The Rules of Writing

personby Nancy Jane Moore
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All genres of writing have their rules. For example, you can’t put a spaceship in literary fiction (though Michael Chabon could probably get away with it).

In science fiction, one of the rules is that you can’t write about writers.

Some people take this rule very literally. I once wrote a story about a freelance writer in a gig economy who needed to go from Washington, D.C., to Virginia at a time when passports were required between states. Hers had expired, so she had to cross illegally.

(Once again I realize that a story that I never spent much time submitting was ahead of its time and now is so obvious that it doesn’t seem prescient. I mean, we’re now living in a time where states are purporting to prevent their residents from traveling to other states for health care, not to mention one with an economy built on gig work.)

But back to the subject of fiction rules. One of the criticisms I got from my writers group was that it was about a writer and that wasn’t acceptable.

But that’s not what the rule means, really. There’s no reason your character can’t be a writer. The purpose of the rule is to keep science fiction writers from producing the navel gazing stories that revolve around writing.

There are any number of exceedingly boring literary stories and even novels that revolve around editorial assistants who are working on a novel and having an affair with their much older editor boss.

Others focus on creative writing professors in minor colleges and their inability to write and their affairs with their students.

This is the kind of fiction you get when a writer takes that major writing instruction “write what you know” literally. And this is the kind of fiction that the rule against writing about writers is trying to avoid.

I am thinking about this because I just read a couple of positive reviews in The New York Times of books that I can’t imagine being of interest to anyone at all. Perhaps there is a small subset of writers who want to read books about aging writers who can’t produce anything and younger writers who are trying to get some dirt on them to feed their own writing. Continue reading “The Rules of Writing”…

Parental Archeology

personby Madeleine Robins
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In the annals of 1950s cheesy paperback covers, surely Man of the World should feature somewhere. The sell line (“He wanted her for things money couldn’t buy”) drips innuendo, without actually saying anything. The babe on the cover is sultry. The promise that it’s “complete and unabridged” suggests that there are naughty bits that a more timid publisher might have expurgated. I found nothing that by current standards would be considered naughty.

Growing up, this book was among the hundreds of paperbacks from the 50s and 60s that lined the walls in my parents’ house. I read a lot of them, but only recently have I tried to read this one. There’s a reason for that: is is supposedly based on my parents’ courtship.

My father was a graphic designer working for David Selznick in Hollywood when my mother came to interview for a secretarial job. I don’t know that she was actually his secretary (by the time I wanted to ask questions, my parents’ relationship had degraded to the point where neither of them wanted to talk about it) but she caught his eye. And within a year or so both of them had relocated to New York City, and my mother was working as a secretary to film critic Stanley Kauffmann, who (according to family lore) had a crush on my mother. And somehow Stanley decided to make Mom (and therefore Dad) the centerpiece of his new novel. So I had to go digging through it, looking for clues about these people before I knew them. An archeological dig, as it were.

Reading this book is weird. I’m not a big fan of mid-20th century male-angst fiction (which is how I would classify this book). But every now and then there is a sentence or a description that makes me sit up and think Oh My God: These Are My Parents. 

When my parents met my father was married to a woman named Kit, who was a model, Vogue Magazine beautiful, and apparently a… difficult person. According to the novel, the protagonists (Nick and Delia) have a rather chaste thing going on–she lives with her mother, as my mother did–and they go to the movies or out to dinner. Early on in the book she decides this is going nowhere, and moves to New York. Okay, so far it jibes with family lore. My mother moved to New York and lived in a walk-up over a men’s haberdashery across 6th Avenue from the Women’s House of Detention on 9th Street. My father moved back to New York, having split with the beautiful Kit. He had an apartment-and-studio on 11th Street. Somehow they got back together. 

There are the bones of that story in the book (I will confess I’ve read about half of it and only skimmed the rest). It’s the details–particularly about Delia–that are so startling, that hit me with the force of accuracy, even when it was something I’d never considered before.  Here’s one:

With one letter he dictated, he asked her to enclose a memo that his former secretary had typed before she left, Delia retyped the memo.

