WRITING: Collaborations

Wanted to make a note here about a current publication of work at The Blue Print Review that I’m particularly excited about.

While working on a one-a-day throughout 2011, with Carianne Mack Garside producing a piece of art and my matching it with a short piece of prose, it was suggested by Dorothee Lang, the terrific editor of BPR that I submit some pieces for a special upcoming #27 issue she was planning, Synergetic Transformations, that would be comprised of collaborative works. That sparked a desire to include Steve Ersinghaus’ poetry since he has worked on the 100 days projects since 2008. He kindly produced a couple to match the pieces selected by Lang.

It’s always a thrill to be published in such a fine literary journal as BPR, mainly because Dorothee is such an artistic soul that she takes meticulous editorial care with the presentation. This was especially exciting for me since it included mentors and friends in the effort. Below are links to the pieces, and a link to the notes on the project here.

Cross Section of My Day/ – Gibb/Garside

Cross Section of My Day/ – Ersinghaus/Garside

Comfort – Gibb/Garside

Comfort – Ersinghaus/Garside

 

 

 

 

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LITERATURE: Heart of Darkness – Narrative Sequence

Well, maybe not narrative sequence exactly, but a gap in the flow that sent me back several times to check if pages were stuck together and I’d missed something. Now I often read while watching TV or thinking about something else so that I’ve upon occasion stopped to realize that something doesn’t make sense because while I’ve read every word, I’ve not absorbed any of it, or been aware of what I was reading. Sort of like driving automatically without thinking about steering.

But this was in the middle of an action scene (the first, really), in Section 2, where Marlow is caught in a fog and then in a narrow passageway with the steamboat and is attacked by natives on shore. Then, all of a sudden, the object of his extreme curiosity, the trader, Kurtz, is being discussed as if Marlow has already met him. So I went back a few times, thinking perhaps two pages were stuck together and my mind seamlessly filled in the gap without concentrating.

No such thing. This is the way Conrad has written it and while I understand completely that since Marlowe is telling a story, he has every right to jump around in his thoughts. His spiel about Kurtz here is actually an afterthought brought about by the sudden danger of the situation and the death of his steerman, a native who was at least loyal as he was simple in his position. It is perhaps, then, a more natural and realistic dialogue then had he stuck point to point with a timeline. After all, all stories told in past tense have established a history, the end of the telling is merely choice.

 

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REALITY?: On Government Process

Gawrsh, I’m so confused.

If the Democrats propose a bill and the Republicans don’t agree and hold it up, it’s the Republicans’ fault.

If the the Republicans propose a bill and the Democrats don’t agree and hold it up, it’s still the Republicans’ fault?

That ain’t the way my daddy taught me. He would’ve said there is no blame in a disagreement, only opposing views, and the only possible solution is compromise on both sides.

With the threat of a “government shutdown” looming, the extremists on both sides are getting crazy again. I must remember to go look outside tonight at the moon.

While I feel for federal government employees who are innocent of the situation–just as are the workers in the private sector and in the state and local public sector level–I sort of feel like everybody’s going to take a hit now and then and maybe it’s just their turn. A couple days’ without pay really isn’t going to cause a disaster for anyone financially or the public in losing the services for a few days.

And this is interesting to find, that the last furlough of federal workers was in 1995-96, and that they immediately got their pay restored as soon as possible. That hasn’t happened for anyone else. (Newser) *

Some more facts:

Six shutdowns occurred between fiscal year 1977 and fiscal year 1980 (Carter), ranging from eight to 17 full days, according to the report. From fiscal 1981 to 1995 (Reagan, Bush, Clinton), nine shutdowns occurred, lasting no longer than three full days.

In fiscal 1996, the first budget impasse led to a five-day shutdown from Nov. 13-19, 1995. The second shutdown, the longest in U.S. history, stretched 21 days from Dec. 15, 1995 to Jan. 6, 1996.  (Washington Post)

Look at Japan. Now there’s a disaster. And somehow, nobody’s running around screaming and ranting and pointing fingers. They accept what happened, adjust, and move on.

Honest, this country’s been through a lot worse. There are individuals who have lost their life savings, their homes, their families, and just about all hope. Somehow I can’t really get worked up about a government shutdown.

* Per Washington Watch, Senate Bill S. 776 “A bill to provide for the compensation of furloughed Federal employees” was in place even before the shutdown was averted.

