A War of Words by Vanessa C. Hawkins

 

 

 Vanessa Hawkins Author Page

    

You ever hear of a word war? If your familliar with Nanowrimo or national novel writing month, then you probably have. Word wars are like the Olympics of writing, minus the spandex. They're a turbo boost for productivity, turning procrastination into a distant memory faster than you can say "writer's block." It's like a battle royale, but instead of wielding swords, we're armed with laptops and caffeine-fueled determination.

Not a word war... though accurate.

Imagine a room full of writers, all clacking away furiously on their keyboards, eyes wide with the thrill of the chase for word count supremacy. It's a frenzy of creativity, where the only rule is to write like the wind and pray your spellcheck doesn't fail you.

A real life depiction of a room of writers...

And let's not forget the camaraderie! Word wars are the ultimate bonding experience, where fellow writers become comrades-in-arms, cheering each other on through the highs and lows of the literary battlefield. Plus, there's nothing like the sweet taste of victory when you emerge with the highest count!

So far, word wars have gotten me through a few writer's blocks. Nothing beats a bit of competition, though I usually always lose... Lately I have been trying to turn by brain down a notch. Stop overthinking everything I write down and just get it on paper so I have something to work with during the editing phase. But I got to wondering if its only me who struggles. Obviously not.... but what do you do to get through blocks and obstacles? Wait till it passes, and hope the time is short, or power through it?

Surely some one else can relate, right? 

From Big to Little by Joan Donaldson-Yarmey

 

https://www.bookswelove.com/donaldson-yarmey-joan/

https://books2read.com/Romancing-the-Klondike

https://books2read.com/Rushing-the-Klondike

https://www.bookswelove.com/authors/canadian-historical-mysteries/

I am a Canadian writer and all my mystery, historical, romance, and young adult novels are set in Canada. Canada is the second largest country in the world and home to a wide variety of rocks, plants, and animals. Here are some of the oldest, largest, and smallest examples.

Canada’s largest tree is a western red cedar called the Cheewhat Giant. It is in the Pacific Rim National Park on Vancouver Island. It is 56m (182 ft) tall and has trunk diameter of 6m (20ft). The Cheewhat Giant is also the biggest western red cedar in the world.

Canada’s tallest tree is a Sitka spruce in the Carmanah Valley on Vancouver Island. It stands 95m (312ft) high.

Canada has the oldest exposed bedrock on earth and it is the oldest section of our planet’s early crust. It is known as the Nuvvuagittuq greenstone belt and is in Northern Quebec on the eastern shore of the Hudson Bay. It has been analyzed by geologists and they have determined that the rock samples range from 3.8 to 4.28 billion years old. The earth its 4.6 billion years old and there are very few remnants of its early crust, since most of it has been rotated back into the Earth’s interior by the movement of the large tectonic plates over billions of years.

 The Banff Springs Snail isn’t the smallest snail in the world; that is held by the Augustopila psammion species found in a cave in Vietnam and four of them fit inside a grain of sand. However, the only place in the world where the Banff Springs Snail is found is in a handful of thermal springs in Banff National Park in the province of Alberta. The snail was first discovered in 1926 and the largest of the snails are about the size of a small fingernail.

The world’s largest colony of Lesser Snow Geese can be found on the Great Plain of the Koukdjuak on the western side of Baffin Island in the territory of Nunavut, Canada. Beginning in late May as many as two million snow geese migrate there to breed and when the young hatch, they and their parents go further inland to feed. By early September the young are large enough to head south for the winter.

Putting a Puzzle Together VS Mystery Writing by Joan Donaldson-Yarmey

 

https://bookswelove.net/donaldson-yarmey-joan/

My daughter and son-in-law gave me a one-thousand piece puzzle. It has been years since I’ve put a puzzle together and I thought it would be fun. However, as soon as I dumped out the pieces on the table I realized that putting the puzzle together would be much like me writing a mystery novel.

     First, the big pile of pieces is like the big mishmash of ideas, clues, scenes, characters, and settings that make up the notes I have for my mystery. Before I can start the puzzle I have to turn all the pieces upright so I can see their colour, just as I have to sort through my notes when I start my novel. I have to decide where in the story my book begins much like I have to decide how to start my puzzle. I can outline my novel as some writers do or I can jump in and start writing. With the puzzle, I can find all the outer edge pieces and put them together or pick scenes of the picture and find the colours to match.

     I decide to start with outer edge and I sift through the pile to find them. I return the rest to the box. As I work on the edge I have to go back through the box to find edge pieces I missed, just like I have to go through my manuscript and find where I have missed adding some important information or missed putting in a misdirection.

     Because of the way they are cut, it is hard to decide if a piece is part of the outside edge or if it is a regular piece. Just like writing, is that a clue or a red herring?

