Into China

Rather than venture into Guangzhou (Canton) on my own, I decided to do a tour. This was mainly because our sortie to Dong Men quickly showed me that past Shenzhen's shopping area, hardly anyone spoke English so if I needed to find out how to get somewhere (or even catch a taxi) I'd have no hope. The tour was great - once I got over feeling like a sheep being herded everywhere - and I saw lots of fascinating things, including five of the terracotta warriors, a huge jade ship, one giant panda stuffing her face with bamboo, and a backstreet local market in Guangzhou that was astounding. I have restrained myself from posting my photo of the pile of gutted frogs. Instead here is a nice photo of a cage of snakes. Everything in this market was being sold for eating, and that included snakes, frogs, turtles, eels, scorpions, toads and fish.

While I did get some photos of the giant panda behind a window, this guy was outside eating an apple - lesser panda (red) - and not at all bothered by us lining up along the fence to take photos. In fact, he looked kind of bored.

We also visited a kindergarten to hear a bunch of little kids sing to us, plus the Six Banyans Temple and a memorial to the founder of modern China. Plus a few other things.

Today I had a "time out" day and went to the movies. Quite a few people here had recommended Lust, Caution and said I should see it in its original version as it was likely to be cut for Australia. It was directed by Ang Lee (Brokeback Mountain) and was wonderful. One of those movies I shall be thinking about for days.

Yesterday I visited the Correctional Services Museum at Stanley. Lest you think I was desperate for entertainment, I actually thought it was the police museum. Instead I got the history of prisons in Hong Kong - very interesting, even if some of the photos made me feel a bit sick. Back to Australia tomorrow. Feels like I've been here for six weeks, not two!

For NaNoWriMo, I think I've managed about 12,000 words. Nowhere near 50, but a lot more than if I'd never bothered to try. I'm now a fair way into a new novel, so we'll see if it's any good or not when I'm back in work mode and feeling less critical and more clear-minded.

Hong Kong Diary - more

Like many cities in the world, Hong Kong has its Christmas decorations up, and some of them are truly amazing. This is a centrepiece in a large building in Central, (the photo only shows one part of it) with twirling chandeliers and a massive tree covered in coloured balls and these things all around it. I think they are meant to be poinsettias. In front of the big shopping mall in Causeway Bay, the decorations are purple and silver, with angels and glass domes.

On Friday morning, Sue and I went on a Chinese cultural tour, which began with a one hour tai chi lesson on the harbour front. This is the "experts" group giving us a demonstration - note the backdrop that was our view as we scooped and swayed and stepped. The tai chi master leading the session had a Madonna mike on his head and kept us all moving (not necessarily in time, mind you) - it was fun and invigorating. And amazing to be doing it while looking across at all those skyscrapers. City views here are terrific, even better at night with the light shows. A lot of the buildings have neon Christmas pictures and images on their fronts. We also learned about feng shui, and drank lots of tea in a tea house (I have now got a nice store of lovely teas to take home, including lychee and rosebud tea).

On Thursday we ventured across the water to Macau. A one-hour ferry trip and you're in another country. Well, still part of China really, but we still had to do the immigration thing at each end. Nothing more painful than standing in a queue in front of a group of businessmen off for an "anything goes" weekend, and having to listen to the pontificating.

We arrived too late to see much, unfortunately, and only managed to look around the cathedral ruins just before they shut the gates. The streets were still fairly lively, but apart from the casinos, Macau seems to close down much earlier than Hong Kong. This photo is one of many shops selling the local nougat and shortbready cakes - this woman is actually selling slabs of meat (like jerky?) but we weren't tempted by that. The nougat was another matter.

We ended up at Fernando's, a famous restaurant on the southern island, and I ate drunken steak (drowned, I think, in red wine and a ton of garlic) and Sue ate Portuguese grilled sardines. Macau still has quite a Portuguese influence, especially in the old buildings and food in many of the restaurants. It'd be good to go back in daylight and see all the historical stuff that we missed out on.

The ferry back was "interesting" - whatever ticket you booked, you could go back earlier if there was room, so each ferry sailing had a standby queue. If you missed out you had to run for the next standby queue (and I mean RUN). We used a bit of strategy and went three ferries ahead to get a place! Long day all the same.

