Wednesday, March 30

Thanks to Michael DiGesu at In Time... for hosting today's Harry Potter blogfest.

The concept? Select two Hogwarts students you'd choose to be your best friends and describe what kind of trio you would be. Fun, right? Go swing by Michael's blog HERE to join the fun and enjoy other participants' offerings.

-----

If I were a Hogwarts student, I would be in Ravenclaw and share a dorm room with Luna Lovegood. Being creative literary types, we would dream of starting up our own publication--an underground school newspaper! Of course, we'd need help with the sleuthing and evidence gathering, so our trio would be rounded out by Colin Creevy, photographer extaordinaire.

Luna, Colin and I would be the sneakiest, in-the-know kids at Hogwarts. We'd get to the bottom of why Filch is so attached to Mrs. Norris (obviously a transfiguration charm gone horribly wrong, leaving his young widow paramour permanently feline). We'd uncover all the best secret tryst spots on campus. We'd blow that whole Chamber of Secrets wide open!

With Colin's photos and stories; Luna's creative writing and production experience; and my writing, editing and layout know-how, we'd be on our way to wizarding journalistic fame, right under the noses of our unsuspecting professors and peers. We'd call our publication The Thestral Gazette, with the tagline "Hidden Hogwarts revealed by those in the know."

Anyone want to join us as a secret reporter?
Wednesday, March 30, 2011 Laurel Garver
Thanks to Michael DiGesu at In Time... for hosting today's Harry Potter blogfest.

The concept? Select two Hogwarts students you'd choose to be your best friends and describe what kind of trio you would be. Fun, right? Go swing by Michael's blog HERE to join the fun and enjoy other participants' offerings.

-----

If I were a Hogwarts student, I would be in Ravenclaw and share a dorm room with Luna Lovegood. Being creative literary types, we would dream of starting up our own publication--an underground school newspaper! Of course, we'd need help with the sleuthing and evidence gathering, so our trio would be rounded out by Colin Creevy, photographer extaordinaire.

Luna, Colin and I would be the sneakiest, in-the-know kids at Hogwarts. We'd get to the bottom of why Filch is so attached to Mrs. Norris (obviously a transfiguration charm gone horribly wrong, leaving his young widow paramour permanently feline). We'd uncover all the best secret tryst spots on campus. We'd blow that whole Chamber of Secrets wide open!

With Colin's photos and stories; Luna's creative writing and production experience; and my writing, editing and layout know-how, we'd be on our way to wizarding journalistic fame, right under the noses of our unsuspecting professors and peers. We'd call our publication The Thestral Gazette, with the tagline "Hidden Hogwarts revealed by those in the know."

Anyone want to join us as a secret reporter?

Monday, March 28

This week, I'll be straying from my usual Tuesday, Thursday, Friday routine to participate in some blogfests.

Would you like to join me? Here are the details (and my schedule):

Wednesday, March 30
Harry Potter Blogfest:
Who would be your mates?

Hosted my Michael DiGesu at In Time...

Click HERE for the sign-up widget.

Post a maximum of 350 words based on this prompt: If you were a student at Hogwarts, who would you choose for your two best friends? Describe what kind of trio you would be.


Saturday, April 2
Memory Lane Blogfest

Hosted by Vicki Rocho at Rambles and Randomness

Click HERE for the sign-up widget

Vicki has posted a set of six memory-related questions for you to answer. Easy-peasy!


Blogfests are a great way to get to know people and stretch your creativity.

Have you joined any blogfests? What did you enjoy most? If not, what's holding you back?
Monday, March 28, 2011 Laurel Garver
This week, I'll be straying from my usual Tuesday, Thursday, Friday routine to participate in some blogfests.

Would you like to join me? Here are the details (and my schedule):

Wednesday, March 30
Harry Potter Blogfest:
Who would be your mates?

Hosted my Michael DiGesu at In Time...

Click HERE for the sign-up widget.

Post a maximum of 350 words based on this prompt: If you were a student at Hogwarts, who would you choose for your two best friends? Describe what kind of trio you would be.


Saturday, April 2
Memory Lane Blogfest

Hosted by Vicki Rocho at Rambles and Randomness

Click HERE for the sign-up widget

Vicki has posted a set of six memory-related questions for you to answer. Easy-peasy!


Blogfests are a great way to get to know people and stretch your creativity.

