A Fiction Writing No-No

There are a lot of little no-nos in fiction writing. One of them that is most irritating to a reader is the Information Dump. The reader is skipping merrily along in a story when she/he hits an information dump. Suddenly, the author has put in several paragraphs of information he/she thinks will be most interesting to the reader. 

But it isn't. It stops the progression of the story and could be a "who cares?" moment to the reader. 

For instance, if I'm writing an espionage story that takes place in Paris, a city I love, I might want the readers to see, through my eyes, the beauty of this city on the Seine. I might want them to know the history of the many wonderful buildings and museums and oh, so many things. So, as my protagonist is walking through Paris with a colleague, I might have them stop in front of the Louvre. The protagonist tells the other man the complete history of this famous museum and what he will find inside. Fine, but it has absolutely nothing to do with the story in which these two men are involved.

Let's go a bit further. The two men chase their spy to Brugge, Belgium where they trace him to a small house. Brugge is known for lovely handmade lace. Let's say the men knock on the door and a woman answers. She invites them in and offers them a seat, then picks up her lacemaking which she had been doing when the knock came. One man comments that the lace she is working on is lovely, and all of a sudden as if a switch had been thrown, the woman goes into a long commentary on the history of lace-making in Brugge. Again, it has nothing to do with the story. The reader is getting antsy by this time. The reader wants the men to look around the room for signs that their man had been there, or to suddenly hear a noise on the upper level of the house. The history of lace-making might be interesting but has nothing at all to do with the story. And again, it interrupts the pacing.

Another way an author gives us an information dump is to suddenly include a large chunk of backstory, taking the reader away from what was happening. It might be of some importance to the story and its outcome, but rather than take a timeout to give it to the reader, the author can feed the information in bits and pieces. It's much easier for the reader to digest, and don't worry, they'll 'get it.' 

If an author does this little no-no on a regular basis throughout a book, he/she will lose the readers very quickly. But, if the info about the Louvre in my first example is going to be important to what happens later, it's alright to use it, but not in huge chunks. Make a reference to this or that, but don't go off like a tour guide. 

That goes for the woman making lace, as well. If what she is doing bears importance to finding the spy, by all means, use it but not as if she was teaching a class on lace-making. Again, a few references are all that you need.

Why do some authors do this? I think it often has to do with someplace or something they like very much and want to share with others. If that's the case, fine, but write a nonfiction book about those places, don't dump it into your novel. 

Use information if it adds to your story or if it has a bearing on the outcome. Just remember to do it in small amounts. Don't deluge the reader with the history of the Eiffel Tower all at once. 

Writing Failures Happen, Learn From Them

During this time of self-isolation in the pandemic, we have more time than usual. For writers, that sounds good, doesn't it? It definitely is good if you put the extra time to good use to help you move along your writing journey at a bit faster pace than usual.

But, if you use the extra time to brood over past rejections or writing projects that didn't turn out as you had hoped, then you're going to dig a hole in your writing path. The more you think about the problems in your writing life, the deeper that hole is going to get. 

Suppose you have spent the better part of a year writing a short novel. Then you set about finding publishers you think would be a good fit for your book. You make a list, then send query letters to each one. The responses are few, and those who do answer your query answer with a No. 

Next, you try to self-publish the book. It's not merely a snap of the fingers to do so. Time and money are involved. Finally, it's done and on Amazon, but you sell only a handful of books at first, then none. The whole project can be filed under Failure. 

Do you feel bad? Of course, you do. Do you get so discouraged you swear to never write another word? Some writers will. Is it wise to do that? Not if you love writing. Not if you have a passion to publish a novel someday. Not if you are hard-headed enough to want to prove that you can write a book that will sell. 

One failure does not mean you are tossed out of the writing world forever. It's not a sin to write a book that doesn't sell. Those pity parties are not attended by anyone but you, and they aren't much fun. Remember that old adage If you fall off a horse, get right back on. That works for writers, too.

Before you start writing again, try to do some self-assessment. Be as objective as possible. Ask a friend who will be honest to read the book and give you feedback. Listen and learn from what he/she says. Maybe ask a few friends to read your book and give a critique. If several point out the same problem areas, zero in on them and resolve to work on whatever it was.

I cannot remember who said it, but a successful writer said that every first novel should be put in a drawer and left there. Writing a book for the first time is a learning process in itself. 

One of the reasons I push writers into joining critique groups is so that you can learn as you go. Submit a chapter, listen carefully to the critiques and don't repeat the same mistakes in the next chapter. And, of course, fix whatever was wrong with that first one. 

Keep the idea of what you want out of your writing life in mind. Don't let fear or a failure take over your thoughts. Give yourself a short grieving period, then move on. 

Joe's Castle--A Travel, Personal Essay, and Bio Kind of Story

Zbraslav Castle

Today, I am going to give you an example of how you can turn a travel article into a personal essay and a bit of bio of a particular person. All that in one piece of writing? Yes. The story below has been published numerous times. The travel part is because we took a trip with a group of friends. It was a personal essay because it tells of a special time for me and all the reasons why that was so. The bio part comes in the telling of bits and pieces of the life of a Baron from Czechoslovakia (now the Czech Republic). I could have written a piece about "My Trip to Prague" or a piece telling what I learned as I traveled to a friend's old home. Or, I could have written a story all about the Baron (which I did another time) By combining all three, I raised the interest level for readers, which is probably why it has been a popular piece. 

This is the story and a few more photos. 

