Last weekend, this weekend…

Last weekend, I was at the Missouri Writers Guild Annual Conference for 2.5 days.  Of bliss. And information. And ideas.

And coming to grips with writing.

This morning, I’m a the kitchen table, the wind is blowing meanly just on the other side of the paned glass doors and the dogs are tapping nervously, wondering about their walk.

Wow. It’s easier to be attending a writing conference than it is to be at your desk, writing.
It’s easier to be writing a blog entry than it is to be doing your “required” writing.

Anyway, prior to grabbing coffee and really writing, here are a few things observed from last week’s conference.

1) Take your writing and twist it. Sure you can use 8 words in a paragraph and drop it in a box to see if your para wins out 175 entries. But you’d better do something special with it. Because surprisingly, a lot of people will have the same idea if the words are “tropical, gargantuan, lackluster,” etc.  Yup, tons of people came up with a tiki hut on a beach and gargantuan drinks. One guy was a re-incarnated fruit in a tropical fruit salad. He won the contest.
So take your story idea, your poem, your song, your whatever and put on a twist on it.

2) A lot of editors – from books to magazine types- require query/cover letters. Take the time to write a straight clean simple one and use the guidelines on the internet OR in the publication to which you’re applying. Please do not waste time at conferences asking questions over and over about queries.

3) There is a glut of YA lit starring teenage girls.  Editors are looking for YA from a teenage boy’s point of view. Likely this will create the next “glut.” But still…it’s worth a shot to shift main character to male gender if you’re writing YA. (Yeah, Diary of a Wimpy Kid already has that underway, but apparently, the editors want more…   ah, “writing” and “trend”  –   gives you chills, doesn’t it?)

4) You’re a writer. Get a business card. It’s a business, a profession, not a hobby. It’s good to show you take it seriously. You may find you don’t like the one you have once you get to the conference but DON’T worry about it. Pass them out. Exchange them. Use them.

5)Investigate independent presses for publishing your manuscript. Publishing is turning many corners. Seize the day. Better yet, get a friend to do it for you. You are busy writing. Catherine Rankovic, published writer & poet as well as a book evaluator also suggests putting together your own chapbooks. Yup, make them by hand, even. She’s onto something, but that’s for another blog. I’m thinking of asking Jeanie…?  She’ll have cool ideas…

6) Get a First Reader, a reading buddy. A first read friend. Maybe it shouldn’t be your BFF unless he/she is an excellent reader. This person reads BEFORE you let your ms go out there to any agent/etc. Someone who understands good writing, a good story, a good article. (drat, I need to do this myself. In terms of articles, however, it means getting them done long before deadline so there’s time to give it to the First Reader.)  Keep in mind this First Reader should likely be paid. Then you are  both invested in the writing and you both “win.” A lot of people like/join critique groups. And that’s a great thing. (personally, I find they get off track and meetings head into other conversational topics and then get sidetracked with refreshments.)

(little gargoyles from Nor that hold the page (in jrnl) and keep me at the desk, except for when I must…get…coffee!)

Book Night: some writing books I haven’t read…yet…

My library still doesn’t have coffee and I still NEED coffee when browsing books sometimes (often) so rather than heading to the local branch, we stole 40 minutes at B&N this afternoon.

And rather than being completely indulgent and reading writing-centric magazines, I decided to do a little “research” in the “writing” hard-cover section (also known as “reference”).

And saw these books and paged through them, just to see what was what….I read a few pages in each and made some very snap judgements in regard to each. While overall snap judgements are unkind, in the case of some books, I thought it might be ok and it is NOT directed at the authors, merely the books themselves.
They follow.

#ONE…

THE LITTLE RED WRITING BOOK. Cute title, a “twist” of an approach as many books are doing now, like THE ART OF WAR FOR WRITERS (a decent book if you need to get some silent support) and various others.

Rather to my surprise, however, beyond the creamy paper, the very nice font and fine layout, it is somewhat classic in its approach and topics covered – like, how to set up an essay and where the conclusion belongs; friends&faux amis, in terms of using “then” and “than”; clarity; emphasis on verbs rather than adjectives; and, etc. You get the drift.

It’s kind of a nouveau Strunk&White.  I hand this one to the newbies, the younger gen who might not like the look S&W, even the illustrated one. However, if “looking” for new/fresh/same stuff-different presentation, I’d still fall back on, then,  Grammar Girl, who is a big hit with me (definitely for the corporate team) but also because I like her podcasts.

