Who Wrote It Challenge #2

Below are our responses to a fifteen minute writing prompt: 

The old house, with its wildly overgrown garden, was silent, secretive.

Can you match the writing sample to the author?

Katie Drake bio

Solange Hommel bio 

J. Rae Moore bio

Lan H. Lee bio

A)

 The old house, with its wildly overgrown garden, was silent, secretive. Annalise 

remembered when her mother had carefully tended the garden. The trellises, now broken 

and dangling, had once dripped with glorious yellow roses. She pictured the fresh coat of 

crisp, white paint that her father had painstakingly applied over the course of a summer, 

using the limited time available each evening between bank closing and nightfall. Over the 

years, the dust and smog had left its mark, turning the siding a dingy gray. She could 

remember the days when Hart Manor regularly appeared on the covers of gardening and 

housekeeping magazines; when locals walked their out-of-town visitors past the matching 

white picket fence with vicarious pride; when her family represented all that was good and 

strong and right in the community. Annalise stood on the cracked sidewalk leading to the 

sagging front door and remembered the old house as the shining beacon it had been 

before the secrets took over.

B) 

          "I bet you five seeds he will only go 25 feet," Eddie says to me, his scavenging partner.
          "You are on, my friend," I reply.

          We both watch as this little boy of about eight takes a tentative step into the overgrown garden. One step, two steps and he stops. The patio of the old house creaks as if on cue, and the little boy turns and runs away.

          "Pay up Eddie, you owe me five seeds," I say as I wait for him to gather the seeds from the sunflower plant.

          "Yeah, yeah, I'm getting them." He hops all the way up to the top of the stem and begrudgingly throws down each seed, one by one.

          "Hey. Watch it." I dodge the seeds being thrown at me.

          "Sorry," Eddie yells down as he peeks his head over the tip of a yellow petal. But, I don't think he's sorry as I hear laughter.

          I wait for him to hop down to help me put the seeds into the cart. My little red wings are too small to carry the seeds.

          "What do you say we go over to Tully's and throw back some nectar when we're done," he say's when he finally makes it down.

          "Yeah, that's sounds great, the quicker we are done here, the sooner we can meet up with the other guys," I say as I nudge a seed his way.

          "Ah, I see what you are doing, and I get it. The first one's on you." Being a grasshopper, he makes quick of the work and we are on our way to the drop off shoot.

         On the way to there as I ignore Eddie's ever constant buzzing, I look around the overgrown garden that I call my home.

C)

Twice I'd been to the town my mother grew up in. I can still picture the endless wheat fields, and of course, my great grandfather Rudy's house. White, with a wrap-around porch and oak trees out front. Even then I new it was a bit shabby, maintained but not cared for.

One Easter I wore a frilly dress with patent leather shoes. All the cousins hunted for eggs and I got my first Easter basket. For Rudy's ninety-fifth birthday there was a parade. I was seven and thought the celebration was just for him. I didn't know it was for Oktoberfest. All the grand kids wore matching yellow outfits made by an aunt. I still have the little matching purse. We piled in the car with Rudy. I remember it was a convertible. I don't remember the actual drive. 

I can picture the table in the kitchen and mother helping make the fresh sausage. I would climb the dark, creaky stairs to the second floor and play with my mother's old barbies. The ones stored there from when she was a little girl. There were only two.

       The back yard was like a strange forest; part junk yard for old tractor and irrigation supplies, and part retreat from too many people. Sometimes there was an odd man out there. He never spoke to me and the others rarely spoke to him. But he belonged there. Once I saw him coating the picket fence with white paint. He also kept an eye on a bird feeder and would sit and watch the birds for hours while he polished little stones with a scrap of felt. I would see him slip through a small door at the back of the house that led to what I thought was the cellar. I was not allowed in. I never saw anyone follow him. They never even told me his name.

       They should have. He was my grandfather, my mother's father, son to Rudy. Now they are all gone and I've come back to the old house. The garden has run wild, covering the rusted metal of the farm equipment. The old picket fence is no longer white, but grey and leaning. The birds are gone. I found the polished rocks lined up from the bird feeder to the little cellar door.

