Wednesday

SHALLA CHATS now at Colorado Springs Fiction Writers Group


It's always wonderful to see one of my "chats" out there for others to read. . .

My intention has always been to spread helpful information that will help others achieve their writing goals. . . (oh, do I sound like a politician? :)

Write Sex: Getting Characters' Chemistry Sizzling Off the Page!

by Shalla de Guzman

This interview with Gena Showalter opens the door to irresistable characters...


Isn't it lovely, CFSWG put this beautiful picture with it?

Thanks to everyone at CFSWG!

Friday

FYI: Figuring out Copyright Laws

Well, I'm looking forward to doing a SHALLA CHATS (a more formal interview compared to SHALLA MINGLES) and I'm asking this top literary agent editing questions.


So, can I attach a page of text from one of the marvelous novels I'm writing? Is that okay with copyright laws?

Here's something I found online...



When Can You Use Someone Else.s Work?
There are circumstances when
you can copy someone else.s work into your own.
Copyright law provides for a doctrine called "fair use," and if you meet the elements, you can use small amounts of copyrighted work in your own.
As a fiction writer, this probably won.t apply to you, primarily since you are writing for a commercial purpose.
Fair use generally applies in educational contexts, and
specific factors must be weighed in determining whether the exception
applies.

Rule of thumb: Assume fair use does not apply and don.t use
someone else work within your own. Criticism may be a fair use. Parody is
another example of a situation in which you might be able to use pieces of
someone else.s work without infringing, as the Supreme Court made clear
when it held that 2 Live Crew.s version of "Pretty Woman" didn.t infringe
the copyright on the original recording by Roy Orbison.
Again, don.t assume this applies to you. Where the purpose of your work is not to parody the arget work, but instead to comment on social issues through satire, your work may not qualify for fair use. About the only time you should feel comfortable using someone else.s work is when you either have their permission (in writing) or the work is in the public domain.
When in doubt, don.t use it without seeing a lawyer.

Thursday

NOVELS in First Person-Present I am studying

The Joy Luck Club by Amy Tan

Nine and a Half Weeks : A Memoir of a Love Affair by Elizabeth McNeill "The first time we were in bed together he held my hands pinned down above my head..." (more)


The Weight of Water by Anita Shreve "IT IS MY job to call out if I see a shape, a rocky ledge, an island..." (more)

The Notebook by Nicholas Sparks "Who am I?..." (more)

Forrest Gump by Winston Groom



LIST OF Literature From Around The World

My Favorite Asian Flavored Books

PULITZER PRIZE WINNING FICTION

Gilead: A Novel by Marilynne Robinson "I told you last night that I might be gone sometime, and you said, Where, and I said, To be with the Good Lord, and..." (more) SIPs: old sermons CAPs: Jack Boughton, John Ames Boughton, Karl Barth, John Brown, Fifth Commandment (more)

Wow, this is in first-person present, just like what I'm writing :) I better check this one out.

The Known World by Edward P. Jones "The evening his master died he worked again well after he ended the day for the other adults, his own wife among them, and sent..." (more) SIPs: dead man layin, boardinghouse woman, nigger side, traveling eye, young stuff CAPs: William Robbins, Henry Townsend, John Skiffington, North Carolina, Manchester County (more)

Writing Multi-cultural (Figuring Dialogue)



Do's and Taboos Around the World for Women in Business
by Roger E. Axtell, Tami Briggs, Margaret Corcoran, Mary Beth Lamb "In the following pages, you will find a quiz in the form of six situations you might encounter in your international business career..." (more)

Gestures : The Do's and Taboos of Body Language Around the World by Roger E. Axtell "(Reuters)-The opening session of Bangladesh's new parliament turned into chaos Sunday after opposition legislators reacted with fury to an alleged offensive thumb gesture by Shipping..." (more)

Kiss, Bow, or Shake Hands: How to Do Business in Sixty Countries by Terri Morrison, Wayne A. Conaway, George A. Borden


CIA World Factbook


The Philippine Islands became a Spanish colony during the 16th century; they were ceded to the US in 1898 following the Spanish-American War.

