The Doctor and Zaphod Beeblebrox

Apparently aliens are all about picking up chicks from Earth. Our planet must be like a Greyhound bus station for these weirdos: they just drop in, pick out a lady they fancy, and they’ve got a Companion. Hurray!

It makes for great stories, it really does, but–hell to the no.

 Why I Won’t Be Traveling Around Space/Time With an Alien I Just Met

  1. Seriously? You want to go *anywhere* with this guy?!

    Stranger Danger
    With both the Doctor and Zaphod, you have a sort of good guy who just walks up to a woman he doesn’t really know and is all like “hey, wanna see my spaceship?” Honestly, that’s the best/worst pickup line I’ve ever heard. And yet it seems to work pretty well. But that’s a terrible idea. I mean, really. It’s just a bad idea to board any UFO with someone you don’t know. Because then you end up with someone who has two heads and a split personality. We have anti-psychotic drugs for crap like that. (Despite his dapper ties and whatever, the Doctor isn’t much better; at any point he could have to regenerate and become someone with a completely different personality? Yeahhhh….I’ll pass).

  2. No Way Home
    Alright, so maybe you are a sucker for cheesy pick-up lines and you go with him. Well, then what, honey? When I first started dating, my mom taught me to always have what she called “Mad Money.” Basically, it’s enough money to a) use a payphone to call for a ride (back before folks had cell phones) or b) get a taxi home in case you get stranded somewhere. How are you gonna follow that advice when you’re traveling through space and/or time? Congratulations, you just got taken for a ride by a maniac and you’re now stuck somewhere with no way back. If you’re lucky, you could probably flag one of the Earth-crushing bulldozers for a ride, but that seems like a pretty bad situation all around.
  3. Itty Bitty Living Space

    Hope you enjoy spending ALL of your time in this weirdly-lit room.

    It’s a little hard to tell on the Tardis (with that whole bigger-on-the-inside thing), but both it and the Heart of Gold are a bit tiny. Not only are you going to be stuck with this creep because you didn’t plan far enough ahead to have your Mad Money at the ready, but you’re stuck in a pretty small place. Anybody who has been on a road trip for more than 5 hours can tell you things get cramped when you’re stuck in close quarters for a period of time. And most of the time with these guys, it’ll be just the two of you (and maybe a robot or two). It’s gonna get testy.

  4. They’re Trying to Kill You
    Look, no matter how “neat” these guys seem at first, you should probably eventually realize they don’t have “safety” on the top of their list. Everywhere you go, you’re nearly eaten, blasted to death, turned into a poppet by the improbability drive, or otherwise harmed by creatures bent solely on your destruction. How many near-death situations does it take before it stops being fun? Honey, if you’re sticking around, you’re both an adrenaline junky and a masochist.
  5. More Than One Way to Explore Exotic Locals
    The supposed appeal of these guys is the promise of seeing the galaxy and all its wonders, but if you fall for that, I’m just sorry for you. There’s so much incredible stuff to see here, on earth! Our planet is absolutely amazing, and you can get around it all by yourself. Or, if that’s too expensive or scary or whatever, turn on the TV or, better yet, grab a book. The limits are really in your imagination.

I’ll read about your adventures when you get back. (But you probably won’t make it back anyway.)

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What makes a good editor

What makes a good editor.

Great list to help you sort out a quality editor from a poseur. Love her advice, and (as I’m a copy editor, too), it’s exactly what I hope to offer every single time I work with an author. I can’t imagine that there would be an editor alive who would refuse to use Track Changes!

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12 Months of Experimental Tales

This month, inspired by one of my absolute favorite authors, I set out to write 12 short stories, using prompts selected by Neil Gaiman. I later found out that this kind of short, quickly written fiction is known as “flash fiction.” (Look at that! I was part of a thing and I didn’t even know it!) I’ve never participated in this kind of writing exercise: the last time I wrote fiction in response to a prompt was in the one creative writing class I’ve ever had, which was in high school and acted mostly like a therapy group for teenage angst.

Twelve stories. It took me nearly a month to complete the challenge (though I never went over an hour in writing each one, so mission accomplished. Technically my writing time was the same as Gaiman’s, though I didn’t have the luxury of three consecutive days of writing–thank goodness I also didn’t have the camera crew). While I loved it, I’m also glad I don’t have these unfinished prompts hanging over my head anymore!