D)

                    16 August 2016

To the Dark Forest Code Compliance Office,

I am sending this letter in reference to the numerous notices and fees I have received from your office about the overgrown condition of my yard.

Firstly, let me remind you of the past accolades my yard and home have earned.

·         The Yummiest Yard Award presented in May 2013, 2014, and 2015 by the Little Gnomes Society.

·         The Delectable Décor Honor presented in August 2013 and April 2015 by The Munchkin League of Fairytale Land

·         The Stripes are Scrumptious Medal presented in June 2013, 2014, and March 2016 by The Fairies for Equality Foundation.

·         The Editable Construction Certificate presented for the year of 2014 by King Phillip –himself!     

As you can see, I am not in the habit of letting my property fall into ruin. Maintaining a gingerbread house is a full time investment. However, because of the debilitating injuries I suffered in an unfortunate incident earlier this year, I’ve had no choice but to fall behind on the maintenance of my estate.

Surely, you read about the incident in the Princess Daily Press. Although the article was extremely one-sided, making me out to be some kind of monster, I’m sure you’ll be reassured once you hear my side of it.

It was in early May when I caught two children nibbling away at the siding on my house. Of course, I felt sorry for the poor dears. They were obviously very hungry, so I invited them inside. If only I knew what was to come.

Once inside my home, the boy, Hansel, went into a frenzy, eating and licking everything in sight. I thought the boy foolish with hunger so I placed him in an enclosure to save my home. I had his sister, Gretel, help me whip together a batch of my famous chocolate chip butter cookies. Sure, the children ate the cookies with no complaint, but when I insisted Gretel help tidy up the preparation mess, she threw a huge temper tantrum. I explained the concept of cleaning up after oneself but there was no calming the child. – I blame the parents –

Seeing I would get no help from the children, I went about cleaning the oven myself. It wasn’t until I felt the firm push that I realized my mistake. Those horrible, ungrateful, evil children had pushed me in and closed the door. Consequently, I suffered major injuries. I spent weeks in the hospital and am still in the process of returning to full health. Thus, all of this has hindered me from keeping up my home.

I should hope you understand. I am asking for the full dismissal of the accumulated warnings and fees your code compliance officer has nailed to my front door. And, compensation for the damage said officer has caused to my door with said nails. Thank you.

Awaiting Action,

The Witch in the Gingerbread House on Canetree Lane

P.S. I was sorry to hear of Hansel and Gretel’s recent disappearances in the paper. I’m sure they’ll turn up.

P.P.S. Please extend an invitation to Code Compliance Officer, Miss Priss. I invite her to come to my house for milk and cookies. She knows where I live.

_______

Thanks for reading! Please, take a second to introduce yourself in the comments below. Don't forget to make your guesses about the authorship of each sample. Even better: set a timer for 15 minutes and share what you've written! 

We'll let you know who wrote which sample next week. Good luck!

Be A Better Beta Reader Series: So, You Want to Be a Beta Reader...

A few weeks ago, I wrote about the different kinds of problematic beta readers you might find in your writing group. I realized afterward that not everyone knows what a beta reader is or, more importantly, how to be a GOOD beta reader. So this week, I'm taking a tiny step back to fill in those basics.

Why become a beta reader?

Support
Writing can be a lonely job. Beta reading is a way to show you respect what a writer is doing and want to see them succeed.

Reciprocation

In my experience, most beta readers are writers who trade manuscripts with fellow writers. Beta reading is an excellent way to make connection and build relationships within a writing community.

Use What You've Got

Your day job might not appreciate all those college English classes you took, your nose for typos, or the fact that can spot stilted dialogue from across the room, but my Twitter timeline is filled with authors looking for someone with just those talents!

Reading

"I can't spend the day with your crazy Aunt Millie. I've got to finish reading this." Be honest. Who among us wouldn't love a legitimate excuse to stay in and read?

What is a Beta Reader?

Simply put, a beta reader is someone who reads a finished manuscript prior to publishing and provides feedback to the author. Beta readers serve as a sample audience, helping the author step out of her own head and see her story from another perspective. Many common problems--flat characters, plot holes, inconsistencies, etc--are more easily spotted by fresh eyes.

