Writer’s Mail
Tuesdays with Story
September 6, 2019
The first word . . .
“Most things I love to do are like writing, in a way. I love to cook, but that’s putting things together to make a new thing. It’s creating. I love to garden, but that’s generative, too. I love to dance, and that’s about finding a rhythm that’s pleasing to you. Maybe everything’s a little like writing.”
― Less Smith (1944- ), novelist and short-story writer
Tuesday evening at the bookstore . . .
Ten writers and one guest, Melissa Zernick, gathered to critique the works of five of their colleagues. Here is some of what was shared:
— Cindi Dyke (back cover blurb, The Mansion Secrets): What started up as a blurb grew into a synopsis which the group critiqued. Tracey felt it needed to be written in a younger voice and that the personality of the main characters needed to be brought out. Several thought an example of the humor needs to be included. Several good thoughts on what should be deleted to create space for the additions. Amber wondered if the secrets inside the mansion walls were literally in the wall. Good points. Thanks everyone
— Jack Freiburger (chapters, A Walk upon the Water): Quite a few changes to a dense chapter after receiving comments. On towards the end now that the Argos is no more.
— John Schneller (chapter, Broken rewrite): The transition of emotions when losing Moca/his goal … again when he recovers from his nightmares garnered the most attention. The introduction of human/animal interaction is occurring but needs care. Clarity needed so we understand his travel mistake in the predawn hour. The flow of time and survival tests seemed to work for most. Thanks for the input!
— Larry Sommers (chapter, Freedom’s Purchase): Jerry and others noted that the cemetery stroll starring Thor, Sally, Gunder Jørgen, and Torbjørg, seemed out of place, broke the momentum of the main narrative; although Cindi and others felt it was well-written and interesting for itself. Jack suggested it might be a necessary counterweight to the considerable historical detail dumped in the rest of the chapter, and maybe it could be re-shaped a bit to fit in better. I’ll have to consider just what to do with this piece, which is necessary to the book as a whole, but maybe not in this place. Jerry, Tracey, and others felt I cheated readers of the actual contents of Anne’s letter about Kansas. Further, historical data revealed in the chapter could have been part of a scene between Anders and Maria over the reading of the letter; and likewise, Anders’ visits to the general store offer an opportunity to develop the political arguments in the mouths of locals at the store, maybe even with fisticuffs, over the cracker barrel. Good suggestions. Plus various other minor items. Thanks, all.
— Jerry Peterson (5 stories, 80 Candles) . . . Jack wanted more description of the narrator’s car and the house at college that will reveal more about the narrator and the narrator’s brother in “The Diary” story. Tracey suggested a major reorder of the events in the “Jessie & Me” story, Jack suggesting the end being reworked to contrast Jesse Stuart, the world traveler, only being at home at home in W-Hollow where his grandfather was comfortable in two worlds, with his two families on opposite sides of the mountain. The sexist nature of astronaut commander Ross Stonewell, in the story “Return to the Moon”, got a rip from several. Said Mike, you could get away with it if this moon mission was the work of a private contractor. A private contractor wouldn’t he held to the same standards of respect, fairness and equity that NASA’s astronaut corps would have.
Who’s up next . . .
September 17
Jack Freiburger (chapters, A Walk upon the Water)
Jessica Smith (chapter, Holding the Balance)
Chris Zoern (chapter, Apostate)
Kashmira Sheth and Amit Trivedi (chapters, untitled novel)
Larry Sommers (chapter, Freedom’s Purchase)
Mike Austin (???)
Our editor . . .
It’s Tracey Gemmell this month. Send her stories about writing you’d like her to share with the group in our second September issue.
Help available from top authors . . .
Margaret Atwood Teaches Creative Writing
Learn how the New York’s Time Bestselling author of The Handmaid’s Tale crafts vivid prose and hooks readers with her timeless approach to storytelling.
The author of The Handmaid’s Tale teaches how she crafts compelling stories—from historical to speculative fiction—that remain timeless and relevant.
Explore Margaret’s creative process for developing ideas into novels with strong structures and nuanced characters.
This training course can be accessed with your donation to the Indie Writers Support Network at http://bit.ly/2KBf1a2.
Neil Gaiman Teaches The Art of Storytelling
In his first-ever online class, NYT Bestselling Author, Neil Gaiman, teaches you how he conjures up new ideas, convincing characters, and vivid fictional worlds.
How to make your story’s world—no matter how outlandish—feel real to readers.
Learn how to develop your voice and how to overcome the fear of making mistakes.
Learn how to find a big idea that’s meaningful to you, as well as how to create conflict and compelling stakes for your characters.
Neil teaches you how to focus your scenes and descriptions for maximum impact.
Neil teaches you how to write realistic dialogue, how to listen to and trust your characters, and techniques to help readers remember your characters.
This training course can be accessed with your donation to the Indie Writers Support Network at http://bit.ly/2P7tQ8q.
Malcolm Gladwell Teaches Writing
Transform your storytelling. In his first-ever online class, Bestselling Author Malcolm Gladwell analyzes his own works to reveal his unique creative process.
In 24 lessons, the author of Blink and The Tipping Point teaches you how to find, research, and write stories that capture big ideas. A downloadable workbook accompanies the class with lesson recaps, assignments, and supplemental materials.
This training course can be accessed with your donation to the Indie Writers Support Network at http://bit.ly/2YKZAom
The last word . . .
“Finally I had made that necessary imaginative leap—which is a real necessity, since most of us writers can’t be out there living like crazy all the time. These days, very few are the writers whose book jackets list things like bush pilot, big game hunter, or exotic dancer. No, more often we are English teachers. We have children, we have mortgages, we have bills to pay. So we have to stop writing strictly about what we know, which is what they always told us to do in creative writing classes. Instead, we have to write about what we can learn, and what we can imagine, and thus we come to experience that great pleasure Anne Tyler noted when somebody asked her why she writes, and she answered, ‘I write because I want more than one life.’”
― Lee Smith (1944- ), excerpt from her memoir, Dimestore: A Writer’s Life
Tuesdays with Story 
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