What I’ve Learned from the Calendar of Tales

  1. Prompts are great
    Like I said, I haven’t written from a prompt with any regularity in awhile. I don’t remember liking prompts, but these were nice and juicy and open-ended. I enjoyed having something percolating in the back of my mind. In fact, I often chose to work on the Calendar Tales because of the intriguing prompts..meaning I sometimes neglected my longer fiction pieces (I still love you guys, promise!)
  2. Short fiction can be liberating
    Maybe I’m just a little backwards, but I’ve heretofore preferred longer fiction. I just didn’t see the point in sitting down to write something I knew was going to be short; better to use that energy on a longer project that can pack more punch. But the short word count on these was great: I could say whatever I wanted! I didn’t have to bother explaining where everything came from or making sure each little loose bit was tied together. I just needed to say enough to establish the scene and the problem, and get out of the way. In a lot of the stories, I’m imagining a lot more that just didn’t fit, and I’m okay with that. I hope the reader enjoys filling in the broad strokes, too.
  3. Accents are hard
    For the August tale, I knew I wanted a twangy Texas grandma as the narrator. It’s an accent I thought I could fake pretty well, but I ended up spending the most time on that story out of all of them as I struggled to figure out how to spell the words the way they should be pronounced. I wanted her to be twangy and kind of like Gertrude Beasley, a plain-speaking sassy-as-hell real woman from the barren 1920s of west Texas (My First Thirty Years is a tough read sometimes, but it’s now available to download on Kindle, if you’re interested). I had the hardest time figuring out how you might say “child” with that accent! I think I got it, but it took a lot of trial and error. I have a lot more appreciation for those who write accents frequently.
  4. Ducks Can be Scary
    I don’t watch horror movies. I don’t read horror novels either (except for when I’ve started a book without realizing it’s horror but can’t stop because I have to know what happens), and I struggled to make it through 75% of Joe Hill’s excellent Horns on audiobook before I couldn’t take it anymore. So I didn’t really think I was going to be writing horror. But the April story–I just knew it needed to be terrifying, because the idea of scary ducks was both absurd and believable to me. I think it did a decent job at it, but I think the better lesson is that it’s good to try things even if you think it’s beyond your abilities.
  5. Beta readers are good people
    I fit the writer-as-hermit stereotype pretty well, but it’s something I know I need to work on. Just before starting this venture, I met some great folks at ConDFW, one of whom was just foolish enough to say he’d be a beta reader for me. (Hey there Bryan!) After I wrote each piece, I sent it over to him, giggling like a fiend and hoping he found it just as funny/clever/scary/whatever. And biting my nails when I didn’t get an email back instantly. I’ve been leery of sharing my work before, but this project was different. Bryan caught some dumb mistakes and I’m really grateful for his help. Lesson learned: Beta readers = good.

I’m glad I took on this challenge, and I think it produced some fun and interesting results. I hope readers enjoyed them, too! Read all of the calendar tales.

What writing challenges have you participated in lately? What do you learn from them?

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A Calendar of Tales: December

(Prompt: Who would you want to see again?)
“My 18 yo-runaway-self so I can show her that I find someone to love & own a home of my own – it did get better.”

This side of town is darker than I remembered, grungier. I remembered it as an artistic, safe-ish place, full of fun and interesting people; seeing it now, I wonder how this ever seemed appealing. I don’t go to areas like this, not at night.

But it’s December 1987, and I know I have a hard year behind and ahead of me. I’ve thought about it for a long time—these visits don’t come cheap—and this seems like the best time for me to come, to offer myself another chance. I’ll have another tough year after this, but I remember how terrible this winter was for me. I hope that coming now will mean I’m happier.

I pull my coat closer and step through the portal onto the street, remembering to close it behind me as I go. My younger self will be within 6 blocks of here; I never did travel far, those days.

I checked the store room of the Indian restaurant on 9th first; it’s warm there, and the owners sometimes gave me some rice at the end of the night. But the servers are still bustling, so I move down the block, in the sheltered alcove next to the Dumpster overlooking the park.

I see my boots first, two sizes too big and unlaced most of the way. How did I ever walk in those, anyway? I shake my head and make a noise in my throat, “ahem,” and stare down at my 18-year-old self.

Gawd was I a scrawny thing.

