New Theme TK

Write Through It is going to get a new look — as soon as I can make up my mind, that is. I like this theme, not least because of its name (“Typo”), but I want a sidebar. Readers are having a hard time finding the archives, the “recent posts” list, and the search bar because they’re way down at the bottom. I’d also like “Leave a Comment” to be more visible.

The theme of my dreams has got to be free. The ones I’m considering are Twenty-Eleven, Hemingway Rewritten, Yoko, Mystique, and Misty Lake. Dear readers who are also WordPress bloggers, do you have a favorite theme that I should have a look at? Do you have any feelings, pro or con, about the ones I mentioned?

All comments welcome!

Digested Research and Nonfiction Writing

For me this is true of fiction writing as well. I call it “composting.” When I moved to Martha’s Vineyard in 1985, I was working on a novel that was partly set on Martha’s Vineyard, which at that point I knew only as an occasional visitor. Before long I realized I didn’t know nearly enough to write fiction about the place. In my first years I wrote mostly poetry, and feature stories and reviews for the local paper. All of this sharpened my skills at observation and listening, while reflection was going on deep in the background. It was eight years before all this experience had composted enough for me to write the story that became the backstory for my first novel. Which wasn’t the novel I thought I was writing when I moved to the Vineyard.

Dinty W. Moore's avatarThe Brevity Blog

Holy_Trinity_B_Falls_3We’ve just run across Julija Šukys’ blog “Writing.Life.” in which she adroitly examines the craft of nonfiction writing, including a recent post that delves into what she defines as the “holy trinity of creative nonfiction” – SCENE + RESEARCH + REFLECTION.  In the snippet below, she discusses the hardest part for many new writers, digesting the research:

For example, I have a student who has recently returned from a life-changing trip to Iceland, and he’s now starting to write about it. His first level of research is complete, but more work lies ahead. The second level and stage of research might mean his going to the library and reading tons about sagas and Icelandic history until this writer has mastered his subject enough to distill and retell with energy and spontaneity. Once this learning starts to belong to him in some way (as family history does) — that is, once he’s achieved a kind of…

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On Being Edited

Being both a writer and an editor, I get to listen to writers bitching about editors, and to editors bitching about writers. I’ve been known to blow off some steam myself, sometimes wearing a writer’s hat, other times an editor’s. On the whole, though, I wish writers and editors would spend more time listening to each other instead of just bitching to their colleagues. So a few months ago a friend of mine, the mystery writer Cynthia Riggs, was on the receiving end of an Edit from Hell. (I saw the edited ms. As an editor, I was embarrassed. As a writer, I was outraged.) I asked if she’d be willing to write about the experience for this blog. This is what she wrote. — SJS

By Cynthia Riggs

Is it always the writer who’s being unreasonable? Or could it be the editor?

After ten books and the deft editing of Ruth Cavin, the doyenne of mystery editors, I and my eleventh book were turned over to an editorial assistant in her first real job out of college.

I understand the heady feeling of a first editing job. The more changes an editor makes, the better, right? That will show how conscientious one is. It takes a while for a new editor to recognize that less is more.

The paper manuscript for my eleventh book came to me through the mail, along with a two-page letter from Jane Doe (as I’ll call her). “I think if he [the serial killer] murders a few less people — perhaps 5 instead of 11,” she advised me, ” it would make the murders more meaningful.”

I promised myself to think about it.

stetOn to the manuscript itself. I am accustomed to electronic editing, so in order for me to work with Jane’s extensive comments, I transcribed the first 64 pages of her penciled notes from the paper copy to my computer. Once I got that far, I decided I’d better stop there and write my own comments. The first 153 edits took me up to page 58. Of the 153, I accepted three and rejected 150. I explained each and every one of the 150 I rejected.

She changed ellipses to em dashes, added adverbs, such as “said dismissively” and “snorted derisively,” confused its and it’s, turned sentences around, had my characters react in ways unlike them in past books, and, in general, trashed my manuscript.

Should I, the writer, be teaching Jane, the editor, how to edit?

The last straw was on page 58. Jane had changed my sentence, “The Steamship Authority would require a passenger ticket for the corpse, even one in this condition,” to “Even in it’s [sic] condition, the Steamship Authority would require a passenger ticket for the corpse.” (Actually, the Steamship Authority is in pretty good condition.)