Have you joined any blogfests? What did you enjoy most? If not, what's holding you back?

Friday, March 25

I think we're all aware of our dark-side tendency to envy. The comparison game can be insidious and soul-killing. One of the most helpful pieces of advice on that front came from your elementary school teacher: "keep your eyes on your own paper."

Each of us has our own journey, and our chosen route will vary greatly depending on where we want to go. Your vision of success shapes the kind of projects you'll tackle, the sacrifices you'll make, your time priorities and your interactions with other creative people.

So how do you define success? Survey time, friends!

UPDATE Clarification: Click the response that best defines "I will know I am a success when I am ___" or, "I idolize and wish I could be like 'successful' authors who are ____."



Having trouble with the widget? Click this: To me, a successful writer is : modpoll.com

How does your vision of success shape how you work now?
Friday, March 25, 2011 Laurel Garver
I think we're all aware of our dark-side tendency to envy. The comparison game can be insidious and soul-killing. One of the most helpful pieces of advice on that front came from your elementary school teacher: "keep your eyes on your own paper."

Each of us has our own journey, and our chosen route will vary greatly depending on where we want to go. Your vision of success shapes the kind of projects you'll tackle, the sacrifices you'll make, your time priorities and your interactions with other creative people.

So how do you define success? Survey time, friends!

UPDATE Clarification: Click the response that best defines "I will know I am a success when I am ___" or, "I idolize and wish I could be like 'successful' authors who are ____."



Having trouble with the widget? Click this: To me, a successful writer is : modpoll.com

How does your vision of success shape how you work now?

Thursday, March 24

You've heard it over and over--readers, agents and editors love "page turners." So you work hard creating characters that readers will invest in and worry about, engage them in inner and outer conflicts, and lead them through obstacles and opposition. You have the groundwork laid. Now what?

Look at how you exit scenes and chapters. If your scene and chapter endings consistently come to a resolution, you aren't getting the maximum tension potential. First look for ways to introduce the unexpected (setbacks, positive or negative reversals), anticipation (goals, foreshadowing) or uncertainty at scene endings.

Then, consider using the film maker's friend, the jump cut. Interrupt the tense moment. Cut the scene in the middle, at a point where the outcome is unclear. In the next scene, come back post interruption, pick up again later in the time line, or summarize what happened. With chapter breaks, you simply begin the next chapter where you left off.

Splitting scenes over chapter breaks is by far the easiest technique. You'll need to add some scene grounding in the new chapter, but otherwise you likely won't need to do much more to build in suspense.

Keep in mind that any technique, if overdone, will feel gimmicky to the reader. Be sure that you don't split scenes at the end of every single chapter. For variety, use the suspenseful scene-end technique instead, for, say, at least 1/4 of your chapters.

How might better exits from scenes and chapters improve the page-turning tension in your work? What favorite books our authors demonstrate the technique best for you?
Thursday, March 24, 2011 Laurel Garver
You've heard it over and over--readers, agents and editors love "page turners." So you work hard creating characters that readers will invest in and worry about, engage them in inner and outer conflicts, and lead them through obstacles and opposition. You have the groundwork laid. Now what?

Look at how you exit scenes and chapters. If your scene and chapter endings consistently come to a resolution, you aren't getting the maximum tension potential. First look for ways to introduce the unexpected (setbacks, positive or negative reversals), anticipation (goals, foreshadowing) or uncertainty at scene endings.

Then, consider using the film maker's friend, the jump cut. Interrupt the tense moment. Cut the scene in the middle, at a point where the outcome is unclear. In the next scene, come back post interruption, pick up again later in the time line, or summarize what happened. With chapter breaks, you simply begin the next chapter where you left off.

Splitting scenes over chapter breaks is by far the easiest technique. You'll need to add some scene grounding in the new chapter, but otherwise you likely won't need to do much more to build in suspense.

Keep in mind that any technique, if overdone, will feel gimmicky to the reader. Be sure that you don't split scenes at the end of every single chapter. For variety, use the suspenseful scene-end technique instead, for, say, at least 1/4 of your chapters.

How might better exits from scenes and chapters improve the page-turning tension in your work? What favorite books our authors demonstrate the technique best for you?