There's more to beta reading than the ability to read and enjoy a good story, however. Beta readers must be able to look critically at a story and analyze exactly what it is that they like or dislike about it. To this end, a beta reader must be

• attentive to details
• knowledgeable about aspects of storytelling
• able to express themselves clearly

Beta Reader Basics:

Many people have written about this topic. I'll share some links to articles and posts I found most helpful. Here's what I've learned in my experiences as a writer and a beta reader:

Communicate clearly.
Make sure you understand exactly what kind of feedback the author needs at this point. Is this an early draft or is it about to be sent off to an agent? Is the author trying to nail down characterization and plot? Or is he looking for a line edit? Having a conversation about these things before you start reading can save you both time and frustration.

Set a reasonable deadline. Let the author know how long you think it will take you to get back to him. (Keep in mind that it will take longer to read critically than it does to read just for fun.) Once you've established a timeline, stick to it. Sending a manuscript out for beta reading is stressful. Don't make the author wait on pins and needles longer than necessary!

Write clear and descriptive comments. Explain your thought process whenever possible.

Respect the author's voice.
Remember, this is not your story; don't try to rewrite the story in your style. Instead, share your thoughts and feelings about the story and allow the author to decide how your responses will influence the story.

That's not to say you can't provide an example or give a suggestion now and then. Just remember that an author's voice is what makes their story unique.

Be honest.

First and foremost, it is your job to be honest. If you see something that isn't working, you must say something about it. Ignoring or sugarcoating problems to spare an author's feelings just sets them up for embarrassment. The agents she queries aren't going to rep her just to spare her feelings.

An author who is serious about being published will thank you for being completely honest. An author who only wants you to say nice things is wasting your time. That's what parents are for. :)

Be thoughtful.
There is a difference between giving an honest critique and tearing someone apart. Make sure that your comments are accurate and useful.

Remember to point out the good stuff. Not only does the occasional happy note make the rest of the critique easier to take, comparing what works to what doesn't work is extremely helpful.

Strong beta reading is built on analysis. Think about your own perspective and biases. Draw on your vast experience as a reader to make comparisons and draw conclusions. Don't just react to the story. Dig into your reactions.

Let it go.
Finally, you have to let it all go after you submit your critique. It is ultimately up to the author to accept or reject your comments. Don't take it personally.

Super Important Beta Reader Reminder:

A finished manuscript represents months, if not years, of an author's life. It is a labor of love and often represents sacrifice and struggle. It is vitally important to respect the author/beta reader relationship. Not sure what that means? Check out this post about the ethics of beta reading.

***

Helpful Links:

As promised, here are links to some of the other people who have written about beta reading. I found their posts helpful during my first beta read:

Corrine Jackson's How to Beta Read

Jami Gold's Three Tips for Being a Better Beta Reader

Diane Urban's How to Be a Great Beta Reader and Give Helpful Feedback

Have you found some excellent advice on the role of beta reader? Do you have experiences to share? Leave us a comment!

Be a Better Beta Reader Series: Nana Lovesitall and the rest of the Gang

One of my favorite things about being a writer is being part of a critique group. I love having a circle of people I can trust to set me straight when I’ve gone astray and pat me on the back on the rare occasion when it’s warranted.

As anyone who has participated in a critique group knows, you sometimes run into some interesting characters, and not all of them are equally beneficial to the writing process. Here are some of the characters I’ve come across (or have occasionally been … oops!) in the last few years and some thoughts on how to make the most of their feedback.

Let me be clear before I launch into discussing some of the less-than-stellar characters who you might find in a group -- I adore my critique partners and they have improved my writing ten-fold. These characters are stereotypes based on minor aspects of multiple people, including myself. None are digs at any one person.

*****

CHARACTER: Nana Lovesitall

Just look at that sweet face!

QUOTE: “You are the best writer! Really, sweetheart, this was the best story. I wouldn’t change a thing. You’re just amazing.”

DRAWBACKS: Nana rarely has any suggested changes to discuss, but she’s very enthusiastic and kind. Most of us want to believe that we’re doing a good job. It can be easy to ignore valuable (but maybe not so positive) critiques from other partners if there’s someone telling you that everything is perfect just the way it is. Unfortunately, even Nana’s praise falls short because it’s generally vague and generic.

BENEFITS: Everyone needs a cheerleader!