Dinner in a restaurant in Zbraslav (Ken and me at far left)

Joe’s Castle By Nancy Julien Kopp As soon as the iron gates came into view, the conversation in our rented van ceased. All six of us leaned forward for a better view while we drove slowly onto the park-like grounds of Zbraslav Castle. Huge trees stood guard over various sculptures on either side of the lane we traversed. “There it is,” Joe told us. It was Joe’s boyhood home, a home that had been occupied by enemy soldiers during World War II, then taken over by the communists, a home that Joe had fled over fifty years earlier. Joe is the Baron Joseph Barton-Dobenin, the oldest of three sons who were raised in a thirteenth-century castle that sits in all its majesty a few miles outside of Prague in what is now the Czech Republic. We pulled up in front of the colorful castle and scrambled out of the van while Joe spoke to the guard on duty. Our visit here started in jest at one of our Dinner/Bridge sessions. Joe’s wife, Elizabeth, had said, “You know what? We should all go over to Prague and play bridge in the castle.” Six of us nodded and laughed and agreed that we should do that. Sometime. Little did we know that Joe and Elizabeth were serious, and the next time we were together, plans for our trip began to gel. Between January and May, we made air and hotel reservations, rented a van, and prepared for a week’s stay in Prague, a city justifiably known as The Jewel of Europe. We’d heard a great deal about the castle ever since it had been returned to Joe’s family when the communist government fell during The Velvet Revolution. Now, we were to see it. What had been mere words would soon be mental pictures to file in our memories and see again and again once home in Kansas. When the communists seized the castle a few years after World War II, they turned it into a museum. Consequently, everything in it was left exactly as it had been, and the entire building was well maintained. People flocked to tour the castle, to exclaim over the masters’ paintings, the porcelain, the sculptures and antiques throughout. Today, one end is a national art gallery. Joe’s niece and her children occupy the lower floor of the remainder of the castle, and Joe has kept the upper floor private. It continues to be furnished exactly as it was in his childhood. His mother’s portrait still graces a wall in a salon. I gazed at the portrait for a long time. Painted in the years just prior to World War I, the woman looks regal and feminine in a froth of a dress, but her strength of character comes through as well. When Joe was only fifteen, his father died, and his mother became head of the family. Hitler had come to power, and before long, Czechoslovakia proved to be one more prize in his collection of European countries. What stories this woman might tell were she alive today. During the war, German officers lived in the castle at Zbraslav with the Barton-Dobenin family. Joe inherited his father’s title, but he and his brothers were sent to work in the fields with other Czechs. Joe tells a wonderful story about the surrender of those same German soldiers. When the end of the war was imminent, two American lieutenants drove a jeep, with a white towel on its antenna, up the castle road. They asked to see the officer in charge, then informed the German they were authorized to take him and his men prisoners. The Germans agreed but asked for time to get ready. While they talked outside in a courtyard, Joes’ mother joined them, carrying a large, oversized book in her hands. “Gentlemen,” she said, “would you sign my guest book?” The two Americans readily agreed, and each man signed his name. One of them wrote that he hoped they might visit again under better circumstances. Later that day, the two Americans in their jeep led several thousand German enlisted men and officers, who camped on the castle ground, on foot to the American lines. Why had it been so easy? The Germans chose to surrender to the Americans rather than to the Russians who were close behind. We wandered from room to room admiring the murals that graced the ceilings and the oriental rugs that rested on the floor. White porcelain stoves in the corner of many of the rooms provided heat on cold winter days. Large windows in every room afforded views of a winding river and dense forest that surrounded the castle and courtyard. I lingered at one such window admiring the view. Long before this, Joe and his little brothers must have done the same. Zbraslav Castle boasts two large dining rooms for entertaining. Eighteen guests can dine at one table, while the other seats even more. Each table stretched longer than any we’d ever seen. Long white linens covered the top, and stately chairs were lined up on either side. I tried to imagine the table adorned with china, crystal, and silver, the chairs occupied by invited guests, and animated conversation and laughter filling the room. A dinner party in the castle was easy to picture. After our wonderful tour of Joes’ castle, we got down to the business we’d come for—playing Bridge. Joe took us to the rooms he’d been given when he turned eighteen. To mark his entry into an adult world, his mother had a lovely bed/sitting room and bath redone for him. The tall windows looked down on a small courtyard and the verdant forest beyond. We toasted our hosts, with a small glass of Becherovka, a local liqueur that slid easily across the tongue. The cards were dealt, and laughter and conversation rang in the castle once more. Another memory had been etched into our lives because of our friend Joe, his warm heart, and his beautiful castle.  Joe pointing out the beautiful ceiling to our friend, Jack Readers of this story asked for more about Joe's life, so I wrote a piece called "A True Fairy Tale" which was posted here quite a few years ago. If you would like to read more about Joe's life as a Baron, then a refugee, then a professor and once more a Baron, go here.                 Joe and his wife, Elizabeth (below) have both passed away but live on in the hearts of many for their kindness and generosity to those in the Czech Republic and at both Kansas State University and the University of Nebraska.

Writing From the Heart

When you write from your heart and share a part of your soul, as the poster for today says, your writing will be stronger and more appealing to readers. Whatever you put into your writing is what those readers will feel. 

The following is the opening paragraph of an essay I wrote about writing from your heart: 

I write essays, poems and stories detailing the events that bring basic emotions into my life. Anguish, joy, pain, and hope visit me through the years, some of these feelings are more intense than others. My words spill onto the paper or the computer screen, paragraph upon paragraph, a coping mechanism. At times, I become driven to put emotional experiences into words, both for myself and for others to read. My writing releases a sort of power that can deliver healing or achieve satisfaction. Four overwhelming emotions, four chapters of my life—pain, anguish, love, and hope.

The body of the essay addressed those four emotions at the end of the first paragraph, one by one. The concluding paragraph is: 

Yes, writing has served me well. Words from my heart have expressed great joy, soothed my anguish, washed away pain, and recorded my hopes and dreams. If they also bring encouragement and pleasure to others, perhaps I am twice blessed.

All of us have experienced many different emotions throughout our lifetime. We've all felt most of these at one time or another--joy, elation, pain, love, hate, anguish, pain, misery, tenderness and more. When you write about personal things like these, you are sharing part of your soul with readers. 

I think that when we write from the heart we probably do our best writing. You've opened a door and let the reader enter your world instead of telling what happened as though you are an outsider looking in. It's generic. It's plain. It has no heart. 

Learning to open your heart and share a part of your soul as you write does not come easily for some writers. Some are able to do it easily, while others must work hard to open the gate and let their true feelings pour forth. 