Tuesday, March 22


Many approach revision as if it were the literary equivalent of housecleaning. You sweep away redundancies, throw out excess adverbs and dialogue tags, donate some unneeded subplots to charity, polish lackluster sentences, and voila, a shiny manuscript.

Agents and editors are looking for more than tidiness. They want a story that grabs them by the throat and won't let go. A story that sings.

It's easy to let the fear of making mistakes put your creative gift into a straight jacket, especially when revising. One of the ways to unleash the raw energy your manuscript needs is to take a lesson from the jazz world--improvisation. Once you've done the work of smoothing out the plot--equivalent to a musician laying out the key, tempo, and where important shifts will happen--it's time to go back and make lackluster sections sing. In Manuscript Makeover, Elizabeth Lyon calls this "riff-writing."

Riff-writing is a very focused kind of freewriting. Lyon says it "helps you expand your imagination around a particular problem or need--to lengthen a section, to add images, or to develop more characterization, for instance" (10).

Here's how to approach riffing:

1. Find a section (sentence, paragraph, scene) that feels thin, underdeveloped or emotionally flat.

2. Find a point of entry to explore further--the setting, an object, a character's feelings or memory or attitude.

3. Start scribbling--start at your entry point and follow the thoughts and feelings wherever they lead. As with rough drafting, don't edit or censor yourself. Let any and every idea flow. Push past your comfort level and really explore every dark cave, every windy mountaintop. Remember that in improvisation, "there are no wrong notes, you work them and they become part of the riff," Lyon says, quoting a musician friend (11).

4. Let the riff "cool off" while you work on other sections.

5. Come back and edit down the riff material that works best in your story. Set aside bits that might be useful elsewhere for expanding other sections of the story.

Lyon notes that in her twenty years as an independent editor, she has rarely seen consistently overwritten fiction. It's far more likely that drafts are too thin, a shell of what they need to be. Revision is where you can pump in more life and fully develop your characters, plot and voice.

Image: http://www.clker.com/

Quoted material from: Lyon, Elizabeth. Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore. New York: Penguin, 2008.

What sections of your story could benefit from riff-writing? How might you move from tidy draft to fully developed story?
Tuesday, March 22, 2011 Laurel Garver

Many approach revision as if it were the literary equivalent of housecleaning. You sweep away redundancies, throw out excess adverbs and dialogue tags, donate some unneeded subplots to charity, polish lackluster sentences, and voila, a shiny manuscript.

Agents and editors are looking for more than tidiness. They want a story that grabs them by the throat and won't let go. A story that sings.

It's easy to let the fear of making mistakes put your creative gift into a straight jacket, especially when revising. One of the ways to unleash the raw energy your manuscript needs is to take a lesson from the jazz world--improvisation. Once you've done the work of smoothing out the plot--equivalent to a musician laying out the key, tempo, and where important shifts will happen--it's time to go back and make lackluster sections sing. In Manuscript Makeover, Elizabeth Lyon calls this "riff-writing."

Riff-writing is a very focused kind of freewriting. Lyon says it "helps you expand your imagination around a particular problem or need--to lengthen a section, to add images, or to develop more characterization, for instance" (10).

Here's how to approach riffing:

1. Find a section (sentence, paragraph, scene) that feels thin, underdeveloped or emotionally flat.

2. Find a point of entry to explore further--the setting, an object, a character's feelings or memory or attitude.

3. Start scribbling--start at your entry point and follow the thoughts and feelings wherever they lead. As with rough drafting, don't edit or censor yourself. Let any and every idea flow. Push past your comfort level and really explore every dark cave, every windy mountaintop. Remember that in improvisation, "there are no wrong notes, you work them and they become part of the riff," Lyon says, quoting a musician friend (11).

4. Let the riff "cool off" while you work on other sections.

5. Come back and edit down the riff material that works best in your story. Set aside bits that might be useful elsewhere for expanding other sections of the story.

Lyon notes that in her twenty years as an independent editor, she has rarely seen consistently overwritten fiction. It's far more likely that drafts are too thin, a shell of what they need to be. Revision is where you can pump in more life and fully develop your characters, plot and voice.

Image: http://www.clker.com/

Quoted material from: Lyon, Elizabeth. Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore. New York: Penguin, 2008.

What sections of your story could benefit from riff-writing? How might you move from tidy draft to fully developed story?