#TWO:

THE PRODUCTIVE WRITER is another “nice little book.” Do you need it on your shelf? Well, first of all, it’s small, not tiny, but will be smaller than your other books. Which could make them fall over, you know, if you propped this one  in a shelf that wasn’t already jam-packed.   I’m just saying that if you like everything to align on the shelf, this one will throw it off.

So this one has tips and tools to help you write more, as the subtitle explains (kinda hard to read in the picture, though.)
But seriously, I have already forgotten what this one focused on… I mean, how it looked and what was in it. However, I didn’t get all excited and dance-y about it, nor put it on the “library” list in my notebook. And Amazon is not letting me take a look to refresh my memory. Ultimately, this one does not make the “yes” pile.

#THREE:

Houston, we have a winner here.  Not crazy about the paper in this one, BUT I like the book’s set up and author Jill Dearman goes long, offering some exercises, too, which are always good and always better than little examples – I LIKE it when they give us something to do, to practice.  And equal to that, I like when they come up with something I haven’t thought of or, didn’t look at it that way before. She answers to t hat.

This one focuses more on writing your story/book/novel, with a verb approach, that is, “action!” And there IS something compelling about the sounds of the keys when you’re typing, too, which means that SOMETHING is happening (and hopefully it’s not akin to Jack Nicholson’s freakout in THE SHINING).
(Note that this book gets 5-star reviews on Amazon, too!)

Overall,  I like the energy in this one. Did I buy it? No. I might look at the library. I’ll probably skulk around it and if over the next two months, I “finish” 2 or 3 of my current writing books (a weakness, yes, because they’re like my support group whether I’m writing fiction on my own, or regional journalistic pieces), I’l borrow or buy it. Stay tuned…

So, there ya’ go.  If you’re stalled, pick up one of these OR if you’re wondering what new (writing) book just might put you in your chair and move you to get started or keep going, maybe just holding one of these little tomes and flipping through the pages will help. Hey, why not?

Books: on Romance

I was never going to read one. You could have taken all my other books, kidnapped my beagle (believe me, you’d give him back after 10 minutes) or snatched away my precious bookmark collection. But I was never going to read one. Not a single one. I am now compelled otherwise. I am, in fact, reading a romance novel. One of Ms. Smith’s.

I recently attended the Missouri Writers Guild Annual Conference. It was in my own backyard; how could I not attend?  I was so ready for three days of workshops and classes that I would have been happy if no one had even showed up. I would have sat there, writing, looking around, having some of the free coffee or water that the Drury is good at providing, and gone back each day to do it again. Just because it was claimed, free, dedicated time.

Anyway, that’s not how it went. People showed up; there were lots of  workshop choices and then suddenly it was Sunday. Only thing left, after the happy hour and the mingling and the pitching and the workshopping and the tips and tricks and a dinner (with a radiant speaker, Catherine Rankovic), was the Sunday Master Class. We paid extra for this if we signed up. I had no clue what it would be like, a 3-hour workshop/class. And I had to choose one. Just one. Hmmm… I zigged and zagged. I hemmed and hawed. I tapped and tiptoed around the topic. And finally chose one and sent in my application.

I chose a 3-hour workshop class with Bobbi Smith.  I had to choose something and I wasn’t interested in screenplays or fantasy or scifi or beginning writing and getting one’s name out there. So I chose Bobbi and she’s a romance writer. But romance writers are successful which means they know stuff, right?

Well, lucky me (and my friend, Linda)!  Bobbi Smith was dynamite. She shared tips, she told the truth about stuff (I could just tell) about income and agents and best of all, talked writing process, timelines, and working her real life into the schedules it required.  She shared some rules, some (romance) industry standards, some anecdotes on how, what, why, where, how and a welath of writing things, all wrapped up in a nice tight format she had evolved for giving three-hour classes. She also involved us in her discussions, asking questions. She talked about hero types and heroines and who’s who in formula novels. Nothing wrong wtih seeing how they work their “romance” templeate, along with the actual act of writing and what it takes or pre-empts. She talked about the energy of the Romance Writers of America and they have fun but they’re serious about their stuff. And they know that what they do is for sheer entertainment.