In 1935 the Philippines became a self-governing commonwealth. Manuel QUEZON was elected President and was tasked with preparing the country for independence after a 10-year transition.

In 1942 the islands fell under Japanese occupation during WWII, and US forces and Filipinos fought together during 1944-45 to regain control.

On 4 July 1946 the Philippines attained their independence. The 21-year rule of Ferdinand MARCOS ended in 1986, when a widespread popular rebellion forced him into exile and installed Corazon AQUINO as president.

Her presidency was hampered by several coup attempts, which prevented a return to full political stability and economic development.

Fidel RAMOS was elected president in 1992 and his administration was marked by greater stability and progress on economic reforms.

In 1992, the US closed its last military bases on the islands. Joseph ESTRADA was elected president in 1998, but was succeeded by his vice-president, Gloria MACAPAGAL-ARROYO, in January 2001 after ESTRADA's stormy impeachment trial on corruption charges broke down and widespread demonstrations led to his ouster.

MACAPAGAL-ARROYO was elected to a six-year term in May 2004. The Philippine Government faces threats from armed communist insurgencies and from Muslim separatists in the south.

For more on the Philippines
US DEPARTMENT OF STATE

COMMON CORRECTION and EDITING MARKS

Now that we're learning editing manuscripts, here's a list of Proofreaders'/editing marks:



Common Proofreading Abbreviations


Q. What is the difference between i.e. and e.g.?

A.


I.e. means "that is" (to say).

E.g. means "for example."

I.e. is an abbreviation for Latin id est, "that is." (explanation)

E.g. is for exempli gratia, "for the sake of example."

So you can say, "I like citrus fruits, e.g., oranges and lemons";

or,

"I like citrus fruits, i.e. the juicy, edible fruits with leathery, aromatic rinds of any of numerous tropical, usually thorny shrubs or trees of the genus Citrus."

In the first sentence you are simply giving an instance of a citrus fruit; in the second you are giving an explanation.

E.g. simply indicates an example;
I.e. specifies, explains.

Compare: She loves to read non-fiction, e.g., reference books and how-to books

vs.

He had one obvious flaw, i.e. his laziness.

Saturday

SHALLA MINGLES with Bravo TV's Sitcom Writers

Yep! Shalla's interviewing screenwriter
Mark Treitel this September.
Check it out

Tuesday

PRACTICE: WRITING "BEATS"

Beats are bits of action between dialogue that jumpstart the reader’s imagination so they know what the characters are doing, where they are, what they’re thinking, etc.

She said, He said, these are just speaker attributions, put there so we know who’s talking.

She jumped up and down. She looked at him and crossed her eyes. These are Beats.



Beats are used to vary the pace of dialogue exchanges.

Ie. You like more tension in the scene where characters are talking? Put less Beats.
You like a more leisurely dialogue exchange between your characters? Use more Beats.

When do dialogue exchanges require a Beat?
When dialogue changes emotional direction.

Ie.

“You’re a big, rotten fool. Woops, I shouldn’t have said that.”

“You’re a big, rotten fool.” Her hands flew to her mouth. “Woops, I shouldn’t have said that.”

So, where do we find good Beats? Watch TV, watch movies and study the actors’ stage business (actions).

In conclusion, Beats:

1.) vary the pace of dialogue
2.) help tie dialogue to setting and characters
3.) can convey characters/show their personalities
4.) longer Beats can turn up tension by slowing the scene up to the critical moment
5.) can provide breathing space in emotionally tense scene


**********************EXERCISE************************
(time to apply what we learned)
So, I got a couple of books by best-sellers to analyze.
NOTE: I typed scenes and analyzed them. If you like, just go to the end, SUMMARY.
Nora Roberts: SKIN DEEP

P-17 (More leisurely. Long beats, introducing her day-to-day and raises mystery on Larry Washington. Could he be her stalker?)

“Such incredible bulk,” the stylist murmured as she aimed the hand-held dryer. “I know women who would sell their blue-chip stocks for hair as thick as this. And the color!” She bent down to eye level to look in the mirror at the results of her work. “Even I have a hard time believing it’s natural.”