That’s where I decided to quit.

Now, I’m not an inexperienced writer. Or editor. I have an MFA in Creative Writing from Vermont College. I was tutored by editors at the National Geographic Society, where I worked for a time, and wrote two chapters in one of the NGS books, which I also edited. I was editor of the Marine Technology Society Journal, edited and wrote for Petroleum Today, the quarterly publication of the American Petroleum Institute, and have more than a hundred published articles and short stories to my credit. I have been teaching writing for 13 years, since Jane was ten years old.

There are things an editorial assistant in her first job can tell me that I can profit from, but not when she hasn’t read any of the previous books, doesn’t know grammar, doesn’t know the basics of copyediting, and is rewriting my work so it sounds comfortable to her.

We editors often can get defensive about a writer’s rejection of all the work we put into improving a manuscript. But more often than we editors like to think, the writer is right.

  * * *

Cynthia Riggs. Photo by Lynn Christoffers.

Cynthia Riggs.
Photo by Lynn Christoffers.

Cynthia Riggs is the author of the Martha’s Vineyard Mystery Series, whose protagonist, the indomitable Victoria Trumbull, is based on Cynthia’s mother, the late, equally indomitable Dionis Coffin Riggs.  She recently launched Martha’s Vineyard Mysteries, a lively blog about her life at Cleaveland House, which has been in her family since about 1750.

 

In Praise of Readers

If a tree falls in a forest and no one hears it, did it make a sound?

I think it did. I also suspect that when we repeat the question, we’re not just talking about trees. Trees don’t care if they make a sound. They’re going to fall, and rustle, and crack, whether we hear them or not.

For me, writing is part of a conversation. I do want people to hear the rustling and cracking of my words, and more than that: I want to hear what they have to say in response. I’ve had three one-act plays produced, and I love giving readings. Nothing beats the thrill of seeing and hearing people respond to my words.

mud-cover-smIt’s a rare audience that will sit still for a book-length work, but I’m lucky: I’ve experienced what has to be the next-best thing. Last Wednesday and the Wednesday before, I got to sit down and talk with a group of women all of whom had read my novel, The Mud of the Place, and were interested in what I was writing about, the lives of year-round residents in a seasonal resort.

Minnesota Women's Press publishes a bimonthly newsletter that's all about books, writers, and readers.

Minnesota Women’s Press publishes a bimonthly newsletter that’s all about books, writers, and readers.

These women, who came from all around the U.S. and Canada too, were participants in Books Afoot, also known as Reading on the Road, a program of the Minnesota Women’s Press. As organizer Mollie Hoben described it in an email, “The basic idea is that reading and travel make a rewarding combination. We pick a destination, learn about women writers from that place (which always involves exciting discoveries), select books to read beforehand, then travel there with interested reader-travelers for exploration and book discussion. Participants come from all over the country.”

I first learned about Books Afoot a year and a half ago, when Mollie contacted me out of the blue. Three Books Afoot groups would be coming to Martha’s Vineyard in the fall, and my novel was one of the four “required reading” books. Would I be willing to meet with any or (ideally) all of the groups?

One of the 2013 Books Afoot groups, meeting in the outdoor café at a local bookstore

One of the 2013 Books Afoot groups, meeting in the outdoor café at a local bookstore

Would I?? This was a fantasy come true, and the reality surpassed my wildest expectations. (I blogged about it here.) I’d pretty much decided that writing a second novel was a waste of time. These women changed my mind.

This year we were joined by my writer friend Shirley Mayhew, whose wonderful Looking Back: My Long Life on Martha’s Vineyard came out early this summer — too late for the travelers to have read it before they got here, but plenty of them bought a copy to take home with them. Shirley moved here as a young bride in 1947; I arrived solo in 1985. Our books and our very different but overlapping experiences became gateways for the visitors to enter a place that many people know about but few actually know.

Last month I concluded a blog post, “Who Do You Write For?,” with this description of the kind of reader I’d like to be: “one who’s brave enough to venture into unfamiliar territory as long as she trusts her guide, and one who appreciates the effort that goes into the writing.”

When a book goes out into the world, does it make a sound? If it does, will I hear it through all the cacophonous competition? Having sat down and talked with dozens of such adventurous readers, I know you’re out there. I’m writing for you.