THE TRICK: To get the most from Nana’s critiques, compare them to the overall response of the whole group. If it seems like Nana is the only one who doesn’t have a problem, put her critique in a safe place and pull it out to soothe your bruised ego AFTER you’ve tackled the problems the other group members have pointed out.

*****

CHARACTER: One-note Willy

QUOTE: “I know I bring this up a lot, but I’d like to discuss your choice of setting for this story…”

DRAWBACKS: Willy seems to have tunnel vision when critiquing. I’ve known a few Willies. One could only talk about the length of the sentences within each story and their effect on the reading level of the piece. Another can’t avoid pointing out passive verbs. (Okay, that last one is me. When I am rushing, that’s pretty much all I see.)

BENEFITS: Through virtue of sheer repetition, One-note Willy generally knows what he’s talking about … when it comes to that one thing.

THE TRICK: I suspect that there is an element of Willy in all readers. We all have that one error that just leaps off the page at us. If you know which of your critique partners is most apt to notice repetition (or POV issues or plot holes or sloppy grammar) then you know which person to go to when you need help with that particular problem.

*****

CHARACTER: Bob the Bully

A total jerk.

QUOTE: “This is the worst description of a character I’ve ever read. You must not be very smart if that’s how you think people talk. Don’t quit your day job.”

DRAWBACKS: Bob is a jerk. His comments consist of personal attacks and unnecessarily aggressive opinions. Obviously, it’s hurtful to hear abusive comments. Even when you cognitively recognize that they are inappropriate and unhelpful, it’s difficult to avoid internalizing them.

BENEFITS: It’s good practice for when you’re a famous author and critics are tearing you apart in the New York Times?

THE TRICK: Honestly, it’s hard to deal with Bob. Best case, the rest of your group sticks up for you and he gets ousted. Worst case, you identify him as a bully and use his critiques to line the birdcage.

*****

*sigh*

CHARACTER: Sensitive Sally

QUOTE: “Ohhh, I had to stop reading your story after the first page. It was so violent!”

DRAWBACKS: Sally has a hard time with violence. And profanity. And sex. And soooo many other things you wonder how she manages to live in this modern world. Unfortunately, conflict has to come from somewhere and often that means anger, violence or sex, not necessarily in that order. If Sally can’t read your story, she can’t give you feedback. Worrying about what Sally will think might even cause you to self-censor.

BENEFITS: There are Sensitive Sallies out in the real world. If you want to end up on a best-sellers list, you’re going to have to understand a wide audience. Sally can give you perspective you might not have for yourself.

THE TRICK: Keep in mind that what Sally chooses to read or not read has no influence on what you must write or not write.

*****

Honestly, I can forgive this lady
for not reading my submission!

CHARACTER: Skimming Kimmy

QUOTE: “Sorry I’m late! The traffic was horrible and I’ve had SUCH a busy week!”

DRAWBACKS: Kimmy is too busy to read the submissions and it shows in her generic feedback. Generic feedback is not helpful.

BENEFITS: I’ve been thinking about this for some time and I just don’t see a benefit to this kind of beta-reader. I guess maybe, like Silent Sam below, you don’t have to feel bad if you run out of time before you critique her submission.

THE TRICK: Don’t expect much. Maybe you’ll be pleasantly surprised one day? I dunno. These folks eventually stop coming to the group.

*****

CHARACTER: Silent Sam

QUOTE: “ … “

DRAWBACKS: Sam is really only in the group because he needs beta readers for his own work. He might make a couple of half-hearted notes on your story, but usually doesn’t have much to say. It can be frustrating to put time and effort into critiquing someone else’s work knowing that they aren’t going to return the favor.

BENEFITS: When you’re running short on time, you don’t have to feel bad about skipping Sam’s stuff.

THE TRICK: All of the groups I’ve been in have had rules about this kind of thing. Silent Sams tend to weed themselves out of the group once they realize they won’t be allowed to submit if they aren’t going to reciprocate. Make sure your group has clearly established participation expectations.

*****

CHARACTER: Tammy the Former Teacher 

"So, you see ... "

(yes, I used to be a teacher ... why do you ask?)

