Here’s the Good News.



I found this to be a wonderful post that tells us exactly how this are or should be. It has nothing to do with writing or storytelling. It is just truth from the Good Book and Brianna. It needs to be shared again and again.

Originally posted on Brianna Siegrist:


Okay, whenever I hear people talk about their problems with Christianity, I feel like there are common questions/issues/themes.

  1. If God is sovereign, and loving, why is there pain? Or hell?
  2. I like Jesus, I don’t like Christians.
  3. What’s with all the rules? I think a loving God would be more tolerant.
  4. I think people are basically good, and so why do we need to be saved?
  5. From God’s wrath? What? That doesn’t make sense if he loves us.
  6. Speaking of wrath, what’s with the Old Testament?

Well, here’s how I come out on those questions.

I start with this.

God is sovereign. He created everything. He is Good. He is Love. We start there. When we speak of something being “right” or “wrong,” it’s not arbitrary. It is inherently good or inherently wrong. It’s not an assigned value.

When God created the light and the dark, it says “He…

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The Market (Flash Fiction)


This is a flash fiction that is based on a picture taken by Mathew Wright for a challenge he does weekly. I decided to try my hand at it this week. This is the address to his blog if you would like to check out more about him.

Let me know what you think of the story.  Blessings    Shirley


jams and jelley

“Who is the girl you have working the jams and jellies table at the market? Jack, I know what’s going on, so don’t bother denying it.”

“April, you’re crazy. I work as hard as you do to get this market going and all you can do is accuse me of things I don’t do. Why are you doing this?”

“What are you talking about. You try to turn things around on me and I’m not having it anymore. I stand over this hot stove day after day while you go and play with the playmate of the week.”

“I’m going back to the market. I’ll see you tonight when I get home. Maybe you’ll have cooled down by then.” Jack left the kitchen shaking his head and headed back to the market.

April watched as the car left the driveway. She went to the phone and punched in a number. “Hi, it’s me. He’s heading back to the market. I feel the same way.”

Two hours passed since the fight. Police came to the door and notified April her husband was dead. She cried hysterically. The female officer stayed until she calmed down. She asked April if she wanted a phone call made and April refused. She pulled herself together and assured the officer she’d be okay. Then she was alone. April went to the bedroom and pulled the suitcase from under the bed. I’m Kazakhstan bound. She left through the front door singing “Leaving on a Jet Plane.”

7 Important Facts That You Should Know About Buying Audio Books Online



I love audio books but I also love to read. When I’m driving is my favorite time to listen to a book. It makes the time go by so much faster. Have a blessed day. Shirley

Originally posted on Nicholas C. Rossis:

I have been flirting with the idea of converting my books to audiobooks for a while now. So, this guest post by Abigail Young, which explores the reader’s side of view, was very timely indeed. Enjoy!

7 Important Facts That You Should Know About Buying Audio Books Online

From the blog of Nicholas C. Rossis, author of science fiction, the Pearseus epic fantasy series and children's books Image:

You are in a world wherein you get tempted by books that are good for your kids to listen to or for yourself to ponder and relax with. Who could blame you? Audiobooks can be addictive! So you have to get your hands on one and usually through online. But instead of ordering one and expecting a happy ending, you spend cash and end up with nothing.

Audio books play an essential part of lives whether at work, school, or home. Here are some tips you should know about buying them online and their uses.

  1. Check the Credibility of the…

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An Open Letter to Joy Behar



As a retired Rn I had to reblog this open letter. Being an entertainment talk show hostess is no excuse for rudeness and insults. In fact you would expect much more. Just my two cents worth.

Originally posted on According to Kateri; a Blog:

As many of you have seen, Miss Coloradodelivered a beautifully spoken monologue about nursing during last week’s Miss America pageant. Recently, on The View as the pageant was discussed, Miss Colorado’s scrubs were referred to as a costume, and Joy posedthe question of why she was wearing a “doctor’s stethoscope.” Below is my now calmed down reply to all of it. Additionally, Iwould like to personally andpublicly congratulate Kelley Johnson RN on her chosen talent, it is one that will reward you forever.

Dear Joy Behar,

A beautiful woman in a beauty pageant put on baggy clothes and humbly walked across the stage to talk proudly about her career, and her passion for caring for other human beings, and the only thing you could muster in response was an insult grounded in ignorance.

Rather than being offended or getting angry, I will instead, take a moment to teach.

I am…

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It was Adam


adam and eveWhy does life have to seem so hard?  It appears, we go from one battle to another.  I  can’t say life is bad because it isn’t.  It is just a struggle, more at times than other times.  I know it is not just me, because I have been around long enough to know everyone has their struggles, and their problems that seem insurmountable at times.  I was once naïve enough to think there really were household’s like Ward Cleaver’s home, or Donna Reed’s.  I think it was a dream everyone wished they could have.  It would have been nice to have all the problems solved in a thirty-minute time span.

Some of my struggles are so mundane I can’t even remember them.  Some are so painful I couldn’t forget them if I tried.  I can put them out of my mind for a while, but they are always there.  Maybe they are there as life’s lessons.  I have to say, I didn’t like those particular home work assignments when I had to go through them.  I have to say in all fairness, I would not be who I am if I had not gotten through them.

I have heard people say “Eve did this to me. She caused all the problems by eating the piece of fruit which God told her not to eat.”   So I question myself, did Eve really do this to me?  I think not. I now believe she had the help of her man, Adam.

God’s word tells us man fell, not just woman.  So today if I am going to blame anyone, I am going to put it all on Adam’s back.  When we marry and take a life partner, we are seen as one.  Except of course when it is convenient, or politically correct to make sure we are separate sexes.

We are made as one but life happens because of two.  Even with science, it takes two.  It takes an egg and a sperm put together to create life.  I know in the creation, us poor misguided women were taken from a man. Clay was put around a rib bone, and woman was created.  Something like that anyway.  I know God, no matter which way he did it, created Eve.

Adam was instructed by God not to eat the fruit from the tree of “Good and Evil,” as well as Eve.  I have never figured out why this turned out to be totally Eve’s fault when they both knew the plan, and they knew the consequences if they did eat the fruit.  The bottom line, they both had the same job description.

Eve is wandering around in this gorgeous garden without a care in the world and hears this voice, which we believe is male, (go figure), enticing her to eat the fruit from the tree of life.  What does she do? She   calls her man, “Come here honey, there is this thing that keeps talking to me, and trying to make me do something I know I shouldn’t, (sound familiar).  Tell me what you think, please.”

