Inspiration For Writers, Inc.

Time Marches On - Get your discount on editing services NOW

noreply@blogger.com (Sandy Tritt) — Tue, 21 Nov 2023 17:34:00 +0000

Why is it that every time I blink, another month has passed? When I glance back at the previous month, I am pleased with some accomplishments. Yet, I am nagged by some things I've let slide--like working on my own writing. Fortunately, every time I return to the novel I've been working on for years(!), I still feel that passion to complete it. These characters live in my heart and mind every bit as much as many "real" people do. They continue to amuse me, frustrate me, and challenge me.

What is it you let slide? Do you make your personal writing a priority? Do you let too many days, weeks, months go between those late nights when you still feverishly work on it? I certainly cannot judge. I am guilty.

I am also not getting any younger. The daily obituary column lists as many or more who are younger than me than older. What if that grim reaper shows up and I haven't finished my life's work?

We aren't guaranteed any tomorrows. We need to do what is important today, not "later." Today.

How many people do you know who also suffer from procrastination? Would you like to help yourself or gift your friends/family with a bit of inspiration?

We are offering GIFT CERTIFICATES for 10% off until the end of November 2023. You can use these on your own work or you can gift them to others. We can custom create them for you and mail or email directly to the recipient. They will have a FIVE YEAR expiration date. These gift certificates are valid for any of our services--editing, ghostwriting, developmental editing, coaching, proofreading--including any of our services we custom design for your needs.

So, chase off those excuses and DO SOMETHING. Email me at IFWeditors@gmail.com for questions or more information.

Time is of the essence.

Struck by Cupid’s Arrow: The Advantages of Insta-Love in Fiction

noreply@blogger.com (Jessi) — Sat, 18 Dec 2021 14:00:00 +0000

by Jessica Nelson

Two main characters lay eyes on each other while [insert preferred meet-cute here] and there’s an instant, undeniable, irrevocable connection that sets them on the journey of a whirlwind romance.

Insta-love? Psshh. More like insta-lust.

I object to the “love at first sight” trope in fiction on principle. It’s annoying to see two characters go from strangers (or worse — enemies) to proclaiming their undying love and willingness to die for each other in less than seven chronological days — or 20 pages, whichever comes first. Unless your story involves Cupid literally shooting the characters with love arrows, insta-love is highly unrealistic, even by fiction standards.

That said, I am an avid reader of romances, and I have found that, as a reader, I have very little patience for slow-burn romances.

Maybe the inundation of insta-love has ruined me for more measured love stories, or maybe I’m just a naturally impatient person, but if the characters are still hemming and hawing about whether or not they might like each other by page 100, I’m liable to start screaming, “Get on with it already!” at my Kindle.

Readers like me prove that insta-love has a place in fiction. But there’s a way to do it wrong and a way to do it right.

The most “wrong” way to do it — and most universal example — is the classic tale of Cinderella.

Discarding the other themes, there is nothing more unbelievable than the way Prince Charming falls for the tale’s heroine.

Like, seriously: He dances with a girl for one song and falls so madly in love her that he’s willing to marry her and make her the queen of his kingdom, but he never gets her name, can’t remember what she looks like, and has to use her lost shoe to identify her? Bleh.

The development of love — of a romantic connection — is often a driving force behind emotional conflict and character growth. If a story uses insta-love, then one avenue for growth and development has been taken away. The emotional heart of the story has to shift accordingly, generally becoming introspective: discovering oneself, battling inner demons, healing from old traumas, etc.

A budding romance usually features heavily in the story’s plot; insta-love makes the plot rely almost solely on external forces: something that keeps them apart or pushes them together, or an obstacle they must overcome as a team. If you’re like me, I like my love stories to have some flying bullets or sword fights, maybe a crime or two, and the occasional explosion. I’ll settle for a ghost or other paranormal or fantasy elements.

When done right, insta-love successfully raises the emotional stakes of a plot-driven tale. With the characters already so invested in each other, any threat to one of them or their relationship becomes more intense for the reader.

If there’s insta-love, there’s likely to be insta-lust, which can be just a trite, particularly given its overuse in the romance genre. I’ve read descriptions of characters’ physical reactions to meeting “the one” that have literally made me laugh out loud. And every time I read about body parts “tightening” or becoming erect, I’m liable to roll my eyes.

Don’t get me wrong — such descriptions have their place in adult romance, just maybe not so explicitly in the meet-cute. Even if the author is relying on insta-lust the get the characters together, it can be overdone.

Insta-lust at least has a basis in reality — more so than insta-love at any rate. In every human interaction, we eye up the other person and make a series of split-second judgments. One of those may be deciding whether or not we find the other person attractive and to what extent.

The advantage to insta-lust is it draws the characters into close proximity and keeps them coming back together. As long as the characters are interacting, there are opportunities for love to grow.

Of course, intense physical chemistry can also bring its own set of interesting plot points.

Inta-intrigue, however, hits the sweet spot. It incorporates the physical elements of attraction (without the more explicit details) and the emotional elements of love. How does the person’s appearance make the character feel? What about the person piques the character’s curiosity? What internal or external force draws the characters together again and again?

With insta-intrigue, there’s plenty of room left to develop a romance — as sweet and clean or hot and steamy as you’d like — that can be built into the plot or around which the story can evolve.

All said and done, insta-love and insta-lust have their place in the literary tradition. And there are a lot of readers who look for just that. But there are ways to do wrong and ways to do it right. The key to using insta-love or insta-lust effectively is to balance it with other emotional and plot elements to create a story that still has room for growth and change.

So sometimes it does pay off to be struck by Cupid’s arrow.

Kindle Edition of In the Midst: A COVID-19 Anthology Is Now Available!

noreply@blogger.com (Sandy Tritt) — Wed, 10 Nov 2021 21:06:00 +0000

It’s here! I’m so excited to announce the release of the Kindle edition of In the Midst: A COVID-19 Anthology.

It’s been almost two years since a global pandemic shattered our world. Perhaps for the first time in history, people from every continent are experiencing the same emotions—fear, anger, sadness, anxiety. How are they coping? What are they learning? How have they changed? Writers and artists of every age (10-90) from six continents (including the countries of Argentina, Australia, Bangladesh, Canada, Ireland, New Zealand, South Africa, the United Kingdom, the United States, and Zimbabwe) have contributed original art, photography, poems, essays, fiction, and scripts to create In the Midst, a COVID-19 Anthology. The works reflect a common humanity beyond age, ethnicity, or location and are captured here to share with the world.

People are suffering in so many ways from this unprecedented situation. But the pages of this anthology carry much more than tears. They also show the resilience of the human spirit. Some offer encouragement. Some ways of coping—especially creative ways, such as taking up new hobbies. Others find humor in the quest for toilet paper, the mandate to “wash your hands,” and hair—from new hairdos and natural hair colors of those who can no longer see their hairdressers to COVID cuts for those who took the problem into their own hands. Some describe new skills or practices that have improved their lives—things they will retain long after the pandemic is over. And many show appreciation to the ones who’ve sacrificed to keep the world moving.

What ties them all together? The universal experience of living in isolation and anxiety during a global pandemic with no end in sight. People are in crisis and need to share their experiences and imaginative solutions.

Difficult decisions were made to cut down the deluge of entries to this final selection of 100 pieces representing 84 authors and artists. I’ve always said that when you share your art or your writing, you share your soul. And we now celebrate the courageous people who have bared their souls to give you a glimpse into their lives.

I hope you are as touched as I have been by these honest, from-the-gut reactions while still IN THE MIDST of this historic pandemic. Hopefully, we’ll see our way out of this soon, and this anthology will become a collection to help future generations understand exactly what it was like to endure separation from friends and family, shutdowns of schools, churches, and “non-essential” businesses, and, of course, the fear and suffering caused by illness and death.

In the Midst: A COVID-19 Anthology is available in two formats on Amazon. The standard format has a black and white interior and, for a limited time, sells for $16.95. The full-color edition printed on high-quality paper sells for $52.00. The New Kindle edition is available for $6.99 USD and is available worldwide. It is, of course, in full color.

If you don't live in the USA, sign into Amazon in your domain area. Then you can type B08NX43Y4L in the search bar for the low-cost, black-and-white interior edition for a limited-time price of $16.95 USD (converted to local currency). Type B08NX6Q2Q1 for the full-color version (or click on the links if you are in the US) for $52.00 USD. For the Kindle Edition, type B09L9K2ZQ1 as your search element. You can also search for "In the Midst COVID-19 Anthology" to see all versions on the selection screen.

The unique cover was designed and created by Lana Hunneyball. The artwork featured on the card faces are among the more than 30 original creations or photos included within the anthology. Lana used the layout of the card game “Patience” as a fitting representation of the patience required to get through this pandemic—and it’s a form of solitaire, which is especially fitting since many of us are alone at this time. Isolated.

But now you don’t need to be! Order a copy of this anthology for yourself and for everyone you know. You’ll be glad to have the company.

And be sure to share this announcement. Thank you!

Be safe out there.

Style Guides to the Rescue!

noreply@blogger.com (Sandy Tritt) — Wed, 03 Nov 2021 19:30:00 +0000

Twenty-five or so years ago, when I was just beginning my editing practice, I had two important mentors. My friend Wilma was a newly-retired grammar teacher, and she was my definitive source for grammar. We even called her the grammar guru. If Wilma said it was so, it was so. My friend Patsy was a well-published author who had received many national and international awards. She’d been published in Guideposts, Redbook, Grit, Good Housekeeping, and on and on and on. She knew how to write a story.

Wilma, Patsy and I frequently met for lunch. One day, we went to Applebees. Wilma and Patsy arrived together, and they were already in the midst of an argument. And, as the meal progressed, so did the volume of the disagreement. I was the innocent spectator—and I was horrified. Here were my two mentors, the two women I admired most, and they were violently arguing about a comma.

My horrification was not because they were loud and on the verge of getting us kicked out of Applebees—although I was a bit embarrassed. What bothered me was that these two great sources of writing knowledge disagreed about commas.

By the time we left, Wilma and Patsy had forgotten their disagreement and were making plans to go shopping. But I was traumatized. How would I ever again know who to believe? Who to trust?

The internet was young in those days, but I went home and started a search. I found arguments for both sides of the Oxford comma debate. And then I found the answer—it all depended upon the style guide used. Both Wilma and Patsy were right. Wilma worked in academia. Her style guide said no Oxford comma. Patsy wrote fiction. The Chicago Manual of Style loves the Oxford comma.

Style guides are important, people! Be sure you understand which one is appropriate for the type of writing you do. Or ask. I’m here. I like questions.

Rest in peace, sweet, stubborn Patsy. I miss you every day.

In the Midst: A COVID-19 Anthology is here!

noreply@blogger.com (Sandy Tritt) — Wed, 25 Nov 2020 14:45:00 +0000

It’s here! I’m so excited to announce the release of In the Midst: A COVID-19 Anthology.

It’s been more than 8 months since a global pandemic shattered our world. Perhaps for the first time in history, people from every continent are experiencing the same emotions—fear, anger, sadness, anxiety. How are they coping? What are they learning? How have they changed? Writers and artists of every age (10-90) from six continents (including the countries of Argentina, Australia, Bangladesh, Canada, Ireland, New Zealand, South Africa, the United Kingdom, the United States, and Zimbabwe) have contributed original art, photography, poems, essays, fiction, and scripts to create In the Midst, a COVID-19 Anthology. The works reflect a common humanity beyond age, ethnicity, or location and are captured here to share with the world.

If you don't live in the USA, sign into Amazon in your domain area. Then you can type B08NX43Y4L in the search bar for the low-cost, black-and-white interior edition for a limited-time price of $16.95 USD (converted to local currency). Type B08NX6Q2Q1 for the full-color version (or click on the links if you are in the US) for $52.00 USD. You can also search for "In the Midst COVID-19 Anthology" to see both versions on the selection screen.

But now you don’t need to be! Order a copy of this anthology for yourself and for everyone you know. You’ll be glad to have the company.

And be sure to share this announcement. Thank you!

Be safe out there.

LAST CALL FOR SUBMISSIONS

noreply@blogger.com (Sandy Tritt) — Tue, 04 Aug 2020 00:55:00 +0000

LAST CALL!

NO ENTRY FEE Submissions deadline 8/15/20

IN THE MIDST

A COVID-19 ANTHOLOGY

Everyone has been affected by the Covid-19 crisis--and this is your chance to share your unique thoughts and experiences. Get creative! We want to hear your stories, see your photos, enjoy your poems, and view your artwork. All ages and nationalities encouraged to enter.

