A Bookish Holiday Greeting

Indiana Writers' Consortium wishes you happy holidays and a writing-filled 2014.

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In case you have trouble reading the titles of the books in the picture, they are:

• How Fiction Works, by Oakley Hall
• Around the World in Eighty Days, by Jules Verne
• Plot versus Character, by Jeff Gerke
• Pride and Prejudice, by Jane Austin
• You Can Write a Mystery, by Gillian Roberts

•  Here Lies the Librarian, by Richard Peck
• On the Banks of Plum Creek, by Laura Ingalls Wilder
• Little Women, by Louisa May Alcott
• In the Company of Others, by Jan Karon
• Decision in Philadelphia, by Christopher Collier and James Lincoln Collier
• Amazing Grace, by Kenneth W. Osbeck
• Your God is Too Small, by J.B. Phillips
• Snoopy's Guide to the Writing Life, edited by Barnaby Conrad and Monte Shultz

All I Want for Christmas

by

Judith Lachance-Whitcomb

 

Have you seen my muse?  “What,” you may be wondering, “prompts such a question at the beginning of a blog?”   Well, I guess I’m going through a phase of writer's block.  I’m just not writing.  I’ve made up my mind that I am going to start writing again.  I’ve always been rather bull-headed, and when I make up my mind to do something, I usually get it done.

 

Thinking back to all those things I’ve heard writers do to overcome their blocks, I begin my action plan. Even though a fair amount of the advice often seems to conflict, I will pull out those ideas that work with what I know about myself. The first things are to write every day, have a designated place to write, have my writing tools ready, and be comfortable.

 

Monday:  Go to my office and close the door so my dogs won’t disrupt the flow.  Computer ready – check; notepad and pen for jotting thoughts while writing – check; cup of coffee within reach – check.  Now, write!  An hour later my screen remains blank, my note pad is virgin, and I’m playing with the dogs.  Hmmm, well, maybe tomorrow.

 

Tuesday: Repeat the set-up routine, but a wiser me is going to look around the web to see what I’m doing wrong. I find many sites that let me know about all of the famous writers who faced the same dilemma: Tolstoy, Woolf, Conrad, Hemingway and on and on. Well, bully for them. Obviously they got over it.  Then I land on something I had forgotten about – free writing.  I didn’t do that yesterday.  I’m encouraged because one article inspires me to just start writing on any topic. If it turns out to be drivel, the article assures me that something will come out of it.  Another suggests,  “If you can't think of anything to say, write ‘blah, blah, blah’ over and over.” I know I can do that. I begin. An hour and a half later, my document has one paragraph that basically carps at me for not getting to the file full of papers to be graded.  This enlightened work is followed by three pages filled with various fonts that creatively script “blah, blah, blah.”  My notepad has some interesting doodles and I’ve had way too much coffee.  Okay, Scarlett, think about it tomorrow.

 

Wednesday: Same scenario with the exception that my ulcers have begged me to swap my coffee for milk. I will write today.  Wrong…

 

Thursday:  Kathryn sends an email to remind me that I’m responsible for next week’s blog. Great, what will I write about? Well, why don’t I write about not being able to write?  After all, misery loves company.  Finishing my initial self-serving paragraph forty-five minutes later, I’m done for today. That’s enough.

 

Friday: I read what I wrote yesterday. I hate it. Delete. I’m going to take off Saturday and Sunday. This writing everyday takes a lot of energy.

 

Monday: Must get the blog done. Darn it, I remember that grades are due tomorrow. Sorry, writing, I have at least twenty hours of paper critiques to deal with today. Catch you tomorrow.

 

Tuesday: Today writing time will be devoted to the blog. I pull up my file. What? It’s blank? Oh, right, I deleted it. Now what? Right after I throw my notepad and pen to the floor and am just about to do the same with the computer, I recall a banquet I went to recently. Kate Collins, the prolific writer of the cozy flower shop mystery books, was the speaker. Her talk was a down to earth, engaging, and motivating call to writers to create the writing magic with their fingers. She told us that sometimes she has writer’s block. Her solution is to go to her office (because block or no block you want to continue to write everyday), relax and open herself up to her Muse.  I also remember a Ray Bradbury quote, “I’m not in control of my muse. My muse does all the work.” Okay, Muse, here we go!

 

Revived, I pick up my note pad and pen, open my laptop, take a sip of coffee (sorry ulcers), lean back in my chair, relax my body, and spread open my arms above my head (Kate did that). Okay, Muse, let’s go…(ten minutes later), Hello?...(five minutes after that)…Hey, Muse! My arms go down. My fingers go to the keyboard. Apparently, my Muse doesn’t want to work on the blog.