Our classes have all finished - I have a day at a school on Monday. Everyone has been great - lots of enthusiastic students, very different from having a class for a whole year. I have done hardly any writing since I've been here (NaNo is pretty much a wipeout for me - I'm trying not to let the failure depress me too much) but I am gathering such good material for poems and stories again that I figure I am still being a writer!

A Day in Shenzhen

On Sunday we ventured into China, and went a little further this time, past the Lo Wu shopping centre and on to Dong Men. This is an older area but only by about ten years, I think. It was a very busy shopping centre/streets but here the shops were much better in terms of brands and quality (much of Lo Wu is copies). One huge store sold nothing but shoes and boots. We also found a Starbucks, a McDonalds and a KFC. I have noticed that in the 12 months since we were last in Hong Kong, coffee chains like Pacific Coffee and Starbucks have sprouted everywhere. (Starbucks in Australia note - wireless internet here is FREE.)
I have no idea what this huge bell is all about - something historical, I imagine. The streets were full of people, mostly strolling and looking in shops. Hardly any signs with English so even in the railway station we had to ask for help. Lots of interesting people to watch and listen to. Sue took a photo of a noodle shop that had about thirty people outside, all eating bowls of noodles with their chopsticks.
Lo Wu was less overwhelming this time because we knew what to expect. Hundreds of shops but mostly selling the same things. I was looking for a new wallet but there were only about 6 different kinds (all copies) and when none of them were what I wanted, that was it. No point looking further. I did buy a Tshirt and jewellery, but that was it. Very restrained!

More Hong Kong

Today, we had our first sessions with the Women in Publishing group here - they're a professional organisation whose members are either editors, publishers or writers (or connected with the industry in some way). We use the Helena May Centre which is a wonderful club with a long history of women's activities in Hong Kong. Today I was looking at a World War I first aid/bandage rolling group. Late this afternoon we went to the Flower Market north of Mong Kok. There are four streets (a whole block) of flower shops, selling every kind of flower you can imagine. There was even a shop selling those plants that catch insects in gourd-shaped flowers (can't think of the name of them) and a few shops selling deep blue roses. The orchids were beautiful - one table full above, but there were many, many more.

This woman on the street corner is shovelling charcoal to cook chestnuts and yams, and was not happy when she saw me taking her photo. The smell of the charcoal was not nice at all!

Letter from Hong Kong 1

I'm back in Hong Kong again for more teaching and training. A busy two weeks ahead, with some R&R planned too. Today I spent the day at Yew Chung International School in Kowloon Tong. Did NOT get the day off to a good start when I got off at Kwung Tong station by mistake. A very kind man directed me to the right station, and I was only five minutes late, but luckily my sessions had been rescheduled so I had time to catch my breath and calm down (I hate being late!)

Hong Kong is the same as always - busy, busy - and the streets are more packed with people at night than during the day, even rush hour. Everyone loves being out and about, and the shops stay open till midnight usually. Although we are staying further towards Central on the Island, we are still in Wanchai and found ourselves yesterday going back to familiar places for photocopying and eating out. But we will venture further afield once things slow down a little.

Sue has lined up a cooking class (she really wants to learn how to make dumplings) and on Friday we plan to try early morning tai chi in the park and learn the art of Chinese teamaking. We are near Lockhart Road which has a large number of bars along it - a lesson in names and titles. Try Devil's Advocate, Old Chinese Hand, Wild Coyote, Typhoon and Agate. Most of them are full of tourists. We think we will avoid the Kangaroo Bar.

I am hoping to write while here - NaNo is hanging over me and my word count has come to a grinding halt. But there's not much I can do about it when I am totally brain dead by the end of the day. Maybe tomorrow...

Research Sideways

I've just finished reading The Scourge of God by William Deitrich - a historical novel about Attila the Hun. I hadn't read a big historical novel for a while, but I wanted to do some research on that era and thought I'd start with a novel - one that came highly recommended for historical accuracy. At first, there was so much information that I struggled with it, but once I got to know the characters a little, the story started to take off. There are several point-of-view characters but the main one is a Roman called Jonas. As with many historical novels, this person never actually existed, but most of the other characters did. A fictional narrator gives you a bit more leeway with the novel side of the project.