The 2014 Books Afoot women each picked a postcard from wherever they were from and wrote a favorite book recommendation or two on the back. Here are a few of them.

The 2014 Books Afoot women each picked a postcard from wherever they were from and wrote a favorite book recommendation or two on the back. Here are a few of them.

Plotting

I just discovered this in From the Seasonally Occupied Territories, my blog about living year-round on Martha’s Vineyard. When I blogged it, in June 2013, I wasn’t even thinking of starting a writing-and-editing blog. Or maybe I was. I’ve updated it a bit, but not much.

Plotting fiction is like making rock candy. Left to itself, boiled sugar water just sits there. Nothing happens. Well, yes, things happen, but they take so long that it’s a rare soul who’ll just sit there and watch.

For me "how-to-write" books are mostly a procrastination technique, but this is one I actually find useful.

For me “how-to-write” books are mostly a procrastination technique, but this is one I actually find useful.

Not the stuff of plot.

Day-to-day life on Martha’s Vineyard is like boiled sugar water. Things happen, but most of them unfold
s-l-o-w-l-y. Even when the results are noteworthy, the steps taken to get there are mundane, quotidian, dull. Follow the newspapers for a few months if you don’t believe me.

No surprise, then, that most novels written about Martha’s Vineyard are murder mysteries. Killing someone off is like dropping a string in the sugar water. Formless liquid crystallizes around the string. Murder shakes people out of their day-to-day routines. They say and do things they wouldn’t do otherwise.

Homicides are rare here. Fiction writers are all in the alternate-reality business, especially if we write about real places, but though I’m happy to read about alternate Martha’s Vineyards where murder happens several times a year, I don’t want to create one. As a plot device, murder makes me just a little bit queasy. My fictional alternate reality is a sort of psychic map of Martha’s Vineyard. I want it to mesh with the Vineyard (I think) I live on.

Dramatic events do happen, of course. Once in a while a quiet undercurrent will explode into a headline. A loose dog jumps a fence and chases down and kills a miniature horse. An on-leave police officer obstructs the firefighters who shows up to extinguish a fire at her home. Such incidents are like strings in the sugar water, good grist for plot, but they have their own challenges. Have you ever really listened to how we recount such incidents for someone who wasn’t there?

“So Jane parked in front of her sister’s house — you know her sister, right? You met her at Cynthia’s Groundhog Day party — no, that’s her older sister; this was the younger one, Margaret — no, you don’t want to call her Peggy, that’s their mother’s name and the two of them barely speak — Is that what happened? I hadn’t heard that — this sister lives in Edgartown, back behind the gas station — yeah, there’s been some trouble there, I’m getting to that — Jane just sat in the car because there was a young guy standing there with a wool cap on even though it’s August — isn’t this heat outrageous? Yeah, I know it’s how they dress, but Jane never saw him before and he had a skateboard under one arm — really, I almost hit one last year when he came shooting into Five Corners from the post office . . .”

Every little thing that happens has at least half a dozen stories feeding into it. Trying to prune and shape these into a plot that readers can follow is, to put it mildly, a challenge.

When I started Mud of the Place, my first and so far only novel, I couldn’t plot my way out of a paper bag. I learned by trial and error, and with the help of a couple of books: Plot, pictured above, and Beginnings, Middles & Ends, by sf writer Nancy Kress.

I didn’t kill anyone off in Mud, but the string I dropped into the sugar water involved a shooting that could have got someone killed. All sorts of interesting stuff crystallized around that shooting.

Wolfie, the canine protagonist of my novel in progress, comes close to killing some sheep. He’s suspected of killing several chickens. Several citizens of his town — which bears the same name as my town — wouldn’t mind taking a shot at him. Some plot has coalesced around that.

There’s also a human character in this novel that I wouldn’t mind taking a shot at, but I haven’t.

Yet.

Hyphenalia

Policy maker, policy-maker, or policymaker? Pre-eminent or preeminent? First grader or first-grader? E-mail or email?

Hyphens can be tricky, but that's no reason to tear your hair out.

Hyphens can be tricky, but that’s no reason to tear your hair out.