Selected entries will be included in a printed book (ebook may follow) available on Amazon and other retailers later this year.

Please share this call on your social media platforms. Thank you.

Click here for the submission form and additional information:
IN THE MIDST SUBMISSION FORM

If you are submitting photographs or artwork, please also include the appropriate release form:

RELEASE FORM (ADULTS)

RELEASE FORM (MINORS)

QUESTIONS: Email us at IFWeditors@gmail.com

What's Your Favorite Punctuation Mark?

noreply@blogger.com (Sandy Tritt) — Mon, 20 Jul 2020 13:59:00 +0000

by Sandy Tritt

What’s your favorite punctuation mark?

Until recently, I had never thought about having a favorite punctuation mark—although I admit I’ve always had an affinity for those cute little curly commas. (And I have a distinct dislike for the colon and the semicolon: they remind me of too many late nights spent typing academic papers on my state-of-the-art Brother Electric Typewriter.) But the mark that really brings me joy is the EM DASH. This little guy has become more popular as of late—mainly because he’s versatile and, I’m told, “hipster.”

So, how can you hang out with the cool kid?

Lots of ways. He can be used in place of commas, parentheses, colons, semi-colons, or ellipses. He can offset phrases, show interruption or a change of direction, offer examples, or add emphasis. And he can be used to show missing words or parts of words. See why I love Mr. Dash?

Let’s look at ways he can help.

An EM DASH can add clarity to a convoluted sentence. Examples:

Before: “When the check finally arrived, over six weeks after the accident, it was only for the parts, labor, and other repairs.” After: “When the check finally arrived—over six weeks after the accident—it was only for the parts, labor, and other repairs.”
Before: “Don’t start baking brownies if you don’t have everything you need, like a pan, an oven, and ingredients, including eggs, butter, sugar, cocoa, and nuts.” After: “Don’t start baking brownies if you don’t have everything you need, like a pan, an oven, and ingredients—including eggs, butter, sugar, cocoa, and nuts.”
Before: “Before we go camping on Sunday, we need to make sure we have plenty of ice, hamburger buns, marshmallows for s’mores and fruit salad, olives, and onions.” After: “Before we go camping on Sunday, we need to make sure we have plenty of ice, hamburger buns, marshmallows—for s’mores and fruit salad—olives, and onions.”

An EM DASH can indicate a sudden break or change in continuity. Examples:

“I don’t want to ever see—what is that thing crawling up your shirt?”
“I—uh—I just don’t know.”

An EM DASH can delineate a non-essential phrase within a sentence (non-essential means the sentence will still be a sentence without the phrase). Do note that if the phrase occurs in the middle of a sentence, both a beginning and an ending EM DASH must be used. Examples:

“Just as I was about to sit—and I do mean just—I saw the spider.”
“I decided to burn that ratty old sweater—until Jason said it was his favorite.”

Likewise, an EM DASH can be used to set apart an explanatory phrase. Examples:

“I love reading novels—fat, juicy, long-winded novels—while on vacation.”
“We need to get a first aid kit—bandages, antiseptic wipes, splints—for the cheerleading squad.”

An EM DASH can join two independent clauses. It’s a modern replacement for the semicolon, joining two related sentences that could each stand alone. Examples:

“We could sure use some rain this week—this heat is killing the garden.”
“I absolutely love old romantic movies—I get that from my mama.”

An EM DASH can add emphasis. Examples:

“I don’t want to see that jerk in here again—ever!”
“Can we forget the whole thing—please?”

An EM DASH can show interruption. Whereas ellipses at the end of a sentence illustrates a dropping off in tone or a pause, the EM DASH shows an immediate halt.

Either all in one sentence or by one speaker: “Hey! Don’t step on the—oh, crap. Too late.”
By multiple speakers: “You never let me finish. All you do is—” “No, I don’t!”
By an outside force: “Please quit fidgeting. We’re almost—” The doorbell rang.

An EM DASH can indicate an unfinished sentence or thought. Examples:

“I hope that isn’t a snake—”
“Is that car coming in my lane? There’s nowhere to—”

Where to find Mr. EM DASH

So now that you’ve grown to love Mr. EM DASH, you may discover that he simply doesn’t exist on the standard keyboard. Fortunately, there are a number of ways to create him. Let me count the ways:

Within most Word Processing programs (and iPhones), you can create an EM DASH automatically by typing two hyphens side by side.
MS Word will change two hyphens to an EM DASH as long as there is no space before, between, or after the hyphens. The metamorphosis appears after typing the next word or letter and then pressing the space bar.
If that’s too complex, in many programs, you can click on the toolbar below the edit box. Place your cursor where you want the EM DASH, select INSERT from the pull-down menu, and click on the second character (the longer dash).
In MS Word, you can click on the INSERT tab, look at the far right and click on SYMBOL, select MORE SYMBOLS, click on SPECIAL CHARACTERS, and—finally—click on the EMDASH (right at the top).

Too many steps? Give one of these a try:

In Windows on a PC, type ALT 0151
For a Mac, use OPT SHIFT -
Simply copy an EM DASH from anywhere and paste it where you need it.

Other things to know:

In most usages (Chicago Manual of Style, etc.), no spaces should exist before or after an EM DASH. The most common exception to this is the Associated Press Stylebook (such as for newspapers), which adds a space on either side of the EM DASH.
The EM DASH is mostly used in informal writing—blogs, novels, emails, etc.—and is typically used sparingly in formal writing (magazine articles, academic papers, business letters, etc.).
There are three “dashes” in the dash family. The HYPHEN is the baby. It’s the smallest of the lengths and is used to join two words. The EN DASH is longer than a hyphen and is used to show a range—such as 3-4 years—or to attach a prefix, such as pre-Civil War era. And then there’s the EM DASH, the largest, the longest, the greatest. Aren’t you glad you’ve met him?
Mr. Dash got his name back in the old days when typesetters measured the number of points in a line. An EN DASH was considered to be the same width of the letter N—and, the EM DASH was considered to be the same width as the letter M.

So, tell us, what’s your favorite punctuation? Why?

And, of course, if you need help straightening out those cute little curly commas or making the most out of Mr. Dash, just shoot us off an email at IFWeditors@gmail.com.

What's a Gawking Narrator?

noreply@blogger.com (Sandy Tritt) — Tue, 16 Jun 2020 00:29:00 +0000

By Jessica Murphy

Jessica Murphy

A “gawking character” is a narrator who tells the reader what happens in a scene instead of letting the reader experience it directly. This is also called narrator intrusion, and it robs the reader of the full experience, thus distancing him from the story. A gawking character looks like this:

Gawking: Adam saw the orange glow and the rolling black smoke in the sky from where he stood on the corner of the block. As he jogged down the sidewalk toward it, he felt a cool breeze and smelled burning wood. He ducked under the branch of a tree and saw the burning house. From where he stood, he felt the intense heat and heard the flames roar and pop. Adam stepped forward toward the open front door but felt the searing heat from the sidewalk drive him back.

The bold words show you where the narrator steps between the reader and the action and tells the reader what happens. This detracts from the reader’s experience. A scene must allow the reader to experience the action directly in order to grab him. Would you prefer to watch a friend eat a hot fudge sundae and tell you how sweet it tastes, or would you want to eat it yourself?

A gawking character is also redundant. If the scene is told from the character’s perspective, we already know that he experiences what we read. We don’t need to say the same thing twice. Here is the same sentence without the gawking character:

Direct: Adam glanced up from the corner of Kingwood and Beechurst. The starlit sky glowed orange, and thick smoke rolled across it. He spun on one heel, crunching grit on the sidewalk beneath his shoes, and ran down the street. The cool autumn breeze carried sparks and the smell the burning wood. Adam brushed the branches of a tree out of his face. In front of him, a house burned.

A rushing roar filled Adam’s ears, and a wave of heat lifted the hairs on his tan arms. Shading his blue eyes with his right hand, he squinted against the blinding light. Flames engulfed every inch of the house and licked at the cloudless sky. Pops and crackles from inside the house echoed down the empty street. Adam rushed toward the front porch, but the heat seared his face and drove him back.

This time, the narrator does not water down the scene. We see no “Adam felt,” “Adam saw,” “Adam heard.” Instead, the reader is the one standing on the sidewalk, the one who sees the flames, feels their heat, hears their roar. This kind of direct experience captivates the reader and keeps him interested.

Nonphysical Gawking

A gawking character can also filter internal experiences, such as thoughts or emotions. Again, if the scene is being told from the character’s perspective, we can assume that any thoughts belong to that character (unless he or she can read thoughts or sense emotions).

Gawking: Blood soaked through the fabric, and Preston realized he had plunged the blade into Jack’s side.

This scene is told from Preston’s point of view, so he must be the one realizing something. We don’t need to state the obvious.

Direct: A red stain spread across Jack’s gut, matting the shirt to his skin. The silver blade glinted from where Preston had plunged it in Jack’s side.

The same holds true for emotions:

Gawking: I felt worried, but a breeze made me feel a little better.

This is told in first person point of view, so the narrator must be the one who felt worried. After all, he cannot feel another character’s emotions. So, stating what the narrator felt is redundant.

Direct: My stomach churned, but the crisp air cooled my feverish skin and the nausea settled for the moment.

If you take out the gawking character, the reader can experience every scene directly. Any less cheats him out of the story and, in the end, loses him.

If you need help with this concept, shoot us an email (IFWeditors@gmail.com). We're happy to look at your sample and tell you how to make it better. And, remember, we offer free sample edits. We're here for you!

Call for Submissions - Covid-19 Anthology

noreply@blogger.com (Sandy Tritt) — Tue, 12 May 2020 19:53:00 +0000

CALL FOR ENTRIES

IN THE MIDST

A COVID-19 ANTHOLOGY

NO ENTRY FEE SUBMISSIONS NOW OPEN

We are now accepting entries for In the Midst, a Covid-19 Anthology. We’ve all experienced unique situations during this historical event. Some of us have suffered great losses, some have experienced amazing miracles, some have undergone lifestyle changes, but all of us have been changed—forever. This anthology will capture the emotional truth of this time while we’re still in the midst of it.

Our goal is to include the stories and poems of people from all types of backgrounds from all over the globe. We want to hear about your unique experience—and you may be creative in telling it. We will accept essays, articles, fiction, poems, photographs, and artwork. Pieces will be selected based upon emotional impact, creativity, and uniqueness. Stories of humor and inspiration are encouraged, as are stories of missed special events, coping mechanisms, kindnesses of strangers, and anything else you’ve experienced as a result of Covid-19. Photographs and other artwork that encapsulates the impact of Covid-19 s are accepted.

We want to provide a family-friendly book that captures this unique time both for those still living through it and for future generations. Submitted material will be edited just enough to provide a professional-quality book; our goal is to retain the author’s voice.

TEACHERS and PARENTS: We'd love to get submissions from students so we can include their perspective. Thanks!

We will accept:
• Nonfiction up to 1500 words (one supporting artwork allowed)
• Fiction up to 1500 words (one supporting artwork allowed)
• Poems up to 30 lines (one supporting artwork allowed)
• Artwork/Photographs (up to 6 cartoons, photographs, or sketches). All artwork will appear in black and white within the book; artwork selected for covers will be in color.

NO MORE THAN TWO ENTRIES PER PERSON. EACH ENTRY MUST HAVE ITS OWN ENTRY FORM.

SUBMISSION GUIDELINES:
• This completed form must accompany the entry.
• All entries must be the original work of the submitter, and the rights to the work cannot have been assigned elsewhere (Entries may be previously published as long as the submitter retains the rights to the piece).
• We require one-time rights only; the copyright for each piece remains with the author.
• Submissions accepted between 05/12/20 and 08/15/20
• The anthology will be published through KDP and available for sale through Amazon for a reasonable price no later than 12/10/20.
• Entries will be accepted based on creativity, emotional impact, uniqueness, and writing/art quality.
• There is no entry fee. However, we ask that you repost this call for entries through your social media accounts.
• No payments will be made for submissions.
• Entries may be edited by Inspiration for Writers, Inc., prior to publication.
• We reserve the right to reject any submission.
• We reserve the right to cancel this call for submissions.
• Any conditions that prevent us from fulfilling the rules will result in the cancelation of the publication of the Anthology.
• All submissions must be in English.
• ONLY DOC AND DOCX ACCEPTED FOR PROSE; ONLY JPG ACCEPTED FOR ARTWORK.
• Releases must be signed by identifiable people in stories or photographs (one release per person). We strongly recommend changing the names and likenesses of people mentioned.
• Entries are accepted by email only. Submission forms and releases must also be attached.

