Pantser in Need of a Serious Intervention by DT Krippene
March 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as DT Krippene, pantser, writing
From a Cabin in the Wood featured author is DT Krippene. DT is a contributing author in the recent BWG’s paranormal anthology, Untethered. A man buys a house for a price that is too good to be true, until he discovers the bizarre strings attached in “Hell of a Deal”. He’s also contributed articles for the Bethlehem Round Table Magazine with “Snowbelt Sanctuary”, and “In Simple Terms”.
A native of Wisconsin and Connecticut, DT deserted aspirations of being a biologist to live the corporate dream and raise a family. After six homes, a ten-year stint in Asia, and an imagination that never slept, his annoying muse refuses to be hobbled as a mere dream. DT writes dystopia, paranormal, and science fiction. His current project is about a young man struggling to understand why he was born in a time when humans are unable to procreate and knocking on extinction’s door.
You can find DT on his website and his social media links.
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Pantser in Need of a Serious Intervention
by DT Krippene
If you’re a writer, you’ll recognize the term pantser, defined as writing by the seat of your pants, or someone who writes without an outline, without plotting, and without a clue. Smart writers are plotters. I’m a hardcore pantser, which suggests I’m not very smart. It’s that irking process of plotting chapters that eludes me.
Have you ever tried to organize one those squirrel folks who is easily diverted by the slightest interruption? Yeah, I’m one of those. Hell, I can’t fart and not get sidelined.
Trust me, I’ve tried to plot. I possess a veritable library of files for the books I write. Even downloaded one of those cheat-sheets to systemize the chaotic asylum of my story-writing brain. So, what the heck is my problem? I’m a meticulous note-taker by habit, but that voluminous archive is a realm I rarely ever revisit. I often forget I made notes. Too busy writing.
We have a real nice office on the first floor, with great views of the garden. I let my wife use it. Last thing I need is to settle into a hypnotic stare at house wrens warbling for a mate. I can ponder a barren tree in winter for no reason at all. Why? Because it’s there. My office is in a windowless basement room painted grade school green; just me and the radon (I didn’t choose the color).
And music? Forget it. Writers love to share what music feeds the muse when writing. Stephen King claimed in his early years, he wrote best when listening to ear-blistering rock tunes. I’d never been one of those kids who did homework with an album playing and the TV on. Who can concentrate with all that racket? Don’t get me started on the internet, and that infernal necessity for all budding authors, Social Media.
Many of my author buddies advocate programs like Scrivener. I gave it a shot and found myself managing the program rather than actual writing. Ever see the movie A Beautiful Mind, and the scene where concerned friends stumbled upon a place wallpapered with Dr. John Nash’s schizophrenic notes? I don’t claim to have a beautiful mind, but my desk looks a lot like that setting.
Write a synopsis first, experts say. Been there, done that. I’ve spent hours, days, crafting the perfect outline for a story. For ease of reference, let’s say the original premise was to create a bird. By the time I finish–behold–I have a monkey.
For me, I have it all in my head, and what a meandering gauntlet it is. I always know how a story starts and how it ends. Tying the two together is where the real work is. Think of it like planting a tree many miles away, then planning the shortest distance between two points to get home. I’m a curious Bill Nye trapped in the Mad Hatter’s head. I don’t take the simplest route. It’s like taking a trip to visit relatives in Philadelphia–via Canada.
When I begin a new scene, I read the previous chapters to get in the groove, jot-down a few notes, then start ‘dem engines. Four to six hours later, I’ve got a mishmash of narrative, dialogue, and action that bears no resemblance to the original idea.
How did the train end up at a different station? I fall deep into a scene, fully embody the character, and speak aloud the dialogue. You talkin’ to me? I go one way, maybe say “Nah”, do a heel-spin and meander in an alternate direction. I experiment and sift through what fits best. Next day, I re-read the new material, and either modify it, or toss it completely. I swear, some days, I read the result of a prior session and wonder if I’d forgotten to take my meds before I wrote it. Believe me when I say that I can write 10K words, and trash seven. It’s not very productive. My process is like rinsing chia seeds in a colander and losing half the seeds.
It’s not like I can’t reach the goal line. I work at it like a job and write almost every day. I’ve finished several books. Believe it or not, I completed one in less than six months (boy, did that one suck). Good thing I don’t get job reviews.
What I needed was an intervention. It came in the most unexpected way.
My wife visiting relatives, the house to myself, I took a yellow pad, handwrote chapter bullet points of what I’d already created. Then I entangled the knotted string of scenes (actually, it was more like taking a scissors to it). Suddenly, it made sense.