 

That brings us back to the beginning. Have you seen my Muse? If so, please keep in mind that all I want for Christmas is … my Muse.

 

Merry Holiday Writing!



You are the Future of the Writing Community

by

Julie Demoff-Larson

 

Close your eyes and imagine what your ideal writing community would look like. What, you have never considered such a thing? I know. I get it. Most of us who write do so after the work day is over or on the weekend in solitary confinement. We etch out poems, stories, and the great American novel while huddled in some nook where no one can see the anguish and torment we put ourselves through. When we think we have something good, we send it out, then wait as we start the writing cycle all over again. It is easy to become a writing miser, hoarding pencils and journals instead of investing in a literary scene. So, why is it so hard to have both?

For me, I foresee a vibrant literary scene in Northwest Indiana. There is a small foundation already set in place by many writing groups and organizations. For example, Indiana Writers’ Consortium members host a variety of independent writing groups that workshop regularly (Highland Writers Group, Write-On Hoosiers, Magic Hour Writers) and there are more and more opportunities for reading at open-mics hosted by coffee shops and art galleries. These events are fantastic, but is this enough to call it a lit scene?

Within the urban literary scene, participants can expect to find numerous venues hosting readings, book signings, oral interpretations, and poetry slams. There are also literary journals, creative writing workshops, book sales, and thriving independent bookstores. Centered in the middle of the urban literary scene is the all-encompassing community writing center from which writers of all ages benefit. When I close my eyes, I imagine Northwest Indiana buzzing with live lit events and writers working together in the community. But what steps can we take to get to this point?

First and foremost, we must all put in time. Yes, time. It only takes a few moments to share an event on Facebook or to retweet a fellow writer’s newly published work. This is a “we are all in this together” mentality, and baby steps will eventually mature into strides. A supportive writing community is essential for IWC to successfully implement new projects in the future. Member participation in local events help foster a relationship between associates and the general public. As public involvement increases, the IWC will develop new programs that will benefit the community.

Don’t underestimate the value of what you have to offer as a writer. We all have dreams and most of us want to play a part in something important. Maybe you wish to teach others about poetry or to inspire the next generation of writers. Maybe you hope to provide a space where writers can experiment with words in front of a crowd or to start a small press. Whatever your ideas, send them to Indiana Writers’ Consortium and let’s work together to create a space for us all to thrive creatively.

Close your eyes again. Imagine your ideal writing community. Now make it happen.



Practicing What You Preach as a Writing Instructor

by

Gordon Stamper, Jr.

 

A few years ago, a fellow educator told me how she had resented her writing students.  They occupied what could have been her writing time with stacks of essays to grade.  How dare they complete their assignments!

Soon another, more carefully thought-out, realization came to her:  could she complete the writing work she assigned them, let alone achieve high marks?  The instructor felt hypocrisy in her expectations.  She had preoccupied herself with the career necessities of creating curriculum, writing prompts, and commenting on students’ essays, yet did not allocate any other time for her own writing, fiction or nonfiction.

A turning point came when she became a little selfish:  certain times of the week became her writing times, from a few “stolen” minutes to several hours.  From this came multiple creative nonfiction essays, short stories, and two novels.  And a positive byproduct of it was that she enjoyed teaching English and writing again.  By regaining her writing voice, she saw the importance and pleasures of helping her students gain theirs.

I went through a similar “crisis” over a decade ago.  Here I was, a composition and research writing teacher who had not written anything unrelated to school work in at least three years, and I felt burnt out and discouraged.  When I saw there were writers’ groups that met regularly in our region, I gave myself permission to write for them.

Of course, I was mostly writing for myself, but a veil lifted for me as I continued my pursuits.  There is hard work and joy in creation, and it is important to be a part of helping students—at least those willing to listen and work—discover that joy.   Yes, I can still get frustrated and even a bit infuriated with student writing, but my underlying resentment is gone.  I too am a fellow struggler in the writing craft.



Why Do I Write?

by

Judith Lachance-Whitcomb

 

Another rejection letter followed closely by another notification deadline passing without any “you’ve won” for me.  I was so sure this one would have gotten some recognition.  The story was one that when I was finished (rewriting for the twelfth time) made me think, “This is really good!” These recent submission results lead to a ‘no good writing news’ Thanksgiving for me.