The best I can remember, Adam comes over to the tree and says, ”Hum, let me have a bite of that fruit. It looks really good.”  He didn’t say, no sweetness you can’t have that, or he doesn’t take it, and throw it away.   He just eats it with her, and now we have troubles.

So from my way of thinking, I am now totally convinced that Adam is the one who is at true fault.  He did not do his job as head of household.  He ignored God when he knew he shouldn’t.  He failed to protect his woman.  So now I know why I can officially blame the male species for what goes wrong in this world, and I will continue to tell them they are at fault or as I told my kids, “it came from your father’s side of the family”.  It was not Eve, it was Adam.

The Character Evolution Files, No. 1: What is Character Evolution, and Why Is It Important?



This is full of information I had not thought about with my characters. They do evolve but I didn’t have a name to put to it before. It was very much worth reading.

Originally posted on Sara Letourneau's Official Website & Blog:


Welcome to the Character Evolution Files! This monthly column focuses on character arcs, from the elements that create or enhance a character’s inner journey, to techniques that writers can employ to strengthen character arcs in their own work. Today we kick things off with File 01, which explores two important questions: “What is character evolution?” and “Why is it important?” 

So many elements comprise the art of novel-writing: plot, voice, setting, characters… The list goes on, and it’s impossible to say that one element is more crucial than the other. However, when I think back on some of my favorite stories of all time, many share one common element: a clear character arc. Perhaps the protagonist grows as a result of his journey, or he learns something because of his endeavors. Either way, he’s not the same person at the end of the novel that he was in Chapter 1. This kind of evolution can create a truly memorable story that sticks…

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Practical Tips on Writing a Book from 23 Brilliant Authors


We are always wanting to glean what other authors know about writing.  This blog by Steve Silberman gathers together authors and has them give suggestions on how to improve your writing and make your book great. I thought it was something worth sharing. Have a blessed day.  Shirley


I love books. My late father Donald, who taught Wordsworth and Melville to inner-city kids for decades, used to read Ulysses to me while he carried me on his shoulders. Perhaps it was inevitable that I grew up to be a writer. Now, after years of investigative reporting for Wired and other magazines, I’m finally writing a book of my own.

The subject of my book is autism, the variety of human cognitive styles, and the rise of the neurodiversity movement. The seed of the project was an article I wrote for Wired in 2001 called “The Geek Syndrome” about autism and Asperger syndrome in high-tech communities like Silicon Valley. I’m happy and humbled to say that it was an influential article, and I still get email about it from the families of kids on the spectrum and from autistic people themselves, though it was published more than a decade ago.

The science of developmental disorders has made significant advances in recent years, and some of the social issues that I raised in the piece — such as the contributions that people with atypical cognitive styles have made to the progress of science, technology, and culture — seem more relevant than ever. At the same time, the wave of kids diagnosed with Autism Spectrum Disorders in the ’90s is now coming of age, and their heroically devoted families are facing fear and uncertainty about the future as crucial government-funded services and support provided to families of special-needs children dry up. Meanwhile,neurodiversity advocates are challenging narrow definitions of “normal” cognition, and autistic people — even those who are unable to employ spoken language — are using assistive technology like the iPad to express themselves. There’s a lot of new ground to cover.

I’ve signed a contract with a wonderful publisher — a Penguin imprint called Avery Books — and a sharp and enthusiastic editor named Rachel Holtzman. One of the most thrilling moments of my life as a writer was walking into Penguin headquarters in Manhattan and seeing classic jackets for Jack Kerouac’s novels like The Dharma Bums framed on the wall. It was reading the exhilarating, compassionate, and perennially fresh poetry and prose of Kerouac, Allen Ginsberg, Gary Snyder and their friends that made me want to grow up to be a writer in the first place.

I’m not sentimental about old media vs. new media. Nothing will ever replace the sublime feeling of sanctuary created by the printed page, but I treasure the books on my Kindle too, particularly when I’m reading at 30,000 feet. What I love is words — storytelling, the flow of well-wrought sentences, the gradual unfolding of a long and thoughtful tale, the private communion with an author’s mind.

But now comes the hard part. It’s one thing to work up a 4000-word magazine feature and another to sit down and write a 100,000-word book. I’m acutely aware that I’ve been granted a precious opportunity to cast light on forgotten history and provide a platform for voices that are rarely heard. At the same time, I’m scared out of my wits that the two decades of journalism that have led up to this project have not prepared me to write a good book. I wake up at 3am staring into the darkness, wondering if I’ll have the skills, discipline, and inner resources to pull it off.

I’ve chosen to deal with my anxiety by tapping into the wisdom of the hive mind. I recently sent email to the authors in my social network and asked them, “What do you wish you’d known about the process of writing a book that you didn’t know before you did it?”

I’m delighted with the sheer range of practical advice that poured in. The writers in this group are as diverse as the volumes that line the shelves in my home office.  There are top science writers and journalists like Carl Zimmer, Jonah Lehrer, Deborah Blum, Paula Span, and David Shenk; prolific blogger Geoff Manaugh of the endlessly fascinating BLDGBLOG, which focuses on architecture and the future of urbanism; award-winning poet and essayist August Kleinzahler; a wise-beyond-his-years entrepreneur named Ben Casnocha; a Zen master named John Tarrant and an author of Buddhist bestsellers, Sylvia Boorstein; two-time Rock and Roll Hall of Fame inductee David Crosby of the Byrds and Crosby, Stills, Nash and Young; and two of the geniuses who helped launch 21st century digital culture and the spunky “maker” movement, Cory Doctorow and Mark Frauenfelder of BoingBoing. A more diverse group of writers, talking about the nuts and bolts of their craft, would be hard to find anywhere on the Web.

A few things became clear as soon as their replies came in. First of all, I’ll have to throttle back my use of Twitter and Facebook to get this writing done (and I may never rev up my idle Quora account after all.) Secondly, scheduling intervals of regular exercise and renewal amid the hours of writing will be essential. And thirdly, I’ll certainly be buying and downloading a software program calledScrivener, which is a powerful word processor specifically designed for writing books and keeping vast amounts of related data in good order.

