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Absolute Write Newsletter: June 9, 2004 http://www.AbsoluteWrite.com An Absolute Write Publication ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ Welcome, writers! If you are interested in screenwriting, freelance writing, playwriting, writing novels, nonfiction, comic book writing, greeting cards, poetry, songwriting, or-- well, you get the idea-- you're in the right place. ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ In this issue: 1. From the Editor 2. Special Offers and Announcements 3. New This Week -Reader Requests -Proudest Moments -Article By Kristin Johnson -Article By Brenda Warneka and Arlene Uslander -Column By Blake Snyder -Column By By Mary J. Schirmer and Rich Lehmann -First Person By By Sandra McLeod Humphrey -Book Reviews -Writers' Guidelines -Announcements -Fre.e Articles by Jenna 4. Classifieds 5. Classes 6. Affiliates ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ ** Unsubscribe instructions are also found at the end of this email. ** ** TO SUBSCRIBE and UNSUBSCRIBE: To subscribe or unsubscribe to this newsletter, visit http://www.absolutewrite.com/subscriptions.htm and enter your email address in the field provided. ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ * Write better, get published; Writer??™s Digest can help! We want you to see the ???new??? Writer??™s Digest ??“ that??™s why we??™re offering you 2 FREE issues! Inside, you??™ll find tips for overcoming writer??™s block, technique articles for a variety of genres, the best new markets, and much more. Visit http://www.writersdigest.com/AbsoluteDeal today! ----------------------------- * MANUSCRIPTS WANTED! Traditional publisher seeking manuscripts. Write: jonabooks@sbcglobal.net, or JoNa Books, P. O. Box 336, Bedford, IN 47421. http://www.jonabooks.com. ----------------------------- * The World's Best "Job" Imagine a job in which you set your own hours, and live wherever you please: at the beach, in the mountains, in an apartment in Paris, London, or Berlin! Here's how you can learn the secrets of this little-known, lucrative business http://www.thewriterslife.com/bb/aw42 ----------------------------- * LOOKING FOR PAYING MARKETS? ABSOLUTE WRITE CAN HELP! Subscribe to the Absolute Markets PREMIUM Edition for just $15 a year and get all the writing markets we can cram into your inbox! We've got calls for freelance writers, screenwriters, editors, translators, greeting card writers... see a sample issue here: http://www.absolutemarkets.com ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ 1. From the Editor ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ Hiya writers! I'm writing this literally hours before I leave for my honeymoon. The wedding was Saturday, and it was... unbelievable! The day started off with a surprise when I walked outside and a strange woman and three little girls dressed as fairies were standing in the driveway. I wasn't sure if I was supposed to know them, and my brain spun off trying to figure out who they were and why they were there. ???Hi Jenna! I'm your fairy Godmother,??? the woman said, and proceeded to go into the scene from Cinderella with the pumpkin and mice (???This just wont do... you'll need a coachman...???). The limo I hired drove away, and in its place, a horse-drawn carriage appeared to take me to the church with my sister and flowergirl. My brother was the coachman. My dad set it all up as a surprise. It was surreal and magical, and everyone we passed on the road honked, waved, and smiled. I mean, everyone! Hey, sometimes people can be really nice. I even saw a guy taking a picture of us with his cell phone to send to someone. Things like this don't happen much in my town. We had a few little blips throughout the day (we lost our guestbook, so Anthony's uncle ran out and bought us two notebooks to use as substitutes; we had about 20 cancellations in the last two days, mostly due to illnesses; the band played songs off our ???do not play??? list; the toasting flutes broke and we forgot to bring the unity candles to the church), but nobody cared. It was really better than I could have hoped for. Anthony even wrote me a song and sang it at the reception, which blew me away. My partner Bob, his wife Laura, and managing editor Amy were there and we managed to get some pictures of all of us together, so I'll work on getting those posted when we come back. The family of five who were supposed to be sitting with them were among the last-minute cancellations, so there wound up being an ???Absolute Write table.??? Ha! Okay, my HUSBAND Anthony (grin, grin) will die if he knows Im working on Absolute Write at 4 a.m. before we leave for the honeymoon, so I'd better cut this short. Instead of putting this week's content online like I usually do, Im going to paste it into this newsletter to save me some time. Thank you all for your good wishes. I'll share more stories when I come home. Oh yeah, and I will NOT be checking e-mail from the honeymoon. It was part of my solemn vow. :) Enjoy the issue! Write on, Jenna Glatzer Editor-in-Chief http://www.absolutewrite.com Read about Jennas books at www.absolutewrite.com/jenna/books.htm ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ 2. Special Offers and Announcements ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ * Become a Professional Resume Writer In 6 hours and 35 minutes, you can be in business well on your way to making upwards of $100,000 per year! That's how long it takes to create what is without question the world's easiest, most profitable and infinitely rewarding business. A business you can run out of your home from your kitchen table in as little as two to three hours a day. http://www.myresumebiz.com/aw42 ----------------------------- * THE NEVERENDING EBOOK OF WRITING MARKETS Pay once, get 100 new markets every month. June's edition has guidelines for 1000 paying markets for writers! Discover new places to sell your writing today. http://hop.clickbank.net/?absolutewr/dallas43 ----------------------------- * BE A BEST-SELLER AT AMAZON.COM IN 4 WEEKS! Get your book to the top of the charts with this simple, step-by-step strategy. If you buy this program from the link below, we'll be happy to announce your best-seller day to our 73,000 readers! (Forward your receipt to jenna@absolutewrite.com and tell us about your big day.) http://ProactiveBestSellerSecrets.com/AbsoluteWrite ----------------------------- * GREAT PRICES ON INKJET CARTRIDGES! SAVE UP TO 75%! FREE SHIPPING! 1-YEAR Risk Free Guarantee! http://www.absolutewrite.com/site/inkjet.htm ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ * ADVERTISE HERE! NOW OVER 73,000 SUBSCRIBERS! Could your company benefit from reaching more than 73,000 subscribers weekly? No reasonable offer will be denied! http://www.absolutewrite.com/site/advertising.htm or advertising@absolutewrite.com Subscribe to our Last-Minute Advertising Deals newsletter and receive special rates on advertising not available elsewhere. Send an e-mail to advertising@absolutewrite.com with "Subscribe" in the Subject line. ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ 3. New This Week ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ ========================= READER REQUESTS ========================= ???I'm looking for women who are willing to candidly share their experiences with miscarriage. You can visit http://www.firstthreemonths.com to find out more details about my book project. Or email me at biz@mediaegg.com. I'm looking to include interview excerpts and quotes from other women. This is not an anthology of stories. Also, this is not a book about infertility but is specifically about miscarriage.??? - ???I'm working on a couple of articles for Indian publications - one about harassment of employees at the workplace (women in particular), and another about bad experiences at interviews or any recruitment process. If you have had difficult bosses at the workplace, or have attended a recruitment process where you were inconvenienced beyond tolerable limits like being made to wait for hours on end etc., please contact me at gargihc@indiatimes.com.??? - "I'm writing an article on teen fashion for an online business publication. I want to include quotes from teenage girls (13-19) about what kind of clothes they like and don't like, their favorite places to shop for clothes, what makes them loyal to a brand or shop, etc. If you have a teenage daughter who loves shopping for clothes (or maybe hates it!) who would like to voice her opinions, and you wouldn't mind me asking her a few questions by email, with your permission, please let me know - ideally by 14 June. It's just a few simple questions - nothing complicated. I will ONLY quote the teenager's first name, age, and state, to protect her identity. Full details at: tacasselle@aol.com. I'm a freelancer specializing in fashion and business features for the last 14 years. Thank you.??? - ???I have a magazine assignment to compile an idea list of small acts of kindness people can do to create a more positive atmosphere around them. Care to contribute? It could be something surprising like paying for the order of the car behind you in the drive-thru. Or slipping a few coins in a meter thats about to expire, offering to take a group photo of tourists, or keeping a cranky baby amused for a tired mom in the checkout line. If there's something youve done, or have thought of, or heard of, or perhaps even had done for you, please e-mail me at vicky@writesense.com. Deadline July 7th. Thank you!??? ========================= PROUDEST MOMENTS ========================= I loved reading all the responses to last week's giveaway question: ???What is your proudest moment as a writer thus far???? I chose Jo Hamlet's entry because it cracked me up, reminding me of the resourcefulness of writers. Here it is: ???I've been writing for fourteen years but my first sale would definitely have to be my proudest moment as a writer. I received nothing but rejections the first two years and I had reached the stage where I thought I would never be published. ???Then I needed an operation - an Endometrial Ablation - a fairly new procedure in Western Australia. I realized that this could be my chance. I queried several magazines before I went in for the procedure and one was really interested. I went in to hospital armed with note pad and pen. I questioned every single action and I'm sure the nurses were happy to see the back of me. My doctor read through my manuscript before I submitted to the magazine and a few months later my piece entitled Inside Out was published. Thankfully I never had to go 'under the knife' again to have work published.??? --Jo Hamlet Below are our runners-up, whose entries I thought you would enjoy: ***** Mine came just the other day when my 14 year-old son said: "Dad, did you know if you Google your name lots of stuff comes up about you? It's like you're on tv!" --Frank P. Baron ***** After my father died in 1985 I wrote a story about a Christmas gift he gave me years before--a pair of gloves. I was an ungrateful teenager when I received those gloves and I never wore them. I rewrote that story several times over the years and last year it was published in the anthology, "A Cup of Comfort for Christmas." I was thrilled, but it wasn't until my complimentary copy and my $100 check came in the mail that I realized I was a published author. I opened the book to my story and smelled it! Then I cried tears of joy all afternoon.. I'm sure my father had long since forgiven me for not appreciating his gift, but that day I finally forgave myself. --Petrea Burchard ***** My proudest moment as a writer came from Diane Sears at CoolStuff4Writers. In response to my initial query she wrote: "I had to laugh when I read your e-mail. There are a handful of freelancers I recognize by name and yours is one of them. You are everywhere!" I felt extremely tickled that my hard work to make a name for myself is starting to pay off. Oh, and by the way-I memorized that quote-even though I have it saved in my "Fun" file. --Shaunna Privratsky ***** My proudest moment as a writer was when I happened across my 13-year-old's bio on his Instant Message. It started like this: "For those of you who might not know, my Mom's an author. Her name is Linda Oatman High." Then he went on to write about himself. That was a proud moment: when I discovered that my son put me before himself on his AIM!!! Linda Oatman High ***** My PROUDEST moment as a writer is today. I received my very first rejection letter and I'm so excited I could just... shout. Pippin Press sent me my query back with a hand written note at the top that says, "Not suitable for PP." Weeeee! Yippeee hurray! [Calm now] Ecstaticly yours, Mary ***** Seeing my 6-year-old daughter's first story published in a book and watching while she read her story at a "Write Stuff" event for her school district, knowing that she has inherited my love of writing and already surpassed me in being published while still in kindergarten. --Michael Powell ***** I raised a capuchin monkey I named Ziggy for the nonprofit agency Helping Hands: Monkey Helpers for the Disabled. These little primates will be trained to act as helper/companions for quadriplegics-folks who live in wheelchairs and cannot use their arms or legs. While doing research for a book called, Bringing Up Ziggy: What Raising a Helping Hands Monkey Taught Me About Love, Commitment and Sacrifice, I had the opportunity to interview two quadriplegics for testimony in the last chapter.. To begin, I asked both of them to tell me about their accidents. Each of them lost their capabilities because of car accidents, and, in relating their stories, they were very lethargic and delivered their answers in depressed tones. When I asked what their lives were like after receiving their monkeys, their demeanor changed and they were ebullient and joyful. One of the interviewees, Tom, said when he got his monkey Mango, he sent out birth announcements. It made all the work that I'd put into raising my monkey and my writing about the experience worth while. I still get goosebumps thinking about his happy voice. --Andrea Campbell ***** My proudest moment as a writer was when my 7 year old son, after reading