Ask yourself if you can write from the heart. Can you share a part of your soul with your readers? They'll love you for it if you do.

Writer--Are You in a Funk?

Frustration

Lots of people are now working from home during this unprecedented pandemic. Most writers have always worked at home. We know how to do that, but we don't know how to fit in a writing life with kids home from school, perhaps a spouse also working from home, not being able to get out to shop, eat, drink, go to games and more. 

If you've been the least bit frustrated about your writing life, then you add some or all of those things mentioned above, you might easily slip into a real funk. Just for fun, I looked up the meaning of funk. The dictionary says it is a state of depression. For the British, however, it means a coward. As a verb, it means avoid (a task or thing) out of fear. The first and last seem to fit my usage quite well. 

What are you going to do to pull yourself out of the funk? Check the list below: 

• Make two lists, one showing what you are grateful for in your complete life, and the other showing what you are grateful for in your writing life
• Take a walk outside--alone or with family members in an unpopulated place
• Walk the dog in an unpopulated place
• Look back at some of your publications--pat yourself on the back if you have them
• Start a new writing project--they bring enthusiasm
• Take a break off and on--don't let writing consume your day
• Do your writing in the daytime, spend the evening reading or watching a movie or games with the family
• Order a new book that will help you learn something new about writing--they can be inspiring
• Get some exercise
• If you have children, have them work on their own writing projects; share with one another
• If you really get down, give yourself a verbal spanking. I've done this more than once, and strangely enough, it seems to help. Do it quietly in your mind, not so your family can witness what you're doing! 
• Call a friend or other family members; talking with others can be helpful
• Work on submitting to publications and contests. You've probably got lots of unpublished pieces in your files. Working on finding a home for them can give you some hope.

I hate to even say this, but there are some people who rather enjoy being in a funk. They like to wallow in self-pity. My heart goes out to them. I'm sure it's not a pleasant way to live. For the rest, may your frustration and 'bit of funk' be short-lived. Once this self-isolation is lifted, I think we'll all be a bit giddy, ready to move on with our writing lives and the rest of our lives, as well. 

Choices For Writers

Choosing

When my now-adult grandchildren were toddlers, their mother had daily lessons in making selections, or choosing between two items. She'd hold up two outfits and ask "Which one do you want to wear today?" or she would let them decide between two options of what to have for lunch. At the time, I remember thinking what a wise thing to do. I'm pretty sure those two little girls are adults today who have no problem in making choices--at least, most of the time. 

As writers, we have choices to make, too. We must choose in what genre we want to concentrate on. We also need to make choices when we are ready to submit our work. We must choose how much time to devote to our writing. 

What should I write?  Some writers have no problem with this question. They know right from the start that they want to write novels, or poetry, or inspirational essays. I thought I wanted to write for children, that I would be perfectly satisfied with that type of writing. Guess what? I learned by trying other kinds of writing that my strength was not in writing for children. Nope. Creative nonfiction was my stronger suit. 

The only way I learned this was by trying several different kinds of writing. I didn't try technical writing or scientific writing. I knew I had no interest in them. I did try some memoir/family stories, then personal essays and even some poetry. I also wrote a few short stories for adults, but I soon realized that was not for me. Children's fiction was more of my thing. I continued to write some poetry because I liked it, not that I was a wonderful poet. I finally concentrated on all the different areas of creative nonfiction and articles on the craft of writing. I liked both and seemed to have good luck in publishing them. 

So, the point is that you should try many different kinds of writing until you find the place where you feel comfortable, write well, and have some success. Poets can write prose and vice-versa. By trying different categories of writing, you might surprise yourself, or you might realize that your first choice either was or wasn't the best one for you. You won't know that until you give other kinds of writing a try. 

Choices in submitting your writing:  Writers have choices in places to submit their work. You can go to the top publishers right away, or you can start small and work your way up. If you're a novelist, small presses might be a good place to begin. But maybe you don't want to do that; you may think it a waste of time. Go big from the start. That's fine. You are the one in charge. If you write short pieces, there are numerous websites/ezines that you can submit to. Or, you can go big from the beginning with top name magazines or newspapers. There are no hard and fast rules. You make the choices.

Time devoted to writing:  Here's another choice writers must make. If you're a part-time writer or a hobbyist writer you choose how much time to spend each day pursuing writing. The freelance writer who writes for a full-time job doesn't have much choice. Even so, a professional writer can choose what part of the day to write. It's not a 9 to 5 job. The part-time writer has to choose the amount of time to write and also where to fit it into the rest of his/her life. Once again, the choice is yours.

You do have choices, but once you choose something, you don't have to stick to it. No need to never waver. Choose this or that. If it works, great. If it doesn't, then choose something else. You're the one in charge.

For Readers--A Fine Historical Mystery Series

 























I like good mysteries and historical fiction, and when I find s series that encompasses both genres, I'm very pleased. Recently I discovered a series of mysteries featuring a Scotland Yard Inspector, Ian Rutledge. Set in England in the early years after WWI, Ian tries to resurrect his position at Scotland Yard, even though he came home 'shell-shocked',' the term used to describe what we now call PTSD.

Inspector Rutledge had to execute a young Scots soldier named Hamish who had been under his command during the war. Getting beyond it has been impossible, so Hamish lives in Rutledge's mind and speaks to him as he investigates murders.

The first of this series that I read was The Black Ascot. I enjoyed it so much that, when the newest one was published, I put A Divided Loyalty on reserve at my library. It did not disappoint. The stories are page-turners and done well enough to keep the reader guessing the outcome.

What I found unusual about the author is that Charles Todd is actually a pen name for a  mother and son duo---she being named Caroline Todd and he, Charles--who has produced a large number of books in this series, and also a series featuring an English nurse serving in WWI, named Bess Crawford.

They live in two different states in the eastern part of the United States, North Carolina and Delaware. I have always found it difficult to understand how two people author one book, let alone when they live in separate states. Then, add the fact that they are mother and son, and I am having a difficult time understanding how they write a book together and do it so well! Does Mother ever pull rank with an I'm the mother attitude? Does the son ever play the I'll whine so she gives in trick? Since the series has been so popular, I'm guessing that they have learned to work together quite well.