“Why?” he asked. “What was wrong with it?”

“I–I’m sorry,” she said, and shrugged. She frequently stuttered when she was the least bit disturbed. “I–I know she was your secretary and very nice and so on, but I just don’t call that good typing.”

“Why not?”

“L-look at the spacing. It’s spotty. And some words lighter than others. Like there.”

“You know that you’re slightly nuts?”

“I can’t help it. I like it to look nice.”

And my first thought, after slightly nuts? was Holy crap, that’s my mother, the woman who could type 105 words a minute on a Remington manual typewriter. The woman who was given raise after raise at Bantam books, because they wanted her to keep doing secretarial work because she was so damned good at it. 

The bits where I recognize my father are less startling, but ring almost as true (Kauffmann didn’t have a crush on my father, after all). I wish I’d read this book decades ago, when it was still possible to ask my parents about some of it. Are any of the plot details–beyond the ones I’ve related above–remotely accurate? I’m not certain I would have gotten much out of them–they really didn’t talk about their early relationship even before that relationship started shredding. But with this book as a starting point I could have asked some questions.

My mother died in 1986; my father died in 2011. No matter how carefully I comb through the pages of Man of the World, I’m not going to know the truths about their early years. And yet I keep paging through, looking for clues.

 

Book Review: AMERICAN GHOST by Hannah Nordhaus

personby Pati Nagle
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Ghost stories are an American obsession. We gobble them like smores around a campfire, with the wind whistling through the tree branches in the darkness behind us and unidentifiable noises keeping our nerves tingling. Hannah Nordhaus’s American Ghost is not quite that kind of spooky, though she shares her adventures from attempts to communicate with the spirit world to rummaging through crumbling historic documents and spending a night in a haunted bedroom hoping for a glimpse of her ancestor, Julia Staab.

Julia is famous for haunting a 19th century Victorian mansion in the heart of Santa Fe, New Mexico. Today that mansion is part of La Posada de Santa Fe, a luxury resort hotel, which openly celebrates its resident ghost. With a journalist’s determination, Nordhaus pursues the facts about Julia: whether she really haunts the Staab house, who she was in life, and how as a young bride she came from a small village in Germany to live in territorial Santa Fe with her new husband.

Abraham Staab, a man of modest means from the same German village, emigrated to America as a teenager and began amassing a fortune importing dry goods along the Santa Fe Trail and selling them to the the frontiersmen and military posts of New Mexico. By the time he returned to Germany to find a wife, he was well-to-do. Sixteen years later he was one of the wealthiest men in New Mexico, and he built an elaborate three-story mansion as a fitting home for Julia and their seven children.

In the absence of any diary or correspondence from Julia herself, Nordhous hunts for clues among the papers and oral history of Julia’s descendants, newspapers of Julia’s day, records of Julia’s physician, and the places where she lived. As she searches for elusive details about Julia’s life, the author is haunted by questions. Are the rumors of Julia’s madness true? Did the loss of a child drive her over the edge? Was she imprisoned in her home—perhaps even murdered—by her husband? Does her restless spirit walk the halls of her mansion, seeking some part of herself that is forever missing?

For a New Mexican who loves Santa Fe and its history, this book is a delightful exploration of a tempestuous period. The West was very wild when Julia arrived. As one of the few “American” women in Santa Fe, she played an important part in the evolution of the city toward a more civilized, if not yet entirely tamed, community. Her story is poignant and laced with the inevitable sadness of life, yet Julia remains an inspiring figure, and the reader cannot help being caught up in the hope that she will find peace at last.

And as the author of a series of novels featuring a haunted house in Santa Fe, I enjoyed every page of this book. I cannot help imagining Julia waltzing with my Captain Dusenberry in the third-floor ballroom of the Staab mansion (which is no longer there – it burned many years ago – but fortunately the rest of the house was saved). I am utterly delighted that we have secured La Posada as the headquarters for an event this fall – the Wisteria Tearoom Investigation – which will celebrate both Captain Dusenberry and Julia Staab.