“My grandmother on my father’s side.” Chantel turned her head a bit to check her left profile. “I’m supposed to be twenty in this scene, Margo. Am I going to pull it off?”

With a laugh, the stringy redhead stood back. “That’s the least of your worries. It’s a shame they’re going to dump rain all over this.” She gave Chantel’s hair a final fluff.

“You’re telling me.” Chantel stood when the bib was removed. “Thanks, Margo.” Before she’d taken two steps, her assistant was at her elbow. Chanted had hired him because he was young and eager and had no ambitions to be an actor. “Are you going to crack the whip, Larry?”

Only the Beats:

the stylist murmured as she aimed the hand-held dryer. (murmured instead of said, “aimed”, wouldn’t blow dryer be better? Can’t we assume it’s hand-held since she’s “aiming” it?)
She bent down to eye level to look in the mirror at the results of her work. (can’t we assume if she’s looking in the mirror… it implies she’s done styling ie. results of her work)

Chantel turned her head a bit to check her left profile. (isn’t “a bit” description? Makes it easier to visualize? A bit is more precise)

With a laugh, the stringy redhead stood back.
She gave Chantel’s hair a final fluff.

Chantel stood when the bib was removed. (not A-B action, more like B-A)
Before she’d taken two steps, her assistant was at her elbow. Chanted had hired him because he was young and eager and had no ambitions to be an actor.

Stylist – kissing up (big compliments)
Beat: her job
“murmured” – makes her more feminine
“aimed” -- sounds like an expert
“bent down to eye level to look in the mirror at the results of her work “ – she cares about her work and makes sure it’s good
“stood back”; “she gave Chantel’s hair a final fluff – again, an expert, assessing her work/art

Chantel – an experienced client, she’s had her hair done many times before
Beat: her “star” status
“turned her head a bit to check her left profile” – she’s graceful with her movements ie. “a bit” and knows what she likes “check her left profile”
“stood when the bib was removed” – she knows when to get up, she’s done this before

Larry – who is the stalker? Him?
Beat: suspicious
“before she had taken two steps, her assistant were at her elbow” – snuck up on her? Surprised her. Is he the sneaky type? The type who’d be a stalker?


Carl Hiassen’s Lucky You
p-3

“Two hunnert bucks,” said Chub, scratching his scalp with a salad fork.
“I’m a little short on cash. You like lobster?”
“Who don’t?”
So they’d worked out a trade—the bogus disabled parking permit in exchange for ten pounds of fresh Florida lobster, which Bode Gazzer had stolen from a trapline off Key Largo.

Okay, wait, how come Hiassen, or can I call him Carl, change the spelling of “hundred” to hunnert? The book said not to do that. But then again, exceptions? Is it because it’s Hiassen? Or, hunnert has to be hunnert. That’s how it sounds and so it must be. (we’ll have to ask Mr. King, author of this book)

Okay, the one Beat. “scratching his scalp with a salad fork.”
Well, shows Chub is one uneducated, not very clean kept guy who’s also a criminal with mostly minor offenses.
Beat: his uneducated, unkept ways


p-46

Demencio was carrying out the garbage when the red pickup rolled to a stop under the streetlight. Two men got out and stretched. The shorter one wore pointed cowboy boots and olive-drab ponytail and sunken drugged-out eyes.
Demencio said: “Visitation’s over.”
“Visitation of what?” asked the hunter.
“The Madonna.”
“She die?” The ponytailed one spun toward his friend. “Goddamn, you hear that?”
Demencio dropped the garbage bag on the curb. “I’m talking about Madonna, the Virgin Mary, Jesus’ mother.”
“Not the singer?”
“Nope, not the singer.”
The hunter said, “What’s a ‘visitation’?”
“People travel from all over to pray at the Madonna’s statue. Sometimes she cries real tears.”
“No shit?”
“No shit,” said Demencio. “Come back tomorrow and see for yourself.”
The ponytailed man said, “How much you charge?”
“Whatever you can spare, sir. We take donations only.” Demencio was trying to be polite, but the two men made him edgy. Hicks he could handle; hard-core rednecks scared him.
The strangers whispered back and forth, then the camouflaged one spoke up again: “Hey, Julio, we in Grange?”
Demencio, feeling his neck go tight: “Yeah, that’s right.”
“Is there a 7-Eleven somewheres nearby?”
“All we got is the Grab N’Go.” Demencio pointed down the street. “About half a mile.”
“Thank you kindly,” said the hunter.
“Double for me,” said the ponytailed man.
Before the pickup drove away, Demencio noticed a red-white-and-blue sticker on the rear bumper: MARK FUHRMAN FOR PRESIDENT.
Definitely not pilgrims, Demencio thought.

