Archive for

January, 2010

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100 Stories Needed To Help Haiti

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Fund-raisers are calling for urgent short story submissions to help raise money for disaster-stricken Haiti.

Out of the submissions, one hundred pieces of fiction will be chosen to appear in an e-book, proceeds of which will go to the Red Cross.

The Red Cross is just one of a number of charities and humanitarian organisations mobilising a vast aid effort to reach the thousands of injured, hungry and thirsty survivors of the 7.0-magnitude earthquake to hit Haiti on 12 January.

100 Stories for Haiti is the brainchild of author Greg McQueen. On the morning of January 19, Greg posted a video on his blog saying: “Dear Twitterverse, I can’t keep watching this on the news or trending on Twitter without doing something. I woke up this morning with the idea that together we could make an e-book and donate all the profits to the Red Cross.”

Within hours news had spread throughout microblogging website Twitter and story submissions began arriving. Nick Harkaway, author of The Gone Away World, will be submitting a new story for the book as well as writing the introduction. Lorraine Mace, the co-author of the ABC Checklist for Writers, and award-winning environmental journalist Sarah Lewis-Hammond are volunteering their time to help with the editorial process.

100 Stories for Haiti needs short story submissions, editors, sub-editors and volunteers.

If you want to send a short story, please follow these guidelines:

No more than 1,000 words

No stories containing graphic violence, death or destruction

Send all stories in the body text of an email to 100storiesforhaiti@gmail.com. Stories sent as attachments will not be opened.

Stories must be received by Monday 25 January 2010

Notes for editors

Greg McQueen is a UK author living in Aarhus, Denmark with his wife and three year old daughter. He writes mostly for teens and is the son of Geoff McQueen, creator of The Bill.

Greg’s video can be found here http://www.ireallyshouldbewriting.net/100-stories-for-haiti/

Story submissions and volunteers email: 100storiesforhaiti@gmail.com

The book will be sold on www.smashwords.com. Founder and CEO Mark Coker will be waiving the normal 15% commission.

100 Stories for Haiti will be published in mid-February

Contact details

Greg McQueen

gregmcqueen@gmail.com

+45 31 71 77 41

Word Pictures

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We’ve all heard the saying about a picture being worth a thousand words, but I wonder how true that is. I’ve been thinking about the opposite just lately – that’s to say, not pictures being worth the words, but pictures that are created by the words.

And I’ve also been asking myself, who paints the word pictures? Is it the writer, or the reader? And should the writer try to influence the pictures that their words create in the imaginations of the readers?

The Concept of Beauty

We all have different ideas about what is beautiful and what’s ugly. Sure, there are conventionally acceptable standards, particularly in assessing whether or not people are beautiful, but when it comes right down to the particular there is always a certain something that’s hard to define that determines whether or not we find someone or something attractive.

When writing, it’s best to leave the definition of beauty either up to the reader or to the other characters. For instance, if I describe a young woman with long blonde hair, big blue eyes and a full mouth, and then tell readers she’s beautiful, they may not agree that what I’ve described is beautiful. But they would readily accept that another of my characters finds her beautiful even if they don’t personally. If I want my readers to accept that a character is beautiful because her/his beauty is central to the story, I’d try to avoid giving actual descriptions beyond the most vague. That way the reader paints their own picture and so can’t argue with the suggestion that the character is beautiful.

It’s a subtle difference, but letting readers paint their own pictures as much as possible makes for much deeper reader interaction with the story.

Do you admit to being a writer?

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shy catPhoto by The Marmot

I read something, somewhere, about the need to define yourself as a writer both inwardly, in your own mind, and outwardly, when talking to other people about what you do.

I used to think that was probably right. Note the ‘probably’. I’m not so sure anymore.

If you tell people you’re a writer, the next question you have to answer is ‘what do you write?’, followed quickly by ‘will I have heard of you?’.

Unless both answers are in the extreme positive, in that you’ve carved out a well-defined niche for yourself along the lines of Bill Bryson or Lee Childs, say, or you can tell them you’re regularly published – like on a weekly or monthly basis – in a national publication that everyone and his dog has heard of, my thoughts now on the subject are that a little secretiveness is probably best.

There’s that probably again.