     With the puzzle I know at the beginning what the end result will be because of the picture on the box. Sometimes when I start my mystery, I know the ending, however sometimes the characters say or do something that I hadn’t planned on and I am left trying to figure out how to get them out of a situation or how to diffuse something they have said.

     I learned that there are various names for the parts of a puzzle piece: loops and sockets; knobs and holes; tabs and slots; keys and locks; even outies or innies. Sometimes it is frustrating to try and get knobs to fit into the holes. The colour looks the same only the tab doesn’t fit correctly into the slot. Or the pieces lock perfectly but there is a slight difference in colour. If one doesn’t seem to fit in a spot, I have to match it somewhere else. That is the same with my writing. Sometimes I come up with a good line or a scene only to find that it doesn’t suit where I want it and I have to find a better match somewhere else.

     When I get stuck with trying to figure out where my story goes next, I can work on a different section in my novel. In the puzzle if I can’t seem to make a scene come together I can go to a different part and work there. Every puzzle piece is tailored to go with the rest to make the picture just like every clue, every scene, every red herring has to fit into the story properly.

     What is frustrating to a puzzle solver is finding that one or two pieces are missing at the end. This is true for the reader of a mystery. All the clues have to be pulled together, the red herrings explained, the mystery solved, and the murderer caught. I can’t leave any pieces out.

     And the last thing I realized about how putting puzzles together and writing mysteries are similar is that both of them are an excruciatingly slow process for me.

My Poetry Moment by Joan Donaldson-Yarmey

https://www.bookswelove.com/donaldson-yarmey-joan/

My Poetry Moment

      Over my writing career I have had articles, short stories, travel books, and mystery, young adult, and science fiction novels published. And one poem. When that one poem was accepted for publication, I felt I had taken my writing to another level. I decided, though, that my contribution was going to be different, that I was going to take the poetry community by storm. I wanted to make my mark, to stand out in the poetry world. And to do that I came up with a new poetry sub-genre that I called Script Poetry. Just like a movie script I set up the scene and the tone for the poem and give some background of the story in the poem by using a script layout. It made the whole poem more visual and that way I could get right to the meat of what I wanted to say. 

     I enthusiastically sent out my script poems and waited for the accolades to come in.

    Surprisingly, the publishers were not as galvanized about this new style of poetry as I was. No one accepted them for publication. 

     But never underestimate the power of a script poet scorned. At the same time as I was planning my burst onto the poetry stage, I was writing my mystery novel "The Only Shadow In The House," the second book of The Travelling Detective Series. I gave one of my characters the career of a poet and her specialty was Script Poetry. Needless to say the publishers and critics in my fictional world were highly impressed with the poems. The poetry was very popular with the reading public and the poetress won many awards. 

     To quote from my book: One critic wrote that her poems have an innovative, revolutionary style that is shaking the foundations of the conventionally staid poetry community, while another critic called them insightful and powerful. 

     I have taken one of the script poems from that novel for you to judge for yourself.

 

Fade In
Act One
Exterior-Farm House-Night.
There is snow on the ground. Stars twinkle in the clear, night sky. A vehicle pulls into the yard and a woman climbs out. She stares at the house then takes a deep breath. She releases it in a vapour. With slow tread she climbs up the steps and enters the darkened house. Inside, she stops and listens.

 

There is no noise in my house, it is dark and silent.
Today, I buried you. Is this what it is like in your grave,
total quiet, total darkness?
I flip on the light and wander the house
looking at the possessions that
represented a life that never existed,
except in my own mind.
This has been our home for nineteen years
but it now feels alien to me.
Because from now on I know that mine
will be the only shadow in the house.
I must leave here soon.

 

End Act One
Fade Out

 

Fade In
Act Two
Interior-Farm House- Night.
All the lights are on in the house. The woman is in the kitchen. She pushes over the shelving holding plant seedlings and pots. She heads to the dining room and goes to a china cabinet with no doors. All the shelves hold figurines and dishes and knick knacks. They crash to the floor with a sweep of her hand. The ones that don’t break, disintegrate under her foot.

 

“Damn you, Ben. Damned you to hell!” I yell.
I want you to hear. I want you to know
the sorrow and the pain you have brought me.
I go from room to room, expunging.
I spray your shaving cream on the walls.
I dump your aftershave in the tub.
I grab a knife and shred your clothes.
Finally, there is nothing of yours left.
I feel some satisfaction.
You destroyed my life and now I have
destroyed everything that represented yours.
“There you bastard,” I say. “Rot in hell.”

 

Fade Out
End Act Two

 

Fade In
Act Three
Interior-Farm House- Night
The woman is standing in front of a picture on the living room wall. The furniture and floor are littered with debris. She takes the picture off the hook and stares at it a long time.