“I don’t know what you heard”—it’s shocking how pale I look—“but I don’t do that no more,” my young twin says diffidently.

“I’m not interested in anything you have to offer, Sam. I’m here to offer you something,” I say, extending a hand.

Young Sam glares up at me from under that beat-up old hat. I thought I looked killer in that hat; I still have it. “Who are you?” I sneer.

“I’m you, in the future. You’re me, in my past. I know, it’s hard to explain, but trust me on this. Time travel is invented in 2047, and it’s 2056 in my time now. I’ve—we’ve—led a good life, and I wanted to come tell you it’s going to be okay,” I say. I offer my hand again, hoping my younger self will take it and walk with me.

He disappoints me, mistrustful, but I understand. “Gawd I don’t age well,” he grimaces, disgusted.

“I thought I might show you how things are going to turn out,” I offer. “If you’ll come with me just here…”

I gesture toward the open wall. Young Sam stays out of arm’s reach, but gets up and follows me. Good enough for me. Fumbling with the switch, I activate the portal.

“That’s going to be your home, Sam. See? It’s beautiful, isn’t it? It’s got 5 bedrooms—five! I think sometimes I should sleep in all of them, just because I can…” I turn and look at my younger self, practically feeling the desperation in him. “You have a family; better than you’ve ever dreamed. You even get a respectable job, and it pays for two top-of-the-line hovercars, and vacations in Bermuda and Taipei and all over the world.”

He’s leaning in, as if he wants to grab the house right out of the portal. I can feel his longing; I remember its echoes in my own heart. “That’s my future, huh?” Young Sam says.

“Yes, Sam,” I say. “It’s all going to be alright.”

“So you’re telling me you came all the way from the future to show off all the cool stuff you’ve got?” He opens his arms, angry. “You came here to goddamn brag, old man?!”

“What? No,” I say, flabbergasted. “I remember how bad this year was, how bad the next was, and I thought if you saw that things were going to work out, you’d feel better and it wouldn’t be so hard.”

My younger self snorted. I don’t remember being so rude. “Man, I get stupid when I’m dumb. You think I want some crazy asshole to come up, tell me he’s from the future and show me a bunch of shit I can’t have? Well, no thanks. I’m not waitin’ around for no punk-ass future.” Out of nowhere, young Sam slams his open palm on my hat, pulling it down over my eyes. While I’m blinded, he yanks the portal fob from my hand and knocks me to the ground.

I look up just in time to see those stupid unlaced boots disappearing into the portal.

“Well, that didn’t go exactly as planned,” I say to the Dumpster, dusting off my hat and sighing. “Thank goodness I bought the time travel insurance.” I walked back to the sidewalk to wait for the time governors to pick me up and dump my stupid younger self back in 1987.

Kids in these days; no respect for their future elders.

Read more of the calendar tales.

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Now with: Editing!

I added something new to my blog. You might have noticed it, but then, perhaps not. It’s discreet and coy, sitting up there on the navigation bar, swizzling its straw in a drink with an umbrella in it, hoping you’ll notice.

Yes, that’s it. Editing.

MEK-edits-logoI’m proud to announce that I now, in addition to my writing and general blogging, am offering editing services.

The truth is out: I can’t hide my infatuation with commas any longer. No more will I hide my affection for clean syntax! I shall no longer cower behind my dictionary!

No, I shall take up my red pen (or Track Changes in Word) and use my powers for good!

In all seriousness, I have worked as a copyeditor and proofreader for 6 years, in newspapers, magazines, and private companies. As I have gotten acquainted with more writers online, I’ve noticed the gap between writers and quality editors; there are a lot of complaints about high prices, a difficulty of access, and unqualified folks.

In contrast, I’m offering reasonable prices (and am open to negotiation, if need be), you’ve already found me and I’m available by email, and I’ve got experience. You can check out my samples on my editing page, or, if you need further convincing, send me a message and I’ll do a few sample pages for you to let you decide for yourself.

I believe an editor can help all of us and, particularly as self-publishing and indie publishing continue to flourish, I’d like to help other authors overcome some of the obstacles to a completed work.

Please drop me a line at mekedits(at)gmail.com if you’re interested. I’m also listed on http://www.writer.ly, which is in beta release. I’d love to work with you.