Rather than give you a summary of the two books I have read, let me just say that the author(s) have a nice way of writing. A great deal takes place in small villages outside of London. While not losing anything of the story itself, the reader sees the villages and the people who live there quite well, not with long descriptions but with bits and pieces using sensory details and fine prose. If you've ever visited England, you'll be transported back while reading these books. There are also scenes in London and inside Scotland Yard that give the reader a good image of both.

The reader learns something of Inspector Rutledge's personal life, never enough to overpower the mystery story itself. I found myself wanting to know more, wanting to cheer Ian on in so many places within the story, fearing for him in others.

To read a summary of The Black Ascot, go here. For a summary of A Divided Loyalty go here. These are books 21 and 22 in the series. I am definitely going to look for the earlier books and will also check out the Bess Crawford series.

Writers, Take Time To Write Your Best

Remember school days when you waited til the last minute to get an assignment done. Not everyone did that, but a good number did. If you were one of those who waited to almost the final day to start, you know you probably didn't do your best work. I'm guessing your paper didn't have an A written on the top when the teacher handed it back to you. Some students didn't care while others knew that spending time and effort was worthwhile. 

It's true that those last-minute efforts push you into productivity. You might get it done, but will it be your best work? As writers, we know deep down that when we put time and effort into a story, or whatever you're writing, it is going to turn out much better.

Some writers work strictly on assignment. Wait until the last minute to start the job, and your editor may have some harsh words for you. Some writers want to do a hurry-up job and submit their work to an editor long before they should. Eager Beavers!

Many times, I have written here about writing a first draft, then let it sit for a few days, even longer, before you edit and revise. You'll see many more things that need attention if you do so. Start editing right after writing your first draft, and you're bound to miss a good many problems in what you have written. 

Even after you have done a first edit, you will benefit if you let the piece simmer another couple of days. Go back then and see if you're happy with what you changed, or if you find more places that need your attention. 

The key to writing a good story, essay or poem is to give yourself an ample amount of time. One of the problems with new writers is that they are excited about finishing a piece and want to submit it right away. It's not that it is an assignment, and they started too late. It's the fact that they are eager to have a finished piece, anxious to submit and can't wait to hear from an editor. With time and experience, we learn to slow down, to take the time to make whatever we've written the best it can be. 

Yes, waiting til the last minute pushes you to write, but will it be your best writing? 

Using Emotion In Your Writing

We've all been through the full wheel of emotions during this pandemic we're experiencing. I'm guessing your emotions are up and down throughout your day. 

If you're a writer who writes without emotion, it will show in your finished product. If there is little to no emotion in your writing, it ends up appearing like a speaker who speaks in a complete monotone. We once took a city tour on a bus in Prague. They advertised that the tour would be given in several

languages. It turned out the guide could not actually speak those several languages. Instead, he had memorized the complete tour in English, Japanese and a couple other languages. Because he did not actually know the language, there was no inflection on words, no emotion in his voice. It came over as a total monotone. Yes, we learned something about Prague, but it became almost laughable. It was a perfect example for me about the importance of emotion in speaking and writing. 

Writers need emotion in what they write to connect with their readers. The writer must feel something in order to make the reader feel it, too. One of the best ways to do that is to show, not tell. If you write, Greta cried. I know what she did, but I don't feel much for her. If you write, The lump in Greta's throat gave way to tears and great sobs. She wiped her cheeks but could not stem the flow.  Maybe then I will think Oh, the poor girl.   

At certain times, we've been taught to keep our emotions in check, whether by parents or teachers. As a writer, you can let the emotions flow without worrying about what someone will think. If I write a scene about a pioneer woman encountering a rattlesnake in her garden as she is picking beans, I need to use emotion. Saying Ellen saw a rattlesnake at the end of the row of beans. alerts the reader, but there is no emotion. Write something like When she spotted the rattlesnake at the end of the row of beans, Ellen stopped, started to shake. She could not pick up her feet, only stared and prayed the viper would not move closer. Finally, she turned and ran to the barn to find Jesse, a scream trapped in her throat. 

Showing how the character felt and reacted reaches out to the reader with emotion, invoking emotion in them in return. 

Even when writing an essay, let your feelings come through. Do it when writing poetry, fiction, creative nonfiction. About the only thing I can think of where you might not use it is in a technical article. Even then, a few technical writers might conclude with their own feelings about the topic. Not always but a possibility. 

Don't keep those emotions trapped inside, Use them in your writing, and you'll be a better writer.                                       

Two Keywords During This Pandemic

I ran across this poster in my file this morning. It's simple but says so much. One thing we all need during this pandemic is patience. It's one of my keywords for writers, but right now, it's key for all of us faced with the many changes in our lives due to the pandemic we are experiencing nationwide, and across the world.

I started thinking about another keyword, and that is sacrifice. It's something the people in today's world have not had to do as a nation. People old enough to have lived through the Depression and WWII did sacrifice a great deal, and if you visit with any of them, they have never forgotten what it was like. I was a child during WWII, but I do remember rationing, people who had cars but could not buy new tires, so they sat idle at the curbside or in a garage, and women using leg paint to look like they were wearing nylon stockings. There were many more things that people sacrificed that I was not aware of at that time of my life. 

Now, here we are in the center of a pandemic and being asked by our governments--local, state, and federal--to change our entire way of life. Schools and churches are closing for various amounts of time. My state of Kansas has closed K-12 schools through the end of the school year. We are the first state to do so. It was indicated there would be some kind of educational thing via the internet, but all is so new, they have to figure that out. Proms and graduations are cancelled. Heartbreaking for teens and college students but a sacrifice to be made. Many adults are working from home and becoming a burden on the internet. Many are no longer working, one of the biggest sacrifices and not chosen by anyone.