QUOTE: *launches into 10 minute explanation of the difference between there and they’re because you made a typo.*

DRAWBACKS: Tammy treats everyone as though they’ve only just learned to hold a pencil. She assumes that all mistakes come from lack of understanding and she’s hell-bent on helping everyone learn. She tends to drone on and each time a new member joins, you’ll get to hear the same old lectures all over again.

BENEFITS: Sometimes Tammy manages to share information you don’t already know. Learning is good! Also, you can get some writing in while she’s talking … and talking … and talking.

THE TRICK: It’s helpful to have a timer going during critiques to keep everyone, not just Tammy, from rambling on too long. Most of the time when I come across a Tammy, I just make strong eye contact, smile and nod, and thank her for her information. She means well.

*****

Soooo clueless.

CHARACTER: Clueless Clyde

QUOTE: “Wait … so Biscuit was the dog? Ooooohhhh. I totally didn’t get that.”

DRAWBACKS: Clyde gives such inane feedback and so clearly has missed the whole point of your story that you end up biting holes in your tongue to keep from shouting “Of course Biscuit is the dog, you ninny! The whole story hinges around this dog!”

BENEFITS: Sadly, there are a lot of Clueless Clydes in the world. The Clyde in your group can help you identify the scenes they are likely to misunderstand or the plot points they are going to miss.

THE TRICK: Like a canary in a coal mine, Clyde can give early warning that something isn’t working for your readers. Also like a canary, you don’t want to rely too strongly on Clyde’s advice for much else. He’s not going to have good suggestions on how to develop your main character, Biscuit, if he thought she was the daughter of the divorcing couple instead of their dog.

*****

Do you recognize some of your critique partners in the characters I’ve described? Do you recognize yourself? Have I missed a character you interact with regularly? Tell me about them in the comments! 

The Power of Community

The type-A perfectionist aspect of my personality is a double-edged sword when it comes to writing. I can create the perfect spreadsheet on how to progress through a project, but once that's done everything comes to a screeching halt.

When faced with beginning a task, especially one requiring actual effort, my brain immediately looks around for some excuse not to start.

"Time to write, Brain."

"Look at those dishes that need washing!"

Recently I met another writer. As part of our getting-to-know-you conversation, she admitted, "No, I don't have any poetry published yet." Then she interrupted me to add, "But only because I haven't tried."

She and I are victims of the same flawed thinking I often saw in my former students: it's better to fail through controlled avoidance than to discover that our best work just isn't good enough.

One of the best ways I've found to combat this kind of fear-based paralysis is to communicate with other writers. I have experimented with several different kinds of writing groups in the past year. While each has had a different format and focus, they've all had one thing in common. They all challenge me to risk real failure.

One-on-One Meetings

One form of community is to set up a regular one-on-one meeting with another writer in your area. I have an uncle who has been writing in one form or another -- music, newspaper, novel, screenplay, etc. -- for most of his life. I respect his talent and I value his opinion. Whenever I get the chance, I like to take him to his favorite coffee shop, buy him a half-caff latte, and pick his brain. He's helped me explore my personal motivation for writing and, in sharing his writing habits and routines, helped me begin to develop my own.

It has proved helpful to have to look my uncle in the eye and explain why I haven't written a single word all week long. On one hand, he's in a position of familial authority, and I don't want to disappoint him. On the other, he has known me my whole life and it's safe to talk to him about my personal demons. He's got to love me regardless of how crazy I sound!

The More the Merrier

If you're not up for one-on-one time, there are many ways to find a writing group to join. Schools often have writing clubs that meet regularly. Announcement boards at gyms, coffee shops or places of worship often have notices about clubs that are looking for new members. I've found many of my new writing buddies through the wonders of Google and the Meetup.com website.

Writing groups come in all sizes and styles. There are groups dedicated to a single genre and groups that welcome everything from screenwriting to poetry. Some groups meet multiple times a week, while others meet only once a month. Whether you're looking for writing prompts or critique, hand holding or a kick in the butt, there is a group out there to meet that need.

Small Groups

I recently became part of a small group of women writers. There are many things I enjoy about having a small, consistent group like this. I like the intimacy of seeing the same faces each time we meet. It's allowed me to start getting to know them not just as authors, but also as friends. Everyone gets equal opportunity to share their work and present their thoughts each time we meet -- something that isn't always possible with larger groups.