How could such a simple exercise work when it hadn’t before? When handwriting, I grip the pen with the force of a hydraulic car crusher, and Sumerian cuneiform is easier to read than my handwriting. Therefore, I type everything to prevent creating blisters. I have the ability to type as fast as I think, generating all my notes and storyboards on the word processor. The V8 clue–type as fast as I think, where all I’m doing is transcribing the spaghetti grid of my creative mind that has worse synaptic traffic than Atlanta’s notorious Tom Moreland Interchange.
Writing legibly switched off the lottery ball spin of disordered thoughts. It wasn’t easy at first. The creative muse was halfway to Alaska on the first page and I had to yank it back to the here and now.
Bullet points–slow–maybe an occasional note in the margins, decelerated brainwaves to a lower frequency and presented a visual handwritten storyboard. It revealed stray tangents which act like background noise. Tuning out useless plot chatter, a path forward magically appeared.
Lesson learned? It took a physical blackboard to see the flaws by forcing my thoughts to slow down.
The story I’m now writing has a clear horizon ahead. The muse may still want to go by way of Sweden, but it’s up to me to revoke the passport and keep its feet firmly on the ground where it belongs.
Author’s Note: If you wish to visually experience what it’s like to be an easily distracted pantser, check out the article: The Perils of Captain Tangent, a Pantser’s Writing Journey with Pictures.
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Romancing the Research by Christopher D. Ochs
February 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Bethethem Writers Group, Christopher D. Ochs, Greater Lehigh Valley Writers Group, Research for Writers
Christopher D. Ochs is this month featured author. Christopher D. Ochs‘ foray into writing began with his epic fantasy Pindlebryth of Lenland: The Five Artifacts, recommended by US Review of Books. Several of his short stories have been published in the Greater Lehigh Valley Writers Group and Bethlehem Writers Group anthologies and websites. His latest work is a collection of mirthful macabre short stories, If I Can’t Sleep, You Can’t Sleep.
His current literary projects include: short stories in Firebringer Press’ next entry in their Eternity anthology series, an e-book prequel novella for Pindlebryth of Lenland, a YA speculative fiction novel My Friend Jackson, and of course, the second novel of the Pindlebryth saga.
Chris has too many interests outside of writing for his own good. With previous careers in physics, mathematics, electrical engineering and software, and his incessant dabblings as a CGI animator, classical organist, voice talent on radio, DVD and anime conventions, it’s a wonder he can remember to pay the dog and feed his bills. Wait, what?
Romancing the Research
The Joy of Research – “Research?” The very word sends some people diving for the nearest foxhole, or leaves them with an expression akin to that of having swallowed castor oil.
Not me – I’ve always enjoyed learning new topics. It’s even better as an author, because my research is focused on that which I’m already interested. (An unfortunate side-effect is that my mind is filled with decades of clutter and trivia that cries for attention at inopportune moments!)
Method – For better or worse, here’s my approach to the task of research.
I begin my journey with that miasma of questionable reliability – the internet. Its convenience outweighs its pitfalls, so long as one uses it solely to gain general knowledge and build a list of potential authoritative sources. My usual go-to stepping-stones are Wikipedia followed by Google. At the risk of repeating myself, I only use them to suss out general information and pointers to refine the scope of my search.
My second level involves confirming any suspect information against a trustworthy online encyclopedia (e.g. Britannica) or reliable fact-checking sites (e.g. Snopes, Factcheck, Politifact, etc.)
Once I have a clear vision of topics on which to focus, I head to the library. Yes, Dear Reader, in this electronic world, there is still no substitute for paper. That’s just the Facts of Life. Not everything is available on-line, and that often includes the book you need.
Examples – Over the past two years, I’ve published nineteen short stories in various venues. While most were “speculative fiction,” they nonetheless covered a broad range of topics, characters and backgrounds, locales and eras. As an author, I have a responsibility to inject a reasonable level of verisimilitude into my Tales of the Weird – otherwise the story fails miserably. When said story leads me into an area where I have little experience, I hit the books – with relish!
Allow me to relay two recent experiences that demonstrate my own “joy of research.”
While searching for a description of the environment of a tuberculosis sanitorium, I selected Betty MacDonald’s memoir “The Plague and I.” To get the lowdown on girl bullying, a librarian friend recommended “Queen Bees and Wannabes” by Rosalind Wiseman.
In both instances, deadlines and other pressures force me to approach the research in a rush. My original intention was to hastily skim one or two chapters and glean the absolute minimum for a believable story. However, in both instances I ended up devouring the books cover to cover. The narrative of MacDonald’s battle with tuberculosis was so compelling, and the content of Wiseman’s research into the dynamics and psychology of teenage girl bullies was so captivating, that I couldn’t put either of the books down.