For a writing exercise today, do a freewrite on the word sacrifice. Freewrite exercises release a lot that is dwelling within us. Set a timer for 10 minutes. Write the word, then start writing anything that it brings to mind. Don't stop until the timer goes off. (Keep going if you still have more to say.) Don't worry about spelling, punctuation etc. Let the words flow from mind to fingertips. I think it is possible that you will come up with the bones for an essay, even a poem, about these days we're living through right now. 

If you have the time and the inspiration, go ahead and do another freewrite exercise on the word patience, which is something that we need to have right now. 

You do NOT need to be a writer to do this exercise. Anyone can do it. 

When all this begins to get you down, take a look at this poster again. It may seem like a Pollyanna kind of outlook, but hope is something we all need right now. 

Journal During This Pandemic

With the pandemic around the world, we are all having to change our lifestyle. Most of the people today have never had to do without social gatherings, nor have they found such shortages in the grocery stores. We are starting to live with fear and uncertainty. Some are beginning to panic which is probably the worst reaction we can have. 

My online writing group is starting to journal daily about how our lives have been affected by the coronavirus. It's strictly among our group, and we've been urged to keep the daily offerings in a folder to read later and for posterity. 

I got to thinking that it might be good for all to keep a journal, detailing how lives have changed, what you think about how things are being handled by mayors, governors and on up to the federal government. It's easy to criticize, but keep in mind this is all new for everyone. The governing bodies have never had to handle anything equal to this before. 

If you have family members who are overseas and trying to travel home, write about it. Or if you are the one doing that. If you were shocked by the many empty shelves in grocery stores, write about it. If you have children home from school for who knows how long, write about it. 

Write about what is positive, the things that you still have. Some people have mentioned that they are taking time to listen to the birds, take long walks alone, make phone calls and write emails that they've not had time for earlier. I'm a firm believer that out of all bad comes some good. Right now, I hope we can concentrate on the good things, no matter how small they might be. I have a friend who told me she's cleaned closets and may start on cupboards next. That's a good thing, isn't it? 

Encourage your other family members to start their own journal. Very young children can dictate to an older family member. Remember that they have thoughts and fears and may see more positives than adults do. As parents, it would surely help you to know what is going through those little ones' minds. 

Any journal carried on during this pandemic will be a history for others to read someday. Give serious thought to starting one. I wrote my first entry for our Pendemic (yes, that spelling is correct since we are all writers) and I found it strangely comforting to share my thoughts with others. 

You can write your journal on your computer, your phone or with pencil and paper. You can write as much or as little as you like. The important thing is to write it! Don't forget to date each entry. Someday, this will be history, and you will have left a record for others.

Your Writer's Voice

The other day I was working in the kitchen with the tv on. I heard different voices on the program, and no two were alike. Without turning and looking at the tv, I could determine who was speaking.

I noted the same thing the next day as I read a book while my husband was watching tv. My eyes and mind were on the book, but my ears still heard the people speaking on the tv, and without looking up, I knew who they were from hearing their voice.

Each of us was given a distinctive voice just like other physical traits. Writers also have a writing voice. You've heard reviewers mention the voice in a particular story or essay or book. What exactly is meant by that?

Your writer's voice is the way you write, the style you use that is unique to you. If a reader likes an author and reads numerous books by that writer, they instantly recognize the voice the novelist uses. You may have heard a reader say something like I like the way he writes. They mean they like his voice.

What things make up our voice? Our writing voice is filled with sensory details and emotions. When we speak face to face with a person, we use hand gestures, intonation, and body language. You can't make eye contact or use your hands when you write as you can when you speak. All you have is words to get the message across.

Some writers use certain words or phrases many times. That's part of their unique voice. It's what pleases us as we read. If the writer comes across as a speaker who speaks in a monotone, he has not found his voice yet. If he has no appeal to emotion, the same thing. If he uses generic words that have little meaning, same deal.

There are many books and articles on finding your writing voice. It would be beneficial for you to use a search engine to find them, then read a few and ask yourself if you have found your writer's voice? It doesn't always happen as soon as you start writing.

Long ago, when I was a newbie writer, an experienced writer agreed to read a few of my children's stories. As we were discussing them, she said, "You have already found your voice, and that's not always the case with new writer." To be honest, I had no idea what she was talking about and was too embarrassed to ask for an explanation. Later, on my own, I looked it up and was pleased with what I realized had been a compliment. 

Writers--Single But Together

As writers, we're all individuals, but we're also a part of a special group. We can each claim the title of single writer, and in the same respect, we are a group of writers who have special ties to one another. As the poster says Together, we create.

It's true that we each create different types of writing, but we do create together, as well. Other words might apply to the lot of us--a writers' clan, a pod of writers, a school of writers, a bevy of writers, and more. What we're termed is not important, but what we create holds great importance. 

Who understands a writer better than another writer? It's one reason many of us like to be part of a writing group. It can be meant for critiques or merely a social gathering of several writers who meet for coffee and chatter. Or it could be a large conference for writers.

You might belong to a state or national group for writers. All the information is aimed at you and your writing cohorts. Mitzi down the street, who is a great hairdresser, would get nothing from our kind of meetings. She may be a wonderful person but doesn't belong to our craft. Mitzi may create a great hairstyle, but she doesn't know how to create the kind of things we do. 

Even though we are all writers, none of us write the very same kind of thing. We are not all essayists. We're not all short story writers or novelists or poets. Our whole group does not write picture books for children or educational articles or high literary fiction. We're individuals, but together, we create. 

Together, we create entertainment, informative pieces, inspirational writing, memoirs and more. We each write as a single, but we're all one part of the whole group of writers. Consider that each one of us is like a single piece of a jigsaw puzzle. Put us all together, and we create quite the masterpiece. 

Be proud of being one single writer who helps make the whole group. We are bonded by our craft. When I attend a writing conference, I scan the room, look at dozens of other people who are just like me. They are writers, and I feel a kinship with them. 

We are writers and together, we create. 

Family Historian--A Labor of Love

This post is an article published several years ago in The Best Times, a newspaper for seniors in the Kansas City area. I have changed it a bit and added to it, as well.