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LITERATURE: Heart of Darkness – Language

Okay, so here’s an image that Conrad presents most eloquently:

The sun was low; and leaning forward side by side, they seemed to be tugging painfully uphill their two ridiculous shadows of unequal length, that trailed behind them slowly over the tall grass without bending a single blade.  (pg. 41)

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LITERATURE: Heart of Darkness

I’m not sure whether it’s my deep immersion in the flash fiction/short story world by both writing and reading this genre, but I’ve had a very hard time for over a year to stick with and breeze through any novels. It’s true, I don’t really breeze through anything I read, since I read for pleasure as well as learning and seek meaning and appreciation of writing styles from anything I read. Just can’t seem to follow more than a couple pages at a time with longer stories or novel-length fiction, and I hope I haven’t ruined my abilities to enjoy the pleasure of novels by seeking immediate gratification and basing my reading on the different style.

That said, I still found it a bit tiresome to read something that appears to go on for pages what I feel could have been said in a sentence. Joseph Conrad’s style of writing is excellent, and yet it’s gotten tedious to me.

There’s the unusual setup of the group of men sitting around a ship at night while one of them begins to tell his story of his recent journey to captain a ship down in Africa. The opening scenario is quite nice, with the men being described as “The Lawyer, the Accountant, the Director,” which in a single word, compartmentalizes these gentlemen versus the character called Marlow–who will be the narrator of the story to be told to these others. The book also starts out in first person, the narrator being among the listeners, and Marlowe’s story, also first person, is then crafted through the use of quotation marks and goes on for chapters before being occasionally brought back to the present scenario of the men listening to the story.

Talk about Mark Twain’s Huckleberry Finn brouhaha with the word “nigger,” this book as well liberally uses it, since the setting is in the late nineteenth century and slavery has just been overcome, yet in Africa, the cruelty and abuse continued far from the reach of civilization. The word itself, as spoken by Marlow, is not really an expression of racism but rather a commonly accepted designation of black men. Marlow himself seems to be shocked by the ill treatment of the Africans who are being used as carriers into the interior of Africa by the wealthy traders. Marlow seems to have a need to get this story out, yet he finds himself telling his companions in the darkness of night cover. In truth, the narrator appears to perhaps be the only one listening as the others may have fallen asleep.

There are some interesting characters that Conrad brings into the adventure, and he draws them so well. In fact, the character of a white trader named Kurtz is someone that dribbles into the flow of the story long before Marlow has bet him.

I believe that the value of this book, aside from Conrad’s fine writing, may well be in the secrets that seeped out into the reading world from the base of Africa, where a different system of social intercourse and equality still reigned.

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WRITING & REALITY: The Joy of Acceptance/The Agony of Disinterest

Sometimes, in a calm lull of the writing process, you think you really don’t care about getting published since once your first story/poem/essay has been accepted, you’ve begun to call yourself a “writer.” You think the shine is off and yet you realize it comes anew with each and every “yes” just as the “no, sorry” can still pierce the skin–though it doesn’t cut to the heart the way it used to.

There was a day this past week where two of my pieces were published, one day after another. I was ecstatic! Both were solicited (versus normal submission) which is lately what I find myself doing–just because the submission process takes me so long to decide what to send and where to send it and how to keep track of it all. And one was in a print edition (Thunderclap Press) which still, regardless of how we feel about online literary magazines and our recognition of them as equal to print, still holds that little extra thrill leftover from the early days of ezines.

What cracks me up–though admittedly with a touch of sadness–is that aside from my fellow writers, my social network friends aren’t really impressed at all. I see tweets and posts that record each play of some televised game–a ball is thrown, carried, swatted, or kicked over some boundary and makes an extraordinary number of people excited. I admit that I’m not into most sports–a ball goes this way then that way then this way then that for a couple hours and that’s about all I make of it.

It dawned on me that this is reinforced at the college level, and starts early with Little League and elementary school sports and high school athletics. We’ve held onto that Adonis dream, that exultation of the human body, the athlete we shower with scholarships and contracts and advertising gigs and money beyond almost any other field of personal accomplishment. Americans, more than any other country, hold as their heroes their sports stars, their celebrity actors and actresses. All physical–very little cerebral idols here.