Larger Groups

I am also part of a larger, more fluid group that meets twice a week. I never know who is going to be there (although there are a few dedicated regulars), so I never know what unique perspective or new bit of expertise I'm going to get. The frequency with which this group meets gives us time to broaden our focus beyond critique. Some meetings are all about writing -- speed writing based on ten minute prompts or committing a two-hour block of time entirely to writing silently. Others are spent discussing things we've read and how they influence and inspire us. My favorite meetings are the ones dedicated to the rambling conversation that happens when you put a bunch of writers in a room together.

Find Your Group!

Being part of a writing group takes time and energy. It means putting on clean clothes and leaving the house. It requires courage, strength, and open-mindedness. These are a small price to pay for the accountability, camaraderie and learning opportunities that come from having a community, if you ask me.

The Meaning of Mentorship for Authors

Practice what you preach... The saying has never meant as much to me as it does now.

Finding a mentor to support projects and research has long been a requirement for students in my gifted education classroom.

While going through the revision and editing process for my current manuscript, I found myself wondering about applying the same requirement to myself. After all, I am working on a project and conducting my own research to make sure I am growing in my craft as well as getting the Norse myth facts straight.

Should I not take on the use of a mentor?

Well, yes, I think I should. The good news is that I think I've been doing this even though I did not label it as such.

Here is the textbook definition.

And here is my take on it....

Having a Mentor

• Every time I read a new story, I've gained a new-if informal and unwitting-mentor. The styles, word use and treatment of different genres sink into my subconscious and I am able to pull from those lessons as I create my own work. It's said that authors need to be readers and I think this is why.

• I'm grateful for the mashup of mentors at conferences. Each has put themselves out there and shared an area of expertise. 

• Great blogs from agents and other writers are fantastic. True, they are not writing just for me, but in a way, I think that is better. Each has taken on the responsibility of educating the masses.

• The people in my writing group are also mentors to me. As they share their experiences with drafting, entering contests or querying agents, I learn from them.

Being a Mentor

• If my group members are mentors to me, I hope it can be said I have helped them in some way. 

• I mentor my students. Sometimes this is on the topic of writing or making a presentation. Often it takes the form of general advice.

Sometimes, I forget just how far I've come as a writer and a teacher. Finding mentors, and being a mentor in return, reminds me of the importance of recognizing and celebrating growth.

Writers as Producers and Consumers (Infographic)

8 Beta-Reading Tips for Authors

Embarrassing to say... I never heard the term 'beta-reader' before last year when one of our group members said a Twitter follower asked her to beta-read. Being that I am the slightest bit competitive, I jumped at the chance to beta-read for an author whose blog I had found useful, Nat Russo.

Being a beta-virgin, I was a little nervous opening the manuscript document to start editing and commenting. Lucky for me, Nat was prepared and sent all his beta-readers a list of questions to consider as they read. This list helped me focus and gain confidence as I made notes and comments.

Soon after this experience, I attended the Writers' League of Texas Agent and Editors Conference. I'd had a good writing year, I was feeling more relaxed around other authors, more confident in my craft, and I was able to meet several new friends who offered to beta-swap.

Since then, I've read for three more authors; one historical fiction, one MG fantasy and one YA fantasy. I've given my book to five authors to read for me.

This is what I've learned so far:

1. Don't ask a family member to read your book. They may be avid readers and even enjoy your genre, but if they are not in the craft, then they are not beta-material.

2. Be clear about what you want from your beta-reader. Take a cue from the pro-it's okay to give your readers a list of questions or simple instructions while reading for you. They will appreciate it because the work will seem less ambiguous.

3. Grow some thick skin. The best readers are honest readers. Your manuscript will not be perfect. You want them to spot the problems before an agent or editor does. So, when the review comes back, don't panic because there are copious notes. Be happy you have a chance to fix things before finding out there is a difference between peaked and piqued or that your main character's eyes changed color four times.

4. Take a stand. Just because a reader makes a suggestion does not mean you MUST change your story. I found it useful to have several readers and then to compare their notes. If more than one person found a scene troublesome or had a problem with a patch of dialogue, then I knew it was something to put at the top of my priority list.