According to Sturgis’s Law #5: “Hyphens are responsible for at least 90 percent of all trips to the dictionary. Commas are responsible for at least 90 percent of all trips to the style guide.”

The tricky thing here is that the dictionary will only tell you what to do if your word is in there. Often it isn’t. If it is, you’re in luck — as long as you don’t notice that (1) dictionaries are wildly inconsistent when it comes to hyphenation, and (2) dictionaries often disagree with each other.

Merriam-Webster Unabridged doesn’t list “policy-maker” or “policymaker.” This may be taken to mean that MW considers it two words: “policy maker.” The American Heritage Dictionary, however, lists “policymaker” as one word, no hyphen. And while we’re at it, MW thinks “policyholder” is one word. “Slaveholder” is one word, but “slave owner” is two.

For several editions now, the Chicago Manual of Style has been trying to impose method on the hyphenation madness. In section 7.85 of the 16th edition you’ll find a handy-dandy several-page chart. It sorts compounds by category, parts of speech, and specific words; gives examples of each subcategory; and then summarizes the “rule.”

It’s useful, it really is. I refer to it often. But it too will lead you into inconsistency, not least when you notice that British English uses hyphens more liberally than American English and the sky hasn’t fallen in yet. Chicago “prefers a spare hyphenation style.” So do the Merriam-Webster dictionaries. The operative word here is “style.” In matters of style, there’s generally a big gray area where choices have to be made.

What editors and teachers and style guides tend to forget is that hyphens serve a purpose — beyond driving editors crazy, that is. Hyphens are joiners: they link words into temporary compounds and attach prefixes and suffixes to root words. Over time temporary compounds may become permanent if they’re used enough. A few years ago “e-mail” was generally hyphenated, but these days it’s often one word: “email.”

“Policy maker” and “policy making” are in transition. That’s why one dictionary makes them two words and another closes them into one, and you’ll sometimes see “policy-maker” and “policy-making.” I suspect that the words are closing up fastest among people who write about public policy. They and their readers think of “policymaker” as one word, not two.

If you read books that were published a century, or even a few decades, ago, you’ll probably find hyphens where they’re seldom found today. “Rail road” was once two words, then it was hyphenated, then it fused into one: “railroad.” Other compounds have split into two distinct words: “no-one” is still out there, but “no one” is now standard. The hyphen is no longer needed to tell readers that “no” and “one” are a unit.

What if the potential for confusion still exists? That’s part of the gray area. A readership of educators and parents of young children will probably realize at first glance that a “first grader” is a kid in first grade. A more general audience might need a little help. I generally hyphenate “first-grader” myself, but when I’m editing, I’ll nearly always go with the author’s choice.

How about “high school student”? Yes, it is possible to read that to mean a school student on drugs, but this generally involves some contortion on the reader’s part or (more likely) an affection for puns. If your readers are familiar with the term “high school,” you can safely omit the hyphen.

Once in a while, though, the little hyphen is crucial. Chickens live in a coop; people buy food at a co-op. Newspaper columns are op-eds (an abridgment of “opposite the editorial page”), not opeds.  Merriam-Webster’s hyphenates “co-ed” as both noun and adjective; American Heritage says it can go either way: “co-ed” or “coed.”

Which brings up another handy thing about hyphens: they can join, but they can also separate. In “co-op,” “op-ed,” and “co-ed,” the hyphen tells you to read or pronounce each word as two syllables, not one. This is why plenty of writers use a hyphen in words like “pre-eminent”: to signify that “pre-” is a prefix and that the first syllable of the word is not “preem.”

Merriam-Webster’s and Chicago don’t like such hyphens, so rule-following copyeditors routinely strike them out, whether they’re useful or not. I don’t know about you, but I can’t look at “reignite” without seeing “reign-ite” or “coworker” without seeing “cow-orker,”  so I’m inclined to deal with hyphens on a case-by-case basis. Be wary of “one size fits all” rules when it comes to hyphens, or anything else for that matter.

A hyphen between prefix or suffix and root word can also subtly call attention to the root. The authors I edit often hyphenate “pro-,” “anti-,” and “non-” words. Whether they’re doing it instinctively or by choice, I suspect this is why they do it — because I do it myself. To me “pro-choice” is stronger than “prochoice,” “anti-liberal” than “antiliberal,” and so on.

