Indie Scriptorium is beginning a new tradition in 2024. Every fourth Sunday of the month we will be featuring a guest writer.
This week, the Indie Scriptorium team have invited fellow Adelaide artist and writer, Robert Richardson to share a poem from his recently published book on poetry, Words and Rhyme.
Some months ago, Mary McDee wrote a post giving tips on writing good poetry. We had quite a bit of interest in the article and some further questions pertaining to the mechanics of an effective poem.
The following poem by Robert Richardson is an excellent and catchy summary of the main types of poetry and how to write them.
If you’d like to read more of Robert Richardson’s poetry book, click on the link below:
Cheers,
Lee-Anne Marie Kling (c) 2024
Feature Photo: Words and Rhyme cover(c) Robert Richardson 2023
We writers consider words as our stock-in-trade; valuable servants to our need for self-expression; treasured allies in our creative pursuits. They have meanings that give messages; messages that, at times, are subtle or can be misinterpreted or confusing. Consequently they must be treated with care and respect if we are aiming for clarity and impact when we use them.
I learned this lesson many decades ago so let me tell you how it happened.
“A house is not a home.” My father was adamant.
I must have been about ten or twelve years old; it was a mealtime and I had been sounding off about something or other. I have no idea what I’d said to elicit this from Dad but my memory of that situation and his response to me is very clear. He was firm, very firm. But gently so as he went on to explain what he saw as the difference.
“A house is a building”, he said; “nothing more – bricks and mortar; walls and a roof. A house is not a home until people are occupying this sheltering structure. Even then it is not a proper home if those residing there do not care about each other; were not considerate, respectful of each other; welcoming to strangers and willing to share whatever they had, however little that might be.
A shed, a tent or a bark humpy could be just as much a home as a fancy mansion. Indeed, a fancy mansion where there is no peace; where people are always fighting, abusive, rude, or out to take others down is no home at all. A place where everything is only for show, designed to impress; aligned to elicit awe and admiration from visitors but is, in fact, a veneer for misery could never ever be a home.”
My parents lived their beliefs and, apart from the values such conversations inculcated in me, this particular episode stuck. It gave me a great respect for the importance of accuracy in my use of language as well as triggering a lifelong fascination for the subtle differences in the meanings of words.
A few years later, a High School English teacher emphasised the point but in a different way. He was talking about the nature of poetry and told us that, in essence, poetry was:
“The very best words arranged in the very best order”
As a budding writer I remember thinking, “Surely that applies to anything I write, not just poetry?” At the time, like Brer Rabbit, I just lay low and said nuffin’ – I was far too shy to question someone I saw as an expert. But those words stuck and became a guiding light; a light that is far from easy to follow all the time, believe me!!
Many, many years later my sister-in-law, Nancy, completely and unintentionally in this matter of word precision, turned the tables by setting me straight on the use of another word (as well as the importance of care when conversing with littlies).
This time it was her grandchildren who were involved. They’d been excitedly telling me about something planned for their father that was to be a surprise. I’d responded along the lines of “So you’re being careful to keep it a secret?” At which point Nancy told me that, in their home, they don’t talk about “having secrets”. It was always “Keep the surprise”.
Discussing it later, out of earshot of the small ones, she told me that they wanted to ensure the children were brought up in an atmosphere where openness was the norm as they felt that “keeping secrets” could lead to trouble down the track.
Despite my fascination with words and unrelenting passion for accurate usage, it was something I’d never thought of before! Point taken! And appreciated!!
Language is communication. It can be subtle and suggestive. Words are powerful. And the implications of those words can be even more powerful. So it behoves us as writers to consider every word we write with the utmost care – but not in the initial first draft stage where we simply spit out our ideas; get it all down out of our heads and onto paper.
The “working with words” bit is part of the editing process. But that is another story for another day.
Over Christmas break, I was asked to read through and critique a friend’s murder/mystery novel. It was a historical novel set in a South Australian location. I had previously got the gist of the storyline from the author’s presentation to the critique group we both attend.
LE the author provided me with a proof copy of her novel. This is a brilliant idea and has inspired me to produce a proof version of my next novel for my beta readers and reviewers. The beauty of a proof copy is that you read the novel as if it is a completed novel but you can scribble comments and use a red pen on the proof. Getting a proof copy through a self-publishing platform or a local printer is usually low cost so you can get several copies for your critique readers. The author can then amend the downloaded novel on whatever platform is used and release the edited final version.