Hats off, Bobbi. On the way home, I picked up one of your novels. It’s in my purse. And thanks for signing my notebook. Ha. Yeah, now that I ‘ve met her and “worked” with her for nearly half a day, yeah, I’m interested in reading her book (RELENTLESS, with a fine looking cowboy on the cover) and who knows…

PS  Romance has rules, like you have to meet the hero (troubled for some reason) right in the first few pages and the book has to end with a wedding. It’s not all about bodice ripping and how-many-ways-can-you-write-a-sex-scene, no, it’s about entertainment and escapism. 

Yah, we can use that.

Mess with the clock, mess with my expectations …

Gimme a sign of Spring
Oh, baby
to get me through the night.

I can’t take the bleak gray 
baby
Bring on the Spring sunlight.

unrecorded and spontaneous lyrics by a totally cabin-fevered Oh
(note to BB King – um, yeah, this is just a little Blues dittie; no need to write me with a WTF? )

But wait, surely these are signs of Spring …

 

 The irrepressible crocuses …er … croci?

 Nope, not a pussy willow – this is a magnolia, getting ready to pop out of its furry little pods!

In the northeast, the sighting of a robin is the first sign of Spring. Not true here in the Midwest but still, Monsieur Robin brings a surge of  joy to this writer.

BOOKS SELECTIONS…

THE TORRENTS OF SPRING by Ernest Hemingway…
What????
I never heard of this one ’til searching for books to put here relating to “spring.”
Honestly, how many suitcases with novels in them did this man lose?

This one was apparently published in 1926, kind of a predecessor to THE SUN ALSO RISES.  Well, kudos to you if you’ve read this one…or even heard of it.

SILENT SPRING by Rachel Carson – written in 1962 and now credited as one of the top 25 science books ever, Ms Carson called everyone’s attention to the damages of DDT particularly on our bird population and led a decade later to the banning of the radical pesticide.
Good writers rule!

Book Review … SNOBS by Julian Fellowes

I spotted SNOBS on the remainder shelf at B&N. I  might have otherwise missed it. However, knowing now how I treasure it,  I’m disappointed it was bumped to bargain status.  

The novel is narrated by an actor who is also a member of the British upper class, slightly titled, but upper enough to live without worry about an income. Comfortable in that circle and also game enough to take a turn in the actor and performance world, he tells the story of Edith and Charles, how he met Edith, how she came into his privileged week-end-in-the-country set though she was upper middle class.

Her parents sent her to the “right” schools to allow association with people she wanted to become, but those associations fell off after school. Nevertheless, Edith gets invited to a “weekend” and introduced and her beautiful looks don’t hurt as she carefully climbs over the heads of competing cousins and associates to snag Charles though it wasn’t a devious, premeditated snag.

Just as our actor/narrator predicted, Edith falls into deep boredom after months were her titled husband and their life in the country, tending to the land and buildings. Poor Edith.

It’s not so much Fellowes’s plot that compels; it is his examination of who is thinking what and how expressions, conversation, turns of the head, all of it, give sum to the lives of the titled he observes. And of the interloper (Edith) who makes it to the inner circle.

Yes, something happens. Particularly when a set of actors arrive to film a movie on the property of Charles and Edith Uckland and his parents, where the newlyweds are living.  Uproar. Funny? Um, no. Disastrous? No. Yes. Sort of.

The author keeps us at a safe distance; we are observers of each character, nearly able to predict if we pay attention how things will go.  But no, the book is not predictable. There’s some stuff to be learned here; there is plenty of cozy British-isms and a view on the culture and human behavior.

It’s odd when the author names brands or makes pop trash references. Though these don’t occur often in the book, they are “jarring” to see on the page up against all the long tweed skirted, herringbone jacketed characters that rise and fall throughout the story.

It is a story about character: my fave.

Julian Fellowes is also the author of GOSFORD PARK so if you haven’t read it or seen the movie, I recommend doing one or the other. I love the film which played in some of the art theatres but didn’t go splashy bigtime. The most difficult aspect of the screenplay is the melange of accents; you must listen closely as Upstairs and Downstairs mingle and mash in a mystery that’s quite alluring in its way.

Back to the book: I’ll give it a 10 since it suited my mood every night for two weeks (I read slowly at bedtime  and don’t squeeze in a lot of pages before I just can’t see.)  

I love British stories. I love good writing. It’s not the words upon words here that will draw you in but it is the stuff the author bothers to mention or explain. Really. So much carefulness and “correctness” through it all…

Fellowes is smart, hip, balanced (neither fey nor macho) in his story. He’s a sharp observer of the class from which he undoubtedly springs.  I am glad he’s decided to write the stuff down.