We will not accept:
• Material that is hateful to any religion, race, gender, or other group.
• Anything not considered “family friendly.”
• Anything political.

Click here for the submission form for all submissions:
IN THE MIDST SUBMISSION FORM

Also click here if you are submitting photographs or artwork:
RELEASE FORM (ADULTS)

RELEASE FORM (MINORS)

CONTACT INFORMATION:
We will email you when we receive your submission. If you do not hear from us within 48 hours (longer on weekends or holidays), please check your spam folder.

If your email address changes before the anthology is printed, please email us at IFWeditors@gmail.com and let us know.

QUESTIONS: Email us at IFWeditors@gmail.com

What to Do (When You Can't Do What You Normally Do)

noreply@blogger.com (Sandy Tritt) — Fri, 20 Mar 2020 14:40:00 +0000

by Sandy Tritt

For some us, these challenging days mean an abrupt change to our routines. We may find ourselves with nothing to do but worry—which is the worst thing we can possibly do. However, when we do something productive or creative with our time, our outlooks brighten. We feel better—and, when we feel better, we stay healthier and happier. Here are a few hints—some old, some new—to help you thrive in these strange times.

· Learn something new. There’s nothing the soul enjoys more than a new challenge. There are all kinds of you-tube videos out there to help you learn anything. Anything. Here are some suggestions:

o Learn a foreign language or sign language.

o Learn to play a musical instrument.

o Learn a new craft. Learn to sew, cross-stitch or crochet. Take up woodworking or stained-glass making. Make candles or lamps.

o Learn to play chess, bridge, or poker.

o Learn to decorate cakes or tile a bathroom.

· Do something you intended to do when you had “time.”

o Make a gourmet meal (or a special dessert).

o Read those novels you’ve been meaning to read.

o Play board games (or put a jigsaw puzzle together). Involve the whole family.

o Help your parents (or someone else) write a memoir.

o Telephone a friend or family member.

· Accomplish something.

o Clean out a closet or a cabinet.

o Paint or wallpaper an “accent” wall.

o Old kitchen cabinets? Paint them!

o Redecorate the living room.

o Paint. Check out Bob Ross videos.

o Write your memoir.

· Adopt healthy habits. (C’mon. You know this drill. But now isn’t the time to get lazy. The better you feel, the better you’ll continue to feel).

o Eat well. But don’t be afraid to splurge on a little chocolate.

o Exercise. Fresh air will do you good.

o Practice meditation, yoga, and/or prayer (this is especially important). There are plenty of you-tube videos to show you how.

o Sleep. (But not too much. There's much to do).

· Do something kind for someone you know.

o Send a food basket, arrange for grocery delivery, or snail-mail a thinking-of-you card.

o Frequently check in with your elderly/health-challenged friends, neighbors, and relatives. Make sure they are eating, taking meds, and doing okay. Spend time just talking with them and reassuring them all will be well.

o Prepare a meal, soup, or dessert for someone.

o Write a letter telling someone why you appreciate having them in your life.

o Enjoy this time spent with family. Make a special effort to be kind to one another. Talk about your fears, but, more importantly, talk about things that make you happy and about your dreams for the future.

· Do something kind for someone you don’t know.

o Leave groceries (and toilet paper!) on the shelves for others.

o Donate books, board games, or jigsaw puzzles.

o Generously tip those who deliver groceries or food, or who do other things to make your life easier.

o Give a package of toilet paper (or something else “valuable”) to someone who needs it.

o Be kind. Everyone is stressed. Everyone needs a smile and a kind word.

· Do something nice for yourself.

o Be gentle with yourself.

o Review your positive qualities.

o Take a relaxing bath in Epsom salts and lavender oil. Feel your anxieties melt away.

o Take a nap.

o Write poetry.

o Watch a movie.

o Read inspirational books.

o FINISH YOUR NOVEL (or hire Inspiration for Writers to finish it for you).

o Send your novel (or memoir or book) to Inspiration for Writers for an edit.

· Keep a positive attitude.

o TURN OFF THE NEWS. When you are doing an activity that doesn’t require thought, keep your mind busy by listening to an audiobook.

o Make sure you smile several times an hour—whether you feel like it or not. The very act of smiling makes you feel better.

o Laugh out loud. If you need help, watch your favorite comedy or read a book of jokes or funny stories. Or look in the mirror and make faces at yourself.

o Whenever negative thoughts threaten to take control, push them away by diverting your attention to happy thoughts or getting busy with an enjoyable activity.

o Keep a gratitude journal or make a list of the things you’re grateful for. Add to it and review it several times a day. Especially find reasons this situation has brought joy into your life (more family time, spending less money commuting to work, time to try new things, etc.)

Yes, these are trying times. But if you spend this time learning something new, accomplishing something, spending time with family, and being kind, you will have done something important.

Please let us know how you’re coping with the current situation. Give us your suggestions for staying healthy and positive.

Just a reminder: Inspiration for Writers, Inc., is open for business. We already work from home, so we’re here and ready to help you take your writing to the next level. TALK TO US!

2020 New Year's Resolutions

noreply@blogger.com (Jessi) — Wed, 01 Jan 2020 17:00:00 +0000

IFW editors

2019 has come and gone. Some of us are sad to say goodbye to a year filled with blessings; some of us are glad to say “See ya!” to a year of tribulations. With the new year comes a clean slate—a blank page, if you will—and the chance to write the next chapter in our lives.

Some of our editors here at IFW have elected to share their New Year’s resolutions. Perhaps they’ll inspire some resolutions of your own—or you can inspire us with your 2020 goals in the comments!

Charl Firbank-King: My “NO” button is broken—I’m incapable of saying no—so I’m going to fix it.

Rhonda Browning White: I’ve given this New Year’s resolution thing a bit more thought this year, and I have a different take on it than before. I mean, why do we have to resolve to make a marked change on the first day of the year, only to (typically) falter or fail weeks or months later? I mean, there’s enough pressure just to write 2020 instead of 2019, right?

I wonder, why is it that we don’t make resolutions on other days of the year? Our birthdays, for example, seem the perfect time for improvement, considering that’s our personal New Year. Or we can resolve to be more loving on Valentine’s Day, or to make a new beginning on Easter Sunday or the first day of spring. As writers, we can resolve to sit down and write today, the very day we put pen to paper or fingers to keyboard. And we can make that same resolution again tomorrow, and the day after that. And we can skip a day (or three), and resolve again when inspiration (or deadline) strikes.

So, I guess what I’m saying is that I am making a new resolution: I’m resolving to resolve to make positive changes on a more frequent basis. And, instead of waiting for New Year’s Day, I’m going to start right now.

Will you join me?

Eric Fritzius: People often fail at keeping resolutions because they shoot at too far a target. Oooh, I’m gonna exercise every day and lose 50 lbs! Oooh, I’m gonna keep my office clean and be super productive this year! Oooh, I’m gonna solve the Riemann Hypothesis! These sorts of things rarely work out so well. No, I like to aim at targets that are far more immediately achievable. I march into the laundry room and announce: “I resolve that I’m gonna find a way to get the cat food dish from where it fell behind the washer, four months back.” I then go find a magnet and some string and I bob around back there until I come up with cat dish. I then resolve to celebrate this achieved resolution, possibly with a Reese cup or a libation or possibly both, depending on my proximity to 5 o’clock. And I move on to resolving to build a little fence that will prevent the cat from knocking his bowl behind the washer anymore. See, you can knock out two of three small resolutions like that in an afternoon and feel genuinely good about yourself.

Jessica Nelson: As much as I probably need to resolve to hit the gym and eat healthier, I think my resolution for 2020 is to be more mindful of how I react to things. I saw this quote from Charles Swindoll early this year when it made its rounds on social media: “We cannot change the inevitable. The only thing we can do is play on the one string we have, and that is our attitude. I am convinced that life is 10% what happens to me and 90% of how I react to it. And so it is with you... we are in charge of our attitudes.” It really resonated with me. I tend to overreact, and usually in a negative way. So this year, I resolve to be more mindful of my reactions—to not catastrophize, to manage negative emotions and keep them in proportion to the situation, and consciously search for the positive when my instinct is to be pessimistic. So here’s to a more positive 2020!

Sandy Tritt: Resolutions laugh at me. If I resolve to do or not to do something, within an hour, my resolution lies crumpled in the corner with a huge smirk on its face. Never fails.

So, instead of making a resolution, I want to try something different this year.

Twenty-twenty insinuates perfect vision. Twenty-twenty is the number of our new year. So, I am praying for vision—for the ability to see with clarity, wisdom, and insight—in 2020.

May 2020 be your year for perfect vision—and success. Best wishes from all of us at IFW.

Our Editors Can Write: Books from the IFW Family

noreply@blogger.com (Jessi) — Mon, 18 Nov 2019 00:03:00 +0000

Want to give the gift of reading or writing? We have you covered. First, we have gift certificates good for any our services, available in any dollar amount. If you want to truly encourage the writer in your life—or give a gift to yourself, we are offering 10% off the face value of all gift certificates ordered by December 25. Get it here!

If you or your loved one are more inclined towards reading, we have a selection of books by our Inspiration for Writers family for your enjoyment.

First up is Sandy Tritt, the founder and CEO of Inspiration for Writers, Inc. Although she normally writes fiction, her two most recent books are nonfiction. Her selections include a book for the writer in your life and one for the reader.

The PLAIN ENGLISH Writer's Workbook explains writing concepts in simple terms. It's written for fiction and memoir writers of all levels, from beginners to previously published. This workbook includes nine worksheets with detailed instructions to help you plot, create memorable characters, and edit your own work like a pro. Throughout the workbook, generous samples are given to show the right and wrong way to perform various techniques. EVERY WRITER NEEDS THIS BOOK.

LAUNDRY TO LOVE -- Everything I Know about Life. When Sandy's oldest daughter was nearing high school graduation, Sandy suffered a major panic attack. Had she taught her daughter everything she needed to know? Had she shared the family recipes? Did her daughter understand the ethics she wanted to pass along? Sandy made notes all the things her daughters would need to know, then organized them by topic. As she cooked, she measured the pinches and pours and created recipes. Described as a marriage of Robert Fulghum and Martha Stewart, Laundry to Love gives practical hints, creative solutions, and unique outlooks on life (as well as 66 favorite family recipes)—a handbook for young women and men as they step out on their own. Perfect as a graduation or wedding gift, this book is also excellent for anyone who enjoys a fresh perspective sprinkled with a little humor. Laundry to Love is the life instruction book you didn't get. Until now.

Next is Charlotte Firbank-King (C.F. King), a prolific writer and artist living in South Africa. She’s been editing and ghostwriting for Inspiration for Writers for about fifteen years. Here are a few of her own books.

BREATH OF THE WILD

Cape of Storms, 1872.

A spoilt liberal English girl arrives in the Cape Colony ready to take off into Africa. No one has ever thwarted her, until she meets her father's taciturn wine estate manager.

Dara, the headstrong English suffragette arrive in the Calvinistic Cape Colony like a whirlwind. She is a gifted photographer and finds trouble the moment she sets foot in Africa. Her outspoken opinions set her at odds with the hardworking, reclusive Oran, who manages her father's two wine estates in Stellenbosch.

Dara's ailing father, in England, asked Oran to take her on a photographic safari. Oran readily agreed to his mentor's request, until he met her. Not only is Dara irresistibly beautiful, but she's contentious and a magnet for trouble. Claiming it's inappropriate to spend months alone with Dara, Oran delays the trip for reasons that don't suit her. Then events take an unexpected turn for both of them and Dara takes off with only her maid. She heads into the savage interior with no idea of how to survive the vast African wilderness. Oran chases after her from the Cape Colony to the Kimberly diamond fields, then to Zululand -- a kingdom in turmoil as their new king, Cetshwayo, is crowned. Even here, Dara manages to find deadly trouble.

TWILIGHT PATH

Hanoverian England, 1745 and the second Jacobite uprising. A man is so driven by revenge and righteous anger that the line between good and evil becomes blurred.

Marquis Blake de Montfort's life is dark and his past violent. He is haunted by a murdered wife and child and obsessed with avenging their deaths. He ceases to care what separates good from evil as he walks his twilight path. Blake is the most powerful man at court, but his power is not vested in parliament -- it's more insidious. He's a ruthless spymaster, hated by men, desired by women, and feared by all.