Truth is, I alternate between two extremes on this issue. One day I feel that telling everyone is the way to go, and the next I’m convinced it’s best to shutup about it. Unless you enjoy endlessly justifying what you do and why you do it, and are willing to put up with the ‘oooh get you’ looks.

Today I’m having a ‘shutup’ day.

Tomorrow I’ll probably be back shouting from the rooftops. (Are cliches allowed in blogposts? Who cares, seeing as today I’m keeping silent about writing I don’t need to worry about whether or not I’m being original.)

Scrivener and The Pale Ones

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The Pale Ones are now in Scrivener and I’m faced with the task of organising the scenes and getting to grips with the story again.

Since the end of nano I’ve done very little fiction writing. Not because I didn’t want to, but because I picked up quite a bit more ‘work for hire’ than I normally do and that kept me busy with nonfiction.

But the Pale Ones are nagging. They want their story told and I want to tell it. So I need to get back on track and figure out where we go from here.

Scrivener does make the task of importing a WIP easy. Previously I was using yWriter, and while it’s a great writing tool, it doesn’t quite do what I want or present the work in the way I want it. So the first task was to get the POs out of yWriter and into Scrivener. Simplicity itself. Both programmes behaved perfectly. YWriter exported neatly into .rtf, and Scrivener picked it up effortlessly when asked to do so.

I ended up with a very long single file in Scrivener, which seeing as I’m working in scenes, was no good at all. Scrivener promises that breaking up long files is a simple matter, and it is. Just put the curser in the file where you want to the break and tell Scrivener to make the break. Everything before the break is put into into its own little scene section, and everything beyond the break stays together in the long file. You can select text at the beginning of the break to use as the scene title which makes later identification much easier. In a matter of minutes I’d run through the whole 60k odd word count and recreated the scene sections.

My next task is to organise my Scrivener index cards on the corkboard. I have scenes out of sequence, scenes I no longer need because of changes further on in the story, and scenes which, frankly, just aren’t doing the job they were supposed to do.

I’ve got to pin down my ‘sentence lites’, (Think Sideways jargon), or should that be ’sentences lite?’ and relearn/rethink my story arc. I’ve been away from the story for long enough to have forgotten a lot of what I’ve written which is both good and bad. Good because I can read it back with a fresher eye, and bad because it feels jut a bit like someone else’s story and I’m half afraid that when I try to get reacquainted with it I won’t like it anymore.

Hopefully Scrivener is going to make my task easier. Apart from the normal frustrations of learning a new programme, (and an irrational fear that by clicking buttons and experimenting I’m going to break either my story or Scrivener) my first few days with it have only made me more glad to have it.

Writing? Why?

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Sometimes it feels like writing is more of a curse than a blessing.

Not that writing really is a curse, of course, but sometimes it feels like it.

You know what I mean. You get up in the morning and know you need to write something, but it all seems like too much trouble and the little thought sneaks in – maybe you won’t bother today.

Then you remember that writing’s your job. Doesn’t matter whether you want to do it or not, if it’s your job it’s got to be done. Like any other job.

Here’s the thing. There’s a very seductive aura that hovers around ‘writing’. Around ‘being a writer’. Any kind of writer, whether it’s fiction in the form of short stories, novels or novellas, whether it’s nonfiction in the form of news stories, features, travel articles – whatever. The idea that you get paid for your words (and by implication the notion that your thoughts are loftier than the next person who doesn’t get paid for them) somehow lends ‘the writer’ an importance that I’m not sure they deserve.

But it’s the arts, isn’t it? Like musicians, painters, sculptors, designers of all kinds and people who ‘create’. There’s magic in creation, and even more magic in getting money in return for what you create. Money equates with success. You don’t get money for it? You haven’t reached success yet.

Trouble is, when you do get some money for it it’s not long before you start wanting more money for the same thing, and then success recedes again until you’ve achieved that little bit extra.

That’s the point where the curse aspect starts creeping in. What used to be fun becomes work. And actually, it can be pretty boring work. And repetitive. And mind-bendingly hard at times too.

Writing is no walk in the park. So why do it?

I don’t have the answer.

All I can say is, in the words of one of my favourite fictional characters, we do it because, ‘it’s what we do.’

And because, having written, it’s just the best feeling in the world.