We don’t complain about Taylor Swift (and I like her) making $45,000,000 a year, or multi-million dollar contracts for playing basketball for a year. Somehow, we don’t want to look closely to see our money making them rich, but feel they deserve it because we’re entertained. Reading, I guess, is not entertainment any more. Writers don’t as a standard get paid anything for short stories and poems–they’re supposed to be content with the thrill of publication alone. Most writers of published books get very little, though big name celebrities (writers, yes, but sports stars and actors and politicians as well) and phenomenons are way up there in making money off a book.

You see, we don’t have readers willing to pay to read a story whereas we’re overloaded with watchers willing to pay big bucks to see a game played, or a concert or movie. And time is a factor as well, since these days, literature of all kinds, lengths and genres are available online for FREE. It takes about a minute to a minute and a half to read a 250 word flash fiction, which evidently is too long, even as we sit two to three hours watching a ball go this way and that, this way and that.

It’s times like this that I particularly wish that I were tall or pretty instead of smart. Or maybe I’m not so smart after all.

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WRITING: On A Suc­cess­ful Writ­ing Year or, There Is Life After Rejection

(This post originally appeared in January, 2011 at Nothing to Flawnt in my gastarbeiter appearance on that weblog, with thanks to Marcus Speh.)

Yes, thank you, yes, yes!

The writer’s dream come true. Gra­ciously accept­ing con­grat­u­la­tory com­ments from his peers on his lat­est pub­lished piece. But what did it take out of him to get here?

Like a new mother for­get­ting the agony of child­birth when she holds the new babe against her breast, the writer doesn’t look back at the years of rejec­tion slips, the mis­car­riages of writing.

We found your work not quite a fit/not suit­able for our journal/REJECTED.

Most writ­ers really started back in grade school. Pat­ted on the head and encour­aged by teach­ers and of course, a mother who loves every word. Some­times there are years in between bouts with the muse but at some point we decide to take it seri­ously. Put some effort into it. Sub­mit. And that’s where real­ity hits fic­tion and the pain of rejec­tion adds lay­ers to character.

Many years ago–at that par­tic­u­lar moment when light­ning struck which I mis­took for that “time to get seri­ous” sign–I did some research. Armed with a hand­ful of short sto­ries and many, many poems, I hit the track. Of course, back then it was all print­ing out, cover let­ters, envelopes (two–one the dreaded SASE) and postage. I went through Duotrope and selected what I thought were among the “upper ech­e­lon” of lit­er­ary jour­nals, those found in the cam­pus library: Glim­mer­train, Ploughshares, Prairie Schooner, the col­lege reviews. Twenty of the best. Those that reg­u­larly pub­lished the lat­est Joyce Carol Oates. Back then, I strictly obeyed the “no simul­ta­ne­ous sub­mis­sions” warning.

And waited. And waited. And waited for some kind of response.

These days, with online sub­mis­sions the norm, it is so much eas­ier to sub­mit. Cheaper, too. In truth, I feel for the edi­tors who must dread in some ways just know­ing each morn­ing that though there may be a pearl in the onslaught of words, there is indeed that onslaught that the ease of sub­mis­sion has opened up.

Over the years I’ve learned a bit more about the sys­tem of sub­mit­ting and the one thing that was always stressed, the same thing that out of ego but more, out of impos­si­bil­ity due to lack of funds we tended to ignore, was to sub­scribe to a mag­a­zine in order to find out exactly what it sought by way of writ­ing. Well, you can only afford so many mag­a­zines and you can talk your­self into think­ing you fit.

One of the best moves I’ve made was join­ing the won­der­ful com­mu­nity of writ­ers at Fic­tio­naut. It did, of course, open some doors and make some amaz­ing friends that are so sup­port­ive of each other that a writer need no longer feel alone and small. Bet­ter yet, it revealed the dif­fer­ent styles of con­tem­po­rary fic­tion and poetry writ­ing and what was being sought by the jour­nal edi­tors. Not only do the links make the mag­a­zines eas­ily acces­si­ble online, it offered sam­ples of the editor’s writ­ing! What bet­ter way to see exactly the tone, style, voice, topic, etc. that an edi­tor looks for in select­ing, than to see what type of writ­ing he/she presents? That in itself was invalu­able and ben­e­fi­cial to both sides; less head bang­ing and less read­ing of incred­i­bly mis­matched submissions.