Okay, let’s analyze this:

Demencio was carrying out the garbage when the red pickup rolled to a stop under the streetlight. Two men got out and stretched. The shorter one wore pointed cowboy boots and olive-drab ponytail and sunken drugged-out eyes.

Intro of the chapter, answers Who? Demencio
What? Carrying out garbage, two men came (in cowboy boots and ponytail, drugged out eyes)
When? Now
Why? TBA
Where? His work place

Demencio said: (speaker attribution, just to say who’s speaking)
asked the hunter.
0
The ponytailed one spun toward his friend.
Demencio dropped the garbage bag on the curb.
0
0
The hunter said, (speaker attribution)
0
0
said Demencio. (speaker attribution)
The ponytailed man said, (speaker attribution)
Demencio was trying to be polite, but the two men made him edgy. Hicks he could handle; hard-core rednecks scared him. (thought)
The strangers whispered back and forth, then the camouflaged one spoke up again:
Demencio, feeling his neck go tight:
0
Demencio pointed down the street.
said the hunter. (speaker attribution)
said the ponytailed man. (speaker attribution)
Before the pickup drove away, Demencio noticed a red-white-and-blue sticker on the rear bumper: MARK FUHRMAN FOR PRESIDENT.
Definitely not pilgrims, Demencio thought.


Chub and Bodean:
Beats:
suspicious
“spun toward his friend” –has agility? Volatile?
“whispered back and forth” –secretive
Their speaker attributions also compliments their Beats: “ponytailed man said,” “the hunter said” and “the camouflaged one spoke up”



Demencio:
Beats:
done with work for the day (so Beats are determined by character’s Intent and Personality?) Here, Demencio’s actions/Beats mentioned reflects his Intent (he’s closing shop for the day)

ACTION: “dropped the garbage bag on the curb” –to talk to them, to get them to attend his Madonna attraction, and maybe give money?

THOUGHT: No, his thought, answers that: “Demencio was trying to be polite, but the two men made him edgy. Hicks he could handle; hard-core rednecks scared him.”

FEEL: “feeling his neck go tight”


SUMMARY:
Beats are determined by character’s Intent and Personality. So, choose a Scene, figure out the character's Intention and choose your Beats that communicates that.

Exercise:
Study each Sitcom Scene and choose the beats right for that Scene.
1. Figure out the character’s Intent for that Scene
Ie. To sell a product? To get someone to like her? To get someone to hate her? To win an argument? To argue just because? To upset another? Etc.
Then, figure out which beats show that the best.

2. More tension in the scene = Less Beats
More leisurely scene = More Beats

Although, a long beat can heighten tension by slowing the scene down to a critical moment (study Stephen King and top suspense authors)

Plus-Size News! SHALLA MINGLES with screenwriter Shoe Schuster



Remember Shoe Schuster?

He’s one of the writers competing in Bravo’s latest reality TV show, Situation Comedy. Yeah, from the Sperm Donor team.

--Guess what? We didn't chat, we mingled…

SHALLA MINGLES with screenwriter Shoe Schuster, get it on SHALLA GOES HOLLYWOOD this August, coming soon!

Monday

CHAPTER on See How It Sounds

What is dialogue?

It’s an artificial creation that sounds natural when read even aloud. It is more compressed than real speech.

A well written dialogue reflects the character’s vocabulary, history and emotions. So, make sure, different characters sound differently.


How to create good, strong dialogue?