Reading these tips has made the voice in my head that whispers I can do this a little louder when my eyelids snap open before dawn. I hope the advice here inspires the creation of many great books, not only the one I hope to write. I’m deeply grateful for the time and attention of the master writers assembled here.

Enjoy — and good luck with your own writing!

The Tangled Bank by Carl Zimmer

Carl Zimmer

Author of A Planet of Viruses, The Tangled Bank, and Brain Cuttings

  1. Do as much research as possible away from the Internet — with living people, in real places.
  2. Be ready to organize vast amounts of data. Use a wall, or software like Scrivener.
  3. Be ready to amputate entire chapters. It will be painful.

The Genius in All Of UsDavid Shenk
Author of The Forgetting and The Genius in All of Us

  1. Make it great, no matter how long it takes. There’s no such thing as too many drafts. There’s no such thing as too much time spent. As you well know, a great book can last forever. A great book can change a person’s life. A mediocre book is just commerce.
  2. Get feedback — oodles of it. Along the way, show pieces of your book to lots of people — different types of people. Ply them with wine and beg them for candor. Find out what’s missing, what’s being misinterpreted, what isn’t convincing, what’s falling flat. This doesn’t mean you take every suggestion or write the book by committee. But this process will allow to marry your necessarily-precious vision with how people will actually react. I find that invaluable.
  3. Let some of you come through. You’re obviously not writing a memoir here, but this book is still partly about you — the world you see, the way you think, the experiences you have with people. And trust me, readers are interested in who you are. So don’t be afraid to let bits and pieces of your personality and even life details seep into the text. It will breathe a lot of life into the book.

For the Win by Cory DoctorowCory Doctorow
Author of With a Little Help, For the Win, Makers, and Down and Out in the Magic Kingdom

  1. Write every day. Anything you do every day gets easier. If you’re insanely busy, make the amount that you write every day small (100 words? 250 words?) but do it every day.
  2. Write even when the mood isn’t right. You can’t tell if what you’re writing is good or bad while you’re writing it.
  3. Write when the book sucks and it isn’t going anywhere. Just keep writing. It doesn’t suck. Your conscious is having a panic attack because it doesn’t believe your subconscious knows what it’s doing.
  4. Stop in the middle of a sentence, leaving a rough edge for you to start from the next day — that way, you can write three or five words without being “creative” and before you know it, you’re writing.
  5. Write even when the world is chaotic. You don’t need a cigarette, silence, music, a comfortable chair, or inner peace to write. You just need ten minutes and a writing implement.

And Then There's This by Bill WasikBill Wasik
Author of And Then There’s This: How Stories Live and Die in Viral Culture

  1. The first tip is that readers expect books to be exhaustive on their subjects. That doesn’t mean they want the books to be long — it means that they expect that you will cover all the basic ground that needs to be covered to understand the subject, even if they know some of it already. This piece of advice may or may not be relevant to your subject. In my case, with a very idiosyncratic book on viral culture, it led to people asking me at readings why I hadn’t included an analysis of X or Y viral phenomenon in my book. “Because you already know about it,” the magazine guy in me always wanted to respond. But in the book world, people want to see you mention the stuff they already know, at least in passing (or to knock it down)– otherwise, how can it claim to be a book on the subject? It’s worth taking that point of view seriously.
  2. This is a basic piece of advice, but it can’t be overstated when you’re trying to go from magazine-length to book-length writing: hone your outline and then cling to it as a lifeline. You can adjust it in mid-stream, but don’t try to just write your way into a better structure: think about the right structure and then write to it. Your outline will get you through those periods when you can’t possibly imagining ever finishing the damn thing — at those times, your outline will let you see it as a sequence of manageable 1,000 word sections.

The BLDGBLOG Book by Geoff ManaughGeoff Manaugh
Author of The BLDGBLOG Book

  1. Don’t hold back on that fantasy site visit / phone call / interview / query / meeting that you have always wanted to do, lest it become too late to include the results in your book. Do it now! This book is your golden ticket.
  2. Don’t lose track of your notes and/or future ideas for inclusion by writing things down in multiple notebooks or on scattered pages of the same notebook; concentrate, aggregate, cohere, reread, and compress. Keep it all in one place (with back-ups). Obsessive-compulsive organizational habits are your bestfriend; telling insane and vaguely embarrassing stories later on, about how you used eight different colored markers, four highlighter types, and multiple versions of extra pages stapled into a vast mega-notebook that you re-read every night before bed – and that you also took digital photos of lest you lose the whole thing in a house fire – will be a lot more fun than explaining how you forgot to include certain things and your book sucked because you never got your shit together.
  3. Quick, tossed off, last minute additions, typed right before you submit the final manuscript, probably aren’t a good idea, no matter how funny or emotionally powerful you might feel they are at the time of impulsively writing them. Always allow time to come back and read something from a distance.
  4. And run all quirky one-liners that you hope to include in your author’s bio (do you “always enjoy a good latté”?) past a close friend; they don’t age well.

The Mad Professor by Mark FrauenfelderMark Frauenfelder
Author of The Mad Professor and Rule the Web

  1. Use Scrivener to write your book. Awesome organizing tool as well as word processor.
  2. If you have the feeling an interview isn’t yielding much, get off the phone as soon as you can. On the other hand, when you strike interview gold, keep it going as long as you can.
  3. Don’t forget to write the book that you want to read.

The Poisoner's Handbook by Deborah BlumDeborah Blum
Author of The Poisoner’s Handbook and Ghost Hunters