 

As I plop down on the couch with my current read, I’m distracted by the question, “Why do I write?”   When working full time, I looked forward to a time that I could be devoted to writing. I engaged in quite a bit of professional writing during my career: a number of co-authored research papers, science education magazine articles, and even a chapter in a book. However, writing creatively was what I wanted to do when I had adequate time to apply to it. In my mind, words would flow freely to create engaging stories that would enchant. It would be easy.

 

Oh, yeah, easy.  Even as a hobby writer, I find that rarely do I feel something I’ve written is finished. The re-read/re-write cycle seems to go on endlessly. Since I choose to primarily write for children, the constant pressure to utilize appropriate vocabulary to challenge but not frustrate the target audience becomes very difficult.  Additionally, I constantly struggle with editing, both for grammar and content.  My mind works so much more quickly than my fingers.  Regardless of the number of times I re-read, my mind insists on seeing that which it had intended rather than that which appears on the paper. Finally, I’m never quite satisfied with the story line. How can I make it more engaging, exciting, fun? The end project of all of this will be seen only by a few pairs of eyes belonging to my supportive peers in my writing group. So, why do I write for a hobby? Other hobbies require an equivalent amount of “work.”  I knit.  Figuring out patterns or developing patterns of my own challenges me.  The craft requires skill and a significant devotion of time. At least when I finish with those projects I have something that I give away or wear. The artifact will be seen and valued, unlike my writings that languish in stored files on my computer. So, again, why do I write?

 

I leave my musings to look at the book I’ve chosen to take solace with, I am Malala. This is the story of the young girl who has come to represent the plight of young women who are denied an education. The answer to my query begins to unfold. My love of language – reading and writing – was nurtured as a young student. Through the tedious diagramming sentences to the excitement of sharing weekly writing assignments of essays and stories, a love of language grew. The way words could be manipulated to evoke feelings from sorrow to glee was a wonderment. The excitement of explorations of worlds I would never encounter became accessible to me through the words of others. I wasn’t denied an education that allows me to read and write; I was immersed in one. Why I write becomes clear.

 

I don’t need to be published or win a contest in order to feel fulfilled from writing.  I write because I want to…and because I can.   Happy Thanksgiving.



Self-Publishing: Understanding ISBNs

by

Kathryn Page Camp

 

www.kathrynpagecamp.com

 

Even a self-published book needs an ISBN. But do you know what that is?

 

ISBN stands for International Standard Book Number. It’s a thirteen-digit number (ten digits before 2007) that functions as a social security number for books. Every book should have a unique ISBN to help bookstores, libraries, and other purchasers locate it and to distinguish it from other books with the same name.

 

The ISBN identifies the title, the publisher, the edition, and the format (binding) for a work. This means that you may need multiple numbers for a single book. For example, a paperback and an electronic version should have separate ISBNs. (The specific rules for e-books are beyond the scope of this post, but you can find information at www.isbn-international.org/faqs.) Significant changes to the content of the work are considered a new edition and require a different ISBN. Fixing typos and making other minor changes make it a reprint rather than a new edition, but adding a foreword or appendix or reorganizing the book are significant changes that require a new ISBN.

 

As noted, the ISBN identifies the publisher. If you use CreateSpace and allow it to assign the ISBN, that makes CreateSpace the publisher as well as the printer and distributor. If you purchase your own ISBN, you are the publisher and CreateSpace is just the printer and distributor. So if you want to be the publisher, make sure the contract with the printer allows it, then buy your own ISBNs.

 

Why does it matter? If you want to use a different service to print your book and the printer has assigned the ISBN, the reprint will need a new one. If you are the publisher, a change in printers is irrelevant. Having more than one ISBN for the same version of a book can also be confusing to buyers.

 

Then there is the question of transparency. Do you care how easy it is to discover that the book is “self-published”? Those in the know can look up the ISBN and discover that it belongs to CreateSpace or that you purchased a single number, either of which can be a hallmark of a self-published book.

 

There is nothing wrong with letting the printer provide the ISBN and become the technical publisher. In fact, it may be your only option if you are on a tight budget. But you can’t make the decision that is best for you unless you understand how ISBNs work.

 

For those buying their own ISBNs, even one is expensive—$125 at the time of this post. But for twice that much, you can buy a block of ten. And if you plan on publishing your book in other formats or are considering a sequel, you will need additional numbers, anyway. Since ISBNs have an indefinite shelf life, you might as well buy a block of ten and keep the others in reserve.

 

U.S. publishers purchase their ISBNs from R.R. Bowker LLC at www.myidentifiers.com. Once you have bought the ISBN and assigned it to a book, you register it to that book (or format or edition) at the same website.