Keep Your Grubby Bots Off My Work

personby Nancy Jane Moore
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Several authors are suing the companies making the chatbots marketed as “AI” for using their copyrighted material without permission to create that software. I don’t know if this litigation will be successful, but I know that it should be.

We are all entitled to read books and learn from them. However, if I want to use an idea from someone’s book in my own work, I have to give them credit.

This is why we have footnotes and bibliographies in nonfiction. This is why we credit lines of poetry or songs by other people in stories. And this is why you have to pay the creator if you’re going to do more than use a small amount of their work and point people to the original.

Someone did a lot of work to create that story or essay or poem or song or whatever material you’re referring to. They deserve credit and if you’re going to use a whole lot of what they did, they deserve to be paid.

It’s very simple.

One of the many real issues with the large language model chatbots is that they were developed using materials available online, both pictures and words, but the developers refuse to tell us what materials were used. They claim it’s proprietary.

But it’s very obvious that they are using stories and art created by specific people, because if you ask one of those bots to draw you a picture in the style of a specific artist or to write a story in the style of a specific writer, they can do it.

It’s not just famous writers and artists either, much less people who are long dead and whose work is out of copyright. Several of my friends have tried it and had it create works that sound plausibly similar to their own.

If software can “write” a story that sounds like something I would do, they must have incorporated my work into their database. That, to me, is the equivalent of stealing my work and publishing it as your own.

I don’t know if the interpreters of copyright law will agree, but it’s certainly worth trying.

I note that the chatbot companies say they are “training” the bots on this material, but that word would only be appropriate if the bots were, in fact, some kind of intelligent being. They’re not. They’re a repository of data that has been developed to regurgitate information with simple prompts. Continue reading “Keep Your Grubby Bots Off My Work”…

Who Needs Dialog?

personby Deborah J. Ross
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I love to “talk shop” with other writers. I learn so much about my own process and my weaknesses because it’s always easier to see the flaws – and the strengths! – in someone else’s work. Recently, I had the mirrored experience of serving as a beta reader for another writer’s novel and receiving similar feedback on one of my own. The thematic similarities and differences between the two very early versions of the stories are irrelevant. What fascinated me was that we used dialog in diametrically opposed ways in our story construction: my friend’s rough draft read like a screenplay, and mine had comparatively little conversation. We’ll both end up with balanced manuscripts, but we’ve started from opposite places.

Dialog, which is the transcription of what each character says, rather than a summary in narrative, is one of a writer’s most powerful tools. It’s also one that’s easy to abuse, either by using it too much or too little, or asking it to perform functions in the story that it’s not well-suited for. Certainly, it’s possible to tell a story entirely in dialog form, just as it’s possible to write a story entirely in narrative with zero dialog. Most stories fall in the comfortable middle zone, especially if they involve more than one character capable of speech.

When we write prose stories, we can choose to show action in a variety of ways, narrative being one, dialog another. Dialog isn’t very good for showing events at a distance; characters can be discussing those events or relaying them, but both are “off the scene” and hence have less immediacy. On the other hand, if the emphasis is on the reaction of the characters to those events, dialog can be of immense help. One of the strengths of dialog is that if skillfully handled, it can give us a window into a character’s inner state without being in that character’s head. Screenplay writers know this and use dialog to reveal character, to heighten and resolve tension, to create conflict, and to further the plot.

Which brings me to one of the things I saw in my friend’s manuscript. She came to her story with “screenwriter’s mind.” She used dialog not only to convey the content of conversations (relationship building, changing, exchange of information between characters, etc.) but to sketch out the action that she would later fill in with narrative. I’m a bit in awe of this since what little I know of screenplay writing has thoroughly impressed me with what a high-wire act it is to use only dialog and highly abbreviated descriptions of scene and action to tell a story.