5. Set a due date. I suggest this because I was just recently a tad long on reading for someone else. Plus, I like to get my stuff back at a set date. It helps to keep me motivated.

6. Pick someone who likes your genre. If you didn't, it would be like taking a blind date to a Hibachi restaurant only to find out he has a fear of fire. No one will have a good time.

7. Root for your peers. I had a humbling moment. A gal I beta-read for a little while back wrote to me to tell me an agent just requested her full manuscript and that my comments and suggestions had been a big help. My first thought was not really kind-I was jealous, and for no good reason. After a few minutes to process, I realized I should feel proud of myself and of her. We both put in effort and her work is successful. I will, however, be looking for a thank you when her book gets printed *grins*.

8. Practice safe reading. Don't go sticking your manuscript just anywhere. Take time to find trusted readers. With the exception of one, I've personally met all my readers and I feel much more at ease knowing who is handling my prose.

If there is a beta, there must be an alpha, right? In my case I have several alpha-readers, those loyal souls who slog through my first drafts and still are kind enough to leave me encouraging comments. Here's a shout out to my alpha-readers!

By Way of Introduction

Greetings and welcome to the Missing Comma Club blog!

We, being several writers of varying levels of experience and diverse backgrounds, plan to use this space to share what we're learning along our literary journey. By pooling our collective skills and interests, we hope to create a source of motivation, information and support for ourselves and other writers we meet along the way.

We've talked about the importance of creating this kind of community for some time now. As Disney says, it's time to start doing. Hopefully, as life permits, more of our writing group will join in.

MEET THE CONTRIBUTORS

Katie Drake

Katie Drake fell in love with books when she found the author V.C. Andrews. Ever since, she has been hooked on stories which span several books--she is a series fan. (more)

Solange Hommel

Solange Hommel is a "newb" to the writing game. She's been an avid reader since the age of 4, when her Daddy first taught her that squiggly lines tell stories. Now she's trying to wrangle squiggly lines into stories of her own. (more)

GETTING WRITE TO IT

Now that you know who we are, let's play a game! Below are our responses to a fifteen minute writing prompt: 

A woman carrying a large box flags down a cab in the rain.

Can you match the writing sample to the author?

- - - 

Sample A

A cab pulled up, splashing through the water collecting by the curb, as soon as she raised her arm. The inside of the cab smelled of stale cigars and sweat, but rain had already begun to drip from the ends of her hair into her collar and her arms ached under the weight of the cardboard box she carried, so she climbed in. Her shoes stuck to the filthy carpet and she tried not to think about what might be crawling from the matted upholstery to the back of her coat.

“Where to, lady?”

“Salvation Army, please.”

The driver flicked a switch on the dashboard and the cab lurched into the steady stream of traffic. She dropped her arm over the water-spotted top of the box to keep it from sliding as they rounded a corner. The gesture reminded her of how her father's arm would swing across the car during sudden stops – the pressure of his hand sudden and firm against her chest – long after she had grown past the need.

Her eyes stung with the realization that her father's arm would never hold her back against the safety of the passenger seat again.

- - -

Sample B

Sweat tickled down her neck, wetting short curls against her skin. The damn thing was awkward. Bigger than a microwave box, heavier than a basket of wet laundry, and losing its shape at the corners from being banged down one stair after another.

Regretting the hasty choice of flip flops, she took one more risky, backwards step down, feeling for the edge of the step with her toes and pondering the consequences of letting the box tumble its own way down to the ground floor. The ground floor, as in rock bottom.

Crawl under a rock, don’t rock the boat, between and rock and a hard place, she thought with each thumping step closer to her goal.

At the landing, the box of things she should have thrown out the window was pushed across a floor of cracked black and white tile and then rammed through the too narrow doorway while she held the heavy, old, wooden door open with her back.

The cab was there. And it was raining. The cabby stepped out, offered to help her, but she waved him off. This box was her burden and she would carry it.

- - -

Thanks for reading! Please, take a second to introduce yourself in the comments below. Don't forget to make your guesses about the authorship of each sample. Even better: set a timer for 15 minutes and share what you've written! 

We'll let you know who wrote which sample next week. Good luck!