Blake is forced to marry Tanisha Ashburn, who unwittingly draws him from his path of destruction, but she has no idea she's surrendered her life to intrigue, the lusts of men, and finally, betrayal.

THE BOHEMIAN

There is no way to control a truly fiery free-spirit, except to crush it or risk burning with desire in the flames.

Against the Victorian backdrop of Impressionism and the awakening of women's rights, the naive Calla is a free-spirited, wild artist. Orphaned as a child and reared by the aged but liberal Earl of Felton, Calla has never known restraint, social or otherwise -- until he dies.

Fire meets ice. Ryder is a lieutenant colonel ruled by discipline. From infancy, he has never known anything except restraint. Forced to leave his military career to take on the responsibility of a title, Ryder chooses a worthy lady to marry, but his is unprepared for the added responsibility of a ward, much less the lovely, unruly Calla. Determined to see her subdued and suitably married off, Ryder's ordered life unravels in his pursuit to control her.

THE BASTARD

Cape of Storms, Africa, 1853. A harsh society, not a good place or time to be born a bastard.

One man takes Roark's identity before birth. Those meant to nurture him shroud his life in secrets, abuse his body and break his spirit, until pride and his love for Tavia are all that remain. Then they tear away his love. The only recourse of a baseborn child, now a dangerous man, is revenge.

Next on the list, we have Eric Fritzius, Inspiration for Writers' technical and website guru--as well as a prolific writer, editor, playwright, audiobook narrator, graphics designer, ebook formatter, and actor. His keen sense of humor keeps us all smiling, and his stories of the unknown keep us awake at night.

A CONSTERNATION OF MONSTERS A collection of 10 short stories of monsters and the paranormal in the tradition of the Twilight Zone, available in print ($12.99), ebook ($5.99), and audiobook ($14.95) formats. (Hear a SAMPLE)

West Virginia Writers, Inc., proudly presents Writerly Advice, a series of lessons offering tips, tricks, and inspiration for writers of all skill levels and genres, written by over 20 talented member of West Virginia Writers, Inc., including a chapter by Eric himself.

Other books narrated by Eric Fritzius:

MISSISSIPPI NIGHTS by D.M. Webb, narrated by Eric Fritzius — A Christian romantic thriller that tells a story of one firefighter's struggles overcoming pain and addiction, which affect not only himself but those around him—especially his new love. Audiobook available from Amazon, Audible, and iTunes. (Hear a SAMPLE)

HOW TO CARRY BIGFOOT HOME by Chris Tarry, narrated by Eric Fritzius — a collection of adult literary fiction featuring settings and characters both grounded and fantastical, with equal parts comedy and often harrowing drama. Audiobook available from Amazon, Audible, and iTunes. (Hear a SAMPLE)

THE BLACK STAR OF KINGSTON by S.D. Smith, read by Eric Fritzius — A middle grade adventure novel featuring rabbits with swords. This is the first part of Smith's Tales of Old Natalia, which is a prequel series to his Green Ember series of novels.

Audiobook available from Amazon, Audible, and iTunes. (Hear a SAMPLE)

THE LAST ARCHER by S.D. Smith, read by Eric Fritzius — A middle grade adventure novel featuring rabbits with swords as well as bows and arrows. A side-story set during the events of Smith’s Green Ember main series. Audiobook available from Amazon, Audible, and iTunes. (Hear a SAMPLE)

THE WRECK AND RISE OF WHITSON MARINER is the second installment of S.D. Smith's Green Ember prequel series, Tales of Old Natalia, and the sequel to The Blackstar of Kingston.

Available from Amazon and Audible. (Hear a SAMPLE.)

I know what you’re thinking: Where are the romances? No worries. Sandi Rog has you covered for sweet romances that have just the right amount of heartache. Sandi was the first editor to join Inspiration for Writers, way back in its early days—like maybe 1999? (But who’s counting? 😉) Sandi is also a prolific writer and editor, and is the founder of Tulpen Publishing, a Christian traditional publishing company.

By the way, Out of the Ashes won FIRST PLACE in the FHL Reader's Choice Awards. This was a prestigious contest (as they are associated with RWA) and not a popularity contest, so we’re really proud of her!

OUT OF THE ASHES

by Sandi Rog

A stranger. A kiss. A shotgun wedding.

NATHANIEL WARD, a wealthy entrepreneur, needs a wife. But he’s not interested in the preening, high-society women who are offered to him on a silver platter. He wants one woman, and one woman alone: the girl who gave him all the money in her reticule years ago when the Great Chicago Fire left him destitute. He sets out to find this woman and discovers she’s unattached. There’s only one problem: a shotgun wedding may be able to bind them, but will he ever be able to win her heart?

AMELIA E. TAYLOR blows a kiss to a street rat. Little did she know, years later that kiss would follow her to Green Pines Colorado. When a handsome stranger arrives in her hometown, she guards her heart from the stirrings this man ignites. Despite society’s disapproval of spinsterhood, she is determined not to marry, having witnessed first-hand the lack of love and the horrors that accompany marriage. But will a shotgun wedding reveal blessings that arise out of the ashes?

Next is Jessica Nelson, intern/editor/social media go-to-girl for IFW since 2014. Her prose poem I Am Not a Poet can be found in the Anthology of Appalachian Writers, Vol. VII, Homer Hickam Edition and her poem Irish Road Bowling (based on an old Irish sport that the men in her family have dragged her all over the state of West Virginia to play) is featured in the Anthology of AppalachianWriters, Vol. X, Wiley Cash Edition. The volumes also contain the works of respected writers such as Marc Harshman (poet laureate of West Virginia), Randi Ward, M. Lynne Squires, Anna Egan Smucker, and Natalie Sypolt. These anthologies are perfect for the readers in your life who love poetry and prose both but just can’t get through a full-length novel. (Photo credit: Wiley Cash.)

For the readers in your life who may not have the patience for a full novel or prefer the potato chip-addictiveness of short stories, look no further than our own Rhonda Browning White! In addition to her work with IFW as a ghostwriter and editor, her writing appears in Qu Literary Journal, Hospital Drive, HeartWood Literary Review, Bellevue Literary Review, Steel Toe Review, Ploughshares, Writing Lessons, Tiny Text, NewPages, South 85 Journal, The Skinny Poetry Journal, WV Executive, Mountain Echoes, Gambit, Justus Roux, Bluestone Review, and the anthologies Ice Cream Secrets, Appalachia's Last Stand, and Mountain Voices. You can find even more on her Read. Write. Live! blog. Make sure to check out her work!

Her book The Lightness of Water of Other Stories is the winner of the 2019 Press 53 Award for Short Fiction. The characters in these emotionally charged stories deal with loneliness, loss, greed, and guilt. They, like all of us, wrestle with the people, places, and memories they cling to, belong to, and run from, learning (sometimes too late) that these experiences remain with them forever. The stories in The Lightness of Water and Other Stories are bound by a strong sense of place -- Appalachia and the South -- and prove that no matter where we go, there's no place far enough to leave home behind.

Last, but most certainly not least, we present Geoffrey Cameron Fuller, a New York Times best-selling author--and an editor and ghostwriter for IFW. He is the author or co-author of five books, including Full Bone Moon (a work of fiction inspired by the infamous WVU co-ed murders of the 1970s, which can be accompanied by his podcast about the real case), and his writing is credited in another dozen books.

Geoff recently teamed with Daleen Berry (Sister of Silence) to write about the stabbing murder of high school honor student Skylar Neese by her two best friends. Their work resulted in two books, The Savage Murder of Skylar Neese (BenBella Books; February 2014) and Pretty Little Killers: The Truth Behind the Savage Murder of Skylar Neese (BenBella Books; July 2014). The crime and the books were featured on Dateline (NBC), Dr. Phil (NBC), 20/20 (ABC), and I Killed My BFF (Lifetime). The Savage Murder of Skylar Neese peaked at #12 on the New York Times bestseller list, and the second book, released in July 2014, is also selling well.

Thanks for reviewing our books. Remember, we are always here to help you write or edit your own books, and from now until December 25, gift certificates for our services are 10% off. Just email IFWeditors@gmail.com. The first sample edit is free!

Rekindling our Passion

noreply@blogger.com (Sandy Tritt) — Wed, 03 Apr 2019 14:25:00 +0000

by Sandy Tritt

Passion. You remember what that feels like, right? When suddenly the world becomes brighter, clearer—like you’ve been living in a black-and-white two-dimensional world and suddenly wake up to brilliant colors in three dimensions.

Whew! It’s exciting. Whether the object of our passion is a person, religion, organization, hobby—whatever—it’s as though our entire world brightens.

And time? Time no longer exists—as long as we're involved with our passion. Hours disappear in what seems like minutes. Nothing matters except being with our passion.

Yes. Sweet, sweet passion.

And passion not only changes how we view things, it changes how others view us. When we are passionate, others are drawn to us. They feel our excitement, admire our determination, and want to be near the energy our passion generates.

I remember when I was passionate about writing. Nothing could stop me from doing it. I wrote late into the night. I wrote during my lunch break at work. I wrote while stirring spaghetti sauce. I wrote every day. Even though I managed to hold down a demanding career—while also being a wife, mother and housekeeper—the fire of my passion ran hot through my veins and never dissipated.

Until one day, it did.

I’m not sure when it happened. Life is tough, and we deal with a myriad of situations. Growing children. Work problems. Financial difficulties. Marital issues. Aging parents. Health issues. People we love die. It goes on and on. There’s always something to throw water on our flame.

Yet . . . I’ve always believed that if we’re given a passion to do something, we should do it. It’s our calling in life. We never know when our time on earth will be up. What if we spend our entire lives putting aside our passion to deal with other stuff? What if a bit of depression steals our energy and we get bogged down with just trying to survive? What if we allow our passion to die, taking us along with it?

Fortunately, I am blessed with good friends. They noticed my flame going out. They called me on it. “Why aren’t you working on your novel?” they asked. “Why haven’t you finished that thing yet?”

Oh, I had excuses. Plenty of them. “I don’t have time,” I complained. “My eyes are tired after a long day of work.”

“Send me what you have,” my close friend and co-worker Charl insisted. “Let me help you.” She looked at my novel with fresh eyes, making suggestions, asking questions, adding details.

And something in me stirred. My heart beat a little faster. I wanted to start working on my novel again. I really did. But when? My schedule was already overfull.

More than twenty years ago, when I first started Inspiration for Writers, I had problems with time management. It seemed like I was constantly working, yet I didn't get as much done as I thought I should’ve. My writer friend Rhonda explained how she had set office hours for her work-from-home business. When she was in her home office, she worked only on writing and editing and refused interruptions. And when her workday was done, she closed her computer and didn’t look back. I adopted those policies and found I was not only more productive, but I also had another life, a non-working life.

Of course, work on my own writing was always at the bottom of my to-do list, somewhere after rearranging the alphabet and solving killer sudoku puzzles, so it never happened. But maybe, if I changed my priorities a bit, I could find some time?

I spent a weekend with my novel. My pulse quickened and my energy levels grew. Like discovering the fountain of youth, my heart beat happiness into every cell of my body.

My passion was still there!

That little spark caught hold and soon the fire glowed hot. My thoughts returned to the characters I loved, the story that intrigued me—the story that no one but me could tell, the story I was meant to write.

Better yet, passion creates energy. I needed less sleep, so I had more hours in the day. More importantly, I had more energy.

My passion was back!

I tightened my schedule, eliminated a few time-drains, and reserved an hour a day to spend on me—and sometimes more on weekends. Just me. Just me and my passion.

What about you? Has life taken the heat out of your passion? Have you abandoned your writing because there’s not enough time in a day? Have you allowed your purpose in life to linger at the bottom of your to-do list?

Email us at IFWeditors@gmail.com. We can help. We offer a free sample edit or consultation to help you rediscover the passion that once energized your life.

And we give away encouragement for free. Just ask!

Because no one should live without passion.

And no one should die without fulfilling his or her purpose.

Visit us at InspirationForWriters.com. We are one of the oldest and most respected writing and editing companies around. Check us out.

Adventures in Research

noreply@blogger.com (Sandy Tritt) — Tue, 05 Feb 2019 20:28:00 +0000

Sandy Tritt

by Sandy Tritt

I thought it would be fun if we all shared some of the adventures we've had in the name of research. We'll pick the best ones and share them on this blog (with the writer's permission, of course).