The author of a current copyediting job hyphenates “desert-like.” Chicago says “-like” compounds should be closed if they’re closed in Webster’s, and sure enough, “desertlike” is given in the entry for “desert.” Is that a good reason to close up “desert-like”? I don’t think so. “Desert-like” calls a little more attention to “desert,” and the passage it’s part of is a little more vivid as a result. So I entered “desert-like” on my style sheet, so the proofreader will realize it’s intentional, and moved on.

Hyphens are handy, versatile little buggers. Sure, they can be overused, but so can anything else.  Do learn whatever conventions prevail in your field or genre, but don’t worry about hyphens when you’re first-drafting. Even if the whole world will think you’re stupid because you put a hyphen in the wrong place, you don’t have to worry about it yet. Not until you’re ready for the whole world — or at least your writers’ group, or an editor — to have a look at your ms.

When you get to your second and subsequent drafts, that’s soon enough to think about whether this or that hyphen serves a purpose.

 

Who Do You Write For?

I’ve been struggling with this one. “Who do you write for?” keeps getting tangled up with “who’s your audience?” They’re related, but they’re not the same. Who are you writing for before you have an audience out there? Let’s leave the out there audience aside for now. We’ll come back to it soon, I promise.

Aside: Yes, I do know that purists will insist on “Whom do you write for?” or “For whom do you write?” At the moment I’m not writing primarily for purists. Be warned.

So the other morning, while procrastinating warming up, I went over to Brevity’s Nonfiction Blog and found “When Words Stop” by Beth Taylor. Beth Taylor was writing for me, whether she knew it or not, so I had to write back:

Been there . . . For me writing is a conversation. If no one’s listening and (maybe more important) if no one’s speaking back and otherwise responding, the words dry up. Any actor can tell you that monologues are hard to pull off. One-person shows are even harder. In a one-person show, the actor is rarely talking just to her- or himself. Sometimes she’s talking to the audience, or a particular person in the audience. Other times she’s addressing a character that only she can see at first, but in doing so she makes that character visible to the audience. Writers can do that — we’re often doing it without knowing it.

When I write, I write alone -- but there's always someone there.

When I write, I write alone — but there’s always someone there.

Aha. That’s who I’m writing for: someone that only I can see but that I’m in continual conversation with when I write. That someone has evolved over the years. She wasn’t always there.

At first I wrote to keep from cracking up. I also wrote to turn myself on — remember the desert fantasies? This was back in the day when writing on paper was the only option. Most of the paper I wrote on got burned in my parents’ fireplace or, later, ripped to shreds and put out with the trash. This was a big clue that I wasn’t writing for anyone else. I destroyed most of what I wrote because I was afraid someone else would find it and think I was crazy.

The time came — and it came pretty quickly — when writing for myself wasn’t enough. I wanted people to read at least some of what I wrote. I thought it was worth reading. In college I reviewed books and the occasional concert. I wrote regular op-ed columns, mostly political commentary. Most of my published writing since then has consisted of reviews and commentary, with significant forays into poetry, journalism, theater, and, most recently, fiction.

But that doesn’t explain why I sometimes hesitate over a phrase and think: No, that’s not right or That’s going too far. Or why I make choices that I know bloody well aren’t commercial: they limit my publication options, which weren’t all that great to start with. Who do I write for?

Turns out that the choices I make are clues to the identity of this mysterious entity, the reader who makes writing worthwhile.

I’m writing for the person who’s willing to read about and even identify with characters who aren’t like them in some ways.

I’m writing for the person who’s willing to be momentarily perplexed or even pissed off but doesn’t want to be hoodwinked for no reason.

I’m writing for the person who once in a while will be struck by a turn of phrase and think, That’s exactly right. Who might even toy with possible alternatives and finally conclude, Yeah, you made the right choice.

All of which, come to think of it, describes the sort of reader I’d like to be, and try to be: one who’s brave enough to venture into unfamiliar territory as long as she trusts her guide, and one who appreciates the effort that goes into the writing.

Let's see where the road goes, huh?

Let’s see where the road goes, huh?

Details, Details

“The devil’s in the details” — or is it God that’s in the details? God and the devil are always mixing themselves up, but that’s a post for another time, another blog. What matters is that details are important.

