A Gathering of Inky Sisters

Four friends recently met at my little nest to talk about our shared passion: writing. It had been far too long since we had come together--well over a year.

We met through the now-dissolved Southern Indiana Writers' Salon, a group I co-founded in 2001. Since SIWS's demise early in 2010, some former members--I among them--have felt a bit like a motherless child, wanting to start another group, but hesitant to take the risks of such an undertaking. You see, SIWS did not end well, but that's a subject for different blog entry.

Clustered around my dining room table, we shared current projects, nibbled on fresh veggies and still-warm oatmeal cookies, and exercised our problem-solving skills to address rough spots in our writing. Beyond that, we encouraged and inspired one another. (Hey, oft-pubbed Ramona K. Cecil came up with the name for the novella I'm working on--and that was within five minutes of her arrival!)

Most important, we hold one another in prayer. We seek God's guidance in our writing, our meeting, and our families.

We are a diverse band. Ramona writes historical romance fiction and poetry. Kathi Linz writes whatever suits her fancy. She is an information specialist at our local library, so her interests are like a sunburst, pointing off in many directions. Most of her writing, both fiction and non-fiction, is for children. Natalie Bray, who participates in Renaissance festivals, writes in the genre of speculative fiction, the sub-genre of fantasy. As she unfolds the many layers of her current work, the room becomes crowded with strange, unimaginable creatures, dragons, monsters, courageous heroes and silver-haired heroines. I write middle-grade novels and some poetry. I'm also working on a historical novella and some children's magazine pieces.

So what is the future of this new aggregate of wordsmiths? That vision is still under construction. But this we know. We will maintain our Christian identity. Further, we will remain a small, informal gathering of inky friends, running no notices in the newspaper inviting others to join us. Does that mean we would not accept more writers to our circle? Certainly not. But we won't advertise toward that end.

Writing often is an isolated endeavor. Sure, we leave our writer's caves to conduct research and to be active members of our families, churches and communities, but the actual nitty-gritty work of our craft usually is done apart from the gaping crowd. Nonetheless, we need our fellow scribes. I highly recommend participating in writers' organizations, online communities, and critique groups, but don't neglect the face-to-face meetings, also. We say it often because it's true: Iron sharpens iron.

Your Turn:  Do you belong to a local writers' group? What have you gained from participation? What advice or warnings would you give to others considering starting such a group? Please respond by leaving a "Comment."

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.

Getting an MFA the Hard Way: Part One

This week my writers' group met. (Random thought: why do we claim ownership of anything we're involved in? It's my group, my church, my home town.) Five of us gathered to mull over our work and gnaw on a couple conundrums. One writer wrestled with how to present five POVs in her lengthy fantasy novel, while another struggled to find words to describe the smells of an Amish restaurant when she herself has no sense of smell or taste. For nearly 90 minutes ideas bounced around the table like an erratic ping-pong ball.

I was the only one of the five who was an original member of the group. The others have come within the last three or four years. We've talked about how to draw more people to our meetings. It's a paradox, because we're not sure that we want more. Perhaps I should say need, rather than want. Back in the early days when we numbered ten or twelve at a meeting, we seldom had time for everyone to read even snippets of their work. A smaller group allows for that, and I love the exercise.

We five, along with a couple others who couldn't attend this month, form a nucleus of what I call serious writers. We readily learn from one another at the meetings and throughout the month via our Yahoo group. While I cannot speak for the others, I feel that I am working toward an informal MFA by studying my craft through books, online resources, participation in SCBWI and ACFW, and dialog with other writers, editors, and agents.

"This is work," said one of our SIWS members. It is. And we revel in it.