my first children's book, looked at me and said "Mom, when I grow up I'm going to be a publisher so I can publish all your books!" --Jody Ashby ***** My proudest moment was the first day of my son's 9th grade school year. His English teacher went around the room asking everyone who their favorite author was and my son said, Tricia McDonald. When she asked who that was, he said "my mom." Brought tears to my eyes when he told me the story. --Tricia L. McDonald ========================= ARTICLE: Thornton Wilder, Ray Romano, "Friends" and Writing the One-Act Play First In A Series By Kristin Johnson ========================= "A dramatist is one who believes that the pure event, an action involving human beings, is more arresting than any comment that can be made upon it." --Thornton Wilder "On the stage it is always now; the personages are standing on that razor edge, between the past and the future, which is the essential character of conscious being; the words are rising to their lips in immediate spontaneity. The theater is supremely fitted to say: 'Behold! These things are.'"-Thornton Wilder "Oh! I think this is the episode of Three's Company where there's some kind of misunderstanding."--Chandler Bing (Matthew Perry), "Friends," "The One With the Sonogram" What does "Friends" have in common with the theater, other than struggling actor Joey Tribbiani's (Matt LeBlanc) perpetual forays into the footlights? "Friends" is to the theater as "Everybody Loves Raymond" is to "Who's Afraid of Virginia Woolf," right? Oh ye of little pop culture faith. Whether it's theater or Must See TV, all dramatic writing follows one basic structure: Setup. Complication. Resolution. Culture snobs sniff that sitcoms have nothing to do with theater. Obviously they conveniently forgot Plautus' comedies, which follow the formula used on every sitcom: boy meets girl, boy loses girl, boy gets girl. You can vary this formula in "Frasier": boy meets girl and loses girl over and over again in every episode. Or in "Will & Grace": boy meets boy and loses boy through antics of Karen and Jack, boy ends up with girl (Grace). Or in "Everybody Loves Raymond": boy wants peace and quiet, boy gets messed up by obnoxious family, boy gets laughs. Now, sitcoms may have nothing to do with Shakespeare's tragedies or Tennessee Williams' tales of southern angst, or Thornton Wilder's "The Skin of Our Teeth." Yet even Wilder, whose "Our Town" is a staple of high school drama, wrote the theater equivalent of the sitcom. He wrote the "Seven Deadly Sins" collection, which features plays with each deadly sin as the theme, as well as "The Seven Ages of Man" collection that includes the one-act plays "Infancy" and "Childhood." (In a high school production of "Infancy," I played a baby.) In many of his plays, Thornton Wilder explores the territory now claimed by the sitcom: the dynamics of the middle-class American family. It's the theater equivalent of writing about Ray, Debra, Frank, Marie, Robert and Amy Barone. The similarity is even more striking when you think of one-acts. One-acts, like sitcoms, look at a subject, say the troubles of a family, in a brief time, often twenty-five minutes, roughly the equivalent of a half-hour sitcom. But, you say to yourself, that's TV. I can't tell my whole funny farce/heartbreaking political drama in 30 minutes or less. Try telling that to sitcom writers, who deliver funny farces and (sometimes) political dramas (remember "All in the Family") every week in 30 minutes or less. In theater terms, an evening of one-acts is like changing the channel every thirty minutes and discovering another sitcom. Turn the channel from the satiric "Infancy" told from a baby's point of view and you may get a tragicomic look at a mobile hospital in Vietnam. "M*A*S*H," anyone? Larry Gelbart wrote a brilliant one-act play every week for eleven seasons. You can, too, with a little help from your "Friends." What happens in a "Friends" episode? Take this season's "The One Where Chandler Gets Caught." In every dramatic writing there is an overt conflict (the action) and the covert conflict (what the characters really want, or the dark deadly secret). In the episode, Phoebe thinks Chandler is having an affair. This is the overt conflict. Monica and Chandler reveal the truth is much worse: Monica and Chandler have made an offer on the house and want to move away from the apartment building. The Friends go into high gear, trying to convince Monica and Chandler with the time-honored Clip Show that life in the apartment building is just hunky dory. The house becomes the covert conflict. Remember the dramatic structure? Let's say you are writing this episode of "Friends" as a one-act play. Setup: Overly involved friends think one of their circle is cheating on his wife and set out to expose him. Complication: Overly involved friends discover the man and his wife made an offer on a house and are moving out of the apartment building where they all live. Overly involved friends try to persuade the couple not to move. N.B.: On stage, you have to be more inventive than a clip show. You could dramatize character memories, but the focus would be the conflict between the couple's desire to leave and the friends' desire to have them stay. Suppose the man and wife are fed up with the nosy neighbor's constant interfering? Suppose the nosy neighbor is jealous of their marriage? Resolution: Couple pretends to overly involved friends that the offer fell through. Friends are ecstatic. Couple celebrates privately. What comes across on "Friends" as a desire to protect the other Friends could be a statement about hypocrisy and growth in your one-act play, as well as the illustration that the people in your play keep secrets or don't know each other as well as they pretend. On "Friends," despite the Ross/Rachel/Joey drama, the emphasis is on the friendship and on happy, light comic resolution. Lest you think comedy is easier to write than tragedy, anyone can string Chandlerisms and Phoebeisms together. The trick is to intersperse the laughs with humorous situations, and create an effective ending. (On a sitcom, there really is no end until the series finale.) Whether you're writing a drama or a comedy, an effective ending works so long as it's consistent with the action and the characters, because character is action. An effective ending also usually results in a negotiated settlement, in which your central character may achieve his or her desire, but at a price or with mixed results. To quote Edward Albee's character Grandma in "The American Dream" (another great one-act play),"Everybody's got what he wants... or thinks he wants." Also, in the space of 25 minutes, desires change over time and in response to action and reaction. Monica and Chandler's wants, or the wants of your one-act play couple, change in response to the effects their decision on the Friends. Note that the conflict here is individual versus group. First, Monica and Chandler keep the house secret, which spawns other complications (Phoebe's exposing the "affair"). In response to those complications, Monica and Chandler reveal their decision (keep