I, on the other hand, used bits of narrative as shorthand for the conversations that will be developed in revision. If anything, my rough draft was too focused on the inside on my protagonist’s head, not what she was doing or saying. One of the consequences was that other characters are suggested rather than developed, whereas in my friend’s draft, her extensive use of dialog has done much of this important work.

There isn’t any one right way to weave dialog into a story, any more than there is one single right way to write. The more options we have, the more tools we have in that magic box of tricks, the better we will be at telling a range of stories. So here’s a challenge for your next story project. If you’re like my friend, a writer who uses dialog heavily to set the major blocks of her story, challenge yourself to write that first draft with as little dialog as you can. Can you do it with none? What are the circumstances under which you absolutely have to put it in?

If you’re like me, a writer who puts in just a bit here and there, challenge yourself to use dialog to create the backbone of the plot, to introduce and reveal character, to heighten and resolve tension, without using your normal narrative techniques.

My guess is that either way, the process will be both uncomfortable and revealing. Have you been relying on dialog as a preferred and therefore easy way of transcribing the movie between your ears? Or have you regarded it as a frill, lightweight chit-chat instead of an essential foundation of the story?

The good news is that no matter where we start, whatever our natural propensities and habit, it really doesn’t matter what order we weave in and shift around the elements of narrative and dialog. What matters is that final draft when everything has come into balance and the story shines!

Australia’s early cookbook history

personby Gillian Polack
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I was going to talk about the World Cup and countries that have played with the haka but… it’s such a big subject. It was such a stupid thing to do. Instead, I’m going to talk about plagiarism by politicians. Well, one bit of plagiarism, by one politician. That will reduce the subject to manageable size.

The book that contains the plagiarism is Australia’s first published cookbook, first printed in 1864. Except that it isn’t. Apparently there is an earlier (1843) printed volume, “The Housewife’s Guide” but the Australian Food Timeline claims that Abbott’s is really the first, as it was compiled entirely in Australia. Here is the article about The Housewife’s Guide. When you finish reading my description of the first recognised-as-Australian cookbook, you can make your own decision about the status of the book and of its politically-inclined author. I agree with the author of this article.

So… back to plagiarism.

Let’s start with an introduction to the author. He was well-known in his day, but remembered only for the cookbook. Edward Abbott was the author. He came to Australia with his family in 1815. He was a grazier, foodie, politician, coroner and apparently tried to raise Tasmanian tigers as pets. He also assaulted the Premier of the State (at that time its own colony) with an umbrella.

The cookbook itself reflects his character. It contains recipes for the infamous “Blow My Skull” punch, another drink called Tears of the Widow of Malabar which contains an inordinate amount of brandy, and also practical recipes such as how to roast wombats and to cook kangaroo brains in emu fat. These are the examples used when modern writers talk about the book.

All this sounds lovely. Perfect food history fodder. Why do I look across at 300 pages of recipes and cry “Plagiarism”? Even today, recipes attract a lower level of copyright than, say, tour guides. Just as long as the writer doesn’t use the exact words and the footnotes and whole passages that describe exotic places… using other peoples’ words. Of course, a politician (even an eccentric one) would not do such a thing.

There are quite a few sections that would be useful to look at (all of them very entertaining), but I’m going to choose the one where I identified the precise book Mr Abbott ‘borrowed’ from. It was part of the volume, and also  issued as a standalone little book by Aboott himself. It’s called, Hebrew Cookery, by An Australian.

Technically, it’s Australia’s first Jewish cookbook. This is, unlike the complete volume being Australia’s first cookbook in general, undoubted. The reason for ‘technically’ is it’s a section of another larger cookbook and that whole section is taken from A Lady’s (Judith Montefiore was the author) The Jewish manual, or, Practical information in Jewish and modern cookery : with a collection of valuable recipes & hints relating to the toilette. 