  1. here are a few things that i’ve learned or that people have told me along the way. i’ve written five books. the first two (monkey wars, sex on the brain) were issue books. the best advice i got when writing an issue book was to write the first chapter LAST.  this isn’t absolute, but it’s in the research and writing of later chapters that you often figure out what your primary points will be and how best to frame them.
  2. the best advice i got in writing narrative non-fiction was to get my hero in trouble and keep him there. this was with my first narrative book, love at goon park. my editor suggested that as the over all arc — how is harry harlow ever going to persuade the scientific community that love matters? — and within that to have him confront an obstacle in every chapter. i’m a little looser with that now, not an obstacle in EVERY chapter, but it’s still a great way to think about structure. for instance, in poisoner’s handbook, every chapter is a poison. so my heroes must confront arsenic in one chapter and thallium in another…
  3. i usually try to have a single sentence that describes the primary message of the book. this turns out to be really useful when your editor asks you for the one sentence the sales force can use to persuade book sellers to buy your book. but, again, it’s also a useful organizing principle. so with monkey wars, the primary sentence (not brilliant for sales, but still) was “animal research is really about us.” number one species on the planet, can do whatever we want to other species. and i used that to frame every chapter around a decision that a researcher was making in his use of non-human primates, from brain surgeries to testing on endangered species.
  4. i let my first draft suck. kind of the anne lamott advice on “shitty first drafts.” to me my first draft is just an attempt to start unfolding the flow and logic of the story. if i get stuck, i just put xxx in the draft (for figure this out later.) with one of my books (sex on the brain) i did this so often that i had literal nightmares about it, that people were coming up to me and asking me if i had adopted an avant garde writing style.
  5. i’m obsessive about the research. i organize and cross-list and file from the very beginning. i make notes of key points, issues, and themes. the amount of research one does for a proposal is very different from the amount of research one does for a whole book. so i keep track of all these key moments in a way that lets me recognize patterns that i didn’t see earlier. and also so that when i’m later actually writing, i know where to find everything. writers waste a lot of time looking for that study that they filed, well, somewhere.
  6. i recognize that today’s book author isn’t done even after the manuscript is accepted. publishers expect us to be part of the marketing of the book and the sooner that starts the better. i used to tell people that i wanted to be the j.d. salinger of science writing and just stay home and let the royalties wash over me. but that’s mostly in the moments when i’m just overwhelmed. the new public version of a science writer is actually pretty fascinating.

Sleeping It Off in Rapid City, by August KleinzahlerAugust Kleinzahler
Author of Sleeping It Off in Rapid City and Cutty, One Rock

  1. I find it helpful sometimes — and still to my surprise — trying to explain to someone what it is I’m trying to write about, usually someone bright but in a different intellectual zone, and not a writer. Or, likewise, in a letter or email to such a person.
  2. When my self-disgust reaches critical mass I seem to be ready to go.
  3. I tend to discover the structure, a structure, after diving in the deep end and swallowing water awhile, until I stop swallowing water, make my way to the surface and figure out how far it is toward shore or the side of the pool, and what mixture of treading water and the Australian crawl, given my limitations/aptitudes, might get me safely home.

My Start-Up Life by Ben CasnochaBen Casnocha
Entrepreneur and author of My Start-Up Life

  1. Shitty first drafts. Anne Lamott nailed it! But with books, it seems to be more like “shitty 20th drafts.” So shitty, for so long.
  2. Develop a very serious plan for dealing with internet distractions. I use an app called Self-Control on my Mac.
  3. Develop a very, very, very serious plan for dealing with internet distractions.

The Mindfulness Revolution by Barry BoyceBarry Boyce

Author/editor of The Mindfulness Revolution and In the Face of Fear

  1. You’re better off than you think, because you’ve done this before, just not in as large a format. Almost every technique and skill you’ve used to structure and tell a story at feature length scales to book length. So, let go of the excess anxiety about never having done this before.
  2. Planning. Planning. Planning. It’s a campaign. I used some project management tools in the end to put some order into the vastness. That’s the thing about the bigger scale. It requires more management to support the creativity. Cultivate a good relationship with your editor from the beginning. He/she is going to be your task master at some point. That’s going to go so much better if he/she is also your friend, colleague, supporter, and fan. The campaign of writing a book can get so lonely sometimes, you need a good attaboy just to remind yourself of why you’re doing it and that you’re not the crazy loser who needs to get out more.
  3. As Trungpa Rinpoche said (I paraphrase): enjoy refreshing activities from time to time. If you’re planning and scheduling well, you can find opportunities regularly to breathe more fresh air into your life and replenish yourself, because “the work fills the available space” is nowhere more true than on a book project. Watch out for self-indulgent and cheap substitutes for actually taking an honest to god break, of whatever duration.

The White Hand Society by Peter ConnersPeter Conners
Author of Growing Up Dead: The Hallucinated Confessions of a Teenage Deadhead and White Hand Society: The Psychedelic Partnership of Timothy Leary & Allen Ginsberg

  1. When I’m writing a book I only read other books that somehow inform my book. If it doesn’t serve my process — no matter how much I want to read it — I don’t. I suspect there are a lot of people who will give the opposite opinion (take a break from reading about your subject matter, etc.), but I’m not one of them. This is your time to be completely and justifiably obsessed. So go ahead — bask in the madness.
  2. Non-fiction shouldn’t mean poorly written. Writing is writing and art always counts. Make your book beautiful to read and you’re more likely to communicate your messages to your reader.
  3. Don’t focus on the promotional aspects of social media. Just share your passion for the subject matter as it filters through your writing process. The promotion aspect will be an organic extension of your passion.

Long Time Gone by David CrosbyDavid Crosby
Singer-songwriter, founding member of the Byrds and Crosby, Stills, Nash and Young, author of Long Time Gone and Since Then

  1. Cathartic effect.
  2. Love of the well-turned phrase.
  3. Set specific times to work.

When the Time Comes by Paula SpanPaula Span
Author of When the Time Comes

  1. You already know what you need to know to do this.  The fact is, my 60,000-plus-word book was pretty much like writing 8 to 10 long-form pieces.  I didn’t do it differently, in terms of research or writing or rewriting.  My existing skills were perfectly adequate to the task; yours will be too.  It took me 2.5 years but then, I was teaching and freelancing at the same time; had I focused solely on the book, it probably would’ve taken 18 months.  So you will make your deadline, even if your book is longer and more complex.
  2. Unhelpful, right?  But maybe not.  Bottom line, this is not some whole different sphere for which you are ill-prepared.  For better or worse, whether you use some nifty software to organize your material or you use a whole bunch of yellow legal pads and photocopies in hanging files (like me — so retro), this is familiar territory and you are an old hand.  So get to it.

Aspergirls by Rudy SimoneRudy Simone
Author of Aspergirls: Empowering Women with Asperger Syndrome andAsperger’s On the Job

  1. I had the easiest time of my life writing my three Asperger books. I just ran like Secretariat once I got going. But, I did learn that questionnaires make good research tools. I had three levels of questionnaires, each expanding on the one before it, so I didn’t have to individually interview each person. I did that by email or phone if and when it was warranted. By the time I wrote Aspergirls I had it streamlined: The questionnaires were posted on my site, the first one visible to the public so anyone could use it, then the 2nd and third were on hidden pages that I gave my participants the URL to. The data was compiled and I received email alerts whenever there was a new entry. So while I was researching certain elements of my book, the questionnaires and the people who used them were doing a lot of the legwork. Being that I’m fairly uneducated, I think I did a pretty good job with it.