harmony within the Friends). When the Friends become upset (reaction) and try to persuade (action), Monica and Chandler want to appease the Friends (reaction) and lie about getting the house (action, resolution). Your fictional couple, let's call them Mike and Connie, keep the house secret because their friends always pry (action), but their friends get the wrong idea (reaction) and pry into their business (action), which cause Mike and Connie grief (reaction). But why are Mike and Connie upset? Could it be that Mike bought the house to save his marriage? Is he tired of the same old same old? Is he, in fact, tempted to have an affair? Does Connie suspect he's straying? What happens when one of the friends comes to Connie with the revelation Mike is having an affair but doesn't bother to say who? Does Connie confront Mike? Does this lead to clearing the air? Do they reveal to each other that they just want time alone away from their friends' dramas? Or what if Connie doesn't know that Mike is buying the house? Does she want to save their marriage? Leave Mike? Her wants, then, would change, fueling her actions, which would cause reactions in the nosy friends who then respond to the crisis in their own way. Do they try to reconcile Connie and Mike? Do they argue over who is right? How do Mike and Connie react to their efforts? All this happens in the space of 25 minutes. Again, television can use clip shows, but the playwright isn't so fortunate. You as the playwright must make strong dramatic choices that propel the story forward and lead to a quick resolution. This is just as critical in a 25-minute play as it is in a 10-minute play. How do you make those choices? In my next article, we'll look at Hooking Your Characters for Fun and Conflict. Until then, do some research by watching the "Friends" finale.. How would Thornton Wilder have written an episode of "Friends"? **** Kristin Johnson, a twice-produced playwright whose short humorous play on the founding of the National League of American Pen Women, "No Women Allowed," will be performed at the 2004 Southern California State Luncheon, graduated from the University of Southern California Master Of Professional Writing Program and received her B.A. in creative writing from the University of Michigan-Ann Arbor. She has published three books, including Christmas Cookies Are for Giving (2003, with Mimi Cummins) and Ordinary Miracles (2004, with two-time Nobel Prize nominee Sir Rupert A.L. Perrin, M.D.), is an award-winning poet and short story writer (1999 Edward Moses Graduate Grant in Creative Writing, Blue Mountain Arts Tri-Annual Poetry Contest First Place, 1997 and 2000) and a finalist in the 2003 British Short Screenplay Competition. She has published numerous articles, including the groundbreaking "Hollywood East" in the Desert Post Weekly, and currently reviews books for the prestigious, popular website MyShelf.com. Her JFK-themed one-act play "Greetings and Salutations" received five nominations for the 2003 Desert Theatre League Awards in 2003. Her new e-book of poetry, IN THE MOOD, is available from her website, Poems For You at http://www.poemsforyou.com ========================= ARTICLE: The Art of Assembling Anthologies Brenda Warneka and Arlene Uslander ========================= At a time when the world is increasingly complicated and frightening, readers seem to be looking for alternatives to the sex and violence so prevalent in what is frequently offered to the public as entertainment today. One of these alternatives is the inspirational anthology, which is typically a collection of short true-to-life stories that carry the reader into a more comforting, nostalgic or spiritual world. The proliferation of inspirational anthologies in bookstores attests to the popularity that this genre has achieved in recent years. The Chicken Soup, Cup of Comfort, and Chocolate for a Womans Soul series are only a few examples. These easy to pick-up and put-down collections fill a need in our fast-paced society for many people who only have time to enjoy a quick read, but they are also favorites of many other readers. The growing market for anthologies has opened up new opportunities for publishers, editors, and writers. The writers always receive compensation of one kind or another; if not money, at least recognition and building up of credentials. Five years ago, we decided to put our experience as writers and editors to work on an anthology that turned out to be an exciting, but very challenging, endeavor. Challenging, because we had no specific guidelines to go by; we learned as we went. However, now, as the co-editors of an anthology published by iUniverse in December, 2003, The Simple Touch of Fate, we would like to share with you what we have learned about compiling and editing such a collection. * Choosing a theme for your anthology.. Choose a theme for your anthology by researching the anthologies already on the market. A logical starting point is your local library. Not only will this give you an opportunity to check out and read some anthologies, but you can review Books in Print for a comprehensive listing of anthologies that have been published to date. For a look at the latest anthologies, visit the large bookstores in your area. And, of course, your most valuable tool may be the Internet: Amazon.com, Barnes & Noble, and major search engines, such as Google, Yahoo, and Ask Jeeves. Once you are familiar with what is on the market, it is time to put your creative energies to work to come up with your theme. The three anthologies that we first mentioned above are intended in some way to give the reader renewed faith in humankind. The titles presage the theme inherent in the stories by evoking warm feelings of family and home-- the soothing smell and taste of chicken soup prepared by a loving mother, the sharing of a cup of hot tea with a dear friend, the feelings of well-being engendered by the rich taste of chocolate. Perhaps you have a special interest or hobby that can be the focus of an anthology, such as history, sports, or travel. Our own anthology, The Special Touch of Fate, came about because one of the co-editors, Arlene, who is a professional editor, edited a manuscript that told the story of a young man whose life was saved due to his sisters premonition. This story made Arlene think about a fateful event where her own life was saved, and led to the idea of an anthology involving fate. * Going it alone or with a partner? Decide whether you prefer to work on your anthology project by yourself, or with a partner. Maybe you are the type of person who likes to have total control and has the time to do all the necessary work on your own, such as calling for submissions, reviewing the stories you receive, contacting agents and publishers, and one of the most time-consuming tasks of all, editing and final proofreading the stories you choose for your collection. On the other hand, as we found out, it can be more emotionally satisfying to share the workload, the frustrations, and the successes with another person. * Which comes first--the publisher or the anthology? Unless you are a well-known