I appear to be the first person to have mentioned this online (and maybe the first person to spot the plagiarism) but that was some years ago and I didn’t actually publish an article about the discovery because I had other things on my mind and since then a couple of other people have identified that yes, Edward Abbott is a plagiarist. A very distinguished and rather dead plagiarist.

To sum up, parts of  The English and Australian Cookery Book. Cookery for the Many, as Well as for the “Upper Ten Thousand” are stolen. Whole sections, in fact. The one I know best is the first stolen English Jewish cookbook published for Australians… by a politician. Abbott was not Jewish, for the record.

I identified the plagiarism by trying to work out how Melbourne lost an ingredient in Abbott’s cookbooks and, in the process, I discovered that we never had it. Jewish cooking in London used chorissa as an ingredient, but none of the Sephardi Jews who moved to Melbourne in the 19th century could buy it anywhere. Once I realised that the footnote explaining that one could by chorissa (kosher chorizo) at a kosher butcher was not Australian, but referred to London, it took me about five minutes to find the original book that contained that footnote.

Why was I looking for it? I’m so glad you asked. I did an academic paper (someone at Sydney University really wanted it) in 2007 on my family’s English Jewish heritage. The cookbook that all these wonderful Jewish dishes were stolen from was very close to many of my grandmother’s recipes. She didn’t get them from Abbott, however – they were the family’s London-origin cooking. This might explain why he stole that cookbook. I have yet to find a sensible explanation of why Abbott ‘borrowed’ from books about famous places in the world.

Some of the (supposedly) first Australian cookbook is, indeed, Australian, but the rest of it shows very nicely what books Edward Abbott thought were important and had access to.

The National Library of Australia has online copies of both Abbott’s whole book and the “Hebrew” section that was published separately. I’m letting you know just in case you’ve always wanted a recipe for “Blow My Skull.”

PS I feel I ought to add that Abbott himself acknowledges his source in the smaller publication. he claims that the book was out of print (I’m not convinced it was) and that the wider community needed to taste Jewish cooking. I have this wistful dream that he visited Melbourne and was scolded by my great-great-grandmother.

The Curse of Potential

personby Nancy Jane Moore
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Remember that person you fell in love with back when you were young, the one who was so exciting, the one who had potential.

I mean, that’s who you fall in love with when you’re 19 or so, the person you think they might become when they reach the point where they can do something with all those ideas they have.

For me it was the guy I met when I was dating his roommate. He was sexy, he had deep thoughts, he was an artist. The roommate seemed stodgy by comparison.

So I dumped the roommate. I went for exciting potential.

My judgment was pretty lousy when I was 19. Fast forward twenty years or so and it was very obvious which one of these two men had become someone you’d want to know and which one was still stuck in potential.

I mention this not as a cautionary tale on youthful romance (though it certainly is that), but as a metaphor for my relationship with my country. We have just passed the 4th of July, following sharply on several Supreme Court opinions shredding even more of the rights people of my generation fought for. Where the United States is headed is on my mind.

I came of age in the late 60s and early 70s, and while that was a time of turmoil in this country (and in others), it was also a time when the United States was more than a little exciting. And it had potential. Oh, god, did it have potential. Continue reading “The Curse of Potential”…

Raised in a Barn: Sleepover Ninjas

personby Madeleine Robins
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(July 4th rather threw my schedule off. I offer another of my Raised in a Barn memories…)

How many of my memories of childhood involve thinking I was putting something over on my parents? A lot, I’m afraid.  I didn’t give my parents as much credit as I suspect they deserved, but then, I don’t think any kids do.  When you have an eccentric-rustic-unusual weekend place, you get guests.  My parents were very social people, so they threw great, great big, parties, and invited friends to come up for the weekend a lot.  I learned to plan out a party from my father, who staged them like military operations, with time-tables and quartermaster lists, and food you could add more to in case of unexpected drop ins.  But it’s the expected stuff that, in retrospect, awes me.