Deitrich did a great job of depicting both the cultures and life of the time, as well as the geography. Jonas begins in Constantinople, and then travels north into what is now probably Romania, then west into France where the huge final battle between Aetius and Attila takes place. His description of that battle, which some estimates put at over half a million soldiers on each side, is terrific, both in the single viewpoint of hand-to-hand combat and the overall fighting of hundreds of thousands. Some say three hundred thousand died in one day.

At the back of the book, there is a chapter on how he researched the story, and how little evidence there was of what really happened. The Huns didn't believe in reading and writing, so there are no written accounts from them. What there is came mostly from Romans. Deitrich talks about how he visited a number of museums and sites, trying to gather as much material as he could, but there isn't even a reliable picture of Attila, just a portrait made many years after his death with no evidence it was created by someone who knew him. Still, the level of detail in the book shows that Deitrich found enough to enrich the book immensely.

We are so used to having everything at our fingertips these days - TV, 24 hour news, internet, research libraries - that to write about a whole race of people who had no interest in recording their 'doings' is a real challenge. Which brings me to my research. I've been struggling for a while with a story, thinking it was fantasy but gradually realising that somewhere in my subconscious I've dragged the story up from a historical base. But what? I didn't do ancient history at school, and while I've read historical fiction over the years, I couldn't figure out why I could 'see' this story but had no idea where it was set. The word barbarians kept coming up, though.

Then I did some research on weapons, and immediately found that the ones I had in mind were used around 400-500AD, which led me to Goths, Vandals, Visigoths and Huns. Aha! I had my era at last, and my location - southern France. Now, this is a very weird way to go about researching a story - write a third of it before you know where and when it's taking place! But that's the way it happens sometimes. As for reading novels as a form of research - I can highly recommend it. You gain a 'feel' for the place and time in a way that normal historical reading rarely gives you, and you can then move on into more factual stuff as you need it.

NaNo Pros and Woes

I wonder how writers around the world are coping with NaNo. Why did the originators choose November? As my friend T says, why wasn't it NaJoWriMo? Except the No actually stands for Novel, so that doesn't pan out. However, it does seem that November is not a good month for Southern Hemisphere writers, due to study/marking/VCE exams/uni exams and anything else you can think of that signals the end of the year approaching (including the dreaded Xmas decorations already up in the shops - and no one has yet produced a plastic tree that comes anywhere near the real thing).

In the US, it's only the almost-end of their first semester. No exams, just that funny celebration called Thanksgiving. My best memory of Thanksgiving is working at the American Club in Sydney (much younger days, thank you) and carrying out massive turkeys on platters, then watching various men with their knives, both electric and manual, hatcheting said turkeys into lumps. Their dads taught them many things, but obviously not how to carve a roast properly.

So I imagine all those US writers beavering away (because of course there are no beavers in Australia), free of student encumbrances. What about the UK? It hasn't snowed there yet. Are they all still drowning their sorrows over their World Cup loss? Or do they not bother with NaNo? Are they instead off to the soccer, I mean, football? Are any writers in Asia or Africa doing NaNo? If you care, check the regions on the site, I guess. I'm just wondering...

And of course trying to excuse the fact that I am sadly behind in my word count. At Day 11, I should have racked up a tidy 18,000 words or so, but I think I'm up to around 8,000. Today, I had oodles of writing time, but I was in the bush (literally) and, having worked out, miraculously (or not so miraculously, if you are one of those people who reads your instruction manuals all the time) how to do ultra-macro photos on my camera. And the first results are up on my Bush Notes blog. What a beautiful day it was. And to top it all, I came across two fox cubs. Do not say the words vermin or extermination, please. Not yet. Let me just marvel at the experience.

Time to Read

A lot of people say to me, "How do you read so many books? I don't have time." As many of these are writing students, I don't have much sympathy because I believe you have to read widely in order to write better. Reading as a writer teaches you lots of small but vital things about writing that you don't really learn any other way. I'm always thinking, Wow, that's a great piece of dialogue - I must give that to my class to read. And sometimes I give them a writing exercise based on it.