author or have a track record, such as the Chicken Soup series or spin-offs, you will need to prepare at least a proposal and sample stories, and possibly a complete manuscript, to get the attention of an agent or publisher. Of course, if you are self-publishing, this is not an issue.. * Who will write the stories? Are you going to write the stories, edit the stories written by contributors, or a combination of both? For the most part, in The Simple Touch of Fate, we used stories by other writers, but we also wrote stories based upon our own experiences and as told to us. * How and where to solicit submissions. We found the best way to solicit submissions is through writers newsletters and web sites on the Internet. The newsletters allowed us to post our calls for submissions at a nominal, or even no, charge. We also actively pursued stories by word of mouth, and by following up on current news stories that had a fate theme, either to reprint them or to interview the principals, and then write our own stories. We interviewed Jacob Herbst from Israel who missed American Airlines Flight 11 from Boston on 9/11 and Larry Hicks who saved the life of NASCAR celebrity Jack Roush, and they were happy to cooperate with us in presenting their stories in our book. * Keeping track of your contributors. E-mail addresses change; so be sure your contributors give you their home and work addresses and telephone numbers, and additionally, a back-up contact, in case you have problems finding them. Emphatically remind contributors to advise you if any of their contact information changes. * Provisions to include in the contract with the contributors. Among other things, you must decide what story rights you will ask for, and what payment you will offer to contributors. We are aware of payment by the best selling anthologies of as much as $300 or more; others run contests for stories; new anthologies may pay with a copy of the book and a bio, which is an accepted practice. Many fine writers are willing to allow a one-time use of their work simply because they are interested in the theme of the book. New writers may be seeking the writing credentials provided by having a story in print. There may be other money-making opportunities for contributors even if the anthology is nonpaying; e.g., the sale of reprint rights, speaking engagements, or other writing assignments as a result of the exposure. We required our contributors to represent in writing that their stories were true and that they had the right to offer them to us for publication without violating contract or copyright laws. We also required that they give us the right to edit their work and change the title. You should consult with an attorney about your contract once you have determined the basics to be included. He or she may have additional suggestions, such as adding a choice of state law and forum selection clause to the contract. * Putting together the anthology. If you are representing your stories as true, you must decide whether you will fact check the stories, or take the authors word for it. In our case, we did as much fact-checking as we found to be reasonably possible, such as dates and places. We lost some stories in the process! The Internet is a valuable resource for fact-finding, and also for editing. Reference librarians on the web answer difficult editorial questions free of charge. Trouble areas to look out for; e.g., proper permission for reprints, intellectual property rights, invasion of privacy. Many anthologies include some reprints of stories that have appeared elsewhere, as does ours. Be sure that you get permission from the owners of the copyrights, in writing, to reprint the story, and that they understand exactly the use to which it will be put. Some of these sources require that the publisher (not the editor) seek permission for reprinting the item, and may require payment, sometimes based upon the number of books you publish. Be aware that owners zealously guard their trademarks and copyrights. In our case, we contacted the trademark owner for permission to use the name of a well-known game in one of our stories. We were told that we could use it with certain changes to the story, which we decided not to make because these changes would have taken away from the effectiveness of the story. We solved the problem by having the author use a generic term instead of the trademark name for the game. Different legal standards apply to invasion of privacy issues for private individuals as opposed to those in the public eye; and you need to be particularly wary when dealing with a private person, even though public personalities can still have their privacy invaded. The Internet is a valuable source of information on these issues. However, if you cannot resolve them on your own, consult with an attorney. Assembling an anthology is hard work, but it can also be very rewarding work. We had the good fate to receive stories from all over the world from people in various walks of life, as they told about their personal brushes with fate. And, we were fortunate to have become Internet friends with many of the contributors to our book. We are looking forward to a sequel. **** Order The Simple Touch of Fate (iUniverse, December 2003, $16.95) by calling the publishers toll free number 877-288-4737 (international orders 00-1-402-323-7800) or through www. Amazon.com and other online bookstores. -- Arlene Uslander and Brenda Warneka are co-editors of The Simple Touch of Fate. Uslander is the author of 14 non-fiction books and is an award winning journalist. Warneka is a practicing attorney who writes on legal topics, travel, and human interest. They each wrote several stories for the anthology. ?©2004, Arlene Uslander and Brenda Warneka ========================= COLUMN: The Biggest Shrove Tuesday Opening Ever! By Blake Snyder ========================= Doing well at the box office is not half as important as how that success is framed by its producers in the weeks surrounding a movie's release -- especially in the summer. Such bold claims as "the biggest opening in June for a non-sequel based on a book" and "the #1 comedy in America" (this despite the fact that it came in fourth) strikes me as parody every time I see it tried. But that's what Hollywood likes to keep track of and notes in the trade journals in increasingly exotic attempts to claim some kind of #1 status. Shrek 2 is not only the #1 movie in the country this summer, it is also the ???#1 Comedy??? and the ???