1.) Adjust its Formality:

a. Use more contractions

Ie. Would not --> wouldn’t

Unless: character is stiff/prissy or English is not her first language

b. Use sentence fragments

Ie. It doesn’t matter to Doesn’t matter

c. Use comma instead of period (when connecting 2 sentences

d. Make sure “exposition” or info reads natural

e. Make sure character has reason for saying a line (there’s always a point to everything)

f. Make sure lines are in character: reflect character’s vocabulary, history and emotions (make character’s intention clear)

g. Remove fancy polysyllabic words unless right for the character (more consonants)

Ie. Use think instead of conclude

give up instead of surrender

get instead of retrieve

h. Use Misdirection – show characters understanding unspoken info and/or answering unspoken questions rather than the one asked out loud (you can skip words and imply info)

- talk at cross purposes
- lie
- hedge
- disagree

How to create a Character’s Unique Voice?

Exercise: Read Dialogue Aloud (p- 108)

Select a scene with 2-3 characters speaking
Read dialogue of one character to the end of the scene
Can you sense the character’s conversational style?
Her speech rhythm?
Her vocabulary?
Her Intent? Ie. Self-interruptive
Self-contained
Enthusiastic
Rigid
Her speech mannerisms?
Then, do the same with the next character. Make sure their speech style is different.

*The whole manuscript should be read aloud. Revise narration and description, these must have a sense of rhythm and flow.

How to write Dialect?

Gone are the days of trick spellings and grammatical gimmicks, in other words, no more changing spellings, no more dropping g’s, etc. Dialogue is better without much explanations, if any, no adding adverbs, no speaker attributions besides the first. (p-111)
Instead, to get the character’s geographical, educational, & social background across, by using the right: ]

1. Word Choice
2. Cadence
3. Grammar


Here are books I'm reading:

Characters and Viewpoint (Elements of Fiction Writing) (Paperback)by Orson Scott Card

Here are books on the subject of Editing

Developing Proofreading and Editing Skills (Paperback)by Sue C. Camp
Handbook for Proofreading (Paperback)by Laura Killen Anderson
The Copyeditor's Handbook: A Guide for Book Publishing and Corporate Communications : With Exercises and Answer Keys (Paperback)by Amy Einsohn

Saturday

CHAPTER on Sophistication

I’m on the final two chapters of the book, Self-Editing for Fiction Writers—wahoo! Learning a lot. Good book. Recommend it. But, I realize I decide which “tricks” and tips I’ll be using. Nope, not all.

For instance, this chapter, Sophistication, warns on using both the as and –ing constructions.

Ie.

Flicking her fingers, she called him.

Or:

As she turned the driveway, she blew him a kiss.

But! My question is, doesn’t Nora Roberts use this a lot? (I’ll go check soon as I finish the last chapter)

My take: We can read as many how-to books and hear tips but, in the end, we decide. Yes, if Nora Roberts is using it in her writing AND I like it, then I’ll be using it too.



********************************************************************************
ACCORDING TO SHALLA:

One of the greatest women Ever is
Mary Pickford
Mary Pickford was the most powerful, popular and influencial woman of Hollywood from 1910 - 1937. Co-founder of United Artists Studios in 1919 and wife of Douglas Fairbanks the swashbuckling Silent film star (1919-1936).

Owner of numerous companies and the hostess to the most lavish Hollywood parties during this period at her famous estate "PickFair" (named after her & husband Fairbanks).

For more on Shalla's adoration of Mary Pickford:

SHALLA WEEKLY FIX

Ooh, I love the black background so here's more pictures of one of my favorite actors, Mary Pickford:

Features & TV Movies:

1909:Two Memories (debut);His Duty;The Lonely Villa;The Violin Maker of Cremona;The Sons Return;Her First Biscuits;The Faded Lilies;The Peach Basket Hat;The Way of MenThe NecklaceThe Country DoctorThe Cardinal's ConspiracyTender HeartsThe RenunciationSweet and TwentyThe SlaveThey Would ElopeHis Wife's VisitorThe Indian Runner's RomanceThe Seventh DayThe Heart of the OutlawOh, UncleThe Sealed RoomThe Little Darling1776, or The Hessian RenegadesGetting EvenThe Broken LocketIn Old KentuckeyThe AwakeningThe Little TeacherHis Lost LoveLines of White on a Sullen SeaThe Gibson GoddessWhat's Your HurryThe RestorationThe Light That CameA Midnight AdventureIn the Watches of the NightThe Mountaineer's HonorThe Trick that FailedThe TestTo Save her Soul1910:All On Account of the MilkThe Woman from Mellon'sThe Englishman and the GirlThe NewlywedsThe Thread of DestinyThe SmokerThe Twisted TrailAs It Is In LifeA Rich RevengeA Romance of the Western HillsNever AgainMay and DecemberThe Unchanged SeaLove Among the RosesThe Two BrothersRamonaIn the Season of BudsA Victim of JealousyA Child's ImpulseMuggsy's First SweetheartWhat the Daisy SaidThe Call to ArmAn Arcadian MindThe Sorrows of the UnfaithfulWhen We Were In Our TeensWilful PeggyMuggsy Becomes a HeroA Gold NecklaceA Lucky ToothacheWaiter No.5Simple CharityThe Song of the Wildwood FluteA Plain Song
1911:
When a Man LovesWhite RosesThe Italian BarberThree SistersA Decree of DestinyTheir First MisunderstandingThe DreamMaid or ManAt the Duke's CommandThe MirrorWhile the Cat's AwayHer Darkest HourArtful KateA Manly ManThe Message in the BottleThe Fisher-MaidIn Old MadridSweet MemoriesThe StampedeSecond SightThe Fair DentistFor Her Brother's SakeThe Master and the ManThe Lighthouse KeeperBack to the SoilIn the Sultan's GardenFor the Queen's HonorA Gasoline EngagementAt a Quarter of TwoScienceThe Skating BugThe Call of the SongThe Toss of a Coin'Tween Two LovesThe Rose's StoryThe Sentinel AsleepThe Better WayHis Dress ShirtFrom the Bottom of the SeaThe Courting of MaryLove Heeds Not the ShowersLittle Red Riding HoodThe Daddy's DreamHonor They Father
1912:
Iola's PromiseFate's InterceptionThe Female of the SpeciesJust Like a WomanThe Old ActorWon by a FishA Lodging for the NightA Beast at BayHome FolksLena and the GeeseThe School Teacher and the WaifAn Indian SummerWith the Enemy's HelpThe Narrow RoadThe Inner CircleA Pueblo LegendFriendsSo Near, Yet So FarA Feud in the Kentucky HillsThe One She LovedMy BabyThe InformerThe New York Hat
1913:
The Unwelcome GuestIn The Bishop's CarriageCaprice
1914:
Hearts AdriftA Good Little DevilTess of the Storm CountryThe Eagle's MateSuch a Little QueenBehind the ScenesCinderella
1915:
Mistress NellFanchon, The CricketThe Dawn of TomorrowLittle PalRagsEsmereldaA Girl of YesterdayThe FoundlingMadame Butterfly
1916:
The FoundlingPoor Little PeppinaThe Eternal GrindHulda from HollandLess Than The Dust
1917:
The Pride of the ClanThe Poor Little Rich GirlA Romance of the RedwoodsThe Little AmericanRebecca of Sunnybrook FarmA Little Princess
1918:
Stella MarisAmarilly of Clothes-line AlleyM'LissHow Could You, Jean?Johanna Enlists
1919:
Captain Kidd Jr.Daddy Long LegsThe HoodlumHeart of the Hills
1920:
PollyannaSuds
1921:
The Love LightThrough the Back DoorLittle Lord Fauntleroy
1923:

Rosita 1922: Tess of the Storm Country
1924:
Dorothy Vernon of Haddon Hall
1925:
Little Annie Rooney
1926:
Sparrows
1927:
My Best Girl
1929:
CoquetteThe Taming of the Shrew
1930:
Forever Yours
1931:
Kiki
1933:
Secrets.

DEDICATED WITH LOVE AND BLESSINGS TO OUR CUTE DOGGIE, ALEXANDER COLIN STAFFORD "ALEX"