Once a year I was permitted to invite a group of friends–up to a total of 8 including myself–up to the Barn for the weekend.  This was usually in the spring, a delayed birthday party (because my birthday, and my brother’s, are in December, when it’s cold up thar).  And here’s the thing that, in retrospect, awes me.  My parents loaded 8 kids in the station wagon, drove three hours to Massachusetts, and spent the weekend with them.  The sheer noise level in the car must have been migraine-inducing, never mind the weekend itself.  Anyone who has hosted a kids’ sleepover party will appreciate the chaos involved, and yet twice a year (once for me, once for my brother) they took on this task.  At times I think they even enjoyed it (both of my parents could be particularly creative around social occasions, and a weekend with a handful of kids calls for serious creativity).I have a bunch of party-at-the-Barn specific memories: the pumpkin-carving contest; the day a loaded hammock fell, seriously smushing the girl on the bottom of the girl-pile; the telling of scary stories at night when we should have been asleep.  But none of these memories shine quite so bright as the night we all decided to sleep in my room.

Some background: at this point there were criss-crossed studs in the walls, but no walls, so all the rooms on my side of the barn were open to the world.  My brother’s room and mine were on this side of the house; my parents directly across the hall.  They had walls (well, they were the parents).  The usual thing was to distribute camp cots in my room and my brother’s room: three cots plus the bed in each room would accommodate all parties.  Only one Saturday night we decided, after lights out, that we should all be in one room.  How hard could it be?

My parents were reasonably zen about some whispering after lights out, but I suspect they knew from experience that if we didn’t all get some sleep we would be soggy and cranky the next day.  So at some point they would make “no more talking up there” noises. The decision to rearrange the room was made after these noises had been made.  Nonetheless, all of us got up, padded into my brother’s room, informed the girls in there of our plan, and got them to start disassembling the camp cots.  All this was done sotto voce rather than in true whispers, with a good deal of clattering and giggling.  Finally, my father came out on the landing on the other side of the house and told us to shut up and go to sleep.

As happens under these circumstances, we immediately quieted down, whispering and being careful with our clattering cot parts. But such quiet doesn’t last.  After a minute or two Dad came out to repeat, with increased force, his instructions about shutting up and sleep.  And again, we subsided into whispers (in the dark–no lights on, of course, because: no walls) and tiptoeing.  And again it didn’t last, and again Dad came out on the landing, this time telling us in no uncertain terms that if we didn’t shut up and go to sleep right this minute he would load us all into the car and drive back to NYC right now.

We believed him.  The problem was that at this point we were half-way through the moving process: all the cots in my brother’s room had been disassembled and carried into my room, where there was absolutely no room for them.  Maybe one more cot, but that was it.  If anyone was going to sleep that night, we had to either reverse the whole process, or soldier on.

In the dark. In silence.

Somehow, we did it.  In memory, the whole experience became a little like one of those Navy Seals rescue operations in a bad movie: all stealth and hand-signals. We got two of the three camp cots from the other room wedged into my room, at which point there was absolutely no way to touch the floor.  One girl slept on the window seat.  One slept on my bed with me, head to toe (nothing like waking up to someone’s feet in your face).  And the others bestowed themselves on the cots in more-or-less random order.  And we did this all silently enough that Dad did not come out and yell at us again.

The next morning he came upstairs to announce that breakfast would be available shortly.  And found himself looking at a room packed wall-to-wall with ten year old girls.  He got that “I’d smile, but that would be a concession I’m not prepared to make” quirk to his lips, said “PANCAKES!” and went downstairs.  And all of us rolled out of bed–rolled because there was no way to get up and walk out of the room–and went down to breakfast.  We all had the sublime self-congratulation of kids who believe they have somehow gotten past the gatekeepers of propriety and pulled a fast one.

Deconstructing the room in the daylight turned out to be much less fun than setting it up in the dark.

Seasonal Joy

personby Gillian Polack
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I was going to write you a 4 July post, but I remembered in time that in the US, it’s still 3 July. In Australia, we’d take the Monday off and make a long, long weekend. But not this week. Not any week until our next public holiday in fact, which, for Canberra, is in October.