#1 Family Film.??? But that doesn't stop Raising Helen from boasting that it is the??? #1 Romantic Comedy in America.??? And that may well be true. But the openings fade. The splash of selling it the first weeken -- and not totally crashing in the secon -- soon gives way to a more important point: Is it any good? I see a lot more movies before they are released these days and I admit to getting blindly caught up in hype.. It's been an interesting summer so far and I've learned something new about movies, and my taste in them, every week. I also like to keep assessing as the summer goes on-- just to see. In hindsight, for instance, I like Troy a lot less today than when I walked out of the theater the night I saw it. I was impressed with the restraint of the special effects and the way the CGI supported the plot instead of the other way around. I was also happy to see an attempt to bring a classic story to life. If one little child out there wants to pick up a book based on a movie... Well, I know I'm dreaming on that. But there's a part of me that won't give up on the idea that some movies should be good for us. And though they took a broadsword to Homer, with a Hollywood ending for Brad Pitt as Achilles, at least they tried. How one movie matches up to the others being released at the same time has an effect on my reaction too. I think I had a better impression of Troy because I was still reeling from Van Helsing. (Now there's a movie that gets worse with time.) And I was so grateful to see the special effects in Troy used wisely after seeing Van Helsing which smothered us in little else, that I overcompensated in my praise for it.. Likewise this week's Harry Potter strikes me as so much better than Shrek 2 for so many reasons, that I have become an unlikely booster. I am a big proponent of children's movies. What a special time that is for kids. Why then do they have to be yanked into crassness and adult cynicism as they are in Shrek 2? Harry Potter strikes me as a much more magical film than Shrek. But look at the numbers. Harry will get bashed for being just a kid's flick, but to me that's the charm. It's telling to me that we care more about getting parents into the theaters than their children. The biggest fans of Shrek I've encountered have all been Baby Boomers. Why can't kids' films be just for kids? Well, because they make more money when aimed at adults too. And when it comes to crassness, movies like Soul Plane make me long for the goofiness and good, clean fun of the original Airplane! Will that affect how I look at the silly Dodgeball next week starring Ben Stiller. No doubt about it. Whenever I think I'm wrong in my distrust of what everyone is proclaiming to be the ???#1 Movie In America,??? I think about Harold Lloyd and Buster Keaton. Lloyd was a master at the big, pop hits. He knew what he was doing. And his movies were all safe and simple concepts aimed at the broad middle of the world. Keaton was a hit-maker too, but not like the All-American Lloyd. Lloyd was the box office champ, but I'd rather see a Keaton movie any day. Movies and our perceptions of them change with time, and the immediate reaction to this week's hit changes. One thing is sure; our immediate response to a film is almost always incomplete. What will audiences in fifty years make of all those in-jokes about Hollywood in Shrek 2? Will they love the Joan Rivers gag or the COPS parody or even care? I don't know. But I am drawn to the timeless, the magical, the special, not the special effect. And hype is just one of Hollywood's special affectations. It becomes a self-fulfilling prophecy. And even I can take a lesson from that. After all if it weren't for the popularity of hype, how would I have become: The #1 Movie Critic In America! *For an Internet reviewer who is also a screenwriter living in Los Angeles. ========================= COLUMN: TRIBECA WINNERS ANNOUNCED By Mary J. Schirmer and Rich Lehmann ========================= The 2004 Tribeca Film Festival included more than 250 films from 42 countries; panel discussions by industry experts like Garry Marshall, Norman Lear, Martin Scorsese, and newsman Peter Jennings; gala premieres; a two-weekend outdoor family festival; drive-in movies; screenplay readings; and an outdoor music concert. Given the locale - dazzling New York City - stars came out by night and day to support the events. Founded by Robert De Niro, Jane Rosenthal, and Craig Hatkoff to help revitalize Lower Manhattan following the Sept. 11 attacks, the Tribeca Film Festival attracted a variety of sponsors who provided awards to these winners. Best Narrative Feature - Liu Fen Dou for THE GREEN HAT (China) sponsored by Turning Leaf Vineyards, presented by Barry Levinson Best New Narrative Filmmaker - Liu Fen Dou for THE GREEN HAT (China) sponsored by OPEN: The Small Business Network from American Express, presented by Martin Scorsese and Kerry Hatch Best Actor in a Narrative Feature Film - Ian Hart for BLIND FLIGHT (United Kingdom) sponsored by Delta Air Lines, presented by Kyra Sedgwick and Patrice Miles Best Actress in a Narrative Feature Film - Fernanda Montenegro for THE OTHER SIDE OF THE STREET (Brazil) sponsored by Delta Air Lines, presented by Kyra Sedgwick and Patrice Miles Best Documentary Feature - Danniel Danniel and Juliano Mer Khamis for ARNA'S CHILDREN (Israel) and Cathy Henkel for THE MAN WHO STOLE MY MOTHER'S FACE (Australia/South Africa) sponsored by Fondazione Prada, presented by Her Majesty Queen Noor and Germano Celant Best New Documentary Filmmaker - Paulo Sacramento for THE PRISONER OF THE IRON BARS: SELF-PORTRAITS (Brazil) sponsored by OPEN: The Small Business Network from American Express, presented by Martin Scorsese and Kerry Hatch Best Documentary - Sonia Herman Dolz for THE MASTER AND HIS PUPIL (The Netherlands) sponsored by Fondazione Prada, presented by Her Majesty Queen Noor and Germano Celant Best NY, NY Narrative Feature - Jennifer Reeves for THE TIME WE KILLED (USA) sponsored by Post Factory, presented by Sen. Charles E. Schumer (D-NY) Best NY, NY Documentary Feature - Scott Crary for KILL YOUR IDOLS (USA) sponsored by NFL Films, presented by Sen. Charles E. Schumer (D-NY) Best Documentary Short - Oren Jacoby for SISTER ROSE'S PASSION (USA) sponsored by Kodak and Alpha Cine Labs, presented by Connie Nielsen Best Narrative Short - Seth Grossman for SHOCK ACT (USA) sponsored by Kodak and Alpha Cine Labs, presented by Connie Nielsen Student Visionary Award - Sharat Raju for AMERICAN MADE (USA) sponsored by Kodak, presented by Eddie Izzard Grant recipients of the 2004 Tribeca Film Institute/Alfred P. Sloan Foundation Script Development Program - Gretchen Somerfeld for FACE VALUE, and David Baxter for THE BROKEN CODE. recognized by Doron Weber Tribeca Creative Promise Award for Documentary Feature - Stacy L. Holmon for DRESSED LIKE KINGS (USA) an award of Tribeca All Access, presented by Q-Tip Tribeca Creative Promise Award for Narrative Feature - Phil Bertelsen for ROCK THE PAINT (USA) and Ellie Lee for THE ROAD HOME (USA) an award of Tribeca All Access, presented by Q-Tip Best High Definition Technology - Larry Golin for CROSS BRONX (USA) spnsored by HDNet, presented by Shohreh Aghdashloo and Todd Wagner Audience Award - Tami Gold and Kelly Anderson for EVERY MOTHER'S SON (USA) sponsored by Budweiser/TriggerStreet.com, presented by Kevin Bacon Some filmmakers won cash, airline tickets, editing suite time, lab services, film stock, a plasma TV, and advice from scientists and established screenwriters. But some won original artwork by Jeff Bridges, Christopher Walken, and others. Industry veterans were generous with their time in judging competitions, and volunteers included Mary Louise Parker, Anant Singh, Glenn Close, Jules Feiffer, Albert Maysles, Sheila