Short by John SchwartzJohn Schwartz
Author of Short: Walking Tall When You’re Not Tall at All

  1. Advice from a Newsweek editor I worked with in the ’80s, Nancy Cooper. Roughly my age, but so much smarter and more worldly and sophisticated. I was worried about writing the opening story of the nation section. And she sent me a note that read: “You just start working and you keep working til it’s done. That’s all there is to it; no mystery.”

Happiness is an Inside Job by Sylvia BoorsteinSylvia Boorstein
Author of Happiness is An Inside Job and It’s Easier Than You Think

When I settle into writing, i.e. proposal signed, accepted, etc., I…

  1. Do not open email until 5PM on any weekday or other day when i expect to be writing much of the day.
  2. Do not read other people’s work on the same subject. That might be hard for you, since you are collecting research data, but I say very little about what other people have said or thought. They’ve already said or thought it.
  3. I am VERY selective about having other people read it as I go along other than my editor, and that only when I have enough written to feel secure that I have found my voice.
  4. When I do not like how what I’m writing is sounding, I quit. I leave the computer. I do something else, like cook soup. I “hear” what I am about to type before I type it and if it is not sounding like me naturally talking, I know i am not clear or balanced enough to go on.
  5. I do not write from the beginning to the end. I write in the order that particular parts take form in my mind and I enjoy mulling them over… I mull and mull and imagine I am explaining them to someone and then I write them down. I have the order in mind, so I write whatever part is bubbling energetically in my mind, print it out (always) and begin a stack on THE BOOK on a corner of my desk into which I can add pieces (in their proper order) as they get written and so I have a visible proof at all times that something is happening.
  6. I take the due date for the first draft EXTREMEly seriously., like everything depends on that day. it makes the project energetically alive for me, like a James Bond five-minutes-and-fifty-two-seconds until the whole world blows up movie and even if the draft is finished a week early I push the SEND button just after 12AM on the day it is due. Theatrical, I know, but I learned it from a friend of mine whom I admire as being a fine writer who prides himself on doing that.

Nameless Book by AnonymousAnonymous
Author of notable books on science and psychology

What I wish I didn’t know now that I didn’t know then:

  1. How hard writing a book would be  on my body — two major illnesses and two surgeries in two years, a health record unprecedented in my life, and unrepeated in the two years since. No idea what to do differently, other than maybe make sure I have good health insurance. (But you shoulda seen me revising my last draft as they wheeled me into the OR for an appendectomy.)
  2. How important and valuable the final reward would be. Not the money, but (in my case) the promised trip to a very special place. Wish I had put the photo of my destination on my screensaver long before I did, as it worked like an extra force of gravity pulling me to the end. The trip also gave me a coda to write into the book, just an extra added benefit.
  3. How inept publishers are at selling books, even books that, as in my case, they have a significant financial stake in and that they profess to love. Once they get rejected by Today and Terry Gross and once the Sunday Timespasses (or, as in my case, assigns a  review and then never runs it), they’ve exhausted their playbook. Solution: what you’re already doing, which is to build your brand among your intended audience.

Playing in the Band by David GansDavid Gans
Musician, radio producer, and author of Playing in the Band and Conversations with the Dead

  1. The most striking thing about my book processes was that no one at the publisher did any editing at all.  No fact checking, no line editing.

Lincoln's Melancholy by Josh ShenkJosh Shenk
Author of Lincoln’s Melancholy

  1. Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of Lincoln’s Melancholy I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly.
  2. Find ways to break it into chunks and set concrete deadlines with friends/agent/editor. I’m sending my agent material every week now. The shit is super rough, but at least I’ve got *something* on page. Also consider a writer’s group. When I asked Bruce Feiler for this advice at the start ofLincoln’s Melancholy, he said: “emotional management.” I told him, yeah, but I really want practical advice, etc. etc., and he repeated the phrase. Writing a book is a crushingly lonely experience in ways that no one who hasn’t been through it can really imagine.
  3. What’s the idea/argument in a sentence or two? You shouldn’t have this necessarily at the start but will want to by the time the book is done.
  4. Apply to MacDowell, Yaddo, Blue Mountain Center, Headlands — a few other good residencies, including one in Cali I can’t remember now. Four to eight weeks of you, quiet, among other artists, with people feeding you on schedule can do wonders.

Bring Me the Rhinoceros by John TarrantJohn Tarrant
Author of Bring Me The Rhinoceros & Other Zen Koans That Will Save Your Life, and The Light Inside the Dark: Zen, Soul & the Spiritual Life

Here’s a triplet of things that may apply only to me.

  1. Ideas don’t come from anywhere identifiable, so I’ve come to trust that they will be given. This is along the lines of not whipping the donkey.
  2. The process of lining the book up, giving it a bedside manner, asking “Is this what it is about? But what is it really about?” was a plunge. I had to explain the work to myself in more and more elementary language. I came to enjoy doing this. It helped when I realized that the discovery process was part of the writing and I didn’t have to be through it already.
  3. There is always period when I wrestle alone with my own process and at the same time I like collaboration. So I’ve learned what kind of editing works for me. A good editor is an impersonal force who says things like, “You could ditch the first half of your first chapter and start with what comes next,” and immediately I know if the edit is true or not. So I learned to be confident about sharing my work when it is not fully formed, learned that the process is robust and will look after itself.

How We Decide by Jonah LehrerJonah Lehrer
Author of How We Decide and Proust Was a Neuroscientist

  1. My one piece of advice is to insist that your editor be brutal — there should be red pen on every page. At least in my experience, the book only gets decent during this phase, as all the darlings and digressions get killed. It’s such an important process, and yet too many editors are too meek (or overworked) and too many writers resist their edits. A good editor is a great thing.