Back in the pre-internet days, we didn't have a way to just turn on a computer, google something, and find out what we needed to know to make our fiction jump alive with authenticity. One writer friend of mine who wrote murder mysteries called the local police department to inquire as to how long it would be before a dead body would begin to decay, and how deep a body would need to be buried to ensure the smell wouldn't escape. Even though she had told them she was a writer and needed to know for a story she was writing, within minutes her property was surrounded by law enforcement. They searched every inch of her property before finally deciding yes, she was just a writer.

These are the kind of stories we want to hear. I'll start the fun by copying one of my Adventures in Research. I still have pangs of guilt (and embarrassment) at the thought of this, but, hey, we live and learn.

ADVENTURES IN RESEARCH

BREACHING AN AA MEETING

I sat in my car and waited until five past the hour. Convinced the last stragglers had arrived, I sneaked through the heavy oak doors and slithered against the back wall, willing myself invisible. Normal people would have been satisfied to interview others or finish their research from the library, but not me. I wanted to experience an AA meeting personally so my fiction could sing with authenticity. So, here I was, feigning to be a coat rack, hoping no one would notice me.

I glanced around the room. It would be almost impossible in my small town not to recognize anyone, and sure enough, they were there. The sophisticated blue-haired lady was my best friend’s aunt. And the lady in red looked familiar as well—my mind scanned for where I'd seen her—my father's business associate, perhaps? And in the opposite corner stood Mr. Bogreens, the custodian at my church.

I should have left before anyone saw me, stepped back through the door as silently as I'd entered. I slid my right foot toward the exit, then moved my left to catch up. I concentrated on getting out, on escaping from this poorly planned escapade.

"Door prize?" A man with soft walnut eyes pressed an index card into my hand.

"No, thanks," I whispered.

"The first one's free," he said.

"No. I'm not—"

"Everyone enters the door prize," he said, his voice rising.

Fearing a commotion, I scribbled my name and mumbled my thanks. The rest of the group had formed a circle, but I didn’t join. I felt safe in my obscure spot by the door. I took out my note pad and concentrated on capturing all the details I needed to make my fiction real. A bare light bulb dangled from a dusty wire—surely it could be twisted into an apt analogy. Harvest gold paint decorated the walls and avocado green shag carpeting covered the concrete floors—leftovers from the seventies, as were some of those in attendance.

The first speaker took his spot behind the podium and led the group in prayer. The PA system must have been a donation from the old high school stadium, because his voice blasted through the ceiling with the resonance of God's very own. I listened to the tone of the speaker's voice and watched his mannerisms as he spoke of his disease and recovery. I waited for the words I expected, "Hi, my name is Bob, and I'm an alcoholic . . ." And soon, sooner than I'd expected, the meeting adjourned with the recitation of the Serenity Prayer.

I'd survived. I buttoned my jacket and slid toward the door. Hopefully, no one had seen me.

Someone tapped the mike twice, then spoke so loudly her words hung on the ceiling and I had to wait for them to trickle down before I could make them out. "Sandy Tritt! Sandy Tritt!" The neon words fell from above, over and over, beating me down.

"You Sandy?" An elderly man pointed his arthritic finger at me.

I wanted to deny it, but by this time the buzzing crowd swarmed around me, and I understood how Jesus Christ felt when the crowd screamed, "Crucify him! Crucify him!"

"You Sandy?" a young woman demanded.

I nodded, swearing to myself and to God above that I'd never again infiltrate sacred meetings in the name of research.

The kind-looking man I remembered from earlier shuffled over to me. "Congratulations," he said. "You won the door prize."

"I—I don't want it," I whispered, eying my escape.

A woman with evil eyebrows thrust a microphone in my face. "Speech!"

I was caught. There was no way out. What could I do? I took a deep breath, leaned into the mike, and made my confession. "Hi. My name is Sandy, and I'm—" I looked at the now silent crowd hanging onto my every word and realized the man in back looked way too much like one of my daughter's teachers, and undoubtedly the press was there and my picture would be splattered across the front page of Sunday's paper. My charade was over. There was nothing left for me to do, so I hung my head and admitted my addiction. "And I'm a writer."

***

Now it's your turn. Send us your stories! Email Sandy at IFWeditors@gmail.com.

Holiday Gift Ideas: IFW Books for Every Reader

noreply@blogger.com (Jessi) — Tue, 04 Dec 2018 19:06:00 +0000

If you or your loved one are more inclined towards reading, we have a selection of books by our Inspiration for Writers family for your enjoyment.

First up is Sandy Tritt, the founder and CEO of Inspiration for Writers, Inc. Although she normally writes fiction, her two most recent books are nonfiction. Her selections include a book for the writer in your life and one for the reader.

Next is Charlotte Firbank-King (C.F. King), a prolific writer and artist living in South Africa. She’s been editing and ghostwriting for Inspiration for Writers for about fifteen years. Here are a few of her own books.

BREATH OF THE WILD

Cape of Storms, 1872.

A spoilt liberal English girl arrives in the Cape Colony ready to take off into Africa. No one has ever thwarted her, until she meets her father’s taciturn wine estate manager.

Dara, the headstrong English suffragette arrives in the Calvinistic Cape Colony like a whirlwind. She is a gifted photographer and finds trouble the moment she sets foot in Africa. Her outspoken opinions set her at odds with the hardworking, reclusive Oran, who manages her father’s two wine estates in Stellenbosch.

Dara’s ailing father, in England, asked Oran to take her on a photographic safari. Oran readily agreed to his mentor’s request, until he met her. Not only is Dara irresistibly beautiful, but she’s contentious and a magnet for trouble. Claiming it’s inappropriate to spend months alone with Dara, Oran delays the trip for reasons that don’t suit her. Then events take an unexpected turn for both of them and Dara takes off with only her maid. She heads into the savage interior with no idea of how to survive the vast African wilderness. Oran chases after her from the Cape Colony to the Kimberly diamond fields, then to Zululand—a kingdom in turmoil as their new king, Cetshwayo, is crowned. Even here, Dara manages to find deadly trouble.

TWILIGHT PATH

Hanoverian England, 1745 and the second Jacobite uprising. A man is so driven by revenge and righteous anger that the line between good and evil becomes blurred.

Marquis Blake de Montfort’s life is dark and his past violent. He is haunted by a murdered wife and child and obsessed with avenging their deaths. He ceases to care what separates good from evil as he walks his twilight path. Blake is the most powerful man at court, but his power is not vested in parliament—it’s more insidious. He’s a ruthless spymaster, hated by men, desired by women, and feared by all.

Blake is forced to marry Tanisha Ashburn, who unwittingly draws him from his path of destruction, but she has no idea she’s surrendered her life to intrigue, the lusts of men, and finally, betrayal.

THE BOHEMIAN

There is no way to control a truly fiery free-spirit, except to crush it or risk burning with desire in the flames.

Against the Victorian backdrop of Impressionism and the awakening of women’s rights, the naïve Calla is a free-spirited, wild artist. Orphaned as a child and reared by the aged but liberal Earl of Felton, Calla has never known restraint, social or otherwise—until he dies.

Fire meets ice. Ryder is a lieutenant colonel ruled by discipline. From infancy, he has never known anything except restraint. Forced to leave his military career to take on the responsibility of a title, Ryder chooses a worthy lady to marry, but he is unprepared for the added responsibility of a ward, much less the lovely, unruly Calla. Determined to see her subdued and suitably married off, Ryder’s ordered life unravels in his pursuit to control her.

THE BASTARD

Cape of Storms, Africa, 1853. A harsh society, not a good place or time to be born a bastard.

One man takes Roark’s identity before birth. Those meant to nurture him shroud his life in secrets, abuse his body and break his spirit, until pride and his love for Tavia are all that remain. Then they tear away his love. The only recourse of a baseborn child, now a dangerous man, is revenge.

Next on the list, we have Eric Fritzius, Inspiration for Writers' technical and website guru--as well as a prolific writer, editor, playwright, audiobook narrator, graphics designer, ebook formatter, and actor. His keen sense of humor keeps us all smiling, and his stories of the unknown keep us awake at night.

Other books narrated by Eric Fritzius:

Audiobook available from Amazon, Audible, and iTunes. (Hear a SAMPLE)

I know what you’re thinking: Where are the romances? No worries. Sandi Rog has you covered for sweet romances that have just the right amount of heartache. Sandi was the first editor to join Inspiration for Writers, way back in its early days—like maybe 1999? (But who’s counting? 😉) Sandi is also a prolific writer and editor, and is the founder of Tulpen Publishing, a Christian traditional publishing company.

OUT OF THE ASHES

by Sandi Rog

Next is Jessica Nelson, intern/editor/social media go-to-girl for IFW since 2014. Her prose poem I Am Not a Poet can be found in the Anthology of Appalachian Writers, Vol. VII, Homer Hickam Edition and her poem Irish Road Bowling (based on an old Irish sport that the men in her family have dragged her all over the state of West Virginia to play) is featured in the Anthology of AppalachianWriters, Vol. X, Wiley Cash Edition. The volumes also contain the works of respected writers such as Marc Harshman (poet laureate of West Virginia), Randi Ward, M. Lynne Squires, Anna Egan Smucker, and Natalie Sypolt. These anthologies are perfect for the readers in your life who love poetry and prose both but just can’t get through a full-length novel. (Photo credit: Wiley Cash.)

Last, but most certainly not least, we present Geoffrey Cameron Fuller, a New York Times best-selling author--and an editor and ghostwriter for IFW. He is the author or co-author of five books, including Full Bone Moon (a work of fiction inspired by the infamous WVU co-ed murders of the 1970s, which can be accompanied by his podcast about the real case), and his writing is credited in another dozen books.

Geoff recently teamed with Daleen Berry (Sister of Silence) to write about the stabbing murder of high school honor student Skylar Neese by her two best friends. Their work resulted in two books, The Savage Murder of Skylar Neese (BenBella Books; February 2014) and Pretty Little Killers: The Truth Behind the Savage Murder of Skylar Neese (BenBella Books; July, 2014). The crime and the books were featured on Dateline (NBC), Dr. Phil (NBC), 20/20 (ABC), and I Killed My BFF (Lifetime). The Savage Murder of Skylar Neese peaked at #12 on the New York Times bestseller list, and the second book, released in July, 2014, is also selling well.

Thanks for reviewing our books. Remember, we are always here to help you write or edit your own books. Just email us at IFWeditors@gmail.com. The first sample edit is free!

Using Figurative Language in Prose

noreply@blogger.com (Jessi) — Mon, 08 Oct 2018 20:49:00 +0000

Jessica Nelson

Although we generally associate figurative language with poetry, we use figurative language in prose and everyday speech. Like, when we come home from a bad day at work and say our coworker stamped around the office like a rampaging bull. Or when we’re describing our son’s game-winning goal (“He shot that ball from the opposite end of the field!” or, more accurately, from fifteen yards away). Or in our prose, as we describe anger like molten iron—weighing us down even as it burns us up.

Here are the main types of figurative language:

• Simile — a comparison between unlike things using “like” or “as”

• Metaphor — a comparison between unlike things not using “like” or “as”; an analogy. Merriam-Webster uses “drowning in money” as their example.

• Personification — giving human attributes/traits to non-human objects or animals, such as suggesting a ticking clock is mocking you or that a dark forest is watching you.

• Symbolism — expressing the invisible or intangible by means of the visual or sensual (Merriam-Webster definition).

• Hyperbole — exaggeration to create a humorous or emotional impact, such as “My backpack weighs a ton” or “We’ve had this conversation a million times.”

• Imagery — using words to produce a visual image in the reader’s mind. I often talk about figurative language revolving around a central image.

• Oxymoron — a combination of contradictory or incongruous words (Merriam-Webster). Google’s favorite examples are “seriously funny,” “deafening silence,” “jumbo shrimp,” and “act naturally.”

• Onomatopoeia — sound effect words such as pop, bang, boom, thud.

• Apostrophe — narrator speaks directly to a person who is not there or dead or to an inanimate object (https://literarydevices.net/apostrophe/)

• Synecdoche — using a part to represent a whole, such as “the crown” to refer to the monarchy or a “suit” to refer to a business man.

• Pun — a play on words.

But figurative language can be more subtle, too, like the following:

• Alliteration — beginning successive words with the same consonant or consonant sound

• Assonance — repeated vowel sounds

• Consonance — repeated consonant sounds, usually at the ends of words, such as “short and sweet” or “odds and ends.”