I got a proof copy of my first novel from Draft2Digital and believe the cost was $40+ dollars. Proofs through Amazon are cheaper. It would be a good idea to do some research prior to getting a proof copy printed.
LE also provided a questionnaire for her critique readers. Another really sensible option that gets you the feedback you want. The questionnaire covered:
Title feedback
Plot clarity.
Setting place and time
Interest engagement
Character engagement
Dialogue suiting each character
Character arcs for the main protagonists
Pacing
Word usage and wordiness/repetition
Consistent POV
Show and tell
Tone/style of writing suit the period
Amount of description vs action
Satisfying ending
Overall readability and clarity
Additional feedback
In addition, I would have asked if the cover and blurb accurately reflect the content and engage the readers’ interest.
LE’s questionnaire mostly covers the type of feedback one would get from a structural edit. This may also be called a manuscript appraisal. It is the bones of the novel and generally doesn’t include items such as spelling, grammar and punctuation but that depends on the person doing the critique what, and how much they choose to focus on. The structural edit focuses on the plot, pacing and if the characters engage with the reader. It is about ensuring the book is interesting enough for the reader to get to the end with a satisfied smile.
A line or copy edit usually covers correct word usage, research accuracy, time lines, un-necessary repetition, consistency with names, places and descriptions. It also covers overuse of words or phrases, dialogue tags, too many adverbs, head hopping with POVs and grammar, punctuation and spelling. The copy edit makes your work more readable and easier to understand so you can get to the end with a satisfied smile.
The proof edit may pick up some of the above if they’ve slipped through the eagle eyes of the copy editor but usually focus on formatting, typos and glitches rather than major problems with the writing style. Some readers find glitches and typos really annoying but unfortunately they do sneak in even with novels that are traditionally published. Annoying but it shouldn’t be so pervasive that they stop your reader getting to the end with a satisfied smile.
I have read LE’s novel once through and made some initial comments but will read it again to focus on the structural elements requested in the feedback.
Being in a critique group provides me with a wonderful opportunity to really study my fellow writers’ work and makes me think through what a good novel is all about. I have found I’m getting better at picking up my own mistakes and my own work improves in this process.
[New Year and for me at least a quieter time to reflect after a hectic end to 2023. Also a time when I have finally tackled the challenge of family history research. Almost thirty years ago, my auntie passed on the “mantel” of family historian. She also handed the box of research which she had done. For most of that time the box has been stored away in our closet, except for the early 2000’s when I took part in compiling my father’s mother’s family history. Then, after hitting brick walls in my research, back it went. Writing fiction was so much easier. And fun.
This last year, I have been working on a crime novel. Since a key part of the theme of this novel will include family history and using DNA to build ancestral family trees, out came the family history box again. You could say, I’m researching my novel by doing and experiencing. After only four weeks of exploring down the family history rabbit-hole, and believe me, it is a rabbit-hole, I’ve discovered tracing once’s ancestors requires methodical, critical brain power, and an OCD attention to detail…much like a detective, really. You wouldn’t believe how many of our ancestors have the same name but are different people.
I also have discovered that names, and dates of births, deaths and marriages get boring after a while. The family history books that stand out are the ones which give a brief, or not so brief, descriptions of people, their lives, personalities, interests and job.
On that note, I’m reminded of a blog I wrote way back in 2016 and how we are often defined and judged as a person by what job we do and how much we earn. So, below is that article which examines current day attitudes which may affect our motivation to become a writer.]
Census time!
As I filled the forms out online (two days after the due date—another story covered in the media), I had a Eureka moment.
I faced a dilemma regarding the work/employment section with questions: “What’s your main job?” and “How much do you earn?”
As an artist/writer I had a conflict of interest. I knew what the statisticians from Canberra were after. I understood by “your main work”, they meant “paid” work, or in my case, the work that paid the most dollars.
So, if I ticked my writing and proceeds from the novels I’ve published for which I’ve been paid a pittance, but on which I’ve spent the most time, the Australian Bureau of Statistics (ABS) would not be happy. In their estimation, work without the dollars attached to it, is not “work”.
If I put my Art, that is, painting, from which I earned a few hundred dollars in the last financial year, that also wouldn’t satisfy the ABS—even if I do sit down at Art Group and say, “I’m going to do some work now.” Besides, according to my accountant, my earnings from art is “hobby money” that goes back into painting supplies and equipment.
Well, then, that leaves the paper round. I inherited the paper-delivery-round from my son, who after he saved enough money for a computer, had no use for it. But I did. This “work” earns sufficient funds for a holiday every year or two. And I like the fresh air and exercise.