Friday, March 18

If you could hitchhike with a Time Lord aboard the TARDIS, where and when would you choose to go? Would you decide, like Rose Tyler (companion to Doctors #9 and 10), to go back and see a relative you never got to know? Would you choose a far-off space port in a distant future? Would you want to meet a famous person? Your great-great grandchildren? See one of the seven wonders of the ancient world?

Gosh, where would you even start? That's what makes Dr. Who's premise so delicious. The possibilities are endless.

I think one of my first stops would be 1780s Vienna. Having to disguise myself in poofy dress and an enormous wig would be quite a laugh. But most of all, I'd love to have a chance to see Mozart in the flesh. Was he charming or a complete jerk? A fun drunk or a mean one? Did he live lost within his inner musical world, or was he actually a fascinating conversationalist?

How about you? When and where would your first stop be if you could go anywhere in space and time?
Friday, March 18, 2011 Laurel Garver
If you could hitchhike with a Time Lord aboard the TARDIS, where and when would you choose to go? Would you decide, like Rose Tyler (companion to Doctors #9 and 10), to go back and see a relative you never got to know? Would you choose a far-off space port in a distant future? Would you want to meet a famous person? Your great-great grandchildren? See one of the seven wonders of the ancient world?

Gosh, where would you even start? That's what makes Dr. Who's premise so delicious. The possibilities are endless.

I think one of my first stops would be 1780s Vienna. Having to disguise myself in poofy dress and an enormous wig would be quite a laugh. But most of all, I'd love to have a chance to see Mozart in the flesh. Was he charming or a complete jerk? A fun drunk or a mean one? Did he live lost within his inner musical world, or was he actually a fascinating conversationalist?

How about you? When and where would your first stop be if you could go anywhere in space and time?

Thursday, March 17

Just for fun, I thought I'd post an entry from one of my high school journals describing my experiences marching in the St. Patrick's day parade in Dublin, Ireland. I haven't altered the words I wrote at 16, except to remove names. Read on to learn about the magic of magpies, dueling saxophones and how to preform emergency surgery on a parade route.


March 17, 19--

Happy St. Patrick’s Day!

Up at the crack of dawn, we dressed and made our appearance at breakfast. Corn flakes and juice, followed by bacon, mutton sausage and eggs became an all-too-familiar breakfast. After loading the buses with instruments, everyone donned uniforms and boarded. To Dublin, Ho!

Conn [tour guide] told us of an ancient superstition about magpies, those huge crow-like birds of Europe. If you see a single magpie and wave to it, you’ll have good luck all day. If you see two, you needn’t wave, that is automatically good luck. If you wave to three magpies, you’ll have a girl child, and waving to four will bring a boy. We got caught up in the amusing Irish superstitions, to say the least—we waved at every big, black bird we saw for the rest of the week.

Entering the city, we stopped waving at magpies and started waving at the magnificent people. Everyone waved back, even some of the dignified guarde (police). We really got a kick out of that. With a little coaxing and much waving, we urged a peddler to come over to the bus and sell us Irish flags. Now we had flags to wave, as well as hands.

After lining up, we were in for quite a wait. A group of curious, kilted bagpipers came over to talk to us. They were intrigued by American saxophones, and we were intrigued by their bagpipes. One of the bagpipers challenged John S., and alto saxophonist, to a duel. We called it a draw.

The time finally came to enter the parade route. I swear, Dublin’s entire population must have come out to see us. They were so thick, we had to go single file at times. About 5/6 of the onlookers seemed to be under 18. I almost wished we didn’t have to march the parade—I just wanted to reach out and cuddle some of those adorable children. The little rosy-cheeked girls with ponytails in green ribbon and rosy little naughty boys were just too cute! The crowd seemed to love us too, asking as we passed if we knew their cousins in Pittsburgh or Scranton or Philadelphia.

The cord that suspends my xylophone upper keys [like the black keys on a piano] broke as I played the cadence, while we were squeezed into single file formation. One of the parents, Mr. F., saw my grimace, and thinking I’d hurt myself, rushed to my side. We were now two groups away from the judging stand, and I began to feel panicked. I restrung the bars, trying to keep moving and not swing my xylophone into anyone. Then Mr. F. pulled the cord taut and together we tied it, hopefully well enough to make it through our routine for the judges.