How do I read so much? If I'm working at home, I read at the breakfast and lunch table. I read at night instead of watching TV (or as well as - most TV shows don't require 100% concentration!). And I always read for at least half an hour when I go to bed. On the weekends, if I'm not working, I read as relaxation. When we go up to the bush for the day, I spend a lot of time sitting under the trees, reading. I always take at least three books in case I run out. I am a fast reader, I guess, but only through practice.

Being a fast reader means that books I don't like so much get read pretty quickly, but if they really don't appeal, I toss them. Once upon a time, I'd persevere but not any more. Too many other good books out there to read.
I've just finished The Day the Gypsies Came by Linzi Glass. It's set in Johannesburg in the 60s, and has an awful cast of characters, nearly all of whom are very unlikeable. The main character is weak and doesn't act until the end, when it's too late. I struggled to finish this, but in the end I was glad I did for one reason - the relationship between the main character and the Zulu gateman, Buza. It was wonderfully written, and made the ending, despite all the other horrible things that happened, worthwhile.

NaNo vs Research

I decided to sign up for NaNoWriMo, even though I know I won't get anywhere near the 50,000 words. It's an incentive, mainly because two writer friends have also signed up and we are going to compare words. Mind you, one of them has had a head start by going off for a four-day writers' retreat and she'll probably come back with 20,000 words under her belt. But that's not what it's really about for me. It's more that I want to get back into the writing habit. This time of year is the hardest in terms of finding both headspace and motivation for writing. I'm just spending too much of my time reading and commenting on other people' s stuff.

But I have managed around 6,000 words so far (not all of them in NaNo time - I started early), and have come up against a small wall - the one called research. I'm at a point in the novel where I am about to make some things happen to the main character, but I'm not sure of the details of the situation, and I need to know them accurately, so the outcome works (otherwise what follows on will be "wrong"). It's a bit like in a crime novel, where you want someone's arm to be crushed in a certain machine, but if that machine doesn't operate in such a way for that crushing to happen, you can't write the scene. Sorry if I'm being confusing. I'm one of those paranoid writers who can't bear to talk about exactly what they're writing about.

So do I stop and go away and do research? A bit hard right now as it will probably mean interviewing an expert, and I don't have time. I could resort to books - I've already tried the internet and it doesn't have what I need (amazing but true!). I might just have to fudge it and hope that what I guess to be the correct situation is pretty close to accurate. And race off to the library as soon as I can.

My other option is to stop working on this novel and go back to the YA novel I was working on last month. Except I have no idea what happens next in that one either. This really is the biggest problem, I think, for many writers who can't do it full-time. The physical writing is not the issue - I type fast enough to do 1000 words an hour. It's the place inside my head where I plot and experiment and go what if? It's too full of other mush. Patience, I think, patience. NaNo is not a stick, it's a carrot!

Writers and Printers

Where would we be without our printers? Even in this age of the "paperless office" (yeah, right!), and even though quite a few publishers now accept email queries, if not email submissions, we still live and die by our printers. Gone are the days when a dot matrix printer was acceptable - now most people expect laser quality. It's hard to believe how disposable printers are made to be, as if our whole intent now is not only to use more and more paper, but to also have printers that are incredibly cheap and if the drum wears out, it's cheaper to buy a new printer than a new drum. Hello, landfill.

Everyone has their most-loathed manufacturers, both in printers and computers. Many years ago I had a Compaq laptop and the service provided when it broke down was so abominable that I swore I'd never buy anything with Compaq on it again. (Try, for example, being told that the power unit had to be sent to Scotland to be fixed! It'd only take 4-5 months.) And the fact that HP bought Compaq didn't improve things. I and my friends have a long history with HP's inkjet printers that defies all logic.

A printer that will print page numbers only at the top of the page, not the bottom? A printer that ignores all page settings and always gives you 1cm margin at the top? A printer that sucks up extra pages whenever it feels like it? And we all know that the reason printers are so darned cheap these days is because the manufacturers are making billions out of charging us megabucks for the ink refills. And most of the time, the ink hasn't actually run out, it's just down to about 20%, which is "below operating capability".