I’m the Family Historian for both sides of our family. We didn’t hold an election that I won. The job fell naturally to me because I’m a writer and maybe because I am the eldest of four.  It might also be the fact that I care deeply that our history is passed on to future generations.

    

You needn’t be a professional writer to take on this important task. All that’s necessary is the desire to preserve the stories and history of your family and the ability to string words together. Write it like you’d tell the story sitting around the dining room table after a Sunday dinner. That's the place where we learn a great deal of our family history. 

   

You don’t have to start at the beginning. Anywhere is fine. Write a story, print it and put it in a notebook. Then write another. Chronological order is not
necessary. Little by little, your notebook will become fat with stories about your grandparents, your mother and father, your siblings, aunts, uncles, and cousins.

    

A good place to trigger memories of your family tales is in old photo albums. Dig them out, dust them off and leaf through the pages. Memories will come flooding back. If you’re lucky, there will be names and dates on some or all of the pictures. If not, guess at the time period. You’ll come close.

    

Interview the older members of your family, even neighbors who lived nearby. Some folks get so enthused they end up doing research at the library or online to help them learn more about relatives in the distant past. They find out when Great-Grandpa came to America through ships’ records, or where someone lived by checking the census records. There are websites that will help you determine dates and more. The one I like is Family Search, but there are others. Some are free while others require payment. Family Search is free and sponsored by the Mormon church. But the Family Historian needn’t go that far. Use your own knowledge and what you learn from other relatives to write the stories. You’ll still have plenty.

    

Someone might say that their family never did anything important enough to write about. I bet they did because the little everyday things are important to those who care about the people involved. They aren't celebrities most likely, but they are your family, and that's pretty important.

    

For example, my father’s paternal grandmother came to Chicago from Quebec. She never learned to speak English. She spoke nothing but French. She made lace, then used it to fashion elegant baby clothing which she sold to Marshall Field's famed Chicago department store. It’s something I’d like my children and grandchildren to know. She probably rode the streetcar in the early 1900's with her precious baby dresses carefully wrapped, ready to sell to the Buyer in the Infant Department at the store. That last part is supposition, but if you mention that she 'probably' or 'may have, then it's alright to use it. 

   

My maternal grandfather was taken out of school at age nine to work in a coal mine. He never finished school and spent the remainder of his working years in the mines. My mother walked to the mine after school and waited for his shift to end. They’d walk home together and talk over the day. The fact that my mother met her dad and they walked home together may not be important, but it shows their relationship, that she loved him enough to spend this end of day time with him on a regular basis.

My husband's maternal grandfather, a German immigrant,  had a unique way of naming his two youngest children. It was so interesting that I wrote a fictionalized version that has been published. The No-Name Sisters can be read here.

    

Three stories from both sides of our family, but I refuse to let them fade away. Be the Family Historian for this Labor of Love, or find someone in your family to handle the job. It's your family history and it deserves to live on. What a legacy for you to leave! It is not necessary for this person to be a professional writer. Anyone can do it. Also, give consideration to the Family Historian in the next generation should be. Enlist their help now to give them a little experience and to help them develop a love for keeping your Family History.

Remembering Your Neighborhood Kids

You may have seen this poster quote on Facebook, maybe more than once. There's truth in what it says. I bet you can close your eyes and bring back that whole group of neighborhood kids who were your friends, sometimes enemies, occasionally irritating, there for you and more. You knew each one pretty well.

You knew who would cry easily, who would get angry instead of crying, who would comfort anyone who needed it. When you dig deep into your memory bank, they almost seem like actors in a movie. Each one was an individual with different character traits. 

I had the good fortune to grow up in a large apartment complex in a Chicago suburb. Each section of the apartments had its own back courtyard where the kids played. I knew a few who lived in the other courtyard, but they mostly stayed in their section, and we played in our own area. 

Besides being a play area for the kids, that courtyard was where our mothers hung laundry when the weather was nice. That curtailed our games somewhat but never stopped us completely. 

G.B. was an only child whose father had died. His mother protected him like he was the Crown Prince of Saudi Arabia. Chubby and always clean, this kid had to constantly run up two flights of stairs to finish his orange juice or this or that. His mother stood on the back porch and hollered for him to come upstairs to do this or that. "You can go right back," she'd say. Poor kid hustled up the stairs as fast as his chunky legs would take him, do whatever needed doing and fly back down to the courtyard to play with the other kids. He often left the porch with his mother wiping his face with a wet cloth. Poor kid was nearly smothered by her. No one ever teased him, maybe because we felt sorry for him. 

Jimmy was an Italian boy a little older than most of us. He had dark, curly hair and wore leather wristbands. His mother had some kind of health problem. They lived in a first-floor apartment. His mom came out onto their porch to call him in a voice that sounded so weak, but Jimmy was tuned in to her and always responded right away. This boy laughed a lot and could run fast.

I remember the coonskin hat Robbie wore everywhere. Those hats with the raccoon tail were very trendy at the time. His teeth were spaced far apart, but no one teased him. Probably because he was a fun kid to be around. 

Sally and her little sister, Susie, were often in the courtyard. Sally was nearly 4 years older than I. Her long blonde hair, pretty blue eyes and sweet disposition all led to my adoration of her. Susie was a true tomboy, completely unlike her very feminine older sister. Susie was round as a kewpie doll, kept her hair cut short and didn't like girlie clothes, but she could run faster than most of the boys. She was the one they picked first to be on their team. 

John was the janitor's son, and he had a blazing temper. He was either bullying one of the kids or crying when they hit back. He wore pants that didn't fit very well and was always hitching them up. 

Billy lived across the alley in a one-family house, something foreign to us apartment kids. He had flaming red hair, pale white skin, and freckles. He came across the alley to the courtyard to play with us quite often

We had our spats, but for the most part, we all got along and played games, rode our bikes and sat on the steps and talked. 

There were others including my brothers and the much younger children, most of whom I babysat many times. Their mothers knew me as a responsible girl and one who liked to take care of children, so I never lacked for babysitting jobs. 

