me the whole way and He inspires me through loved ones, inspirational verses, and dreams.

12. What advice do you have for unpubbed writers?

Never give up. Persevere and press through.

Thank you so much for taking the time out of your busy schedule to chat with us today. May God bless you with much writing success. We're really looking forward to your next novel.

Getting to Know You, Getting to Know All about You

Leah Bright Maxwell and Trevor Aldrich Logan

That's real characters, as opposed to real people. But they're real to me, now that I've interviewed them.

I happen to be blessed to know author Ramona K. Cecil (Sweet Forever, Everlasting Promise, and Charity's Heart--all from Barbour Publishing's Heartsong Presents). We both are members of Southern Indiana Writers' Salon and American Christian Fiction Writers. On multiple occasions, Ramona has adjured SIWS writers to interview our main characters. I did that with my latest WIP and was amazed at the difference it makes in the writing. It shows.

If a writer has not taken the time or made the effort to get to know his characters well, that shows, too. It's hard to write in deep POV if one doesn't know what that POV would be or how the character views the world.

In the case of my protagonist, Leah Bright Maxwell, I knew her pretty well; much of her is me. Whereas I interviewed her, I didn't uncover any major information. Some minor things, but nothing big. On the other hand, I didn't know much at all about the neighbor boy, Trevor Aldrich Logan. His personality was ambivalent. He showed up, spoke a line or two, half-smiled, and stepped into the background. Then I interviewed him. Everything changed. Now, he will have a much larger role in the plot. He will be a co-conspirator.

Here is the interview I conducted with Trevor:

SKC:  What is your full name?

Trevor:  Trevor Logan.

SKC:  Middle name?

Trevor:  Aldrich. It was my gramp's name, but everyone called him "Al." [I didn't know this before.]

SKC:  That's a good solid name. Do you know what it means?

Trevor:  Mom looked it up once. She said that the Trevor part means "large village." Aldrich means "old king." Some place else said it meant "spear wielder."

SKC:  So you're the old king of a large village who carries a spear? (chuckle)

Trevor:  (smiles) I guess. A soldier. Like my dad. And my gramp.

SKC:  Is your gramp still living?

Trevor:  No. Neither is my dad.

SKC:  Oh, Trevor. I am so sorry. How did they die?

Trevor:  Gramp was old. He had a stroke and died. [I didn't know this.] I was a little kid. Dad was a brave warrior.

SKC:  Oh?

Trevor:  He died in Iraq. He. . .

SKC:  I know it is hard to talk about. You don't have to--

Trevor:  No. I want people to know, because I'm proud of him. He threw himself on a grenade to save his buddies.  [Nor did I know this before the interview.]

SKC:  Oh, Trevor. He was a very, very brave man.

Trevor:  Gramp died shortly after we heard about Dad dying. Mom says Gramp died of a broken heart. 

SKC:  What about your grandma?

Trevor:  Grammy lives with us. [This also surprised me.] Actually, we live with her. It's her house. She and Gramp built it a long time ago. The front part used to be a little gas station, back before Gramp decided to retire. It's kind of an odd house, with old gas pumps still out in front. [This was all news to me.]

SKC:  It has character.

Trevor:  (chuckles)

SKC:  So how did you and your mom--what's her name?

Trevor:  Wilhelmina. But no one calls her that. She might bop 'em if they did. Everyone calls her "Willie."

SKC: So how did you and your mom come to live here? Where did you live before?

Trevor:  North Carolina. After Gramp died, Grammy called Mom and said, "Wilhelmina, why don't you and Trevor come to Indiana and live here with me? We'll take good care of one another." So we did.

SKC:  She's your father's mom, isn't she?

Trevor: Yep.

SKC:  Are your other grandparents, your mom's folks, still living?

Trevor:  Yeah. They live in Illinois. Close to the Mississippi River.

SKC:  What's your Grammy's name?

Trevor:  Fern. I like that name. The woods around here are full of ferns, and I think they're really pretty.

SKC:  I like ferns, too. Have you met the girl who is spending the summer up on the hill?

Trevor:  With Miss Becky. Yeah.

SKC:  What do you think of her?

Trevor:  I don't know her much. She's from Chicago, so she's probably uppity.

SKC:  "Uppity"?

Trevor:  Yeah. You know. Snobbish. Big city. Miss Becky said her dad's a college professor or something like that.

SKC:  Her name is Leah. You and she have some things in common.

Trevor:  Like what?

SKC:  Well, she's only a little bit older than you. And she has lost a parent, too. Her mom was killed in a car wreck. She was hit by a drunk driver.

Trevor:  That's sad.

SKC:  Yes, it is. Do you know Miss Becky well?

Trevor:  Yeah. We go to the same church. She was my Sunday school teacher in third grade. I like her a lot. I go up to her house a lot. She let's me help out. Do chores. That kind o' thing.

SKC:  Don't you have a garden at your house?

Trevor:  Yep. We all three work in it. But I really like to grow things and take care of them, so I help Miss Becky, too.

SKC:  I would think that would keep you pretty busy.

Trevor:  Yep. But I like to be outdoors, so it's fun for me. Dad did, too. He was a first-rate woodsman. He taught me all sorts of things about the woods and how to survive in the wild. Like Brian in Hatchet.

SKC:  Oh, so you've read that book?

Trevor:  Yep. Pretty good, too.

SKC:  Do you read a lot?