For writers, they’re crucial. Whether you write fiction or nonfiction, poetry or plays, details help bring your stories to life. (They can also weigh your story down. We can talk about that some other time.)

Where do details come from? They’re all around you. All you have to do is pay attention.

Four buses in waiting at the West Tisbury School

Four buses in waiting at the West Tisbury School

I was reminded of this yesterday when I posted “Little Changes” to my other blog, From the Seasonally Occupied Territories. On our walks, my dog and I often follow a trail that skirts the school bus parking lot at the nearby elementary school. Last year four buses parked there. They went away for the summer, but when school resumed earlier this month, there were again four buses in the parking lot.

124 signFrom a distance they looked like the same four buses — not only do school buses look alike, big, long, and bright yellow, but they look a lot like they did when I was a kid back in the Pleistocene. But they weren’t the same buses. Each bus has a number. Last year the regulars were 121, 123, 124, and 117H. This year 124 is back, but with different companions: 125, 126, and 116H.

Close-up of the 116H bus

Close-up of the 116H bus

Finally I got curious about the H. What made 116H and 117H different from their buddies? This wasn’t obvious from a distance either, so I looked more closely.

116H seats fewer kids than the non-H buses — because it leaves room for a wheelchair and has a wheelchair entrance at the back. The H, it seems, stands for “Handy Bus” (so it says on the side of the bus), and “Handy” is probably shorthand for “handicap access.”

Back in the Pleistocene, the school buses in my town weren’t accessible by wheelchair. By noticing the details, I learned something about school buses. Will this ever come up in my writing? (Other than this blog, I mean.) Probably not, but who knows? If I ever write a murder mystery, maybe a school bus will have been seen at the scene of the future crime. Maybe some alert soul will have noticed the number.

Too much detail can obscure the main point.

Too much detail can obscure the main point.

Details often sprout into images, similes, and metaphors. Images, similes, and metaphors aren’t scary when they grow organically from your own experience. If you mess around in a garden, for instance, your mind is almost certainly linking what your eyes see, your hands feel, and your nose smells to other things in your life. When I look at my little garden, sometimes I think about making pesto or eating cherry tomatoes, but other times I think, What a mess! I can’t see what’s going on here.

Which is what I sometimes think when I’m revising and come to a passage that’s drowning in detail. Pruning is good, both for prose and for shrubs.

I often think in generalities and abstractions, but when I describe my thoughts to someone else, I almost always reach for concrete images to illustrate them. No surprise there: most useful generalizations are firmly grounded in specifics. In the spring of 1970, I was a freshman at Georgetown University in Washington, D.C. Here’s a story from that time, as recounted several decades later:

Lauinger Library opened toward the end of my freshman year, about a month before the Kent State shootings shut the campus down. Within a very few weeks footpaths had appeared across the green lawn fronting the library, one leading from the main gate, the other from the corner of Healy Hall where foot traffic from several dorms and classroom buildings converged. Imagine a terrestrial ice cream cone, with the traffic circle standing in for one scoop of your favorite flavor and the tip at the library’s front door. While war raged in Southeast Asia and anti-war movements fought it across the United States and around the world, university officials battled the entire student body over the right way to walk to the library. The officials contended that we should follow the existing asphalt walkway around the perimeter of the lawn. Our footsteps, in their hundreds, then thousands and tens of thousands, countered that the shortest distance between two points was a straight line.

Our footsteps carried the day. Officialdom conceded, and the foot-beaten paths were enshrined in asphalt.

“The shortest distance between two points is a straight line”: Well, duh — everybody knows that. But the truism doesn’t stick in my mind the way that story has all these years. It taught me to pay attention to something that just about all of us tend to forget: footsteps matter.

Footsteps, come to think of it, are like details. Pay attention to them. They’re important.

 

Poets and Punctuation

A couple of posts ago I advised even non-poets to read lots of poetry. “Good poets make every word count,” I wrote.

Synchronicity rules: The wonderful Brain Pickings e-newsletter just featured a short digression by poet Mary Oliver on this very subject. She set out to “write a poem that uses no punctuation” so she could “see what I could do simply with the line break and the cadence of the line and so forth.”

The poem is “Seven White Butterflies.” The Brain Pickings story includes both the text of the poem and a video of the poet reading it. Check it out.