But a recent purchase by friends really wins first prize for manufacturer sneakiness. They bought a fairly expensive model so they could print photos and things for school projects. As the supplied ink cartridge ran out not long after purchase (because of course you never get a full one with a new printer), they took it up the street and had it professionally refilled. Before they knew it, the computer screen started showing messages warning them that since they hadn't used a manufacturer's cartridge, their warranty was now voided. (Same cartridge, mind you, just new ink.)

You might say, fair enough, because there are people who use ultra-cheap replacements and then claim there's something wrong with the printer. But hang on a minute, even HP produce a slightly cheaper version of their own cartridges. What is so bad about using a different brand of replacement anyway? Aren't we entitled to find a cheaper brand?

However, the final straw has been that now the printer won't print at all. It keeps telling them there is a paper jam, when there isn't. There is nothing wrong with this printer, other than the fact that somehow HP have found a way to make it shut down if you use the "wrong" ink. Bad move, HP. You have finally, irrevocably, joined my list of manufacturers whose products will never grace my office again.

And if all the people who have been badly treated by BigPond ever get together and boycott them, they'll be out of business in a second. We need effective complaining campaigns, we need to make manufacturers get their act together and we need to stop buying plastic crap that doesn't last the distance. OK, I'll get off the soapbox now.

Nearly Cross-eyed

This week is marking week (or grading, if that's what you call it). Giving students a number or a letter for their writing is always a tricky business - after all, I'm not a publisher, so how will my HD or Credit or 15/20 really have any bearing on what a publisher might accept? But it does, somehow. As a professional writing teacher, part of what I am supposed to know is the elements of good writing. I would hope also that I recognise great writing when I read it. The one thing I try not to be is subjective. Therefore, although a horde of really bad vampire novels from students a few years ago completely turned me off the genre, if a current student wants to write a vampire novel, I'll give it my best as a teacher in terms of comments and constructive critiquing. I must say, though, that anyone who still doesn't know how to use commas and fullstops after two years drives me nuts!

One of my favourite quotes is "All the colleges in the world cannot turn a bad writer into a good one. But good teaching can teach you how not to write." Alistair Cooke. I've seen quite a few students over the years who have started out as fairly ordinary writers, but worked hard and eventually found their own voice and style, and then surged ahead in terms of producing very good writing. I've also seen students who have talent and can write terrific pieces, but don't have the persistence and stamina to complete a whole novel, or even rewrite a short story to a publishable standard.

It's as if they thought it would happen like magic - that they'd come into the course, write a few gems that would gain instant acclaim, and then a novel would appear. Without having to actually sit down for hours and days and weeks and write the darned thing, of course, or (heaven forbid) rewrite it several or a dozen times. I've also seen one or two talented poets who have written some great poems that everyone has raved about, they've had a couple published in magazines, and then decided they don't need to rewrite anymore, or even take much notice of comments. And their poetry has started to die on the page and become messy or unfocused.

After a whole year of working with three classes (an average of 40-50 students usually), it's interesting to sit back at the end and think about each student and where they might be heading and what they'll do next. There are some who never surprise me - a couple of years later I meet up with them and they're often doing some job like shop assistant or takeaway cook. Nothing wrong with that, but they're not writing either.

So it's this time of year also where I ask them - how are you going to keep writing after you graduate? Who is going to make you write? No one. No one except you. If you want to be a writer or a poet, now you have to set your own goals and deadlines, practise your craft, read widely, and continue to feed your inner writer with words and images and writing. Self-discipline and perserverance are the hardest skills to acquire and, in the long run, may well be the most valuable. Your writing will continue to improve, forever and ever, if you feed it regularly and write on a regular basis.

Reviews

On one of my Yahoo group lists, there are posts at the moment discussing what you can do about awful reviews, apart from jump off a cliff. Some people have suggested extracting one sentence (the most positive one, even if you have to take it out of context) and using it on your website. As in "While the beginning of this novel was heart-stopping, the rest of it put me into a coma" - you take out the "this novel was heart-stopping" and discard the rest.