Not for everyone, this book. However, if you like Louis Auchincloss, Dominick Dunne, or Jane Stanton Hitchcock, then give Fellowes a whirl – he’s a better writer than all of the above except Auchincloss.

SNOBS goes on the shelf next to my copy of the movie GOSFORD PARK, as a reminder to anyone perusing the shelf that this guy has substance, on screen and on paper.

Score, as assigned today: 10

A writer’s meme … from Becca for W.O.W.

What’s your favorite genre to write?
Essay. Creative non-fiction. Semi-memoir. (egads, what’s “semi-memoir?” oh, that? It’s where you get creative with your own life and events. You don’t mark it as memoir though if you’re getting it published.  Ssshh, don’t tell Nan Talese!) I love the pace and structure of good essays and creative non-fiction.

How often do you get writer’s block?
Whenever I don’t have, or have not given, myself some sort of deadline, I can just sit there and fiddle away, accomplishing nothing but “fake” writing. Absolutely pathetic.
How do you fix it?
By tricking myself into some sort of due date. Actually, this works; I relax when I’ve decided on when I’ll have something finished … usually.

Do you type or write by hand?
I type stuff that is destined to be handed in or handed over. I write in longhand for my “own” stuff. Like, in my journals.

Do you save everything you write?
No. It is sooo nice to not be married to every little thing I’ve written or tried to write. I delete. I toss crumpled paper over my shoulder.  Often. There’s a freedom to it and a trust, too, telling oneself that it can be written again, maybe written better next time, too.

Do you ever go back to an old idea long after you abandoned it?
I haven’t but that’s not a bad idea. I don’t think we always see the obvious, as in re-spinning or twisting something we’ve already written. Or, approaching it from a completely different point of view.

Do you have a constructive critic?
Yes. And it kicks in when I think I’ve finished a piece. It is  a relentless, kick-ass, nit-picking, honking critic. It always wants more whittling of the piece. 

Did you ever write a novel?
Yes. Nanowrimo in November. I wrote one.
I can safely proclaim it a “drawer” novel.
That’s where it’s been since Nov. 30 which is also the last time I looked at it.

What genre would you love to write but haven’t?
Oh, that’s an easy one. I would love to write poetry, to have that mastery of word-to-image that slices off bits of things for the reader to re-see with amazement. 

What’s one genre you have never written, and probably never will?
Mystery. I cannot build to it, cannot think that way. Which is why I am delighted by a mystery though I don’t read a lot of them unless someone hands me one and says “Here, read this.” 

How many writing projects are you working on right now?
Right now … hmmm … let’s see. Three with deadlines; two articles and a book of collected “things.” Creative projects, as in no one will care if I finish them or not projects?  An essay (for fun), and a photojournal. 

Do you write for a living?
Yes. Write and edit.
Do you want to?
Yes. I would like ta writing job, though, where I write what I want to write. And I would work really hard at it, not fritter away the opportunity. Yes,  to be a full time writer of books and collections … aaaaah.

Have you ever written something for a magazine or newspaper?
Yes. I have been frelancing for nearly two decades. I always say I’ll give it up and have more time for my own writing BUT it IS my own writing in its way. 

Have you ever won an award for your writing?
Yes. Not the National Book award or anything, but yes.

What are your five favourite words?
(of course, if asked tomorrow, all five will be different):
lush
pop  (as a verb)
murmur
swanky
bisous (kisses)

Do you ever write based on your dreams?
No. Nor have I ever used a dream or dream element in my writing.

Do you favour happy endings, sad endings, or cliff-hangers?
If it’s a literary piece, I enjoy a cliff-hanger (thus the ending likely depends on character.)
If it’s chick lit, I’ll take the happy (corny, stupid, obvious, wonderful) ending.

Have you ever written based on an artwork you’ve seen?
Yes! The first creative piece I ever did. It was in sixth grade. I had an extraordinary teacher. She asked us to write every week based on a piece of art she would tape to the blackboard. It is a device I have used ever since. Can’t write? Blocked? Take me to the Art Museum!

If you’ve answered all these questions, give yourselves a huge gold star and pat on the back.
Now go off and do some real writing. (how about if I read? It’s really really late!!!)