I believe my stories were the better for it – if I had hurried through the work, I would have missed much of the minutiae needed to flesh out my own characters, and imbue them with realistic motivations and reactions.
Caution – With all that being said, writers should not use research as an excuse to avoid writing.
During my time in the world of engineering, I often encountered the phrase “the paralysis of analysis.” The same is true in the writing world. An author must resist the temptation to dive down the endless rabbit hole of related topics and “what-if’s.” Otherwise, the writing is never started.
Do your initial block of research, enough to get the draft done. Then polish the draft with refined research, tracking down only those “what-if’s” that the story and characters dictate.
Now get thee to a library!
Books by Christopher D. Ochs
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Resolutions for Writers
January 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group
From a Cabin in the Woods is please to have Jodi Bogert as guest author this month.
Jodi Bogert is a member of the Bethlehem Writers Group, LLC. In 2016, she graduated from Kutztown University of Pennsylvania with a degree in Professional Writing and blogs original content and freelances. Her future goals for her career include with publishing more short stories and a debut novel.
Resolutions for Writers
Jodi Bogert
The beginning of the New Year means setting goals. These goals can be taking either a new direction in life or working on something that people always aspired to finish. For writers, resolutions typically revolve around starting the first draft of that big novel they dreamed of publishing.
More often than not, this resolution is a recycled goal from the previous January and the one before that. The reasons writers never get around to the first draft can vary. There is too much to do and few hours in the day or the writer’s heart was not in it. However, if the story idea is enough to create a book, and the writer has the drive, anything is possible. Following a few steps, the writer will find it easier to carry out the project.
Step 1: Plan out everything
A writer will spend a lot of time thinking about a good idea. So many thoughts go through one’s mind it’s easy to lose track and become overwhelmed. The best way to begin a new novel is to create a basic outline. Writing every plot point, character trait, and other details can help organize thoughts and provide a visual aid. A writer can also use this outline as a tool throughout the process. They can look at it again and decide which parts of the story needs to be added or eliminated.
Step 2: Break it into chunks
When writing the first draft, too many writers work for hours on end, never giving themselves and the project a chance to rest. Frustration and stress quickly build up, and the writer will find it easier to quit. Gradually writing the first draft is the smarter way to go forward. Setting up a daily quota of pages or words to will develop the project at a steady pace. The writer will learn to take things slowly, going back to make sure everything in the story reflects absolute perfection, or as perfect as a first draft can be.
Step 3: Asking for help
One big mistake that writers make is not getting other people involved. A writer cannot do it all alone. At this point, they are the only one who has spent time on the project, from conceptualizing the idea to writing out the first few chapters. Using other people’s eyes is essential because they are unfamiliar with the story and more likely to find mistakes and pick out plot lines or characters that are not working out. The writer should always listen to their inner voice, but the opinion of the audience can help take the project where it needs to go.
Step 4: Rewrite, rewrite, rewrite!
When the first draft is finally taken out of the writer’s mind and put down on paper, the process is still far from over. Completing a novel takes an immense amount of time and effort. Putting away the first draft for a time is what the writer needs to do, giving the writer time to think about what they want to change in the next draft. Looking at a first draft with fresh eyes also brings numeral mistakes forward that the writer might have overlooked.
Jodi Bogert’s “Old Man Omar” is among the twenty-seven stories in Untethered: Sweet, Funny, and Strange Tales of the Paranormal.
Her story shows us that sometimes those we consider crazy might just know some things we don’t.
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A Writers Group? What’s in It for Me?
December 13, 2018 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Bethlehem Writers Group, BWG, Carol L. Wright, critiques, Writing Groups
This month “From a Cabin in The Woods” author is Carol L. Wright.
Carol escaped a career in law and academia for one in writing. She is the author of the Gracie McIntyre Mystery series, the first of which, DEATH IN GLENVILLE FALLS, was a finalist for both the Killer Nashville Silver Falchion Award and a Next Generation Indie Book Award in 2018.
In addition to her mysteries, she is the author of short stories in several genres that have been published in a variety of literary journals and anthologies, including the award-winning Bethlehem Writers Group’s “Sweet, Funny, and Strange” anthologies in an assortment of themes.
Carol is a founding member of the Bethlehem Writers Group, a life member of Sisters in Crime and the Jane Austen Society of North America, and a member of Pennwriters and SinC Guppies. She is married to her college sweetheart, and lives in the Lehigh Valley of Pennsylvania with their rescue dog, Mr. Darcy,and a clowder of cats. You can learn more on Carol’s website,or by following her Facebook page.