When I've written stories for children, I've used some of those neighborhood kids to create my characters. You can do the same. 

For an exercise, choose several of the kids in your neighborhood, the ones with whom you walked to school, played games and indulged in long kid-like conversations. Write a paragraph about each one. Describe physical characteristics, personality, hang-ups--anything you remember about each. I gave only very short descriptions above, but you can enlarge on the ones you select to write about. 

As you write, more memories may surface. We are pushed to write family stories, and that's fine, but those neighborhood kids were a big part of our lives as we grew up. Even kids who lived on a farm knew the kids from nearby farms. Their 'neighborhood' was just a lot bigger than ours. 

The Editing Process

Writing can be fun, satisfying, exhilarating. Editing? Maybe not so much. But, as the poster quote tells us, it is the right thing to do. Why?

After you write the first draft, then let it simmer alone for a while, it's time to start the editing process. Start at the very beginning and read through the entire piece. Oh my! You've probably found all kinds of little things that need your attention.  

1. Go back sentence by sentence or paragraph by paragraph.and correct spelling errors.
2.  Replace words that have been repeated too many times. 
3. Look for overly long sentences and either shorten them or divide them into two separate ones. 
4. Make sure you stayed with the same tense throughout. 
5. Clarify where a portion seems confusing.
6. Check to make sure subjects and verbs are both singular or both plural
7. Are there too many adjectives or adverbs sprinkled throughout?
8. Is the opening one that will hook a reader?
9. Is there a satisfying conclusion? 
10. Can there be a few more sensory details added?
11. If pertinent, did you show more than tell?
12. Does emotion come through?
13. If there is dialogue, is it punctuated correctly, tags clear and not overdone?

That's a pretty long checklist, but if you make sure you're good with all of them, your story or essay or article is going to be much better. It will also have a greater chance of being published.

If you use a program like Grammarly or something similar, you'll be a step ahead on the spelling, punctuation and more. 

Just this week, an editor sent back a submission for me to edit. She had requested one of my blog posts for a new anthology she is producing. She returned it to me with some thoughts and questions, and some suggestions to make it better. I worked on it yesterday afternoon, and using both her suggestions and changes I made on my own, I feel like it is a much finer submission. 

Editing is the right thing to do and helps you be a better writer. We write because our heart tells us we must, but the ordinariness of a good editing job clears the path on our writing journey.

A Springtime Photo Prompt Exercise

Spring is just around the corner here in Kansas. At least, it seems so with the mild temperatures we've had recently. 

The photo poster above seems perfect for a photo prompt exercise. To do this exercise, go through the following checklist:

• Study the photo--take some time, don't just look and move on
• Jot down all the colors you see
• 'Where do you think this might be?
• Who do you think the woman is"
• What is she doing in the garden?
• Is she waiting for someone?
• Has she run away from someone?
• Is she happy or sad? Or frightened? Or angry?
• Where does the garden path lead?
• What time of day is it?
• What does the air feel like? Smell like?
• Show rather than tell

Now, write a paragraph or a few paragraphs after you've gone through the checklist. Be descriptive. Use sensory details. Show emotion. Have fun with this!

Nonfiction vs Creative Nonfiction

Today's poster has nothing to do with the topic, but it's a lovely thought that I wanted to share with you. You'll note that the quote is from Maya Angelou. Despite many trials in her life, she always offered positive views. We would all do well to copy her attitude.

On to the topic for today which just happens to be creative nonfiction writing. Most people are aware of the difference between fiction and nonfiction. The first is made up, the second is true.

There is, however, a differentiation between nonfiction and creative nonfiction. The first is generally expository in that it describes, explains or is informative. If you wrote about leaves ion a forest in Montana, your readers would probably learn a great deal about the topic. You would write it as straightforward as possible after doing some research and using your own knowledge of leaves in this part of our country. Note, it is not just trees but the leaves on the different varieties of trees.

Creative nonfiction is true, can be informative, but it is also written in story form using fiction techniques. It would probably include some dialogue, description of the place and people and relate a story--a true story. Memoir writers are writing creative nonfiction. So are those who write Family Stories. Inspirational writers might use this form, too.

I was reading an article about writing for children recently. They used a different term for true stories told with fiction techniques. They called it 'Narrative Fiction.' It is a way of teaching children factual material by telling stories. For instance, if a children's author wanted to write about the Chicago Fire of 1871, incorporating stories of real people who had experienced that tragic event, it would bring the facts to life for any child reading it. Writing nothing but the facts would make the piece strictly nonfiction, but telling about a boy who helped someone during the fire brings it into narrative form and heightens interest.

I've written countless family stories, and many of you have, too. They are far more than just reporting the facts of what happened. We want to show the people, the place, and what occurred. By adding dialogue, we bring the people to life, and we add feelings which helps the reader relate. We're writing creative nonfiction.

I like to think of Creative Nonfiction as telling a true tale with the human element first and foremost.

Writing For Children and A Dragon Story

Kids at Play

Children are lively, filled with energy that we wish we could bottle and sell. Even so, they sometimes like to sit quietly with a book. Hopefully, parents start reading books to their offspring at a very early age. Once the kids are able to read on their own, parents should do all they can to encourage reading for pleasure as well as for school assignments.

When I first began writing, my goal was to write middle-grade fiction. I did that for a few years, sold several short stories to children's magazines, both online and print. I ended up branching into other types of writing, but I have continued to write stories for kids now and then. 

There are categories for children's books or stories going from simple board books to picture books, then on to chapter books for primary aged children, on to middle-grades, then YA (Young Adult). Most children's writers select one of those areas and stay with it. As I said, mine was middle-grade fiction mainly because that was the age level that I taught for five years. 

To write for children, one doesn't merely 'do it.' There are definite guidelines. Picture books have page definitions--this many and no more. The chapbooks have a number of pages suggestions and much more. Each category has its own set of rules if you want to name them that. You don't want to sit down and write a story for children before you do some reading about what is alright and what is not. There are many reference books about writing for children. If you have any desire to try this field, read a good number of these helpful books before you write and definitely prior to submitting. 