Time out for a little TV … ABOUT WRITING

This made me laugh. It’s a piece from the FAMILY GUY.
No, I don’t watch it. It ‘s on when Snarl and his crew are around.
But this dialogue ( a monologue, actually) between Stewie (the baby) and Brian (the family dog) got me. I stopped in the doorway to watch it the first time. (It comes up now and then in an episode.) 

Stewie is ribbing Brian about the book he’s supposedly writing. It’s funny cuz it’s not true. It’s funny cuz it could so easily be true.

Stick through it to the end to see Brian’s reaction.

OK, maybe it’s a writer thing.
Yeah.

monday, dec 22 …

the weatherman suggests icy blasts of wind (more of them), snow, ice, stuff from the sky … and is all smug with himself as though it’s some kind of holiday gift. Which it is if you don’t have to go running around, not for gifts, but for a few things for the table, and to pick people up (Mom) and find just that one last thing for Laylou that will make her go “ah” (just in case the other gifts don’t do that) and to get the stuff to make cookies. 108 cookies. A cookie exchange where in everyone walks away with 9 dozen cookies each. It’s biblical, the enormity of it. All to be baked this evening.

And yes, I’m running desperately late for work.

But a moment, here, dear Reader. A time out, so to speak, because at Christmas I very much crave creativity and yet find so many other things squeaking it back into a corner. (Perhaps my Muse will show herself during Christmas Gift Wrapping? I cannot say.)

And while I read an unusual cookbook about New Orleans in order to review (with said review due Jan2, methinks), one cannot go to sleep without something pillow worthy, something playful, smart, sincere.

It is NOT  The Arsonist’s Guide to Writers of New England. No. While I love the title, which took my imagination in all directions, the story itself so far has not. Is it fair to review a book you haven’t finished? Um, no. But will I finish this one? Don’t know. No hurry. It’s modern, it’s NOT funny though it promises to be on both covers. Maybe it’s guy lit. It’s desperate, lonely, odd and for me, contrived in that certain letters the main character receives are forced onto the scene with no particular sincerity and the main character, neither protagonist or antagonist, is so hapless, well, I just don’t care and don’t believe him.  His mothers stories are contrived. His relationship with guys from jail resurfacing later is contrived.

I’m nearly half way through. Maybe it will get funny. Maybe something will happen. Or maybe the hahaha-that’s-so-not-funny characters will come to life. This is NOT my New England. Still, the book deserves a chance. I cannot be negative – not my nature (which is why I have disdain for my URL; I had not idea when I signed up how important that darn thing was – must change it). Anyway, I shall likely finish Arsonists in January. After all, look at Heller’s Something Happened; if one didn’t read to the end, one would assume there was little point to the book. (Talk about angst, though!)

In the meantime, I’ve returned to Dickens as I do in December. Nicholas Nickleby. And I’m reading slowly, catching the details, the stuff I snorted at in high school as in, what the heck do I care about the way his scarf wound around his neck or why do we need to know his aunt’s posture?

Oh, he’s good, he’s good, that Dickens. And Nickleby is new to me even though I recognize Dickens’ typical types and can guess at certain plot points – I don’t care. It’s rich, like a lovely smart blanket over this cold snowy part of the year.

Guest blogger dishes on writing … a Xmas “special”

 

 

Say hello to Karen Harrington, novelist, constant writer, blogger and Mom. (Pictured here with actor Rob Schneider, 1994; read below to see why)

Seizing her offer to guest blog this month, a Christmas present of a different sort and also wonderfully timed as I wrap packages, finish Xmas cards and bake cookies for the cookie exchange tomorrow (egads – 4 dozen?), I’d like to thank her for showing up here and sharing her thoughts on translating speech writing skills into fiction structure. Bet that’s an angle you hadn’t thought about! Not a speech writer, you say? Or, maybe you’re not a novelist?  Little matter. There’s some great stuff here, and some humor and some life lessons, really.

Merry Christmas! See? Gifts come in all kinds of packages.