• Anaphora — beginning each element in a series with the same word or words. A famous example is Charles Dicken’s “It was the best of times. It was the worst of times.”

Figurative language is a great way to elevate prose, to create vivid descriptions that seem to move and breathe across the page. (See what I did there? That was personification.) In poetry, we can get away with some more outlandish images, but in prose, we need to keep our figurative language grounded in the world of our story.

I’ve a had a few fiction manuscripts come across my metaphorical desk whose figurative language didn’t make sense in the context of the story. I never want to discourage prose writers from using figurative language, because it adds flavor and dynamism. But there are some things to consider when using figurative language:

• Voice — If the story has largely been written in a no-frills style, then an effusive description of a sunset is going to seem out of place. A voice that uses plain, accessible language shouldn’t suddenly spout Shakespeare-level similes or use symbol-heavy metaphors. Figurative language should match the style and tone of the writing. For example, a description like, “the pale fingers of dawn scratched at the cloak of night, caressing the tops of the mountains and limning them in soft gold as midnight purple gave way to pastel pinks and blues” might sound out of place in a piece whose voice isn’t normally so poetic.

• Point of View — Point of view is related to voice, but with a narrower focus. I’ve seen writers employ some truly spectacular metaphors or similes that ultimately made no sense because they were based on images or details the point of view character wouldn’t use or know about. Here’s where I’ll rat myself out: I wrote a kick-ass metaphor about a character getting angry and then having his bubble burst, and I’ll have to delete and replace it.

“Anger spilled like molten iron through his veins, heating him from the inside, making his heart pump harder. . . . The molten iron that had coursed through him cooled and solidified, leaving him heavy and tired.”

I was so proud of this image! I thought I had found the perfect way to describe that hot, simultaneously energizing and burdening feeling of being pissed off and the subsequent heavy, gravity-has-increased-by-one-hundred-fold sensation when someone takes the wind out of your sails*. Here’s the problem: my narrator in this scene is a twenty-year-old male whose primary interests are music and swimming. The forge-centered imagery of the molten iron heating and cooling doesn’t fit my narrator’s characterization. He doesn’t know anything about iron working. He might remember a little about lava-flow from his high-school physical science class, but I doubt that’s what he’s thinking about in this particular situation. (*metaphor and cliché)

By using figurative language centered around an image beyond my narrator’s knowledge, I’ve drawn attention to myself as the writer. It’s like I’m standing in the middle of the prose waving a red flag and yelling, “Look at me! Am I not a fantastic writer? Look at that great metaphor!”

Think about who is narrating your story/scene. What does he/she know? The answer can be based on where they are from or where they live now, what they like to do for fun, what they do for work, and/or their special interests. It can be based on past experiences or memories. The key is to use what the narrator already knows to craft figurative language that is relevant to the story.

Let’s go back to my example above. For that particular scene, based on this narrator, I would write: Anger rang through his body like a cymbal crash. His heart pounded like a bass drum against his ribs, loud and staccato. His pulse thundered in his ears like a timpani’s roll. (Not as great as my molten iron image—yet. I’m still working on it.)

• World of the story — This is a problem more for fantasy, sci-fi, or historical fiction pieces. The images we use have to make sense in the world of the story. A historical fiction tale set in the early 1600s can’t compare two horseback riders racing to NASCAR. A fantasy story set in a newly-invented world can’t use an image based on modern Earth technology. A sci-fi novel set on an alien planet can’t make allusions to Earthly objects/animals. These are very generic examples, but the point is to take note of what does and does not exist already in the world of your story.

Here’s the catch-22. We still want to find familiar images that our readers can connect with. Let’s say we’ve set our sci-fi story on an ice-planet inhabited by enormous spider-like creatures, but our characters wouldn’t know what a spider is because spiders don’t exist in the world of the story. What do we do? We break the images down further: multiple eyes, eight spindly legs, sharp fangs that can inject venom. Those are all details that are familiar to us because we know what spiders look like, but we never had to say the word “spider.”

Subtle ways to incorporate figurative language:

At the 2018 West Virginia Writer’s conference, I attended Belinda Anderson’s workshop, “Poetic Devices in Prose,” and it’s from her lecture that I composed the short list of “subtle” figurative language devices seen at the top of this blog. She gave us an opening line and then gave us poetic devices to incorporate into our little stories. Here is my little story.

The music came from somewhere in the woods . . .

High and clear and haunting like rainfall and cricket chirps. I halted on the dirt path, my backpack slamming against my shoulder blades. The melody seemed to come from everywhere and nowhere, like the earth itself was singing.1

After a spellbound moment, the music faded. But as haunting and strange as the tune had been, this silence was stranger. The usual sounds of the forest did not return. Birdsong stayed silent, rustling remained quiet. The usual sounds of dusk disappeared.2 The hoots of owls, the howls of wolves, the shush and rustle of wind in the leaves—gone.3 I prayed for the return of the tweet and twitter of the cardinals and robins, for the scratch and scratch of burrowing critters, for the crunch of deer traipsing on dead leaves.4

The last of the light faded as the sun set behind the trees, and it struck me just how long I’d stood here. I forced myself to move, but the strangest thing happened. As the woods darkened, the path grew light. Thunder rumbled and the music returned, the crisp notes of the wood flute growing frantic and harried as the melody soared, and the path grew light.5

1. Simile and personification

2. Alliteration

3. Assonance

4. Consonance and onomatopoeia

5. Epistrophe (the opposite of anaphora)

Note: this passage is jam-packed with figurative language because it’s a writing exercise. But look at the way the figurative language adds extra oomph to the prose. When used correctly, figurative language can add life and vitality to our prose, but we must walk the fine line between figures of speech that sound good and ones that make sense.

Contest Spotlight: Eyelands Book Awards

noreply@blogger.com (Jessi) — Mon, 01 Oct 2018 19:05:00 +0000

Welcome to Eyelands Book Awards, an international competition for both published and unpublished books, organized by Eyelands Literary Magazine in collaboration with Strange Days Publications. We have been organizing fiction competitions for the past eight years with increasing success, giving writers from all over the world the opportunity to see their work published in print and online, to share their work with fellow writers, and even to enjoy a holiday in Greece. Over the years, our competitions have been recognized as truly reliable, fair, and serious.

This year we decided to launch a new contest: Eyelands Book Awards, an international contest that gives the opportunity to a writer to win a holiday in Athens, Greece, where he/she will have the chance to talk about his/her work to Greek readers and meet Greek writers in a special ceremony. This is the grand prize for writers who have already published their book. But there’s more. Eyelands Book Awards also gives the opportunity to an unpublished writer to win a contract and see her/his book published from Strange Days Books. There are also prizes for the winners of the three different categories, as well as nominations of five writers per category. Join us. Send us your submission and win the grand prize, visit Athens, or see your book published!

For more info please visit our website https://eyelandsawards.com

EYELANDS BOOK AWARDS (EBA)

Book Categories: Novels, Novellas, Short Story Collections, Poetry Collections

Grand prize (published books): Five-day holiday in Athens plus a special handmade ceramic designed especially for Eyelands Book Awards and publication (excerpts) online on our website.

Grand prize (unpublished books): Publication from Strange Days Books.

Six more winners, one for each category of every section, also win a a special handmade ceramic designed especially for Eyelands Book Awards.

Certification document for every prize.

Opening: July 2, 2018

Deadline: October 20, 2018

Final results are to be announced on or around December 20, 2018.

Entries accepted via email or post. Multiple and simultaneous submissions allowed.

The award will be given in a special ceremony in Athens in May 2019.

Judges: Andriana Minou (poetry), Gregory Papadoyiannis (novels, novellas), Antonis Tsirikoudis (short stories)

Entry fee: $30

Website: https://eyelandsawards.com

Email: eyelandsmag@gmail.com

TWENTY FIVE PERCENT OFF!

noreply@blogger.com (Sandy Tritt) — Fri, 31 Aug 2018 16:33:00 +0000

Shhh . . . . Don’t tell anyone, but summer’s over—it’s time to dust off your manuscripts and work on your goals. To help you out, IFW is offering 20% OFF all editing and proofing services. TWENTY PERCENT! That’s the largest discount we’ve ever offered.

And . . . we are offering an ADDITIONAL five percent discount to the first 3 people to take advantage of this offer. (A TOTAL OF TWENTY-FIVE PERCENT OFF!)

Here’s the small print:

Offer is good on editing services, proofreading services, consulting services, AND gift certificates.
Offer ends on Wednesday, September 5, 2018, and all purchases must be paid by then. Paid services may be scheduled at the purchaser’s convenience.
Offer is NOT good on active editing agreements or current discounted services.
If you’re not ready for your edit, you can purchase a gift certificate now for 20% (or 25%, if you’re fast) off. That means you can get a $1000 gift certificate for $800 (or $750).
You can also purchase gift certificates to give to the writers in your life—and, unless you tell them, they won’t know you received a discount.
IFW reserves the right to refuse any manuscript. Should we refuse a manuscript after payment has been made, we will immediately refund 100% of the payment.
Only the price is discounted. The service you receive is the same high quality, professional, personal service IFW is known for.
Regular rate for proofreading is 1.2 cents per word. With this offer, it’s .96 or .9 cents per word. Regular rate for editing is 3 cents per word. With this offer, it’s 2.4 or 2.25 cents per word. Regular consulting services are $60 an hour. With this offer, they're $45 an hour.
Offer is valid for both current clients and new clients.
Learn more about our services at http://inspirationforwriters.com/editorial-services/ or learn more about Inspiration for Writers, Inc. at http://inspirationforwriters.com/.
To accept this offer, email Sandy at IFWeditors@gmail.com. State which service you want (proofreading, edit, consulting, or gift certificate), when you want it, and for how much. Sandy will send you a PayPal invoice for the amount you choose. You may schedule your service immediately or you may wait until you’re ready. We’ll be here.
Questions? Email Sandy at IFWeditors@gmail.com. Yep, we know it’s a holiday weekend, but Sandy will check email as frequently as possible and get back with you as soon as she can.

NOW IS THE TIME TO TAKE THE NEXT STEP.

DO IT.

GUEST POST: Overcoming Writer's Block with Automatic Transcription

noreply@blogger.com (Jessi) — Fri, 27 Jul 2018 16:00:00 +0000

by Jason Kincaid

This article was originally published by Descript, and an expanded version of the article can be found here.

If you’re a writer—of books, essays, scripts, blog posts, whatever—you’re familiar with the phenomenon: the blank screen, a looming deadline, and a sinking feeling in your gut that pairs poorly with the jug of coffee you drank earlier.

If you know that rumble all too well, this post is for you. Maybe it’ll help you get out of a rut; at the very least, it’s good for a few minutes of procrastination.

Here’s the core idea: thinking out loud is often less arduous than writing. And it’s now easier than ever to combine the two, thanks to recent advances in speech recognition technology.

Of course, dictation is nothing new—and plenty of writers have taken advantage of it. Carl Sagan’s voluminous output was facilitated by his process of speaking into an audio recorder, to be transcribed later by an assistant. (You can listen to some of his dictations in the Library of Congress!) And software like Dragon’s Naturally Speaking has offered automated transcription for people with the patience and budget to pursue it.

But it’s only in the last couple of years that automated transcription has reached a sweet spot—of convenience, affordability, and accuracy—that makes it practical to use more casually. And I’ve found it increasingly useful for generating a sort of proto-first draft: an alternative approach to the painful process of converting the nebulous wisps inside your head into something you can actually work with.

I call this process idea extraction (though these ideas may be more accurately dubbed brain droppings).

Part I: Extraction

Here’s how my process works. Borrow what works for you and forget the rest—and let me know how it goes!

Pick a voice recorder. Start talking. Try it with a topic you’ve been chewing on for weeks—or when an idea flits into your head. Don’t overthink it. Just start blabbing.

The goal is to tug on as many threads as you come across and to follow them as far as they go. These threads may lead to meandering tangents—and you may discover new ideas along the way.

A lot of those new ideas will probably be embarrassingly bad. That’s fine. You’re already talking about the next thing! And unlike with text, your bad ideas aren’t staring you in the face.

Consider leaving comments to yourself as you go—e.g. “Maybe that’d work for the intro.” These will come in handy later.

For me, these recordings run anywhere from 20–80 minutes. Sometimes they’re much shorter, in quick succession. Whatever works.