At the moment of truth—the Lord Mayor’s judging stand—we did our “Thriller” routine with utmost flash and precision. The crowd went wild. They’d probably never seen a drum major in a sequined glove moonwalk while color guard and instrumentalists alike did a Jackson-esque dance routine.

====

The entry goes on to describe the sightseeing tour they dragged us on after we’d marched in a parade and were still very jet lagged. We did take first place for our division with that homage to MJ, no irony intended at the time. (I'll bet you can easily guess the decade, if not the year.)

If you have no old journals to dig through, you might enjoy trying your hand at one of the following prompts.

Writing prompts
Write down your most extraordinary holiday or travel memory.
Write a fictional journal entry for a kid traveling abroad for the first time.
Write a story in which a parade goes horribly wrong.
Write a scene in which your character is caught in the crush of a huge crowd.

Have you ever dug out things you wrote in high school? What did you unearth? Are there any memories you wish you'd captured in a journal?
Thursday, March 17, 2011 Laurel Garver
Just for fun, I thought I'd post an entry from one of my high school journals describing my experiences marching in the St. Patrick's day parade in Dublin, Ireland. I haven't altered the words I wrote at 16, except to remove names. Read on to learn about the magic of magpies, dueling saxophones and how to preform emergency surgery on a parade route.


March 17, 19--

Happy St. Patrick’s Day!

Up at the crack of dawn, we dressed and made our appearance at breakfast. Corn flakes and juice, followed by bacon, mutton sausage and eggs became an all-too-familiar breakfast. After loading the buses with instruments, everyone donned uniforms and boarded. To Dublin, Ho!

Conn [tour guide] told us of an ancient superstition about magpies, those huge crow-like birds of Europe. If you see a single magpie and wave to it, you’ll have good luck all day. If you see two, you needn’t wave, that is automatically good luck. If you wave to three magpies, you’ll have a girl child, and waving to four will bring a boy. We got caught up in the amusing Irish superstitions, to say the least—we waved at every big, black bird we saw for the rest of the week.

Entering the city, we stopped waving at magpies and started waving at the magnificent people. Everyone waved back, even some of the dignified guarde (police). We really got a kick out of that. With a little coaxing and much waving, we urged a peddler to come over to the bus and sell us Irish flags. Now we had flags to wave, as well as hands.

After lining up, we were in for quite a wait. A group of curious, kilted bagpipers came over to talk to us. They were intrigued by American saxophones, and we were intrigued by their bagpipes. One of the bagpipers challenged John S., and alto saxophonist, to a duel. We called it a draw.

The time finally came to enter the parade route. I swear, Dublin’s entire population must have come out to see us. They were so thick, we had to go single file at times. About 5/6 of the onlookers seemed to be under 18. I almost wished we didn’t have to march the parade—I just wanted to reach out and cuddle some of those adorable children. The little rosy-cheeked girls with ponytails in green ribbon and rosy little naughty boys were just too cute! The crowd seemed to love us too, asking as we passed if we knew their cousins in Pittsburgh or Scranton or Philadelphia.

The cord that suspends my xylophone upper keys [like the black keys on a piano] broke as I played the cadence, while we were squeezed into single file formation. One of the parents, Mr. F., saw my grimace, and thinking I’d hurt myself, rushed to my side. We were now two groups away from the judging stand, and I began to feel panicked. I restrung the bars, trying to keep moving and not swing my xylophone into anyone. Then Mr. F. pulled the cord taut and together we tied it, hopefully well enough to make it through our routine for the judges.

At the moment of truth—the Lord Mayor’s judging stand—we did our “Thriller” routine with utmost flash and precision. The crowd went wild. They’d probably never seen a drum major in a sequined glove moonwalk while color guard and instrumentalists alike did a Jackson-esque dance routine.

====

The entry goes on to describe the sightseeing tour they dragged us on after we’d marched in a parade and were still very jet lagged. We did take first place for our division with that homage to MJ, no irony intended at the time. (I'll bet you can easily guess the decade, if not the year.)

If you have no old journals to dig through, you might enjoy trying your hand at one of the following prompts.

Writing prompts
Write down your most extraordinary holiday or travel memory.
Write a fictional journal entry for a kid traveling abroad for the first time.
Write a story in which a parade goes horribly wrong.
Write a scene in which your character is caught in the crush of a huge crowd.

Have you ever dug out things you wrote in high school? What did you unearth? Are there any memories you wish you'd captured in a journal?