The Panic Virus by Seth Mnookin
Seth Mnookin

Author of The Panic Virus and Feeding the Monster

  1. If you’re a Mac guy, I whole-heartedly, full-throatedly recommend using Scrivener. I think you can get a free 30-day trial, so it’s at least worth checking out. Especially with this last book, it totally saved me from having hundreds of (virtual) stacks of thousands of (virtual) scraps of paper.
  2. For me, it was vitally important that all non-book related reading be as mindless as possible. I binged on mysteries…Rex Stout and Donald Westlake/Richard Stark in particular.
  3. I tried, not always successfully, to start each day with some discrete goal I wanted to accomplish: write 200 words, or get through a certain amount of research, or conduct two interviews, or whatever. If I set out to spend a day “writing,” that would be so overwhelming I’d end up just farting around online all day instead of starting the climb the mountain.
  4. Finally: assume your book is going to completely tank commercially. That’ll help you remember that you’re not writing this for the purpose of writing a best-seller (at least I assume you’re not), but because it’s something that you care passionately about and excites you intellectually and because you hope to be able to share your thoughts and observations and conclusions with a group of people you respect and want to discourse with. Everything else is gravy. At the end of the day, what’s important is producing something you believe in…not producing something that’ll catch people’s eyes at B&N.

Superbug by Maryn McKenna

Maryn McKenna
Author of Superbug and Beating Back the Devil
  1. Find an organizational scheme for your notes and materials; keep up with it (if you are transcribing sound files or notebooks, don’t let yourself fall behind); and be faithful to it: Don’t obsess over an apparently better scheme that someone else has.  At some point during your work, someone will release what looks like a brilliant piece of software that will solve all your problems. Resist the urge to try it out, whatever it is, unless 1) it is endorsed by people whose working methods you already know to be like your own and 2) you know you can implement it quickly and easily without a lot of backfilling. Reworking organizational schemes is incredibly seductive and a massive timesuck. (I use DevonThink, OmniOutliner and Filemaker Pro. David Dobbs apparently has a quite different flow. We hope to do a workshop on this at NASW.)
  2. Don’t wait too long to start writing, especially if your book incorporates descriptive or narrative elements. Write at least a quick sketch of the sensory and emotional elements that stick with you as you come back from field reporting.
  3. You’re going to spend a lot of time in your head. Take care of your physical self too. Be just as committed to that as you are to getting your writing done every day. If you don’t care about your health, think your vanity — there’s an author video and a lot of public appearances in your future.
  4. Bonus tip: Be good to your spouse/partner and protect time for them. They’re in this with you, but unlike you, they didn’t choose it.

Six Common Writing Mistakes and How To Fix Them


We all made mistakes as beginner writers and I still do even though I’ve been writing a number of years now. It’s always nice to get reminders of what type of mistakes top writers and editors find consistently. It’s even better to find out how to fix them. The craft of writing is a continual learning process.  When you stop learning. lay down your pen. Have a blessed day.  Shirley


Today, one oLourdes Venardf our most experienced editors on Reedsy shares some invaluable advice for first-time authors! Lourdes Venard specializes in crime fiction, science fiction, Young Adult, memoirs, and other nonfiction. She also teaches for the University of California, San Diego’s copyediting certificate program.

When it comes to writing, every writer is unique. But mistakes made by first-time authors are not as unique. In a very unscientific poll, I asked fiction editors which errors they come across the most often. Not surprisingly, the culprits were the same.

Below are the six most common writing mistakes identified by fiction editors, with simple fixes that can be done in the revision stage.


Wordiness can come from overdescription, overexplanation, and redundant language. Those of us who are editors see this all the time in descriptions, especially in the use of adjectives and adverbs. Many first-time writers believe they need to bolster their nouns and verbs with adjectives and adverbs, but this often marks the writer as an amateur. Instead, writers should focus on using strong nouns and verbs. Take the simple phrase “a small river rushing by quickly.” A river that is rushing will naturally be doing so quickly, so eliminate the adverb.

The fix: When revising your manuscript, look through your descriptions—are there unnecessary words? Are you relying on adjectives and adverbs, rather than strong nouns and verbs? Look to cut as you revise.

“Telling”, rather than “showing”

“Telling,” rather than “showing.” This comes from explaining too much and not trusting the reader to understand—or not giving the reader the opportunity to fill in the spaces with his own imagination. A subset of this, as one editor said, is having characters discuss things in dialogue that no rational person would: “Did you know, Ian, that the agricultural sector in England was transformed by the Black Death, which arrived in England in 1348 and killed many laborers, and by the Hundred Years’ War, which was actually a series of conflicts waged from 1337 to 1453,  as well as the Peasants’ Revolt of 1381?” If this sounds like a Wikipedia entry, it’s because it was indeed cobbled from Wikipedia—not from an actual conversation.

The fix: Dialogue can be used to effectively impart information, but is it believable and natural? Use dialogue to move the story ahead, to add tension between characters, and to impart—but not dump—information. Break up the information in conversation-sized tidbits.

Laundry list of description

A character is introduced and immediately a description, head to toe, is given; hair color, eye color, glasses, what the character is wearing are all covered in depth. The author may repeatedly mention those “liquid brown eyes.”

Ian Rankin

The fix: It’s much more effective to describe a character through their behaviors, actions, body language, and dialogue. Here, crime fiction author Ian Rankin gives a description that skims over a character’s looks, but manages to give us plenty (because our mind’s eyes fill in the rest): “He was twenty years younger than Rebus, and a stone and half lighter. A bit less gray in his hair. Most cops looked like cops, but Fox could have been middle management in a plastics company or Inland Revenue.”


You want to keep your point of view to one protagonist (maybe two, if the story lends itself, as in a romance or a story with two strong characters whose paths cross, as in the award-winning All the Light We Cannot See by Anthony Doerr).To have more POVs dilutes the bond that a reader forms with the protagonist. Even worse is to have a point of view bounce from character to character in the same scene (we start out in the head of one character, only to hop into another character’s head).

The fix: It’s more powerful for the story to be told through the eyes of the main character, so make that your viewpoint. It may be more work to recast your story, but it will be the stronger for it.

Inappropriate dialogue tags

Many new writers have a fear of reusing the same dialogue tags—“said” or “asked”—and so editors see an abundance of incorrect dialogue tags: he yawned, she growled, he laughed. These dialogue tags mark the writer as inexperienced. Someone doesn’t “yawn,” “growl,” or “laugh” dialogue and, besides, they are clichéd ways of marking speech. Dialogue itself should show the reader whether a character is angry, happy, or sleepy.