 

 

 

5 Thing Being A Speechwriter Taught Me About Writing Fiction

 

 

Once upon a time, I was a corporate speechwriter. This was a job I loved and hope to return to one day if this novelist gig doesn’t pan out. I didn’t realize it at the time, but this job was the best training ground I would ever receive for becoming disciplined enough to be a mother by day/novelist by night (or in any spare 15 minutes I have.) Here are a few lessons I learned from speechwriting that I draw on for any writing project I undertake:

 

1.                  Write an outline. As a speechwriter, many of the execs I supported didn’t know what they wanted to say until you pitched them an outline  – which often was definitely was NOT what they wanted to say. But, it was a beginning. It always launched us into a productive discussion of what we could say. I quickly learned never to show up without one. I still do this when writing fiction. I write Beginning, Middle, End – then start writing two or three points under each. Most of the time, I end up diverting from this outline, but it gets me started. Which leads me to…

2.                  Train yourself to write in any environment. In almost any creative discipline, there is the myth of inspiration, waiting for the muse. This is a good thing when it happens, but it rarely happens on cue. As a corporate speechwriter, I often had to write a 45 minute keynote speech in two days. It took some growing pains to be able to do this, but once I developed the muscle, I turned this habit into a skill I still use today. For example, instead of writing with a shouting (but lovable) executive in the background, I now have screaming (and lovable)  toddlers nearby. I sit down and make myself write something, anything, just to get some words on the page. While that day’s work may be awful, it’s important to do it anyway.  It’s about developing the muscle through practice in the same way a pianist practices her notes at her keyboard everyday.

3.                  If something doesn’t work, accept it and move on…fast. One of my first speechwriting gigs was for a data processing company. We were on the cutting edge of new technologies. Once, we did a massive multi-media show along with the speech. Part of the presentation failed during the speech. Instead of looking off-stage to the minions he could fire, the speaker quickly seized upon this moment, incorporating the faux pas into his message and made light of technology, sounding very intelligent and charming at the same time. It could have been a bomb if he had been silent until the problem was fixed, but he changed directions fast, never losing his audience. Another time, I traveled with my execs to a sales leadership meeting in Hawaii. One of the themed nights was called MASH night, in an homage to the TV show. We had a horrible, unexpected rain that sent everything – presentations and all – inside. This put the execs and the audience in a dour mood. I quickly changed the speaker’s opening to “Welcome to MUSH night.”  That little tweak started turning things around. Today, I find that this attitude helps me be adaptable when a story just isn’t working. You see, we fiction writers get very attached to the thousands of words we’ve produced. But if the story isn’t working, no amount of forced laboring and cursing is going to make it work. A new perspective is needed when you reach a writing dead-end. Sometimes this can mean setting a piece aside for a month. Other times, it means deleting ten thousand words.  The main idea here is to heed the instinctive voice that tells me something isn’t working and move on quickly.

4.                  Embrace Your Outlandish Ideas. During the preparations for the same leadership meeting I mentioned in #3, I experienced another great lesson. It was 1994 and the “Copier Guy” was a recent hit character on Saturday Night Live, created by comedian Rob Schneider. I generated a pitch to our CEO where in some employee would imitate the Copier Guy and make fun of the executive staff. Guess what? He asked me to do the Copier Guy skit in his office. Me. Insulting the CEO. Fun times, I tell ya. I saw my career flash before my eyes with each subsequent joke. But, it inspired the CEO so much that he went out and HIRED Rob Schneider for the event. The result was that yours truly got to work with Mr. Schneider on a very funny roast of our execs – and it was one of the most memorable events in my career as a speechwriter.

5.                  “Don Up!”  My speechwriting mentor, Donald Phillips, taught me a lot by example. One of his biggest lessons was the power of positive thinking. If he doubted himself, he never showed it. He’d show up at speech pitch sessions and hit the ball out of the park every time. How? He always began with, “This is a great idea. It’s going to be very well received.” His confidence imparted confidence to the speaker, and to me by association. He had a belief in himself I have yet to observe in another person, which is probably the reason he is the best-selling author of more than 10 books. When I was first preparing to promote my book, I was deathly afraid to do book signings. Talking to strangers? Making a sales pitch? How could I ask people to part with hard earned money for my book?  Just put me in the corner by the bathroom, thank you very much. Then my husband said I had worked hard and needed to “Don up” and be proud of my first book. He was right. As soon as I did, the power of positive thinking helped me get out there with confidence and even do a public reading while holding a microphone, something I never thought I’d be able to do.

 

Karen Harrington is the author of the psychological suspense debut Janeology. Visit her at

www.karenharringtonbooks.com or her daily blog, www.scobberlotch.blogspot.com

Six Word Saturday …

  Inching toward noveldom in grey November …

(photo from Missouri Botanical garden library rare book collection; book dates from 16th century)