Another tactic was to make the reviewer a character in your next book and kill him/her off. It's easy to understand why famous writers who get dozens of reviews simply stop reading them. It can become a form of self-torture. Reviewers have all sorts of agendas, hidden and open. Sometimes an editor will select a reviewer because they are known to have differing views on a topic (especially any kind of political book). It might be that in the past, the reviewer has been slighted or insulted in some way by the author, so it's revenge time.

The hardest thing is not to respond. Occasionally people do, especially when a review is patently unfair or biased, or just plain wrong in its assertions. But I've been in the position of being reviewed by someone I'd got on the wrong side of in the past, and when I saw that person's name on the review, my heart plummeted. With good reason. Friends commiserated with me, but to complain would have made me look petty. You have to take it on the chin, and move on.

In this morning's newspapers, there are two reviews of Alice Sebold's new novel The Almost Moon. You would think the reviewers had read two different books. One reviewer called it the worst second novel she'd ever read. She also said "this story is one hell of a sorry mess". Ouch! The other reviewer liked it. She didn't rave over it (so reading between the lines, you could think maybe it wasn't as good as she'd hoped) but she did say "a powerful study in the sadder, madder forms of love". After The Lovely Bones, I imagine any novel Sebold published next was going to suffer in comparison. Let's hope she ignores the reviews - by now she's probably half-way through her next novel, and just as well.

Competitions

One reason I like competitions is because they have deadlines. Every year, the Age Short Story Competition acts like a carrot for me. Can I write a new story before the closing date? Often it happens simply because I've been thinking about it and the urge gets too much. With poems, I'm writing them on a fairly regular basis but sending them out doesn't happen often enough, so when the MUP competition closing date loomed, it was the impetus to look at what I'd written recently and send it off.

I often talk to students about competitions because they ask questions like, "Why do you have to pay an entry fee?" or "How can you be sure it's genuine?" Good questions. For a reputable competition, the entry fee usually goes towards funding the prize money and paying the judge. (Any competition with a goodly number of entries to read that doesn't pay the judge isn't playing fair.) But you will see some competitions where the first prize is $100 or $200, and the entry fee is $10. Whoa! Someone is making a nice profit. Those are the ones I tell students to avoid - and $10 is a lot for a student anyway.

Some competitions aren't competitions. The International Library of Poetry is one (there are several like this, including one that targets schoolkids) - they often don't charge an entry fee so they look genuine, and the $1000 first prize - sometimes bigger than this - is enticing. But what they do is publish the "winners" in a book. And everyone is a winner. The catch is you have to pay for the book. It's usually around $70+. It's cheaply printed, they cram as many poems in as possible (hundreds and hundreds) and sell it to the people whose poems are in it.

Now for many poets who haven't been published before, and may not even know of the many poetry magazines around, this is a thrill. They will say they don't mind paying the $70. Some buy more than one copy. But if you take a minute to do the sums, you'll see the problem. These books cost around $5 to print overseas somewhere, and even if only 70% of the people in the book buy one copy, that's a $65 profit per book. Sell 500 copies and you just made $32,500. And trust me, from what I've heard from people who've been caught out, this is a conservative estimate.

Hong Kong Prep

Everything is happening at once. I will have tons of marking to do - signalling the end of classes - but at the same time I'm writing course materials for our classes in Hong Kong. I'll be teaching How to Write Picture Books again at the YWCA, plus other sessions on poetry and fiction writing. Then at the Women in Publishing seminars, I'll be talking about websites and marketing, and how to sell your writing internationally. Phew! And spending two whole days at schools, which I'm looking forward to.

My friend T says, "How can you finish a year of teaching in our course and then go off and do two more weeks of it?" But it's different. Short courses are full of energy and enthusiasm. You don't have to plan for 30 weeks, just several hours. You can throw yourself into it and you know that everyone who comes along is truly keen and wants to know every single thing you can tell them. I find in 30 weeks of classes that students struggle, their personal stuff gets in the way, their commitment (in some cases, not all) wanes and they often don't put in 100%. It can get dispiriting as a teacher.