So I marked the paper-round as my main work even though I spend the least amount of time compared to painting and writing. How sad that my “work” according to the ABS is reduced to four hours a week delivering papers after having achieved a University degree.
[I might add here, that I no longer do this paper round. So, I am investing time into building up the Indie Scriptorium business and helping fellow writers in the process of publishing their books.]
The ABS will never know the other side of my life—my work of choice—the Arty Creative work, because there’s no money of any significance in it.
In our society, unless the “work” has dollar signs attached, it’s worth nothing.
So I mean to say, the whole spectrum of our culture, what makes our culture in fact, and enriches our lives: the writing, drama, music, art, doesn’t exist in the Australian story according to the ABS.
The reason? Artisans, be they writers, actors, artists, musicians and other creative people are not valued for their craft. To survive they must earn a wage—if they can find a job. How many of us “creators” are forced to choose between our craft, and food and shelter?
We become teachers, restaurant staff, cleaners, office workers, accountants or whatever while our passion to create becomes quenched by the need to survive. At the end of the workday, we are often too tired to create.
‘When we retire…’, we promise ourselves.
My Dad was an artist. He went to Art School after high school. He even sold a painting through the local newspaper as a young married man. However, he had a family to support, thus became a teacher, and his art was sidelined. ‘When I retire, I’ll get back to my art,’ Dad would say. He retired, but the paints and paper remained packed in a suitcase in the cupboard while he pursued his passion teaching and music.
Also, having come from a family of authors, he had dreams of writing a book, or maybe his memoir. Never happened.
I have inherited Dad’s 300gsm Arches paper, watercolours and brushes, and I feel that I’m carrying on the art tradition my Dad began. In the writing field, I am also carrying on the family legacy of authorship, albeit self-published, but published all the same.
So in the end, statistics are just statistics; they don’t tell the whole rich story. Statistics won’t reveal that the Fleurieu Peninsula (the area in which I live) has reportedly the highest percentage of writers and artists in Australia. Statistics only reveals the tip of the iceberg of artists and writers who have entered for the census information that they are a writer or artist because it’s their main source of income. However statistics will miss many other creators who do not put their craft as their main source of income.
For most of us creators, the line flung at us by well-meaning family and friends is: “Get a real job.”
Creating is not valued unless there’s a cost, and yet everyone wants to be entertained…often without cost.
The other side of the story those who push the “proper job line” don’t understand is that the rewards of creating for an artist, in the broad sense of the word, outweigh the monetary rewards one receives from the so-called “real work”.
Last Friday, Mary and I attended a party at a local Café that we patronise every Wednesday between Bible study and Writers’ Group. We go there for lunch and have started to get to know some of the regulars there as well as the manageress. She makes a delicious Black Forest Cake.
Anyway, on the way, I remarked, ‘Wow, it’s been a week already since the market.’
So, how did we go? You ask.
What you must understand is that the main stream media did its best to deter people from doing anything—apart from activating their fire-safety plan. Or second to that, heading to the nearest bunker and hunkering down waiting for the apocalyptic storm to pass.
As it turned out, the doom and gloom weather forecasters were out by a couple of days. Clouds shrouded Adelaide by mid-afternoon, even a few spots of rain. The fires never happened. The evening of the market turned into a balmy twenty-something degree Celsius, perfect for strolling in the market or enjoying Christmas festivities.
However, the damage by media had already been done and no one but a hardy few, ventured outside their homes to attend. In the end, traders traded amongst themselves. I bought a native orchid and a couple of Christmas cakes. Elsie bought my significant-zero-number birthday present, a handy art pouch that I can use when painting en plein air.
And finally, after no financial transaction action all evening on our stall, a neighbouring vendor bought one of my books, and Elsie’s great nephew one of my miniature paintings. Minutes before, we had sold one of Elsie’s cards while she was away from the table having a break.
Disappointing? No, I don’t think so. I have come to believe that the market experience is more than just buying and selling goods. It’s about community. Building relationships. Being a regular reassuring presence. Being there to listen to people, to connect with people.
Now at times, during the evening, this connecting was difficult to do. We were situated right under the main entertainment; a couple of merry “Elves” singing Christmas songs. They were doing a jolly good job of it, drumming up that seasonal spirit—except that they sang to no one but the vendors most of the time. Where we were the music blared at top volume. When some hapless soul did enter the market and pass our stall, they sped around the tables, glancing only briefly at our books and artwork. Communication, even amongst us concluded in sign language and I resorted to sharing writing in my notebook; a kind of note-passing between friends.