Trevor:  Not really. That was a book we read in school. Mostly I read to find out stuff. You know. Not made-up stories. Books about nature, an' stuff like that. Dad used to get me them kind o' books just about every birthday. I have a bookshelf in my room--well, it's part of my bed--that Mom calls my Lewis and Clark shelf. You know. After the explorers. [All of this is new to me.]

SKC:  Yes. I've heard of them. So what kinds of books are on your Lewis and Clark shelf?

Trevor:  Dad got ma a lot of books about how to identify stuff. Trees, wildflowers, medicine plants, birds, mushrooms, butterflies, insects, snakes, mammals, reptiles, amphibians, dragonflies--you name it.

SKC:  I might not be able to name it.

Trevor:  Then we'll look it up in a book.

SKC:  Those are important things to know.

Trevor:  Yep. [He says "Yep" a lot.] I know the woods around here real good.

SKC:  You miss your dad a lot, don't you? I can tell. When do you miss him the most?

Trevor: When I'm out in the woods and I see something special and I want to show it to him or ask him about it and I can't 'cause he's not there. And at night. He used to read to us from the Bible and we'd talk about it. What it meant. That kind o' thing. Sometimes we'd talk a looooooooong time. Till Mom said I had to get to bed. Oh, and when the mailman comes. I know there's no need expecting a letter from Dad. There's another time, too, when I really miss 'im.

SKC:  When's that?

Trevor:  When Mom cries. When she misses him so much she just cries. And I don't know what to do to make her feel better.

SKC:  Do you cry?

Trevor:  (almost inaudibly) Sometimes.

SKC:  Trevor, may I ask some not-so-serious questions?

Trevor: Yep.

SKC:  These are about your favorite things. What's your favorite color?

Trevor:  Green.

SKC:  Ice cream?

Trevor:  Butter pecan.

SKC:  Meal?

Trevor:  Grammy's homemade chicken 'n' noodles with mashed potatoes and corn-on-the-cob and tomatoes from the garden. Watermelon for dessert.

SKC:  Subject in school?

Trevor:  Hmmmm...art. And science. I like social studies pretty good, too.

SKC:  Book?

Trevor:  Well, Hatchet. And I really like the Chronicles of Narnia, too. Are we about done, 'cause I got some things I need to do?

SKC:  I think so, unless there's something else you'd like to tell me.

Trevor:  Nope. I want to go see if I can help Miss Becky.

SKC:  Thanks for talking with me.

Trevor:  You're welcome. See ya later.

SKC:  Count on it.

Want more on the subject? Visit Linda Glaz' blog.

Writing Reflections

I love being a member of Society of Children's Book Writers and Illustrators, Southern Indiana Writers' Salon, and American Christian Fiction Writers. Writing is a solitary enterprise, for the most part, so belonging to such groups is essential. We need the objective feedback of others.

As part of ACFW's large general loop and a small critique group, I've learned much about my craft. The loop boasts membership that includes editors, agents, reviewers, professors who teach writing, and writers at all stages in their careers, from the rank beginner to the oft-pubbed author. Thanks to a critiquer who was part of my first small group (and remains a friend and critique partner), my writing is tighter, more precise. I still can be wordy, but I'm improving.

However, if writers were to try to conform to all of the tidbits of advice given--through a loop or any other source--we would all sound alike.  Consider the great writers of American literature for a moment. One can read the short, crisp sentences of Hemingway and recognize his style immediately. He wrote simply and directly. What he lacked in syntax and diction, according to critic Harry Levin, he made up for in action. Faulkner, on the other hand, wrote in a very different style, constructing long, convoluted sentences that painted vivid pictures in the imagination of the reader. Yet, Hemingway and Faulkner were contemporaries. Like them, each writer should have his or her own voice and style.

Good writing applies common sense and survives the trends of the day, giving it a long shelf life. "Lose the tags," we're told. "Introduce lines of dialog with action beats." That's reasonable advice, though it's not really new. The terminology may have changed, but the idea stays the same. If two people are talking back and forth, the writer can omit most of the he said/she saids. Action beats (what actors might call "business") help to eliminate "talking heads" and serve to develop characters and scenes.

These days, we also hear a lot about deep point of view or penetration point of view--same thing. This form of third-person writing sees and understands the scene through the character's eyes, giving the motivation behind the action. It falls just shy of being first-person, showing the attitude at the moment, not in memory or flashback. As with any strategy, it has its faults. It is no more reliable than first-person because of its subjectivity. The character may misunderstand or misinterpret events (which can be exactly what the writer intends). Because it can be very intense, it has the potential to wear on the reader, if carried on too long, so the writer should be discriminating in its usage.

"Show. Don't tell." How many time have we heard that? It is good advice to new writers, who tend to want to tell or describe everything in long, boring paragraphs. But there are times when the narrator needs to tell, to describe, times when some details need to be conveyed to the reader efficiently. Careful revision can eliminate many so-called narrator intrusions, but not all should be cut or changed.

I recently joined a new small critique group through ACFW, and I am so excited. We are beginning a new adventure together on the brink of a new year. I want them to be tough on me. They can rest assured that I will be on them. In the months since I joined ACFW, I have developed a tough skin. I can take it. I will consider each suggestion, though I may disagree, and I may not make all the revisions each one suggests. I'm the writer of my work, so that call is mine to make.

As I pray before each writing session, I also want to remember to pray before I begin reading their critiques, that God will keep me teachable, helping me to discern what needs to be changed and what can stay as it is. I pray that we become a cohesive team while maintaining our individuality--we four and the Lord.