A Writers Group?
What’s in It for Me?
Carol L. Wright
Are you a writer? If so, you already know that it can be a solitary life. Some of us need isolation and quiet to write, while others like the white noise and energy of a public place, such as a coffee shop, to hear their characters speak. Our friends and family members might think us eccentric—or worse—when we say we’re working but all they see is us staring off into nothingness.
So where does a writer find those rare understanding souls who can help them along their journey?
In a writers group, of course!
If you’ve never been part of a critique group, you might feel timid about sharing your work with a bunch of strangers, but it’s definitely worth the plunge. That’s what I did back in May of 2006 when I started what would become the Bethlehem Writers Group.
Over time, we developed an identity. While we had writers of all genres visit us, it soon became apparent that we had a critical mass of fiction and memoir writers—so that’s what we focus on.
We meet twice a month. At each meeting, members bring several hard copies of work to share, then listen as other members read the work aloud. After each reading is complete, we all share our thoughts. Sometimes, I’ll admit, we can be pretty blunt, but it’s meant kindly and constructively. I’ll never forget the first words of commentary on one of my pieces. “It’s DEATH, Carol! DEATH!” I realized then that I had more work to do.
One thing we are passionate about is helping each other become better writers. We remind each other of writing “rules” (e.g. use all five senses, start with a stronger hook, show don’t tell). But we also offer our personal perspectives on others’ work, letting them know where the reader runs into speed bumps slowing the flow of the story.
We’ve occasionally had writers join us who didn’t mesh well with our “sweet, funny, and strange” authors.
One left in a huff when we didn’t burst into applause at the first reading of their work. Another never returned after getting praise for their writing skill along with a suggestion that they not kill off the main character in chapter one. A third got up to leave saying the meeting was “out of control” when the discussion went off on a brief, humorous tangent. One came to her fourth or fifth meeting to yell at us, basically saying she would not join any writers group that would have her as a member. But those who have persevered, listening to our critiques, taking what was worthwhile and discarding what did not work for them, have grown as writers. From a group of mostly unpublished writers, we are now a group with every member published, some with several books to their credit.
So, what should you look for in a writers group?
I’d recommend looking for people:
- Who share your general writing interests. If you are interested in screen writing, it obviously won’t work well for you to join a poetry group. Some groups focus solely on one genre; others are open to several. Either is okay since many writing skills cross genres. As long as you understand your colleague’s perspective and they know what you’re trying to achieve, a fantasy writer can critique a YA romance and vice versa—and give writers ideas they never would have thought of without them.
- Who, while different from each other, are serious writers who respect each other enough to give their time and effort toward helping you become a better writer.
- Whom you respect enough to give your time and effort toward helping them become better writers and whose opinions you respect enough to listen to them.
- Who give everyone a chance to share their work.
- Who encourage you when things aren’t working out the way you’d like and celebrate your successes.
And what should you expect to offer a writers group?
- Contribute work for critiques. It helps your colleagues hone their own editorial skills to have good work to evaluate.
- Do your share. You’re not just there to get your work critiqued. You’re there to reciprocate.
- Treat others with the respect you’d like to receive.
- Be open to people of different ages, backgrounds, experience, and writing interests. You can learn a lot from people who do not share your perspective on the world, whether that be in writing or everyday life.
And what will you get out of it?
- You will become a better writer, and
- You will have some of the most interesting friends!
Part of the reason for the success of our writers group is that we have continually challenged each other. Our first project was to put out an anthology of Christmas stories in 2009. A CHRISTMAS SAMPLER: SWEET, FUNNY, AND STRANGE HOLIDAY TALES. We were from Bethlehem, after all. It won two NEXT GENERATION INDIE BOOK AWARDS—Best Anthology and Best Short Fiction. Not abad start. Since then, we’ve published several more on different themes, and are planning our next one now—FUR, FEATHERS, AND SCALES: SWEET, FUNNY, AND STRANGE ANIMAL TALES.
Along with our anthologies, since 2011 we have published an online literary journal: BETHLEHEM WRITERS ROUNDTABLE And since 2017, we’re a paying market for short stories and poems.
Perhaps most exciting for non-BWG members is that we hold an annual SHORT STORY AWARD. Our theme this year is animal stories, broadly interpreted. Our winners receive cash prizes as well as publication, with the First Place winner considered for inclusion in our next print anthology. Each year we invite a guest judge to do the final selection of our winners, and we’re so pleased that this year we have John Grogan, the best-selling author of MARLEY & ME. Find out more at here.