In short courses, everyone does 100% - teachers and students. We all want to make as much great stuff happen in our allotted time as possible. And Hong Kong itself is such an energetic place - people out in the streets, enjoying themselves, eating, talking, walking until after midnight. The lights, the busy-ness, the combination of ancient and modern culture all serve to re-energise us.

This time I am going on a short trip into China (as well as the big shopping trip to Shenzhen!) and also hope to hop on a ferry to Macau for the day. It is such a different place to be, both mentally and physically, that at the end of the school year, it's a total pleasure for us.
Our YWCA classes are here (look for our Write Start! week classes under Language and Communications), and our WiPs sessions are here (our sessions will be up any day under Events). If you're in Hong Kong, come along!
(And the photo is of one of the great skinny trams in Wanchai - complete with Christmas paint!)

It's the End of the School Year

The end for us in Professional Writing & Editing, that is. Almost the end. The one thing that's left is marking. Tons of it. Truckloads of it. And for me, it all has to be done in a week. Usually I try to stagger it over a couple of weeks but I have two Tuesday classes this year, which means Melbourne Cup Day is not an option for final submissions, although it will be a day spent on marking instead of going to the races!

This time of year is hopeless for writing - usually. But it also coincides with NaNoWriMo, which is the thing you sign up for where you write 50,000 words in a month. For writers in the US, it probably works out fine. For me, with end of year marking, it's not good at all. One year I signed up, and used it to finish the last 40,000 words of a draft. I did try to start something new to reach the big 5-0 but the brain died on me.

This year, I am determined to do something! I feel like I have spent months of my life recently doing nothing but rewriting. Nothing new, nothing exciting (because I love the first draft, this is a terrible state to be in). So my friend K, who has signed up for NaNo, is going to work hard on her new novel, and I'm signing up with her (my personal NaNo - K, do I call you NaNNy?) and I'm going to be trying very hard to work on a new novel of my own. I may not get far, but it might just save my sanity while everything else is crowding in.

The other thing that saves my sanity on a constant basis is our bit of bushland about an hour out of Melbourne. I've been taking hundreds of photos over the past few years, and now we have applied for a Trust for Nature covenant. So I've decided to create a kind of photo record of what I see there. It'll be mostly plants, because I don't have a decent zoom on my camera to catch the birds and butterflies well enough. But one day... In the meantime, if you're interested, my first amateur naturalist post is up.

Endings

I have two different novels that I have been or are currently reworking and editing for publishers. In both cases, I've been asked to rewrite the ending. In one, the ending I have at the moment doesn't work at all. Too "nice", when it's a YA novel that is dark and dangerous. I must have given in to the urge, in the early drafts, to make life happy for everyone by the end. In the second novel, which is for a younger audience, the editor has now asked for an "extended" ending. This is tricky, as a drawn-out "and then and then and then" can ruin what might otherwise be a concise resolution that already works.

How do you write a whole new ending? It's not just a matter of chopping off the last chapter and dolloping in a new surprise. It means re-reading the whole manuscript again, with the idea firmly in your mind that you are now heading for a different kind of resolution, so what might it be? The best way is to chop off the bit that has to go, so when you reach that point, all you have are blank pages, ready for the new words. One of my worries was that it's been a while since I wrote this novel so could I find that character's voice again? Another was that I did still want to leave the characters with an open door, a possibility of good things coming again. We'll see how I go with all that.

The other ending to be rewritten is, to me, more problematic. I do tend to agree with this editor that it needs a bit more, for several reasons. I just don't want to end up with an ending that drags out. Again, all I can do is write a draft and see what happens.

Funnily enough, I opened the latest issue of Writer's Digest and there was an article on endings, but it wasn't much use to me. I wondered if it would be much use to anyone really, as it was mainly about someone who was reluctant to write the ending of their novel. Nothing about endings and what they do and don't do. I find students agonise over endings - they're not easy to write, I agree. But in Short Story, where we do get to workshop a whole piece, often it's not the ending that is the problem. It's the build-up or set-up that's at fault. It's an architectural problem, where you have to look at the whole thing in order to see where you went wrong. Was it Hemingway who rewrote the ending to one of his novels 39 times? I believe that, even if it isn't true!