When the music-makers took a break, we had opportunity to connect with potential buyers or people who just wanted someone to listen to what was going on in their world.
While packing up, one of the neighbouring vendors gave some advice; cards don’t sell, they said, and every time is different, so don’t give up. From the brief debrief we had, we decided that in the future, we’ll look at selling smaller paintings and trying to get a stall far, far away from the entertainment.
As for connection, the market is just one way for advertising Indie Scriptorium and our indie-published books. After years of going to this local café I mentioned Mary and I go to every Wednesday, I finally gave one of my books, The T-Team with Mr. B to the manageress to read as a Christmas present. The Lost World of the Wendswas given to a young writer who also comes to this café, and also I gave away a bookmark advertising Indie Scriptorium.
Building the “brand”, the business by networking takes time, especially with the strident voice of professional media, but slowly but surely I feel, people are catching on and it’s happening for Indie Scriptorium.
A heart-felt thank you to all you faithful followers and newcomers to our Indie Scriptorium blog. Merry Christmas and we wish you a successful New Year in your endeavours.
I’ve always been fortunate to have far more ideas for my fiction than I have time to write them into a story or novel. But some writers struggle to find an idea and inspiration. So how do you get inspiration and ideas for what to write? This was my experience.
My first novel was easy to plot and plan. I wanted to set the novel in the Regency era because of my love of Jane Austen and Georgette Heyer. Then, women had no rights and little education and I wanted to promote my ideas about feminism and equality in that era. A Suitable Bride emerged from these basic ideas. I asked what would an intelligent and sensible woman do to ensure she made the best choices to achieve a fulfilled and happy life in a world where woman had no legal rights and little education? The answer informed the storyline of A Suitable Bride. The love that grew between my protagonists against impossible odds gave me the conflict required and the happy ending fulfilled the romance genre.
Family and friends who experienced the sad loss of a baby or suffered infertility inspired my second book A Suitable Heir. Again, I set the novel in the Regency period to capture the additional difficulties of upper-class woman whose main purpose in life was to marry and produce an heir. I asked how would a woman in a society cope with infertility in this era. In addition, I incorporated the issues of depression and loss when a couple remains childless and the joy of having children after a difficult time conceiving.
I’m currently writing my third book, which began when I watched the sad and senseless death of George Floyd. It appalled me to witness his awful murder and made me think what could I do to counter such extreme racism. I returned to my favourite historical period and I learned about the British slavery trade and its aftermath. This became the focus of A Suitable Passion. My protagonists appear to be on the opposite side of the abolition of slavery movement, yet my heroine is coerced into a marriage of convenience with a man she cannot respect. This book has been the most difficult to plot and plan as it required considerable historical research about slavery in the British colonies, a romance and a happy ending. Two rewrites later I am still attempting to incorporate an engaging story with a fascinating but sad history. I’m not sure I will achieve the right balance but love the challenge.
So, my inspiration for novels comes from social issues and themes, which I then incorporate into a favourite historical time to create fictional characters and storylines. I find inspiration for short stories harder but thinking back these are some spurs that have helped me to create my short stories.
Writer’s group exercises. Some of my best short stories started out as a topic for a 10-minute writing exercise at the Woodcroft Writer’s group. Everyone wrote a sentence from a book, poem, article or from our imagination on a scrap of paper and then fold them up and put them in a tin. Each week we’d pull out a sentence and it would inspire us to write on the given topic.
If you can’t attend a group, just grab a book, pick a paragraph or sentence and use that as inspiration.
Some flash fiction web-sites provide topics for short fiction.
Reading is also a significant source of inspiration. You may enjoy a particular genre or author. Ask yourself could I also write like Stephen King, Agatha Christie or Jane Austen and start planning.
You can read articles in newspapers and magazines about actual crimes, daring rescues, sad losses, politics, sport, celebrities and unusual events and use these as inspiration. Change the time, place and names and start writing.
Just overhearing a conversation can inspire a story. So, learn to listen to people talking around you. It will give you ideas and help you create authentic dialogue.
Competitions are a great way to get inspiration. The Romance Writers of Australia have three anthologies published a year each with a particular keyword and theme that inspires the entrants. There are a lot of writing competitions that provide entrants with a theme or keyword.
Photos, films, social media posts can all provide you with ideas.
Research an area of history that fascinates you. As you learn more about the time, you can discover real life people and events that will provide a fabulous story. You can take an event in one era and put it into another. Change the characters’ names, the country they live in and then write it up as fiction.
Your own family or personal experiences can inspire as many a memoir writer will tell you.