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Review: “Wool Omnibus”

Wool Omnibus (Wool, #1-5)Wool Omnibus by Hugh Howey

My rating: 3 of 5 stars

The Wool Omnibus is a collection of 5 novellas, which makes a broad summary difficult. In very general terms, the collection is about people in a post-apocalyptic world who live in a huge underground silo and struggle with secrets from the past.

I really wanted to love this book. Wool is exploding everywhere right now, and Hugh Howey is the defining self-published success story. In fact, if I were writing a review just for the first novella in the book (the eponymous Wool, renamed Holston in the collection), it would have handily earned 4 stars, teetering on the edge of five.

Unfortunately, perhaps because of the way it was written, the tightly woven story with elaborate detail in the first book did not carry through. The further along in the book, the more problems Howey had as a writer in keeping the form and overall concept going. The fifth and last story in the collection, The Stranded, had such big weird mistakes that I would have given it two stars.
I’ve tried to keep the exciting and compelling spoilers out–for the most part, I’m not giving any huge secrets away. But if you don’t want any spoilers at all–you’ve been warned!

There will be spoilers from here out, so if you are still interested in seeing what Howey has created, you’ve reached the end of the road.

Spoilers Ahead!

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Interactive Writing: Reaction to “A Book is a Start-Up”

Step right up, ladies and gents, and buy this load of crap! Photo credit: Sumi-l / Foter.com / CC BY-NC-SA

Step right up, ladies and gents, and buy this load of crap!
Photo credit: Sumi-l / Foter.com / CC BY-NC-SA

Last week, The New Yorker published “A Book Is a Start-Up: Lessons from Leanpub, NetMinds, and Other Publishing Hustlers.

Basically, the article contends that the e-publishing phenomenon is changing the author/reader relationship–but not in the way we often hear (the “cutting out the middleman publishers” way, that is). No, this article cites several new-wave publishers who want the reader to be able to directly interact with the writer as the writing is happening.

Woah, what?

The idea is that a writer should let readers–with all their interests, editing abilities, and potential future buying power–get involved from day one. No more should the writer complete his first draft “behind closed doors” (as Stephen King suggests); no, let the reader get all up in your biz-nas, because it’s good for business.

“We believe a writer is not necessarily a writer,” Sanders, the Net Minds C.E.O., said. “They are content containers.” At the Net Minds website, freelancers can sign up as writers or ghostwriters, as well as editors, copyreaders, designers, and publicists. The writer, then, arrives with a thought, for manufacture. The mechanics of book start-ups suggest an assembly line at times…

Good for you, I guess, if that appeals to you, but I think it is dead wrong. I am more than just a “container,” thankyouverymuch. Crowd-sourcing has produced some great things–look at Wikipedia, for example!–but it also creates a lot of horrible things–look at Wikipedia, for example! I mean, you only need to glance at Yahoo!Answers to get a sense that a whole lotta people don’t have sufficient grasp of the English language to reliably call others out on their mistakes.

Maybe special-interest books like business guides can be crowdsourced in that way (the business/marketing books for industry that I’ve read are all pretty much interchangeable anyway), but I think this kind of writing/editing fusion is pure snake oil. It can’t be good.

I’ll be with Mr. King, writing privately with the door closed, thanks.

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I’m Writing the Wrong Genre

I’ve seen two kinds of scuttlebutt online about “what to write.”

A: Write what you love and what you want to read!
or
B: Research the genres that are selling and fit your writing to that mold.

One of my personal rules is to maintain my own integrity, so I’ve been following advice A (which is how I ended up writing a 63,000 zombie apocalypse gamebook/CYOA). And yet I have fits of anxiety when I see things like this:

agent_categories_list

This is an edited version of a list of agents who will be at DFW Writer’s Con and what genres they have a particular interest in. (I added the highlighting and cropped out the agents’ names. You can find the full list here.)

The yellow areas are Middle Grade and Young Adult respectively. Look at all those delightful excited happy faces!

The blue area is science fiction. Only 3 happy faces and one big ugly poison Do Not Talk To Me About This.

Hm.. Zombie apocalypse. Gee, where does that fit?  Blue column of sadness. Maybe horror (it’s not really that scary, though) or humor (because being a zombie is funny!). Well crap. Those columns are pretty depressing, too, 2 and 4 happy faces respectively.