Our 2019 contest opens on January 1, so get your animal stories polished and ready to submit—perhaps with help from your writers group.We’d love to publish your winning work.
Books by Carol L. Wright
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Submitting Your Work by A. E. Decker
November 13, 2018 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as A E Decker, Moonfall Mayhem, Submitting, writing
This month on From a Cabin in the Woods we are featuring Submitting Your Work by A. E. Decker
A. E. Decker is a former ESL tutor, tai chi instructor, and doll-maker. She holds degrees in English and colonial American history. Her Moonfall Mayhem series, chronicling the adventures of a half-vampire girl run amuck in the land of fairytales, is published by World Weaver Press. Her stories have been published in Fireside Magazine, Beneath Ceaseless Skies, and PhobosMagazine, as well as in numerous anthologies. She has been a member of the Bethlehem Writers Group since 2010, and edited two of their anthologies. Like all writers, she is owned by three cats.
Submitting Your Work
A. E. Decker
I’ve come around to the belief that the real bugaboo of a writer’s world is not that dreaded phantom, writer’s block, nor even learning to take criticism without curling in a ball and weeping.
The very hardest part about being a writer is submitting your work. I’ve watched a lot of friends twist themselves into contortions trying to avoid it. One man I worked with in a critique group refused to hear any recommendations for his perfectly saleable military sci-fi novels, saying “he only wrote for his own enjoyment.” I have one friend who insists she doesn’t know how to write a query letter, and another whose work always needs one more revision before it’s ready to show to an editor. Speaking of query letters, I also know plenty of writers who spend more time agonizing over the perfect writing that will infallibly catch the agent/editor’s eye than they do on the work they’re submitting.
I’m not excusing myself from methods of submission avoidance, either. I have a formula worked out for short story queries, so I can whip them off pretty quickly, but I rarely refrain from dabbling with my work before submitting it, fiddling with a few lines here, adjusting the grammar there, as if these miniscule changes will somehow make all the difference in the editor’s mind. And, as far as novels go, present me with a perfectly good market that requires a summary as part of its conditions, and I’ll find any excuse to procrastinate until the deadline passes rather than think “Hooray! This might be someone who’s actually interested in reading my book.”
Why is submitting so hard? Surely most of us—the man from my critique group aside—write in the hopes of someday having people read our work, and unless we’re ready to go the self-publish route, that means finding someone to represent us.
I think the answer can be summed up in a single word: rejection. Rejection is harsh. The mere term carries many connotations. We equate it with Not Good Enough. “Loser” and “failure” might even drift through our cringing subconsciouses. We envision the editor/agent as some mighty judge on high, handing down the final word on our literary merit.
Of course it’s all nonsense. Editors and agents are as much flesh-and-blood people we are ourselves. People have their own tastes. As much as we all want to write that one great novel that transcends genre and is beloved by all who read it, we have to recognize that it isn’t possible. I personally would have rejected The Great Gatsby, Moby Dick, and anything written by Ernest Hemmingway, if I were an editor, and I bet half of you nodded along with that list, and the other half substituted your own choices.
So, what does this mean, when it comes to dealing with rejections? Am I suggesting that the next time you receive one of those form letters you should shake your fist at the screen, shouting: “You fool! You just turned down the next Herman Melville!”
Actually, yes, if it sounds like fun, and doesn’t scare your cats or members of your family too badly. Because getting a rejection, even a form rejection that tells you nothing of the editor’s true thoughts, means that you submitted. You took a chance. And I can tell you, personally, through the carnage of hundreds of rejection notices, that submitting is mostly a number’s game. It’s not about polishing your writing until it’s “good enough” to be published; it’s about managing to put it in front of a person whose taste matches your style.
Think about it: you only really have to appeal to one person, so long as it’s a person with the ability to publish you. Suddenly, the eighteen varying opinions in your writers’ group don’t seem so weighty. (That said, if they all agree on an aspect of your work, you likely have a problem.) With this thought in mind, submitting becomes more of a hide-and-seek game, searching out that one agent or editor who thinks your writing is marvelous. Yes, they are out there somewhere. It’s up to you to find them.
So stop fussing with your story or novel, trying to make it “perfect.” Take a breath, make a list of agents or publishers, and get to work. Keep records of who sends you encouraging feedback—they might like your style, if not the piece you sent them. Most importantly, remember submitting isn’t like the lottery; you will win if you just keep playing.
And until then, you can yell at your screen. Just don’t scare your cats.
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