Another thing that such a com­mu­nity of good writ­ers can offer (besides some cri­tique if requested) is the oppor­tu­nity to learn by read­ing and writ­ing. I know that per­son­ally, the work of my friends has had a direct impact on my own style of writ­ing. I find it easy now to write a story in rela­tion to either a theme or a word count. A word count! Some­thing I just couldn’t com­pre­hend as rel­a­tive to story at all!

While I’ve gone off into dif­fer­ent direc­tions in my own writ­ing and have wan­dered into hyper­text, flash, and code, I see these same explo­rations into new media brought about by the inter­net and the com­puter by the mag­a­zines and by the writ­ers and artists. Mar­cus Speh has dab­bled in hyper­text nar­ra­tive. As have Dorothee Lang (edi­tor, Blue Print Review) who has taken it fur­ther into com­bin­ing story with visu­als. Meg Pokrass has found a niche in tak­ing advan­tage of Xtra­nor­mal, a free ani­ma­tion pro­gram on the web and has com­bined story with audio/visuals with exper­tise and her inim­itable flair. There are more and more venues will­ing to accept the new media form of writ­ing that an online pres­ence can offer that tra­di­tional print form never could.

So yes, life for the writer has changed. The nar­ra­tive, the meth­ods, the writer him­self, as always, adjusts and expands to ful­fill both the read­ing audi­ence and that inner need to be read. There is indeed life after rejec­tion; all I needed to do was grow into it.

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REALITY?: Why “Public Servants” are Losing My Sympathy

And, my respect. From WFSB:

“Tough times in Wethersfield mean nearly 50 teachers are being laid off.”

Yes, I feel bad for those teachers and I understand that it hurts the students a bit  (Wethersfield high school ranks 60th as a top school with a student:teacher ratio of 14:3). But their response?

“The school district has revised its request, asking for a 6 percent spending increase.”

What part of “we’re hurtin’ ” don’t these people understand? These bad times are temporary and in an idealistic world, everyone should be willing to sacrifice. Don’t they get it that the government doesn’t just print money to cover shortfalls? Don’t they understand that raising their budget (if approved) just translates into higher taxes on their private-sector neighbors who are likely holding onto their homes and their “new” jobs sweeping floors at Home Depot because that’s all they could get after two years of unemployment after being laid off from jobs that paid less than these teachers are making now? I’m sure they can stretch that minimum wage into paying another 6% in local taxes to cover somebody else’s job.

Where’s the fairness in that? Frankly, if you’ve managed to collect your salary for the past three years while people were losing their jobs and houses, (yes, everyone got furlough days and no raises), then you’re one of the lucky ones. And, if you were smart as well, you had these years to save up against the economy finally reaching you.

We’ve come a long way in improving the educational system, just as in all areas of life and innovation. But doesn’t it make just a bit of sense that if education was so bad, was so inadequate twenty, forty, years ago, that we wouldn’t have people smart enough to be teaching students today?

I own my own very small business. I’ve been hurt by the economy, just as everyone else has been. What if companies, in order to save jobs in hard times, simply said, “well, we’ll just raise prices again instead.” How do you think that strategy would play out?

 

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WRITING: Social Networking Gaffes

Nothing irks me more than . . . people who spout off about what irks them in the incorrect  grammar of others.

It really bothers me when people use “I” instead of “me.”

It drives me to distraction when people use “it’s” instead of “its” and vice versa.

Why can’t people learn the proper use of “who” and “whom?”

It’s not that hard to determine the correct meaning and tense of “lie” versus “lay” people!

I’m really offended by the incorrect use of . . .

I hate to be nitpicky, but . . .

This is what social networking does. Gives us a way to vent about personal little annoyances that seem to plague the rest of the world while we ourselves are perfect. I’ll bet you won’t find a person who uses all the grammatically wrong terms, nor one who doesn’t present at least one flaw in his or her own grammar.

Face-to-face, pointing out a grammatical error used to be considered rude unless it’s in English class, editing, or when correcting a child or an ESL student just learning the language.

Do you honestly think you have the right to change (even if it’s improving) everyone else so as not to offend you? Repeat offender? Unfollow them on twitter, defriend them on Facebook. Surely that will keep you above the rabble.

Not everyone speaks as “good” as you; deal with it.

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LITERATURE: in transit – Part 2

The third section of this book starts with a poem and these opening lines:

two lines of horizon

ornament letters plastic sign

What better way to describe a journey taken by bus, by train, by car, where the land scape moves by as you’re sitting still? Rushing by, needing to be absorbed by the eyes in consecutive blips and transmitted to the brain to be all sorted out.