The agent pitch sessions are one of the most exciting parts of DFW Con, but dangit, I don’t think I’m going to have a lot of success this year. I’m in all the wrong categories. (Though I feel a certainty in my bones that just about every adult would get a real kick out of determining their own path in a zombie uprising book. I was talking about it with a friend in a restaurant and a passerby interrupted to say “excuse me, did you just say zombie apocalypse CYOA? Cool!”)

And my prior novel that I’m not actively pitching? Squarely sci-fi dystopia. *sigh*

I have no real interest in writing YA or MG (aside from a dalliance with The Boxcar Kids, as a kid I never even read books that would fit those categories!), but seeing this kind of heavy-loaded listing is depressing and has made me wonder if I should be trying something different. It’s hard to do while continuing that whole “to thine own self be true” stuff, though.

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A Calendar of Tales: November

“My medical records, but only if that would make it all go away.”

Roslin fiddled anxiously with her datapad. She’d been waiting for this meeting for nearly three years; so much hung in the balance. It was odd to be wishing she was sick enough, the sickest person they’d seen, really, but that was what she had to do, had to be, if she wanted priority placement in the program.

She breathed rapid, shallow breaths through her oxygen tube. Of course, Roslin always breathed poorly, limited by her faulty, broken, accursed lungs, but this was worse than usual. She flicked the regulator to increase the flow of the life-giving supply, and tried to slow her breathing. Too nervous. Had to calm down.

A nurse appeared at the door. “Roslin?” he called, mispronouncing her name.

“Here,” she answered, her voice hardly a whisper. “Here I am.”

Roslin guided her chair forward, careful on the hard turns that could disrupt her stabilizers. The nurse nodded and held the door open. “Follow me, please.”

He led her back into a sparse conference room. At the table placed perpendicularly to the entrance sat five people: the program representatives. The people who would determine her fate. Roslin could find no smiles, no reassuring looks. She sucked air nervously into her failing lungs.

“Ms. Roslin Miller?” A woman on the far right flicked through a datapad. “Cystic fibrosis patient, already rejected one set of donor lungs; also incompatible with all known synthetic lungs?”

“Yes, ma’am,” Roslin wheezed. “I’ve had a number of challenges.”

“That seems like an understatement.” The speaker this time was a man on the left. Roslin didn’t know how to respond, so just sat silently.

The man in the middle folded his fingers into a tent. “Do you understand the implications of what we are offering with this experimental program, Ms. Miller?”

“Yes,” Roslin said. She breathed deeply, trying to compensate for the difficulty of speech.

“And why should you be selected, Ms. Miller?” The man, this whole group that was weighing the fate of her life, seemed so indifferent. If her broken, disabled body was not enough, weren’t the detailed medical records they each read with such detachment?

“My only hope – left is to be – admitted. Please — accept my application. — I have already – more than – outlived – doctors’ expectations.” She panted for a moment, struggling. “I don’t know – how much more time – I have.”

“Thank you for your time, Ms. Miller,” said a new speaker, a petite woman sitting toward the left. “Please give us a few minutes to confer and we will have our response as soon as possible.”

With that, the five people stood and stepped out of the room.

The next five minutes were the longest of Roslin’s life. What if they said no? What was left for her then? She blinked her eyes closed against the depression lurking, and said a prayer. To anybody, anyone who would listen; God, the hospital, this panel. Please. Please let it work out this time.

When the door clicked open, Roslin froze with terror. The faces of the panelists were unreadable. Oh god—

“Ms. Miller,” the center man said, “We believe you are an excellent candidate for the process.”

Elation. Pure ecstatic elation.

The next hour was a blur. Fingerprinting datapads, releasing indemnity, contacting her mother, her emergency contacts, preparing for the procedure, settling in the chair in the shining metal hospital room.

“You understand all risks and possible side-effects from this procedure? You voluntarily agree to this experimental process?” the nurse asked the questions for what felt like the 10th time.

“Yes, yes,” Roslin said eagerly.

“Then the process will begin in a few moments.” He left the room, and Roslin heard the door behind her click closed.

The air filled with a buzzing hum, the temperature growing warmer, a too-hot coat worn in summer. Roslin sucked air into her impaired lungs, frightened of the heat, of the building pressure. The machine above her clicked on, and a blue light scanned her from head to foot and back again.

The mix of air in her breathing tube changed: the nanobots released into her system to reprogram her genetic code—to repair her body from the inside out.