Winter is different in Australia. Some people assume I’m referring to the cold or lack thereof (they think that all Australia is too hot, all the time), but in my part of Australia it’s cold. Not as cold as Alaska, but cold enough for big coats and snow. The main reason Canberra doesn’t get much snow is because it’s too dry. The best-known snowfield in the whole country (where there is snow even in summer… in places) is close.

Winter is different because we don’t have time out. We deal with the encroaching dark and we do not celebrate the incoming light. We have no public holidays and the only way to get time off work is if one has children. All my teacher friends are on holiday this week, and most of them are down the coast, where it’s less cold. Anyone not at school (as a student or a teacher) just has to deal.

I used to deal by experimenting with different recipes for mulled wine and mulled wine equivalents. Those recipes covered 700 years of spicing wine and were most excellent at keeping the cold at bay. Friends would visit to help me drink it. I can only drink a few sips these days and, because I’m COVID vulnerable few friends visit, so there will be no hypocras, no sangria, no mulled wine in July.

Instead, I’m making portable soup. Eighteenth century style portable soup, to be precise. The ancestral stock cube. A soup that you can cut with a knife and that has so much gelatin you could use it as a building block.

In fact, I do use the cubes as building blocks. I can make much healthier sausage rolls or meat pies with a much better flavour and at least as good a mouth feel as the same dishes made using suet or duck fat. I can chop up some vegies very finely and have a delightfully warming beef broth in minutes. I can build so many dishes with the portable soup.

This is appropriate, because I’m writing about building blocks this week. The building blocks I’m writing about are the building blocks of story, though, not of food.

The closest to the midwinter delights northern hemisphere folks talk about and what I actually experience is this particular harmony between what I cook and and what I write.

A few people celebrate what they call Christmas in July here. If friends asked me, I’d join them as I do for any other Christmas, but… I’m still Jewish. There is no reason for me to set up a Christmas celebration for myself. And the only Jewish holy days in July this year are fasts.

July in Canberra is a good month for work and a very bad month for most happiness. As I tell everyone every year, be nice to me, for my sarcasm is close to the surface throughout July. Also, be nice to me because I’m cold. We’re in the warm part of the day and it’s not a cold day and the temperature outside is hovering just above 50 degrees F. This is the weather for sarcasm, just as December in the Northern Hemisphere is the season for joy and mirth and gifts.

If anyone wants to give me gifts to make me merry, I’ll not say no. In the meantime, I will create building blocks and hone my sarcasm.

Some Thoughts on Clarion West and Writing

personby Nancy Jane Moore
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Clarion West 2023 Write-a-thon

Once again I am participating in the Clarion West Write-a-thon, which means I’m working on getting my own writing done in support of the current workshop participants.

If you want to donate to Clarion West in support of me, you can do it here on my fundraising page.

I do this every year in part as a way of donating to Clarion West — I always support myself and usually contribute in the name of a couple of other people — but I am not good at banging the drum for fundraising.

At the same time, I am well aware that in this capitalist society people have to do something to bring in money, and that includes nonprofits and artists. So I participate and mention it and hope some people get inspired to send them a few bucks.

There are many things I hope to get better at before I shuffle off this mortal coil, but fundraising isn’t on the list.

Writing better is, though, and the only way I know to get better at writing is to do more of it in a thoughtful way. So I am working on the sequel to my 2021 novel For the Good of the Realm and hope that the Write-a-thon process will help me do that.

Supporting Clarion West brings me to the issue of writing workshops, classes, and the like. Some people find these things incredibly useful; some do not. For me, Clarion West was exactly what I needed when I did it. It made me take my writing seriously in a way that I had never done before.

I’m very glad I did it, so I continue to support it because I know it will be useful to some other people as well. And I like the way Clarion West has evolved and continues to grow.  Continue reading “Some Thoughts on Clarion West and Writing”…