One of the first things I learned when starting to write for children was that picture book editors want to choose the illustrator. The author of the book has little to say about it. The person who writes the book has definite ideas for the illustrations. Hopefully, the editor who likes the book enough to buy it will also spend time getting the author's thoughts on illustrations. 

One of the big no-no items in writing for children is to not preach at them. The lesson learned (if there is one) should be subtle. Another is to keep the adults in the story to a minimum. Kids want to read about kids. Don't let the adults solve the problem. The child in the story should do that. There are other no-no items that you'll read about if you do as I suggest and read several books on the topic of writing for kids. 

It's not easy to write a full story in a small number of words. Most children's magazines have a word count that is scary. How can you tell a full story in 800 words? Or even 500? It can be done, but it takes practice. I often write the story the way I want to, then go back and cut, cut, cut until I am at the proper number of words. Not fun! 

Here is a story that I wrote after reading in the newspaper that parents who worked were using libraries as after-school places for their children to go. I started thinking about how it would be difficult doing so day after day for both the children and the librarians. My story came from my pondering. It was published in an online magazine called Knowonder! and received an award there plus many comments from readers. It was also fun to write which is what we always hope for, no matter what we are writing. 

There’s A Dragon In The Library

By Nancy Julien Kopp

Wilhemina Higgins’ long braids bounced as she ran down the narrow tunnel the bookshelves made in the Westlake Public Library. Her untied shoelaces slapped against well-worn sneakers. Past the Js, Ks, and Ls she flew, only slowing slightly as she rounded the corner.
   
Wilhemina spied a dragon waiting at the end of the row of shelves. She screeched to a sudden stop. Her heart thumped.
   
At first, it was silent. Then the monster snorted, lifted its huge head, took in a gigantic breath inward and fell silent again.
   
Wilhemina swallowed and took one step back. Before she could turn and retrace her path, the enormous dragon reared back on its hind legs, threw back its massive head, and breathed out a whoosh! Smoke curled from its nostrils while flames burst forth from the great mouth. The dragon clawed the air and flapped magnificent wings. The green and purple scales that covered the beast from head to toe gleamed under the library lights. Its amber eyes glinted like cut crystal.
   
 “Wilhemina Higgins!” The dragon roared. “How many times have you been told? There is no running in the library.”
   
 “Do you mean today, Miss Philpot?” Wilhemina looked right into the dragon’s eyes. “Or did you mean all week?”
   
 “You know the rules,” the librarian said. “Why do you come here, if not to read?” Miss Philpot breathed heavily, and she opened and closed her claws.
     
Wilhemina feared the dragon might snort and spurt fire again at any minute.
     
“My mother doesn’t get home from work until 5 o’clock.” Wilhemina’s voice was as firm as Miss Philpot’s. “She says a library is a safe place for me to stay after school.”
   
 The dragon pulled her sweater close around her shoulders. “If you cannot follow the rules, you must go outside.”
   
 “It’s cold as a bowl of ice cream out there, and it’s going to rain, too,” Wilhemina answered.
   
 “Then go sit on the steps.”
   
 “The steps are hard as rocks.”
   
 “You could stay at school,” Miss Philpot answered, barely moving her lips as she spoke.
   
 “There’s no one there,” Wilhemina answered back, in the same way, lips scarcely moving.
   
 “Then you must study while you’re here.”  Miss Philpot’s eyes flashed, and her hands turned claw-like once more.

“I’ve studied all day,” Wilhemina told her. She folded her arms and spread her feet apart, ready for battle.
   
The dragon hissed and narrowed its eyes. “Don’t be insolent.”
   
 “I don’t know what that means,” Wilhemina said.
   
 “Then go look it up!” Miss Philpot cried as she rushed to her desk.
   
Wilhemina felt a tug on her shirttail and turned around. “What do you want?”
   
Eyes wide, the tugger looked up at Wilhemina. “Is she mad at you?”
   
Wilhemina sighed. “Every day. So, what’s your problem, Lucy Ann?”
   
 “I’m bored.”
   
 “Then go read a book.” Wilhemina thought her answer sounded a great deal like Miss Philpot.
   
 “Can’t read yet,” Lucy Ann replied. She pushed her bottom lip over the top one and stared at Wilhemina.
   
 “Oh go away and leave me alone,” Wilhemina said. She sprinted along the line of shelves ignoring the brightly colored book jackets. She stopped at the tall library windows where rain beat against the panes and thunder rattled them. She put her elbows on the windowsill, curled her hands around her cheeks, and watched the wind bend the tree branches outside.
   
There was another tug on her shirt. Without looking around, she said, “What do you want now, Lucy Ann?”
   
 “Read this to me.” Lucy Ann held up a large picture book.

 Wilhemina shrugged and took the book Lucy Ann held out. “Why not?” She sighed.

They marched past the dragon’s desk. Miss Philpot watched silently, but Wilhemina thought she could see tiny wisps of smoke curling from under her nose.
   
The two girls sat at a round table, and Wilhemina read aloud in a quiet voice, wriggling on her chair as she turned the pages.
   
 “You can do better than that, Wilhemina.” Lucy Ann scowled. “You sound dull.”
   
There was a moment of silence. Then Wilhemina said, “You’re right!” She sat up straighter, flipped back to page one, and read with more feeling. She used a different voice for each character in the story. Halfway through, she noticed three more listeners around the table.
   
“Keep going,” one of them said when she stopped reading.
   
Wilhemina laughed and continued reading the story and showing the pictures to the younger children.
   
From the corner of her eye, she spied a fluffy, long-haired cat dancing about on dainty paws. Its amber eyes surveyed the group at the table. Then, the cat purred deep in its throat.
   
When Wilhemina closed the book, the cat purred again and said, “Wilhemina Higgins, you read that book wonderfully well. Perhaps you could start an after-school story club. What do you think?”
   
“I think I would like that very much, Miss Philpot.” Wilhemina reached out to shake the paw the librarian offered her.