The fix: Stick to “said” or “asked,” which become invisible to the reader, or avoid dialogue tags when it’s clear who is speaking. If you must indicate that a character has missed his naptime, then write, “he said, yawning.” Or even better, use a dialogue beat: “He stretched and yawned, putting down his coffee cup.”

Misplaced modifiers

This is one of the most common grammatical errors. These are phrases or clauses that are not clearly related to what follows. This not only makes for awkward sentences, but often unintentionally funny ones. For example: “After making some repairs, the pigs soon found their way to the fixed trough.” If pigs could fly—or repair their own troughs!

The Fix: Locate the modifier and relocate it to the appropriate place, or rewrite the sentence with the missing information. “After the farmer made some repairs, the pigs soon found their way to the fixed trough.”

Finally, there’s one other “fix” that may catch these and other errors. Read your manuscript aloud (some writers even go as far as reading it into a recorder, then playing it back). You’ll be surprised at what you find—portions that are dull, dialogue that goes on for too long, and awkward constructions that trip up the tongue. Simply delete or rewrite these!

Short Story: Darius Figgaro, Legends of the Shoemaker


I wanted to share a short story out of my book Shirley’s Short’s and Flashes. It is a fantasy/mystery story. It’s not long and I hope you enjoy it.   Shirley


“I swear it’s true, every single word.”

“I’m sorry, Mr. Giorgio, I’m unable to accept your statement. What made you think a story so far-fetched, would be believed?”

“Why would I lie about something that could cost me my life, Detective Johnson? That man died just as I said he did. I’m an honest man, and I do not lie.”

Detective Johnson got up from the table and walked from one corner of the room to the other. He couldn’t get his brain around the story that Mr. Giorgio was telling. “Do you care if I smoke, Mr. Giorgio?”

“No, I don’t care, Detective.”

“Thank you. Now let’s stop the formality. I’ve known you all of my life. You call me Peter, and I’ll call you, um, um. I don’t know your first name. I’ve never called you anything but Mr. Giorgio.”

Mr. Giorgio smiled as he listened to Peter. “Peter, my first name is Tony. Actually, it’s Antonio, but everyone calls me Tony. I guess it’s easier to remember.”

“May I call you, Tony? I’m sure I will fall back into old habits and call you Mr. Giorgio, but I’ll do my best to call you by your name. Ok, let’s start from the beginning, once again. Don’t leave anything out.”

“I haven’t left out anything, yet. Peter, there is more to this world than what’s here in Summerton. Things people have no idea is happening in this world. Have you ever heard of Darius Figgaro?”

“No, I can’t say I have. Is that the guy’s name we found in your shop?”

“No, I don’t know who that man was. Darius was from the third century BC and a shoemaker as I am. He lived in a small village, in Armenia. He was known everywhere for his excellent shoes. In fact, he was so talented he was chosen to make shoes for the God’s as an offering, when the festival happened, in a few months. Aramazd, and his attendant, Grogh were made boots. For Aramzd’s son, Mehr, he made the softest, kid, leather shoes, and finally for the Goddess Anahit, he made slippers from a new shiny material from China created by worms. Nothing was finer in the entire world.”

“If anything was going to bring the town prosperity, it would be Darius Figgaro’s shoes. The God’s would certainly think of Artashavian as their favorite place. The village leaders were so confident in their plan, they already had a sign made for outside of town. In large red letters, it read: Artasavian, home of the God’s shoes.”

“You’re kidding, towns back in the third century BC didn’t put up signs.”

“How do you know, Peter? Were you there? People are remarkably resourceful, no matter when or where they lived. Think about the pyramids in Egypt, or the great lighthouse in Alexandria. All through the ages, people have accomplished exciting and beautiful things. Now back to my story. Are you going to interrupt me anymore?”

“I’m not planning to,” remarked Peter.

“The time for the great festival of the gods arrived in Artashavian. You could palpate the excitement in the air. Everyone was happier and looking forward to the three days of fun and homage to their gods. Darius’s excitement ended abruptly when he went to gather his offering and found the shoe cupboard empty. I know I put those shoes in this cupboard. What am I going to do now? Darius sat on his cobbler’s bench and prayed to the gods to help him find his offering. A loud booming voice sounded in Darius’s head.

“Darius sweep the floor using your new broomstick.”

Darius stood as he thought a moment where his new broom was located. Once he thought of the location, he walked to his back porch and grabbed the broom. “Ok, god, I have the broom, and I am obeying you even though I don’t know what good sweeping the floor will do.”

Sweeping the dirt floor was not an easy thing to do. You had to sweep but not stir up the dust and yet sweep aggressively enough to remove the debris on the floor. Sometimes Darius would place a course woven material down on the floor is he could buy the yardage at a cheap enough price. It’s been awhile since he purchased any, so his floor was bare.

He swept the center out of the floor but then decided he’d best do the corners. There’s a box here. I don’t remember this. When Darius looked inside the box, he yelled aloud, “Thank You, thank you.” There were all of the god’s boots and shoes. Tomorrow I will present them as my offering to the gods.

Before sunrise, the next morning, Darius gathered his box of shoes and headed to the temple. He felt fantastic and had extra energy. It was a glorious day. There were other people gathered at the temple also. Sunrise was the appointed time for giving of gifts. If your gift was accepted by the gods, you received a special blessing. Darius was hoping they would give him continued good health so he could continue to make his shoes.

Just as the sun was coming over the horizon, Darius placed his offering on the altar. The ground shook and lightning streaked the sky. Woman were screaming and running away, but Darius stood his ground. He looked at the altar, and his offering was gone. Everyone else’s was still there. What does this mean? Have I displeased them with my offering?”

“You have not displeased us, Darius. You have used your talents to make a personal offering to us. Because you have pleased us so much, we are going to bless you for each pair of shoes you made. Kneel Darius facing the sun.”

Darius was on his knees with the sun shining brightly on his face. He heard a female voice call his name. “Darius, my slippers are magnificent and feel glorious on my feet. For this, you shall have eternal life. You will continue to share your shoes with all you meet. Everyone will want a pair of your shoes. My child’s feet are protected with the soft leather of his shoes. Because you have given him protection, I shall keep you safe.”

“Thank you, Goddess, for your blessing. I could not ask anything more. I will continue to work and make my shoes”, Darius said.

“You shall prosper through your work,” Grogh commanded. “You shall never go without food or beautiful housing.”