Part II: Transcription

Once I’ve finished recording, it’s time to harness ⚡️The Power of Technology⚡️

A little background: over the last couple of years, there’s been an explosion of tools related to automatic speech recognition (ASR) thanks to huge steps forward in the underlying technologies.

Here’s how ASR works: you import your audio into the software, then the software uses state-of-the-art machine learning to spit back a text transcript a few minutes later. That transcript won’t be perfect—the robots are currently in the ‘write drunk’ phase of their careers. But for our purposes, that’s fine. You just need it to be accurate enough that you can recognize your ideas.

Once you have your text transcript, your next step is up to you. Maybe you’re exporting your transcript as a Word doc and revising from there. Maybe you’re firing up your voice recorder again to dictate a more polished take. Maybe only a few words in your audio journey are worth keeping—but that’s fine, too. It probably didn’t cost you much. (And good news: the price for this tech will continue to fall in the years ahead.)

A few more tips:

Use a recorder/app that you trust. Losing a recording is painful—and the anxiety of losing another can derail your most exciting creative moments. (“I hope this recorder is working. Good, it is... @#*! where was I?”)

Audio quality matters when it comes to automatic transcription. If your recording has a lot of background noise or you’re speaking far away from the mic, the accuracy is going to drop. Consider using earbuds (better yet: Airpods), so you can worry less about where you’re holding the recorder.

Find a comfortable space. Eventually you may get used to having people overhear your musings, but it’s a lot easier to let your mind “go for a walk” when you’re comfortable in your environment.

Speaking of walking: why not go for a stroll? The pains of writing can have just as much to do with being stationary and hunched over. Walking gets your blood flowing—and your ideas, too.

I have a lot of ideas, good and bad, while I’m thinking out loud and playing music at the same time (in my case, guitar—but I suspect it applies more broadly). There’s something about playing the same four-chord song on autopilot for the thousandth time that keeps my hands busy and leaves my mind free to wander.

The old ways of doing things—whether it’s with a keyboard or pen—still have their advantages. Putting words to a page can force a sort of linear thinking that is otherwise difficult to maintain. And when it comes to editing, it’s no contest: QWERTY or bust.

But for getting those first crucial paragraphs down (and maybe a few keystone ideas to build towards)? Consider talking to yourself. Even if you wind up with a transcript full of nothing but profanity—well, have you ever seen a transcript full of profanity? You could do a lot worse.

Why Amazon Book Reviews Disappear

noreply@blogger.com (Sandy Tritt) — Thu, 19 Jul 2018 19:01:00 +0000

by Sandy Tritt

I, like many writers, have had a problem with book reviews disappearing from Amazon. I’ve had people say they’ve left a review, but when I look, it’s not there. In some cases, I’ve actually seen the reviews but they’re gone the next day. Well, I finally found out why.

I read this article by Dave Chesson that explains it:

https://kindlepreneur.com/amazon-super-url/?utm_source=reedsy&utm_medium=newsletter

And, of course, I was doing things the “wrong” way. To help writers find my book more easily, I scanned for it first and then sent them the link. However, when they clicked on that link, Amazon saw it traced back to me and figured I was trying to scam the system (still not sure how that works, but I guess it's a real thing) and deleted any reviews generated that way. Can you believe it? I have no idea how many reviews I've lost, but at this time, I have only two that have remained there--and they were from people for whom I did not provide a link.

So, how can you provide a link to make it easier for people to find your book, either to purchase or review? The above article suggests cutting off the control data from the link generated by Amazon. For example, if I give people a link to my workbook after I’ve searched for it, this is the link generated by Amazon:

https://www.amazon.com/PLAIN-ENGLISH-Writers-Workbook-Explained/dp/1983401021/ref=sr_1_72?ie=UTF8&qid=1532023593&sr=8-72&keywords=workbook+for+writers.

Instead, if you want to provide a link, cut off everything that comes before the “ref.” For example, this:

https://www.amazon.com/PLAIN-ENGLISH-Writers-Workbook-Explained/dp/1983401021/

HOWEVER, if you really want to not only get good reviews but also move higher in the rankings, suggest purchasers or reviewers SEARCH Amazon using search words. That way, Amazon tracks how many people purchased your book or reviewed your book after SEARCHING for it, and that moves your book higher in the search results.

So, for anyone who has tried to post a review of “The PLAIN ENGLISH Writers Workbook,” or for anyone who would like to purchase this unique workbook, please go to Amazon and search for my book using the search terms "writers workbook," "writing workbook" or "workbook for writers." It appears on about the fourth page. Of course, if I get some “legitimate” reviews/sales from people doing that, maybe it will move up.

I so much appreciate all of those who've purchased my workbook and who've tried to leave (or have left) reviews. THANK YOU!

Our books live or die according to reviews. Let’s all help each other and be sure to review the books we’ve read.

If you've had a problem or solution to a similar problem, please let us know in the comments and we'll try to help (or pass along the word). We're all in this together, you know.

The Don't Forget to Back 'Em Up Blues

noreply@blogger.com (Jessi) — Thu, 03 May 2018 21:32:00 +0000

Jessica Nelson

Smoke curls around small, intimate tables, each lit with a flickering candle. The house-lights are down, but the stage lights burn bright. A saxophone wails a mournful melody that gradually fades into silence as the performer takes the stage and straddles a spindly chair.

We hear it all the time.

The performer takes a puff of her cigarette and blows a plumb of smoke into the hazy air.

Save, save, save. Back up your files. OneDrive, Google Drive, external hard drive, jump drive. Whatever you do, save your work.

But sometimes that isn’t enough.

Another mournful wail of the sax and a heavy thump from the bass drum.

See, I always save my work. Three, four, five times over the course of a session. But always in the same document. I mean, who saves their work each time as a new document?

Cymbal crash.

Smart people. That’s who.

A few weeks ago, I was working on an edit. A long, time-consuming, brain-mangling edit. I’d easily put sixty-plus hours into this edit over the course of a few weeks. It was due on a Thursday—plenty of time for the client to review my suggestions and make changes before the he had to turn it in on a Monday.

Takes another long drag on her cigarette and releases the smoke slowly.

On Wednesday night, I’m finishing up a few things. Checking over my comments for silly errors and the like. After all, we can’t expect our clients to take our advice if we make mistakes. Anyway, I was working on the document late Wednesday night and decided to call it quits. So I saved my work, shut down my computer, and went to bed. All was well.

Thursday morning rolls around. All I have to do is review the last few pages of comments and write up the overview letter. Easy-peasy.

A single melancholy note plays over a building drumroll.

Except that when I try to open my work, “CORRUPTED FILE. CANNOT OPEN” fills my screen.

Drumroll crescendos and then cuts out with a final boom of the bass drum.

Corrupted?! I had it open no more than twelve hours ago! How could it be corrupted?

Microsoft Word tells me I can recover what’s left of my hours of hard work, so I do. At first, it all seems to be fine. The first four pages are perfectly intact. I breathe a sigh of relief.

Until I hit page five.

Cymbal crash.

There, where the comments I had painstakingly left for my client used to be, are blank bubbles. When I open each comment, there is nothing. Not even my name as the comment’s author.

I had lost over a hundred comments.

Six hours over the course of two days spent with the tech guy later, and the file still can’t be recovered. The only silver lining to this whole debacle is that most of my line edits survived.

The sax starts its mournful melody again.

Long story short, I spent Thursday finishing the letter so my client would have something to work with while I replaced all the comments. A little after midnight on Friday (technically Saturday morning), I finish the final comment and send the document.

The sax’s melody changes as a trumpet joins it. Not so sad now, but sassy.

Here’s the moral of the story. It’s not enough to just save your document. Especially not if you’re working with a large document. Every time you save, do a “save as.” You can number each new document, or label it a, b, c, etc. You can date it, time stamp it, whatever you want. You can go back later and delete all the other versions. Just do something.

I now save the document with the desired moniker, and each subsequent saved draft gets its own number. The last one—the one I’m going to use—gets labeled “FINAL,” all in caps. How you label yours doesn’t matter. Find a method that works for you and stick with it. Don’t get lazy. Do it every time.

That way if your file becomes mysteriously corrupted between Wednesday night and Thursday morning, you still have the next latest version to work from.

The trumpet breaks out in a solo, a punchy tune akin to a battlefield bugle.

Even if you save your files a dozen times a day, none of that is going to help if your computer crashes and the hard drive gets wiped. Back. Up. Your. Files.

We all have our preferred method.

Some people use cloud storage like Google Drive, One Drive, or Dropbox. Any of these will work just fine.

I prefer an old-fashioned USB drive. As long as I can remember which jump drive has the latest backup.

Cymbal crash.

Back it up, ladies and gentlemen.

Or you, too, can be singing the back-‘em-up blues.

The music crescendos as the stage lights dim. The performer struts off stage, blowing a smoke ring into the fading light like a kiss.

Recovering Pantser

noreply@blogger.com (Jessi) — Wed, 21 Mar 2018 20:30:00 +0000

Charlotte Firbank-King

Reposted from the author's blog with permission. The original post can be found here.

Don’t get caught with your pants down.

Hi, my name is Charl and I’m a Pantser.

(Hi Charl.)

I’ve been clean for sixty days.

(Enthusiastic round of applause)

Thanks. Tonight, I’m sharing my journey starting with that awful day, the last straw, you know. I was tired of living in denial, being caught with my pants down.

(Sympathetic nods)

I always prided myself in being a fly-by-the-seat-of-my-lace-panties sort of writer.

(A few giggles)

But I was becoming seriously unglued and couldn’t figure out why. My stories needed multiple revisions, which is as it should be, but not when you think the story is done and dusted and ready to go to the editor.

There’s not much worse than reading your manuscript one last time and finding the plot just doesn’t gel. Finding it doesn’t gel after you’ve published is worse.

(Mumbles of agreement)

I thought I was fine—you know how it goes. First, the story is conceived in your head. Then, the embryo grows, the ideas come as you spend time thinking about it. Next thing, it becomes an obsession to write—give birth to it. Off you go and find yourself pounding away at the keyboard furiously at four every morning!

(Knowing nods)

When I was writing The Bastard, all went well, the words were just flowing. Then I realized I had a genuine problem. At first it was ignorant bliss—you know, I just went for it and all was good. Then I hit a brick wall. I had no idea how to end the story. I mean, I knew I wanted a happy ending, but how to arrive there was another mountain to climb. I left it for a few weeks—no luck. Then I left it for six months—still no luck. A year later, then two years later, and I was no better off.

Writer’s block hit me big time. I couldn’t live in denial any more. I’d hit my rock bottom.

(Hushed silence)

Of course, there’s no such thing. I know that now. Writer’s block is just an excuse for bad planning. Sure, go ahead and draft an outline or synopsis, but STOP right there!

(Laughter)

I was at my wits end. I jumped.

(Gasps)

Yes. I jumped from one incomplete story to the next until my head spun. Then I panicked. Oh, God, I’m not a writer; I’m a failure.

(More sympathetic nods)

Then I discovered two books. How to Write a Novel Using the Snowflake Method by Randy Ingermanson and Wired for Story by Lisa Cron.

(Group leans forward in anticipation)

Ingermanson’s Snowflake Method starts with a one-line sentence—a logline—and expands from there.

Lisa Cron uses brain science. She showed me how to take advantage of the brain’s hardwired responses to stories to hook readers. Her take on how to plot a story is enlightening. Her advice is completely different from a lot of the other recovery methods out there, and trust me, I’ve been around the block!

(Knowing laughs)

So that’s basically how I got to sixty days. The Snowflake Method turned me away from the edge and Lisa Cron’s book started me on the road to recovery.

Of course, once the euphoria of early success wears off, the hard work begins. The temptation to go back to my old ways was powerful. All I have to say is, without these meetings, I wouldn’t have made it. You guys are my family.

(Cheers)

It’s not easy going back to the drawing board when you think a novel is all but done. Oh, how I was tempted to just throw caution and my panties to the wind!

(All around chuckles)

Except, now I had an incentive! All those incomplete novels. When I got stuck, reality hit. Plot flaws popped up like little gremlins—everywhere! I hadn’t realized the extent of my problem. I had to learn that a story is like a journey—you can’t take a cross-country trip without a map!

There was a time I thought I wouldn’t make it, but I promise, use both these methods and you will be set free from pantser addiction.

Be kind to yourself. You don’t have to be rigid about planning. Take it one day at a time. Fake it till you make it, as they say. Just plan what you can and build your strength.

Thanks for listening guys. I still have a long way to go, but I’m on the road to recovery. Bring it on, ninety days!