 

The ISBN goes on the copyright page and the outside back cover of a print book. For an e-book, display it on the title or copyright page.

 

You can find more information on ISBNs at www.isbn-international.org/faqs.

 

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Kathryn Page Camp is a licensed attorney and full-time writer. Her new book, Writers in Wonderland: Keeping Your Words Legal (KP/PK Publishing 2013) is available from Amazon.com and other retailers. Kathryn is also the author of In God We Trust: How the Supreme Court’s First Amendment Decisions Affect Organized Religion (FaithWalk Publishing 2006) and numerous articles. You can learn more about Kathryn at www.kathrynpagecamp.com.



Self-Publishing: Should You Hire an Editor?

by

Kathryn Page Camp

 

www.kathrynpagecamp.com

 

 

What do you think of when you hear the word, “self-published”? I think of substandard work. While there are many great self-published books, they aren’t the ones I remember. As a self-published author myself, I’m ashamed of anything that gives the category a bad name.

 

I like to support my fellow authors, and I’ve bought my share of self-published books. I also download those “free” Kindle books when the description sounds interesting. And some have been a pleasant surprise.

 

But most are riddled with typos, inconsistencies, and just plain bad writing.

 

That’s why every self-published author should hire a freelance editor.

 

Yes, I know it’s expensive, ranging anywhere from $500 to $10,000 for a 60,000 word manuscript. The actual price is based on a number of factors, including the type of edit and the experience of the editor. And the poorer the manuscript, the more it will cost to edit. But if your goal is to produce a professional-quality book you won’t be ashamed of five years from now, it’s well worth the money.

 

What types of services do editors provide? For our purposes, we will concentrate on three.

 

Proofreading is the cheapest and most basic service that editors provide. A proofreader looks for typos, misspellings, and grammar errors. If your book has been typeset or reformatted, a proofreader can also check the final copy against your original manuscript to make sure they match. The cost to proofread a 60,000 word manuscript may average from $500 to $950.

 

Copyediting is probably the most common. I always pay for a copyedit before finalizing a book manuscript, even when I am submitting to a traditional publisher. After all, why wouldn’t I want to submit my best work?

 

Like proofreading, copyediting looks for typos, misspellings, and grammar errors. But it also looks for inconsistencies and for words and sentences and paragraphs that are confusing or awkward. I own a self-published non-fiction book that is easy to read and gives me interesting information, but it mentions that a woman was 12 in 1817 and 76 in 1871. That means I can’t trust the facts without double-checking them with another source.

 

That error is evident on the face of the manuscript, and a good copyeditor would have caught it. If you request it, a copyeditor will also check other sources to verify facts and references. Obviously, however, the more you ask a copyeditor to do, the more it will cost. For that 60,000 word manuscript, a copyedit may average anywhere from $750 to $2,500. 

 

Substantive editing—sometimes called line editing—is the most expensive, but it is also the most comprehensive. Although it includes some of the elements of a good copyedit, a substantive edit also looks at the contents and tells you what works and what doesn't on both a macro and a micro level. The editor may go so far as to recommend that you reorder your chapters to make the plot more suspenseful or eliminate your favorite passage because it’s irrelevant. For a 60,000 word manuscript, a substantive edit will average between $2,000 and $10,000.

 

What type of edit you need depends on your human resources. Do you belong to a writers’ critique group that includes knowledgeable members and provides honest feedback on both craft and clarity? Do you have someone (preferably not a family member or good friend) from your target audience who will give you candid comments from a reader’s perspective? And do you take full advantage of these resources? If so, you may not need a substantive edit.

 

I’m a grammar geek and, given time to do a careful read, am also good at catching typos and confusing words and phrases. Even so, it’s hard for me to edit my own work. I know what I wanted to say, and my mind reads it that way. And I’m not alone. Very few people can edit their own work and end up with an acceptable product.

 

Of course, not everyone has the financial resources to hire an editor. Still, there may be a way. What about giving up that cappuccino you always buy on the way to work? Or do you have skills you can barter?

 

Start by asking yourself why you are writing and publishing. Because if you want to produce your best work, you will find a way to polish it before releasing it to the public.

 

 

__________

 

Kathryn Page Camp is a licensed attorney and full-time writer. Her new book, Writers in Wonderland: Keeping Your Words Legal (KP/PK Publishing 2013) is available from Amazon.com and other retailers. Kathryn is also the author of In God We Trust: How the Supreme Court’s First Amendment Decisions Affect Organized Religion (FaithWalk Publishing 2006) and numerous articles. You can learn more about Kathryn at www.kathrynpagecamp.com.