Nevins, among many others. If you "had to" organize a film festival, you could do a lot worse than having Manhattan as a venue. The general ambience of the city; the potential for celebrity sightings (once we passed Gabriel Byrne, Martin Sheen, and Kenneth Branagh on the same day); residents and visitors scurrying like college boys to a free buffet; restaurants, taverns, stores, theaters, tourist sites - all contribute to the fun-filled atmosphere. Add fabulous movies from all across the world, build in the guarantee of movie stars and well-known filmmakers, and you'll have the sure success that is the Tribeca Film Festival. Congratulations to all the winners. ========================= FIRST PERSON: Just Part of the Family By Sandra McLeod Humphrey ========================= I know that we all try to follow the advice of the pros when it comes to characterization--we try to make our characters as three-dimensional as possible and we try to give them their necessary warts. But what Ive noticed recently with my characters is that they have moved in with me and become part of our family--many times uninvited. Ive been working on a young adult novel that takes place at a girls summer camp in northern Minnesota and its still a little disconcerting when I find the camp director, Mrs. A, at my breakfast table shoveling sugar into her tea or rummaging through my fridge, looking for avocados for her guacamole dip. And its not just Mrs. A who has moved in. Leslie and some of her camper friends are also showing up unexpectedly. I found Trisha (a young black girl who longs to have her own garden amidst the chaos of the inner city) in my backyard last week. She wasnt being a nuisance or anything.. She was just out there, smelling the flowers. Then theres the anorexic Jennifer. She hasnt actually moved in yet, but I see her more than I like to in some of the young girls I mentor at our church. They talk about their control issues at home and how food is the only thing in their lives they feel they have any control over. And, of course, theres Rachel, the cutter, who I repeatedly saw in my young patients at the state mental hospital who insisted that they had to cut to feel better. They told me at length how they could deal more easily with their physical pain than with their psychological pain and how the physical pain gave them a temporary respite from their psychological pain. Ive even run into Cynthia Winston, the villain of the piece, right in my own bathroom--usurping the bathroom mirror while she applies her eye makeup. To be honest, I see Cynthia whenever I pass any mirror. She is always there, preening and giving me her little Mona Lisa half-smile. Although I have never invited my characters to move into my home and usurp so much of my life, I find Im becoming used to having them around and sometimes I even find myself looking about for other characters to add to my collection. I think what Ive concluded from all this is that to make our characters real to our readers-- characters that they really care about-- we must care about them first. They must be so real to us that we see them everywhere we go and in everything we do, sometimes in the expected places and sometimes in the most unexpected places. I think its important that we keep our eyes and our minds always open because we just never know when or where were going to run into some of our most irresistible characters and their friends. When our granddaughters have their friends over, I find myself eavesdropping on their conversations, not because Im particularly nosy, but because I really want to know how pre-teens think and what they think about. And when Im leading a rap session with my junior high students, I find myself listening to them on several levels. I hear their words, but Im also listening to whats underneath the words: their pain, their insecurities, and their dreams. It seems that everywhere I go these days, I run into my characters-- either characters I already know or potential characters for future books and stories. Yesterday at the eye clinic, I ran into a wonderful grandmother who announced to all the women in the waiting room that her grandchildren were requesting fruit roll-ups, but she had forgotten how to make them. Did any of us know how? No one did, which is probably a sad commentary on the culinary skills of this generation, but this grandmother and her fruit roll-ups will undoubtedly show up in one of my future stories. And I found myself listening, not politely but intently, as the technician who examined my eyes for glaucoma, told me about her son, whos a senior in high school, and all his problems. This was not just another opportunity to gain more insight into a mothers concerns but also an opportunity to collect more data for my teen characters of the future. Our living, breathing characters are all around us every day. Sometimes we dont even have to look for them-- they just emerge on the scene, fully blown and uninvited. How fortunate we are then because all we have to do is add them to our memory bank along with the multitude of other characters already stored there, just clamoring to get out and come to life on paper. We all write for the love of writing, so I think it follows naturally that we dredge up the characters we do because we love them too. Or, maybe in some cases, we dredge them up because we really hate some of their attributes. But whatever the feelings, they are strong feelings, and our characters become part of our writing lives because they are already a real part of our lives at some level, conscious or unconscious. So now I no longer feel put upon when my characters move in and seem to take over so much of my life. Now I tell them that they are most welcome and are free to stay as long as they want to.. And I invite them to bring their friends as well. **** Sandra McLeod Humphrey is a retired clinical psychologist and author of: If You Had to Choose, What Would You Do? (Prometheus Books, 10/95), Its Up to You...What Do You Do? (Prometheus Books, 1/99), Keepin' It Real: A Young Teen Talks With God (CSS Publishing, 1/03), MORE--If You Had to Choose, What Would You Do? (Prometheus Books, 5/03), and Dare to Dream! (Prometheus Books, 2005). Visit her website at http://www.kidscandoit.com. She is a recipient of the National Character Education Center's Award for "Exemplary Leadership in Ethics Education" (2000) and a writer and consultant for the Heroes & Dreams Foundation, which provides character education materials to elementary schools throughout the United States and Canada. She was also named "Author of the Month" for December 2003 for MyShelf.com ========================= BOOK REVIEWS ========================= Creating Poetry by John Drury Review by Poppy Hullings ???What the heck have I gotten myself into???? was my first impression after delving into Creating Poetry by John Drury. I had not written poetry in years and have never had any formal education in writing poetry either. When I started writing poetry again after a decade-long hiatus, I listened to some of my fellow online poets talk about things like iambic pentameter and enjambment