Roslin screamed.

Every cell in her body burned with an internal fire, erasing the record of damage done, of every attempted and failed medical procedure, of each tortured breath.

Roslin burned as the Phoenix process remade her anew.

—–

“Roslin? Roslin, baby, wake up. Roslin?”

Roslin blinked slowly, eyes heavy. “Hello?”  She stretched and yawned, rolling toward the voice.

“Hey baby.” The woman smiling down at her looked kind, the wrinkles around her eyes relaxing at Roslin faced her.

“Hello,” Roslin said again. She took a deep breath and sat up, and the woman at the side of her bed gasped in surprise and covered her mouth with her hands. “Are… are you my mother?” Roslin said uncertainly.

“You can breathe!” The woman who might be her mother said. “Oh my god, baby, you can breathe!”

Roslin considered for a moment. “Yes, I can. Is that unusual?”

“The procedure worked! It’s a miracle!” The woman rushed forward, arms extended. Roslin balked, and the woman stopped. “Don’t you remember? You went through the Phoenix process? Just yesterday. You have—had!—cystic fibrosis, but they’ve cured you, baby!”

Roslin stared back. “I—I don’t remember.”

A nurse in green scrubs came in. “Mrs. Miller, come with me, please,” he said, and took the older woman aside.

“Mrs. Miller,” he said when they were out of the room with the door closed. “We’re finding that retrograde amnesia is associated with this kind of procedure. Roslin may not remember anything from her life before yesterday’s surgery. It seems…” he paused, pursing his lips. “It seems that her genetic deformity may have been interrelated with her memories of the illness. We cured the genetic mutation; it’s possible that we also rewrote her memories from the time of her illness.”

“What?” Roslin’s mother said. “My daughter has had cystic fibrosis her whole life. What does that mean? What will she remember?”

The nurse looked away. “She agreed to the Phoenix procedure. We have all the documents…She may not remember anything. It may all be gone.”

The elder Miller stared in shock. The nurse tried for a bright side: “It is possible, with time, that she will remember parts of her old life. But I recommend you focus on her rejuvenated future.”

Mrs. Miller wiped the tears from her eyes and walked back into the room that held her daughter, new-born at 43 years old.

Read more of the calendar tales.

(This story inspired by my friend David Miller, who has cystic fibrosis and as I was writing this was getting his new lung transplant after three years on the waiting list! Please consider being an organ donor to help people like David.)

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Losing (and Finding) Your Voice

Last week my cold developed into bronchitis and took up residence in my throat–and I lost my ability to speak. My voice wavered between a whisper and nothing all day.

It was incredible how one small change dramatically affected my whole day.

My cats were thrilled that they weren’t getting a stern “NO” when they clawed the couch (but upset I wasn’t calling them “nice kitty” either); I communicated with my boyfriend with hand gestures; I used my phone’s keyboard feature to write out notes to the doctor and pharmacist. I still managed to make my needs known, but I felt stunted, awkward.

A few filled prescriptions later, my voice bounded back, but in writing, finding a voice is just as important. Probably more so. And sometimes it is harder to hold onto.

I was trying to explain the concept of “writer’s voice” to a non-writing-inclined friend the other day. He was concerned his writing seemed stilted; I told him it was okay, because, being a rather direct person, that was the way he talked. But voice isn’t truly the same as “the way you talk.” After all, I don’t have a either a thick West Texas accent or a high-English voice when I speak, but hopefully I managed to get those in my writing.

Voice is writing that always sounds like your soul, even when written in different styles. It’s not just the words you use, or the pacing, or the language, or the sporadic use of commas: it’s all of these things. That’s why, in part, it’s so very subjective. I received a rejection letter from an agent that said “the voice just wasn’t as developed as I’d hoped.” I found that very frustrating–I mean, I thought it sounded like my writing voice!–but I was also grateful just for any response.

Because my nuts-and-bolts writing education began in journalism school, where voice is important but, for the most part, clinically detached, I think it’s one part of my writing I do need to continue to develop. Then again, I don’t know that you’re ever “finished” developing a clear voice. I think it continues to layer on with experience and practice–another good reason to have this blog!

How did you find your voice? Was there ever a time that you “lost” it?

Sidenote: I’m hoping to attend this panel by author Jenny Martin. I got to meet her last year, and I’d love to hear more from her!

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