Aramazd asked Darius if there was anything else he desired. Darius declined. “Then go, Darius, knowing you will be protected, have a long life and will be sharing your shoes with the world for all time.”

Darius bowed his head as the bright light was removed from his face. He stood, not quite believing what occurred. “I’ve been blessed. What more could I want in this world.”

When Tony finished his story, he looked at Peter and asked, “Do you understand now?”

“Understand what? You told me a fairy tale that has nothing to do with the man’s body in your shop.”

“You are no different than the thousands of other people I have told my story to. You go through this life thinking you know everything, and you actually don’t know anything at all. I can’t explain it any further than what I already have. You have to open your mind, and actually listen to what I said.”

“I don’t have enough evidence to hold you for the man’s murder. I’m going to let you return home but do not try to leave town.”

“I’m not going anywhere, Peter. I will be at my shop working on some shoes. I have a particular order from the Pope. He likes his kid, soft leather shoes.” Tony left the room, heading back to his shop.

Peter kept running Tony’s story around in his mind. Maybe when I hear from the Coroner’s office everything will fall into place. Returning to his office, Peter pulled out the evidence folder on the dead man. It was empty, not one thing to go on so far.

“Peter, the Coroner’s Office is on line 1.”

“Thanks, Sam. Hello, Doc, what do you have for me? You are kidding me, not one thing. What was the cause of death? Heart failure, so it’s natural causes. Sure, I’ll let the prosecutor know about the findings. Thanks, Doc, for the info.” Shaking his head, Peter couldn’t believe it all meant nothing. He knew he wanted to talk to Tony again about the Legend of the shoemaker and to tell him about the findings.

When Peter opened the door to go into the shop, he couldn’t believe his eyes. The room was empty. Not one shoe or even a sign anyone had been in the building. Cobwebs hung from the ceiling corners, with thick dust on the windowsill. A desk sat up against the wall. It was polished to a brilliant shine and had a paper lying on top. When Peter walked over to the desk and looked down at the paper, it made him take in a deep breath, before reaching down to pick it up. His name was printed on the folded paper. He opened the document, and he knew his world would never be the same. It read I am Darius.


Writing Fiction? 10 Common Writing Errors That Make You Look Like a Newbie


This is an article by Sarah White that I thought I would share with you. It’s always a good thing to read advice that can help improve our writing.  Shirley

You’re about to work on your first big writing project. Whether it’s a novel, memoir, or short story, you don’t want everyone to know it’s your first (even if you’re shaking in your boots, just a little).

Many first-time writers fall into traps that can decrease the quality of their piece, and these newbie blunders can diminish their credibility.

New writers fall into these habits for all kinds of reasons: putting pressure on themselves to write something enormous and profound, attempts to mimic other authors, and probably in the most common occurrence, a bad case of writer’s block during their first big project of their career.

The pressure is on and your brain has gone into panic mode, resorting to comfortable cliched phrases.

Not to worry: these writing pitfalls can be easily sidestepped with some awareness.

Here are 10 of the most common writing errors that new authors should strive to avoid.

1. Including too many cliches

Just because it’s the most popular phrase doesn’t mean it’s the most effective. Consider your personal experiences before plunking down a common saying or phrase — those unique reactions are what give you an edge as a writer.

Even when writing fiction, use your own perspective to your advantage as you play with metaphors and other ways of developing your story.

2. Writing inauthentic dialogue

Suspending disbelief is easy when the dialogue in your story universe sounds natural. Dialogue is extremely hard to do well, but can also make or break your story.

Listen to conversations around you; take note of verbal ticks or idiosyncrasies that appear in normal human speech.

3. Rushing the plot

Getting your characters from Point A to Point B is certainly important, but not so much as providing a solid foundation for these transitions.

Whether you decide as you go or map out your character’s story beforehand, ask your editors or critique group if they can name the cause and effect of each major event. DIY MFA’s mapping technique can help you organize the interwoven events that take place over the course of your story.

4. Choosing a cop-out ending

“And then he woke up” is a perfect example of a cop-out: an ending that negates all other given information that the readers have been led to believe is useful in analyzing the plot, characters, and ending.

After fully engaging with the universe you’ve created, your readers don’t want to feel tricked!

5. Abandoning or using your characters

If a character suddenly makes an “exciting” choice that makes no sense with his or her aforementioned stable traits, your readers will instantly question your motivation for inserting that choice into your story.

To avoid this pitfall, take special consideration when choosing your point of view. An event in your character’s life that might read as mundane in a typical third-person scenario might come across as more significant in a first-person voice.

6. Repeating syntax

An entire paragraph — let alone an entire novel — of “The [adjective] [noun] [verb-ed] the [adjective] [noun]” sentences will not hold the attention of your audience, no matter the reading level.

If you’re cranking out a first draft, don’t spend too much time worrying about this. But if you’re ready to have a colleague review your work, scan each page for this predictable repetition.

7. Not trusting your audience

Over-explanation can be just as harmful to your work as under-explanation. As mentioned earlier, your audience does not like to feel deceived, and they certainly do not like to feel belittled, either.

Much of the joy of reading is discovering your connection to the author’s writing. Remember to let your readers dig into your story independently.

8. Changing the setting excessively

Unless constant shifts in space and time are essential to your piece, you need not create pauses after every event. Connecting to a piece of writing is challenging when there isn’t at least some sense of fluidity.

While there can be many settings, timelines, or universes — and creating an unusual format is always an interesting feat — consider whether every shift is a necessary one.

9. Not doing your research

Even if you “write what you know,” it’s critical to verify your information for factuality, especially if your story is heavily based in realism.

Say that your story’s villain is a world-renowned scientist; you’ll lose your readers with the first innacurate algorithm. No one is scared of a mad scientist that can’t even do the math for his own experiments.

Figure out how to access the databases at your local public or university library to locate journals, documents, and other research to support your story.

10. Forgetting your audience

“You can’t win ‘em all,” they say, but you can win over the hearts of yourparticular demographic. Know who you’re writing for and who you plan to reach, or you risk reaching nobody. If you’re in love with your historical fiction piece, don’t write to please the romance enthusiasts.

If you find a couple of cliches or other common errors after your first draft, don’t sweat it!

We’ve all come across at least one of these holes in our own writing. In the end, a good portion of creating fresh, interesting work relies on trusting your own instincts.

Keep an eye out, use good judgement, and most importantly, write from your own experiences and your own heart.