and found myself clueless. I am not afraid to ask questions and did ask others about things I did not understand, but found that I needed a more tangible reference that covers poetic terms and tools (and my poor fellow poets needed a break from my constant questions). The name John Drury was mentioned, so I decided to read his book, Creating Poetry. As expressed earlier, I was somewhat intimidated by this book at first. In the introduction, there is a map with lines and arrows all over the page labeling numerous poetic terms. Overwhelming to say the least, but I didnt want to give up on the book. I continued to flip through and saw lots of thorough explanations (instead of curt definitions) of poetic terms, forms and styles. There are also many examples (oh, how I love examples). Drury doesnt give a whole poem as an example if it isnt necessary, which is very effective. I dont have to search a whole poem to find examples of assonance or onomatopoeia because Drury clearly points them out in short excerpts of poems. He covers more than just poetic terms, forms and styles; he also discusses some basic concepts, ideas, what to write about and where to find inspiration. Creating Poetry is more than the what, its the what along with the how and why. It gives more than a textbook definition; it gives a definition along with explanations, examples, and other references. Also, he includes exercises that encourage you to learn how to write certain forms and styles, instead of just memorizing the definition. This isnt the type of book you will likely (or even should) read from beginning to end in one sitting. It will not transform you from beginner to advanced poet overnight; only writing, writing, and more writing over a long period of time could possibly do that. Creating Poetry should be used as a reference where you take one thing at a time and move at your own pace. Keep it on your desktop or bookshelf and refer to it often. Order here: http://www.amazon.com/exec/obidos/ASIN/0898794439/absolut ewrite/ **** Poppy Hullings is a hopeful poet, greeting card writer and book reviewer. Her work has been published by KotaPress, __Mocha Memoirs, PoemKingdom, Poetic License Magazine, SaucyVox, Shadow Poetry and Skyline Magazine. She is the author of Reflecting in Words, a collection of her poetry published by Shadows Ink in February 2003. She is also the founder of the Samantha Paige Crusade (http://www.spcrusade.com), which donates helpful and inspiring books about child loss to libraries, organizations and individuals. ========================= WRITERS GUIDELINES ========================= Were always looking for new interviews, articles, essays, and humor for this newsletter. We pay $5 or a 1-year subscription to the Absolute Markets Premium Edition (www.absolutemarkets.com - a $15 value). Were happy to check out reprints, and we take non-exclusive electronic rights. Got some advice for your fellow writers? Check out our guidelines here: http://www.absolutewrite.com/site/submissions.htm ========================= ANNOUNCEMENTS ========================= * Dabbling Mum Writing Contest (due July 29, 2004; no entry fee; win prizes) http://thedabblingmum.com/contests/index.htm * Midwest Book Fest (Aug. 14 2004, Bellevue, OH) email greentmg@yahoo.com for more info ========================= FRE.E ARTICLES BY JENNA ========================= If you have an e-zine or newsletter and want some fre.e content, Jenna has a bunch of articles for you here: http://www.absolutewrite.com/free_reprint_articles.htm ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ 4. 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We've got calls for freelance writers, screenwriters, editors, translators, greeting card writers... see a sample issue here: http://www.absolutemarkets.com ----------------------------- * Writing for the Movies: Writing and Selling Your Screenplay Learn the techniques of beginning screenwriting--from concept to treatment to polished script from a former actress and director who is the author of 16 books, 98 plays, and over 200 articles on the performing arts, travel, humor, and how-tos for new writers. http://www.absoluteclasses.com/Hamlett/sellingscreenplay.htm ** SPECIAL LOWER PRICE ** ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ 5. CLASSES ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ Absolute Write offers all courses in a one-on-one learning environment. Instructors are now available to teach to you individually. This format will provide you with a more effective, personal learning experience. All courses are open enrollment.We guarantee that you will be satisfied! http://www.absoluteclasses.com ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ * WRITERS WANTED! HIGH-PAYING WOMEN'S MAGAZINES NEED WRITERS. Woman's Day. Cosmopolitan. Redbook. Glamour. Family Circle. You know you want to write for them. Now learn the secrets for breaking into the women's magazine market in an online course with full-time freelancer Jennifer Nelson. http://www.absoluteclasses.com/Nelson/womenmag.htm ----------------------------- ** RECOMMENDED COURSE ** * LEARN TO MAKE $50,000 A YEAR WRITING! This is not a get-rich-quick scheme. In fact, it is a lot of hard work. You need to write consistently if you hope to make a full-time living as a freelance writer. If you are not willing to work - and that means write - then this course is not for you. But if you have the desire to make it as a full-time, nonfiction writer, this course will help you dramatically increase your income. http://www.absoluteclasses.com/Sheldon/makemoney.htm ----------------------------- ** NEW COURSE BY JULIA ROSIEN ** Soup, Comfort and Chocolate for the Soul - Turning Memories into Soul Stories http://www.absoluteclasses.com/Rosien/soulstories.htm ----------------------------- * BE A BETTER MAGAZINE WRITER. "How do I spot a news trend?" "How do I get special press access?" "I have a topic, but what angle can I use?" "How do I structure an article?" "What kinds of questions should I ask during interviews?" By popular demand, George Sheldon has created a new course for freelance writers. If you can read e-mail, you can take this course-- and it includes one-on-one feedback from a writer who's sold more than 1000 articles. http://www.absoluteclasses.com/Sheldon/nonfictionbasics.htm ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ 6. 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Send blank e-mail to naww@onebox.com or visit our web site at http://www.naww.org ~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ Please pass this newsletter along to all of your writing pals! ** TO SUBSCRIBE and UNSUBSCRIBE: To subscribe or unsubscribe to this newsletter, visit http://www.absolutewrite.com/subscriptions.htm and enter your email address in the field provided. Note: replying to this newsletter with "remove" or "unsubscribe" present in the subject of the e-mail will not immediately remove you from the list. In order to be removed promptly, please follow the above instructions. Absolute Write Newsletter ?© 2004 Glatzer-Wagner, LLC |
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