In These Laws of Space and Time, the journey is once again told within the characters’ action. Who has not wondered about that stranger sleeping next to you, his head nearly on your shoulder as you watch cities, countries fly by. But there is always a thread of common ground that we hold between us and even in the few minutes of journey that’s shared, it is found.

Dorothee’s constant awareness of time and space as they pertain to place in this book shows up here, in The Buddha, the Dharma & the Sangha:

Towns are made of h0uses and streets. To get from one place to another, you either walk, or take a car. Rivers are crossed by bridges. Streets connect to other streets that connect to other towns. That is what I learned when I was a child.

And then proceeds to have her illusions tested when crossings are instead made by boat only. Here too, misconceptions of dangers both in place and in time are forewarned. The traveler must adjust to new languages but also to traditions and things that are locally known. Ginger tea may not be ginger tea as we know it.

The best thing about these stories and poems are the manner in which Dorothee selects what she writes about. It’s not a vision of environment and scenery, but rather the constant that visits the new and discovers what is different, and what is the same.

World traveler, artist, writer, designer, entrepreneur, all these hats that Dorothee Lang wears are just as common to each of the pieces here as the innate humanness of mankind. Each of the pieces have been published elsewhere and brought together in this collection that stands as a tribute to the curious traveler.

In the final pages, Dorothee gives us insight into the process of putting together this collection, and it is surely as interesting as the journeys themselves. The sorting, the selection, the tying in of place, space, and time through organizational threads is a wonder of art in itself.

in transit may be purchased through Blue Print Press.

(Photo courtesy of Dorothee Lang)

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REALITY?: And More Snow

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LITERATURE: in transit by Dorothee Lang

Always on top of my pile of “to reads,” this small book of stories of travels has been teasing me for a few months now. Unfortunately, my reading has lately been limited to online short stories at Fictionaut, at 52/250, and other small literary communities and journals. One of this year’s goals is to get back into reading books–real books, whether from my overflowing bookshelves or via Kindle for Mac.

Dorothee Lang is the editor of Blue Print Review where she’s graciously published a few of my stories and images, as well as Daily sPress where she reviews small press publications and publishes at Blue Print Press. Her work in fiction, non-fiction, poetry, and art and photography has been widely published in many literary journals. She is listed in the Electronic Literature Directory for early work in new media form. Via emails, she’s become more of a friend. Living in Germany, we’re a distance away. There is one other difference between us that’s obvious: Dorothee travels, has knowledge of foreign places that I’ve only read about. in transit comes out of that understanding of living and traveling in places that may or may not ever become “home.”

The opening page of the book is a listing called “being in transit >>>” that really is a poem:

(being in transit >>>)

is an art in itself

is easy

is good for drivers

is the ruin of all happines

The list goes on, but what I believe she is saying here is that it is what it becomes for the traveler, if in compliance with the purpose, or if it does not indeed answer the question raised by the motion.

The small book is divided into four sections: Germany, Europe, USA, and Asia. Each has a few poems or stories inspired by an itinerary of the journeys. There are leaps in time as each makes its impression. Dorothee’s writing (the book is in English, Dorothee is fluent in both German and English) is clear and precise, yet brings in the mood via her choice of words:

There is still an hour of time left when we arrive back at the Alexanderplatz, but most of the others are there already too. We are sitting on the steps of a fountain guarded by stone snakes, waiting for the bus to arrive, to take us back to our hotel in the Westside. Overhyped and dazed, we pull the unused bills of Ostmark from our pockets and start to turn them into planes, into boats that drown in the snake fountain.

Dorothee takes on subsequent trips to different parts of Germany, and there is a thread of distance of time as well as of space. At one point she visits a museum where she recognizes a particular work of Donald Judd that she has seen before though she hadn’t been to this place. The resulting conversation with a museum attendant brings in once again the element of spaces, of how one looks at things, of how one’s perspective changes over time.

While the section on Germany was written mainly in first person, the next on Europe goes into third. Pool Sides, set in Spain in 2004, is a feeling. Reflection, simple setting but so much deeper in meaning. The last paragraph, where the character returns to the pool in the early evening, says much:

The shadows of the palm trees are stretching from the one side of the pool to the other now. Soon they will disappear all together. She makes a mental note to buy the music she heard in the afternoon. Yet there, in the fading light of the sun, she can neither remember the song, nor the thing she hoped to find there.