 

I find our wedding photograph on the wall.
I’d had it enlarged for our tenth anniversary
as my loving gift to you.
Were you as pleased as you said you were
or was that just a sham?
I smash the glass against the corner of the table.
I cut my finger removing the shards.
I look at you smiling back at me.
Were you an impostor in our marriage?
For now I wonder how many other
women did you see over our nineteen years.
I slash the picture with the knife. How symbolic.

 

End Act Three
Fade Out

Dealing With Rejection Letters from Publishers by Joan Donaldson-Yarmey

 

https://www.bookswelove.com/donaldson-yarmey-joan/

Rejection: the act of rejecting; the state of being rejected; a thing rejected.

Rejection slip: a note from a publisher rejecting the accompanying returned manuscript.

Like most writers I have received form rejection slips and form rejection emails telling me politely that the publishing house is unable to accept my manuscript. An example: Thank you for considering ECW. Unfortunately, Controling (sic) Her Death is not right for us. I wish you every success in finding a home for your book.

However, I have also received emails and letters giving me more details about the rejection and adding a few encouraging words about my manuscript.

Dear Joan,

Thanks for submitting Controlling Her Death: My Mother's Date With Suicide to Coach House Books. Our editors noted that there's both an immediacy and a poignancy to the prose that draws the reader in from the first page.

Sadly, however, we can't offer to take it on for Coach House. We can publish only a few novels each year, and we have a surfeit of exceptional manuscripts. This leaves us in the unfortunate position of being unable to house many of the fine manuscripts we receive. We’re sorry to say that we aren’t able to fit your work on our list. 

We wish you all the very best in finding a good home for it. 

Sincerely,

Coach House Books

Dear Joan Donaldson-Yarmey

Thank you for submitting your manuscript The Nursery to Ronsdale Press for possible publication. Our readers have now made their reports, and I am sorry to inform you that they have recommended against publication.

After reading your excerpt our principal editor noted, "This is well written and has a great opening, but I find that it moves too slowly and that her memories-at least at the beginning-are the sort of thing that has been often written about. There is little sense of excitement or the strange. The Stone Angel does something similar, but with more verve.

We wish you well in finding a publisher for your manuscript.

Yours sincerely,

Publishing Assistant.

But a rejection, however nicely worded, is still a rejection and it is hard to accept. In the beginning of my writing career I went through a three day grieving process each time I received a rejection letter.

On the first day I would feel totally depressed. I would question why I was writing, who did I think I was trying to write a novel? I would decided that this would be the last day that I wrote anything. I would wallow in self-pity, shed a tear in frustration, and even kick a door.
Day two would bring anger. Anger at the publisher for rejecting my manuscript. Anger at the months it had taken me to write the seventy-five thousand words. Anger at myself for not having written a publishable novel. I would try to figure out how to change it to make it better.
Day three brought a realization that maybe a different publisher might like it. There is the saying: right idea, right publisher, right day. With a renewed enthusiasm I would send it out again and again. I would decide that no one could take away the fact that I had written a manuscript, that I had had the nerve to send it to a publisher.

We writers are supposed develop thick skins. We are supposed to detach ourselves from our work. We are supposed to realize that we are not being judged, that our intelligence, our sense of humour, our sex appeal, and our character are not on the line. What is being judged is just that one piece of writing we have done. But it is a piece of writing that we have written, that we have spent hours at producing. Sometimes, it is tough not to take a publisher's rejection personally.
But the point is to carry on. With multiple submissions being allowed if one publisher rejects my manuscript I have the two or three others to look forward to hearing from. Sometimes I can have two manuscripts and two or three short stories out in the 'please publish me' world at one time. And when I finish one novel, I start another so I am engrossed in it to spend much time worring about the previous one.
The difference between being a success or being a failure is quitting too soon. And we all know of famous writers whose works were rejected many times before being accepted and becoming best sellers. Here are a few of the rejections letters:

"We are not interested in science fiction which deals with negative utopias. They do not sell."
Stephen Kings first published novel, Carrie, was rejected so many times that King collected the letters on a spike in his bedroom. When finally published in 1974, 30,000 copies were printed. A year later the paperback version sold over a million copies in 12 months.

"You’re welcome to le Carré – he hasn’t got any future."

One publisher sent this to a colleague after turning down The Spy Who Came in From the Cold.

"For your own sake, do not publish this book."
A publisher wrote to DH Lawrence about his novel Lady Chatterley's Lover.

Maybe rejection letters make us better writers, maybe they make us better people, or maybe they just annoy us. Whatever our reaction we have to remember that, with publishers receiving thousands of manuscripts each year, being rejected is just one part of the whole writing process.