Keep a notebook of ideas, or have a desktop folder with writing ideas so when inspiration strikes you can put the idea away for later consideration.
An important step in the creative process is to ask what if or how would? What if that hero in the paper later regretted his actions? What if that murderer wasn’t caught? What if that woman I overheard left her husband? How would a barren wife cope with a demanding husband in the 1800s. How would an abolitionist cope when her family are slave owners.
So, select a topic, make whatever changes you like and ask what if, how would and get writing.
This Friday we, the members of Indie Scriptorium, will be selling our books, artwork and cards at the
Reynella Neighbourhood Centre Inc. Twilight Christmas Market. 164 South Road, Old Reynella Friday 8 December 4 – 7pm
If you are in Adelaide, come and visit us there.
Not only will you be able to see the books and artwork which we have produced, we will be available to discuss with aspiring authors, such topics as: Helpful tips on becoming a writer, publishing your own book, and marketing options.
It’s that time of year. In Australia, the end of the year signals groups winding up and the inevitable array of Christmas parties, exchanging of gifts and cards. In my writers’ groups we exchange cards, small presents and some give their latest book or manuscript to peruse. I’ll be guilty of doing that very thing this year, I hope. (Still in the process of editing my latest a detective novel, Fly on the Table.) Together with my fellow writers, I am looking for feedback. I’m hoping that over the holidays, my “test readers” will find the time and interest to read the manuscript. I want my novel to be the best it can possibly be.
But Feedback, that proverbial “elephant in the room” can be difficult for some readers to handle. So, here’s a revisit to an earlier blog. Check it out, I hope you find it useful.
Pitching can be defined as short verbal promotion of your book to a publisher or agent. The pitch can be face to face or on-line. It’s usually is between three and ten minutes. In some instances, the pitching appointment is a set time and you may need to alter your pitch to fit.
Elevator pitches are very quick and so named to capture the scenario of entering a lift with a popular publisher. You have just moments to convince them they need to accept your book for publication before the lift stops at the next floor. Pressure indeed.
The Australian Society or Authors and Romance Writers of Australia organise pitching sessions which get hopeful authors in front of people in the publishing industry. The ASA have courses for authors to learn all about pitching and also offer Literary Speed Dating sessions. The RWA offers pitching sessions as part of their annual conference.
But do you want or need to pitch your book to a publisher? Many writers decide to self-publish so don’t need to pitch their novel. However, if you would prefer to have your novel traditionally published, or you want an agent, then pitching is essential.
There is considerable information on line about how to formulate the perfect pitch. If you Google Author Pitching Formula a variety of web sites appear. I have done a pitch and used a formula but it went out the window in the actual interview. I would suggest doing the research and picking out the formula that suits you and your novel and construct it according to the time constraints of the publisher/agent.
At the minimum the pitch should cover:
That the book you are pitching is completed, fully edited and formatted and ready for submission.
The title (even if it’s a working title)
Word count
The specific genre and target audience
A brief description of the main characters
The conflict and resolution
Why it’s different from anything else.
With longer pitches you can include your author credentials and experience
What target market you envisage for your book
What books are similar to yours.
When you’ve written, re-written, practiced, timed and learnt your pitch off by heart take a course in deep breathing and mindfulness for anxiety and you’re ready to pitch.
Two articles from Romance Writers of Australia, Hearts Talk magazine provided some interesting and helpful ideas.
Rachel Sweasey The Importance of Pitching June 2023 suggests for Zoom pitching appointments
Practice looking calm and happy prior to the pitch. Smile maintain eye contact.
Be on time
Be prepared
Dress in the same style as your Author bio picture so the publisher/agent can put a face to your picture on your submission.
Have answers to expected questions on post-it notes stuck to the edge of your screen to act as prompts if you dry up. This way you won’t have to shuffle through notes and can maintain focus on the interviewer.
Amy Hutton Pitch Perfect April 2023 suggests:
Have a solid synopsis
Learn the pitch by heart
Make sure you know what a particular editor/agent is looking for before making a pitching appointment.
Allow time at the end of the pitch for questions
Have answers prepared about your character, themes, yourself and your writing history
If you have time include courses, groups and workshops you’ve attend
Also include your social media and marketing experience
Pitching is a difficult, nerve-wracking experience but it can get your book read rather than being left to languish at the bottom of a slush pile.
The art of pitching is different to presenting your book to potential readers. This is also a great skill to learn for both traditional and self-published authors. I will address author presentations in my next blog.
Indie Scriptorium -- Self Publishing Collective 