In Harlequin, set in France in 2006, Dorothee reveals a relationship through dialogue of a couple on vacation. Through detail, through the wondering over a gecko being alive or fake, the two characters are exposed.

The final offering in this section, Hotel Universe, is an exquisite drawing of lines and people via avenues and streets, the texture of roadways and the crossing of daily lives.

Next: The U.S. and Asia

(Photo courtesy of Dorothee Lang)

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WRITING: 365 days a year

It won’t be more than mere practice, no eloquence finely honed and polished to perfection, but a flash piece each day to match–no not match, but inspired by–Carianne Mack Garside’s beautiful art.

So here will be my offerings, starting with Day 1, Potent. Note that each month’s work here has a separate page (links on the right sidebar).

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WRITING & REALITY?: A year back, a year forward

Gone are the days when a Photoshopped Happy New Year! greeting will do on a weblog this last day of the year. Everyone seems to be listing achievements, successes, plans for the year ahead that will be both a challenge and an inspiration to bother working even harder next year.

2010 was a great year for me in the area of my writing. About 30 pieces published, including a hypertext and some images among the fiction. Might’ve even done better had I been organized enough to submit more work to more places. But the satisfaction of realizing a hope that you’re good enough to be published is both a blessing and a curse. You really need to keep up on it, not sit back and relax.

The highlight of the year has to be the coming-in-close in the Bartleby Snopes Dialogue Contest. No, wait–here’s the real thrill, winning the Eighth Glass Woman prize for “Wanderer.” Knowing so much more through Fictionaut about the writers I’m humbled to be alongside may be the biggest compliment and stamp of approval yet. These are writers, real writers. I feel like maybe I snuck in through the side door.

Anyway, my “list of literary accomplishments” is as always, on the “My Work” link. Beyond that, I wrote a story and made up an image every day for 100 days through the summer. I found myself listed in the Electronic Literature Organization Directory for the 100 Days Project of 100 hypertexts done in 2009. I’ve written a story each week for the 52/250 project since May, and will continue on that through May of this year. I wrote another 24 stories for another month-long project. All in all, I likely wrote about 150 stories this past year. Oh, and at the Tunxis 24-hour marathon in April, I produced a new hypertext piece.

Aside from writing, my other endeavors have not been as fruitful. I’ll learn, I suppose (and that’ll be a New Year’s resolution) not to keep knocking on doors that are closed to me. I’ve applied so many times for openings at a local place that they likely fear I’m a stalker. Same thing with writing; I’m learning that no, my work doesn’t “fit” at all at some venues, and why don’t I believe them? Rejections are never happy things, but it’s senseless to set yourself up for a fall when your style of writing is not only not what they want, but their literary tastes simply aren’t yours either. That’s diversity. That’s a good thing. Focus and research is the key, as every writer is told and for some reason, it doesn’t get through until the bright light pops on with the newsflash.

So there will be some dedicated focus this new year so not as much time and effort is wasted. I won’t send my resume out to places I wouldn’t want to work just to punish myself nor hit on places I’ve been turned down at a dozen times. Same thing with the writing. Organization, whether by Tinderbox software or by Duotrope Digest, will be the very first thing I do.

Projects, yes, I’m planning some projects. Personally, a new business of sorts. In writing, learning–no really, spending the time and finally learning–to more easily understand and implement HTML5, CSS3, JQuery, audio, and visuals into my work. Not written in stone, but somewhat man-made concrete: a hypertext novel; a traditional novel; putting together and marketing an anthology of short stories; an online new media magazine; and work that I love to do, am good at, and will produce some bit of income–in that order of importance. In addition, getting back into reading and reviewing my literature collection of classics on a regular basis. Though I’ve in truth spent more time reading than writing this year; hundreds and hundreds of flash and short fiction and poetry over at Fictionaut and 52/250 and many online zines. They’re really what has honed my own edge of writing as well as offered hours of delight in reading.

So I close the old year with some successes, many failures, but knowledge that promises. I will make time for old friends, make myself try some new things, spend less time on social networks and give reality more.

Best wishes for a happy, healthy, successfully satisfying New Year.

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REALITY?: Merry Christmas!

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