(Applause)

Think of a story as a tapestry. First off, you would never start without a picture with the design and colors all mapped out—not even a freestyle tapestry. Then you need to tie off all the loose ends. Not that I do tapestry, but I can appreciate the work involved.

Writing a book is a hell of a lot of arduous work combined with ten percent talent. And it all starts with an idea. But don’t take the idea and wing it--plan! In the long run, planning makes for less hard work.

------------------------------------------------------------------------

Charlotte writes historical mysteries with hot romances under the pen name C.F. King. You can find more information about her books and where to buy them here. And if you liked this article, you can find more of Charlotte's articles on her blog.

Found a New Writing Toy

noreply@blogger.com (Jessi) — Sat, 03 Mar 2018 23:14:00 +0000

Charlotte Firbank-King

(Posted with the author's permission from her blog. Original article can be found here.)

I found a new writing toy, the voice. I've added a link below. Go about halfway down the website for step-by-step instructions for a PC. I have Microsoft Word 2010, but it works on earlier versions.

I love using this toy when I'm editing. It's like having an extra sense. Usually when you edit you rely on sight, or you read the words aloud, but even reading aloud you still read past mistakes. So, why are there still typos? Because your brain reads what it expects to see.

With this voice-over tool, it reads to me and I can instantly pick up where I forgot a period, need a comma, have too many commas, used a word twice, or the sentence just doesn't make sense. Often one will cut and paste stuff, then forget or get distracted and the sentence is gobbledygook.

The voice is pretty robotic which is a bit disconcerting at first, but if you read as the voice speaks it's fine and you get used to it.

There are some annoying things. If you abbreviate a name like Beatrice to Bea, the voice spells it out. If you use an em dash it sort of joins everything without a pause. If you have a character stutter, like "I--it can't." then it reads the first letter a I, as in "I, it can't.", but I can live with those little hiccups. I even get used to it.

I recently started converting my YA book, Akir the Warrior Boy to the Smashwords format. This book has been edited hundreds of times by me, beta readers and my editor Sandy Tritt from Inspiration For Writers Inc. and there were still typos--GGGRRR.

It's also great for editing academic works, which are usually dry as dust, just like the voice, but you will pick up typos.

I would strongly urge all writers to use this toy (tool) if you aren't already.

Here is the link:

https://www.howtogeek.com/197880/how-to-make-your-computer-read-documents-to-you/

About C.F. King (from her blog):

I had a fabulous childhood in Livingstone, Zambia. I spent my life exploring the bush. Now I live in Cape Town.

A life-long love affair with words and history made historical mystery romance a natural fit. I’ve explored southern Africa, and traveled to England and France to absorb their rich history.

I studied art and qualified at Pretoria Art College. Most of my works depict wildlife, marine creatures, or the ethnic people of Southern Africa. Writing took a backseat to my art for decades. Then I decided life was too short to stick to one thing. Despite success in the art field, I chose to concentrate on my writing.

I have three amazing children: two daughters and a son. They encourage and support everything I do. My second husband, my soulmate, was a cop. He was killed in a shooting. This tragedy drove me deeper into writing to escape grief.

I edit, ghostwrite and illustrate for a US company, Inspiration For Writers, Inc. The CEO, Sandy Tritt, is my friend, mentor and editor. Without her, I would never be where I am.

I've published four books on Amazon, and will soon publish on Smashwords to broaden my reach to readers.

Amazon link:
https://www.amazon.com/C.F.-King/e/B00D9IQTNW/ref=sr_tc_2_0?qid=1500126501&sr=1-2-ent

To Prologue or Not to Prologue?

noreply@blogger.com (Jessi) — Mon, 12 Feb 2018 22:23:00 +0000

Jessica Nelson

You’ve sat down at the computer, or with your pen and paper, and started to write. The scene is set in your mind and the words are flowing onto the page. After all that beautiful prose is complete, you realize that this is the beginning of your book—but it’s not where your story starts. So you slap the word “prologue” above what you’ve written and move on to chapter one.

Or, you’re getting ready to send your novel out to publishers, and you realize your first chapter is a little slow, so you pull out a scene from the middle or the end of your book—one filled with tension and action and suspense—and put it at the beginning to hook the reader and make them want to keep reading, and you call it the prologue.

But do you really need that prologue?

I remember reading a claim recently that most readers skip over the prologue and jump straight into chapter one. I tried to find verification for that claim, but couldn’t find anything official. What I did find was a pretty heated debate not only about whether people read the prologue, but also about whether prologues should even be used.

Let’s deal with the first question: Does anyone read the prologue?

There seems to be two diametrically opposed groups. One group insists that reading the prologue is essential. Why would the writer bother with the prologue if it wasn’t meant to be read?

The other group believes if the information in the prologue was important, then that information would appear in the meat of the story (chapter one or onward).

I personally always read the prologue. But I admit to being disappointed when the prologue is nothing more than a scene from later in the book meant to catch the reader’s attention. Especially when that scene is a word-for-word excerpt.

According to Sandy Tritt, “For the past several years, publishers and agents have shied away from prologues. They say readers don't read [prologues], so just start your book with chapter one and be done with it. The problem with many [prologues] is they simply don't capture our attention and hold it. Which is a killer for any book. So, my professional opinion is to avoid prologues (because agents and publishers have said so).”

However, Tritt acknowledges that sometimes a prologue is useful, and she has read well-done prologues and even used prologues herself.

So now we address the second question: When is a prologue effective?

An effective prologue . . .

1. . . . adds important contextual or historical background. In fantasy or science-fiction, a prologue may set up the culture and customs of the world so the forward action of the story isn’t bogged down by background information.¹ In historical fiction, the prologue may introduce a particular historic event around with the story revolves or it may introduce the time period to give the rest of the story the appropriate context.² Clive Cussler does an excellent job with this type of prologue. Cussler often includes a prologue that introduces a historical event that relates to the main conflict of the story. However, there is a fine line between effective and ineffective with this type of prologue. Tritt says, “If I wanted to give an information dump describing why my characters do what they do or to inform about an unusual setting, I would not use a prologue.”

2. . . . allows for narration from a point of view that won’t be used again. This is generally seen in mystery or crime fiction, where the prologue will be written from the point of view of the killer or the victim.³ Regarding viewpoint, Tritt says, “If you are using a full-circle plot, your first chapter and your last chapter should be in the viewpoint of the same character. Yet if something from the past and from a different character's viewpoint needs presented in real-time, then I would use a prologue to act out that scene. Alternately, if your story presents only one viewpoint throughout, yet something that happened previously in a different viewpoint needs acted out, then I would use a prologue for that scene.”

3. . . . is a scene that occurs before the starting action of the story. According to Tritt, “If the prologue contains a scene that happened prior to the main storyline of the book and it still has a bearing on the characters, and it is written with dialogue and action that holds the reader's attention, I don't have a problem with a prologue.” Sometimes this is the inciting event—the moment that sets the rest of the story in motion—but that event may occur months or years before the starting action of the story. A prologue allows the writer to introduce the inciting event without needing to add it later as a flashback or try to work it in to a revealing dialogue exchange.

An ineffective prologue . . .

1. . . . takes a scene word-for-word from somewhere else in the novel. This is usually an attempt to grab the reader’s attention when the writer isn’t confident their first chapter will capture and maintain the reader’s interest.⁴

2. . . . creates a general atmosphere but does not add any information about the world of the story and/or does not include any action that effects the narrative.⁵

3. . . . contains a background information that would be more effectively presented in pieces throughout the narrative. Tritt says, “If the background information is given in a flat and uninteresting way, I strongly suggest getting rid of the prologue and find another way to slowly give the reader the background information during the natural unwinding of the plot.”

4. . . . is boring. If the prologue isn’t interesting, then it’s only detracting from your prose.

Even if you’ve written an effective prologue, there’s a still a chance your reader won’t read it and will miss out on potentially important information. We have some alternatives to prologues:

1. Can your prologue be just as effective if you made it chapter one? This is relevant mostly to prologues that contain an inciting event or a historical milestone. Charlotte Firbank-King rarely uses prologues and instead uses subtitles in her chapters to indicate if significant time has passed from chapter one to chapter two. As Firbank-King writes, “I prefer to treat the prologue as chapter one with a subtitle or date—then one can hit chapter two with another subtitle or date, like ‘5 years later,’ or ‘1066’ in chapter one and ‘1944’ in chap two. In my YA fantasy book, I have a subtitle for each chapter and chapter one is ‘The beginning.’ Chapter two has two subtitles: ‘Attack’ and then one under that on the left that reads, ‘Six summers later.’ In adult books, I’ve used dates.”

2. If your prologue is a scene from later in the story, then maybe what you need is a more interesting chapter one. You can still use the scene or excerpt as your book blurb or as bonus before chapter one (not denoted as a prologue or as any official part of the story.) The Lifeguard by Deborah Blumenthal does this. She takes a high-tension scene from near the end of the book and includes it between the title page and chapter one, but it’s not marked as a prologue or anything else. It’s a teaser available to anyone who wants to read it, but it’s not necessary to start the book.

That said, you should always assume that your reader is starting at chapter one. If chapter one doesn’t catch and hold the reader’s interest, then maybe the story hasn’t started in the right place.

3. If the prologue contains primarily background information, then an alternative to having a prologue would be to incorporate that information throughout the text. Be careful to avoid info dumps, though.

To prologue or not to prologue? That remains the question. There is no hard-and-fast rule or a one-size-fits-all solution. It largely depends on the story and the way the prologue is written and utilized. We’ll end with some advice from Tritt: “Study what is selling, study the art of writing, and then make an informed decision about how to structure your book. There is never one-way-fits-all, so don't be afraid to buck trend if you have an intelligent and necessary reason for doing so. Good luck!”

Footnotes (additional information used as inspiration or paraphrased from other sources)

1 Daily Writing Tips (https://www.dailywritingtips.com/3-reasons-to-ditch-your-novels-prologue/); McAlister, Marg, “The Prologue” (http://www.foremostpress.com/authors/articles/prologue.html)

2 Daily Writing Tips

3 Daily Writing Tips
4 McAlister, Marg, “The Prologue”
5 Daily Writing Tips

2018 Writing Resolutions

noreply@blogger.com (Jessi) — Wed, 03 Jan 2018 21:37:00 +0000

Happy New Year, everyone! We hope this is the year you accomplish all your writing goals. Here at Inspiration for Writers, Inc., we’ve put our yearly writing-related New Year’s resolutions in writing so we’re accountable.

I’ve always believed we’re more likely to do things if we tell other people we’re going to do them. (Like when you tell someone to remind you to do something later, you’re more likely to remember it yourself.) So in that spirit, we’re sharing our resolutions with you.

Jessica Nelson: My writing-related New Year's Resolution is to write for fun this year. It seems like since I started college, all the writing I've done is assigned—even the creative work. Now that I've graduated, I'm going to make it a point to go back to my passion projects and work on them just because I love the stories and the characters, not because I expect anything to come from them or because I have a deadline.

Geoffrey Fuller: I resolve to finish the damn book. (If you’re wondering what “damn book” he refers to, Geoff is working on a book about the 1970 WVU co-ed murders. You can check out the podcast about the project at http://soundcloud.com/maredandkaren.)

Sandy Tritt: I resolve to devote one hour a day to my personal writing. Maybe that doesn't seem like a lot, but it's much more than I've done for a long time. And, who knows? Once I put in that first hour, I may find another hour or two to add to it. We'll see. For now, I'm going to just promise the one hour.

Charlotte Firbank-King: I don’t make New Year resolutions because I’m so busy keeping promises to other people that I don’t have the wherewithal to keep promises to myself. Besides, I hate having to flick the little devil off my shoulder all the time as it whispers, “Epic fail!” However, I am going to learn the art of promoting on the internet and be more diligent about doing blogs, etc.

Stacy Tritt: I want to write more often, but I also want to work on writing more creatively again, instead of just journaling and writing for work. I resolve to write one poem or short story per month in the new year.

Rhonda Browning-White:

• Read and study more novels. I've spent the last several years studying short stories, and I've just finished my short-story collection (about a week ago!), so I want to shift my focus to novels.

• Finish my novel. See above. ;)

• Submit my short-story collection for publication. This starts in a few weeks.

• Write more blog entries.

• Live life more creatively (and everything that means)!

What are your writing-related New Year’s resolutions? Let us know in the comments!

Wishing you all a happy, healthy, successful 2018 from the IFW Family.