More Bizarre Spam

I'm starting to wonder if someone is trying to tell me something.
My latest spam email was for survival food (I haven't had any for Viagra or bodily enhancements for ages).

Be prepaired when you need it the most,

The Survival Food Store now offers long term storage food for times of emergency. Stock up now and be ready when man made or natural disasters strike.

They're offering me Military-Style MREs (Meals Ready to Eat). Is it possible that Bush is pulling US Forces out of Iraq and is getting rid of extras? Mind you, when you're reading a fantastic book and don't want to stop to cook, they could come in handy...

Spam E-cards

Over the past few months, I've noticed a new kind of spam - greeting cards. Known as e-cards. Once upon a time I used to send an e-card occasionally to people I knew liked them - mostly I used Blue Mountain. But now I'm getting e-cards that I know are spam, so I just delete them.

How do I know? Well, the obvious sign is that they never say who they're from. Genuine e-cards say "You have a received a card from Joe Bloggs", and as this Joe is someone you know, you will go take a look. Spam e-cards never say who they're from. And the one I got today is a real giveaway. Can you tell how I knew it wasn't genuine?
You have recieved A Hallmark E-Card

Poetry Online

LAST RITES

The dull bronze creek water shivers
at the mites and evening flies
that dip and carouse in the sudden
stillness before dusk. A magpie peers
imperiously from the bridge rail.
Green finches snap and bicker
in the weeping willow; its trailing
fingers tremble and pollen drifts
like snuff spilt from a box.
High in the ironbark gum, galahs,
dark grey now, squabble and settle
then launch into the deepening sky
like ash blown onto water.
Ripples spread from under the broken tree
lodged tight against the bank.
A plump water rat, wet-sleeked fur
gleaming in the last light, glides out
and over the small dam of branches
and sodden leaves; his long white-streaked
tail rules a line at the end.

This poem of mine was published last year in Divan, an online poetry journal published by Box Hill TAFE. Not so many years ago, journals and magazines (ezines) were considered "not real publishing" by many writers - after all, if you can't hold the magazine in your hand, show it around to friends etc, what was the point? Direct them to a website? No way. But times have changed, and there are many ezines now with terrific reputations, starting with Slate (as a biggie) and covering a broad range of styles and poetry.

There are haiku journals, online versions of print journals, and even journals where you can hear audio of the poets reading. What has turned the tide, I think, is that poets are realising that with a print journal, you've maybe got an audience of a few hundred at most, whereas with online journals, you have a potential audience of thousands. Also anyone can Google your name and find your poems that way.

Divan 7 has accepted three of my poems, and will be launched early in 2008. I've also had two poems accepted by Mascara. I'm very excited about both. And what is even better, for both journals I was able to email my submissions, thus saving on postage and paper. Now all I have to do is buy a special notebook and when my poems are published, I'll print them out in full colour and paste them into it. Because, really, I still like to hold something in my hand.

Working with Editors

This is a touchy subject. You're not allowed/supposed to criticise your editor out loud (or on a blog) because it's bad manners or bad form or plain bad karma. A well-known romance writer did it a couple of months ago and was criticised roundly for it. If she didn't like the way her publisher and editor were treating her, then she should have talked to them, not whined to the whole world (was the general opinion). There have been occasions where a writer doing this has ended up being dumped by their publisher, but I suspect that the public whinge was only the tip of the iceberg.

On Friday, I attended a day for teachers of Professional Writing & Editing in Victoria (well, actually I organised the darned thing too, which is why I have more grey hairs this week). These days are always wonderful, and we always say "Why don't we do it more often?" but it does take a lot to organise because people are teaching or committed to other work things. This time we had teachers from several hundred kilometres away who made the effort to attend, which was terrific.

Our guest speaker was a supervising editor from Lonely Planet (who, if you haven't heard of them, are one of the largest publishers of travel guides in the world, and they happen to have their head office quite close by). She was a great speaker, and talked all about what they look for in editors, what the application process is - it includes a very hard editing test - and how the company works. She also told us how to become a LP author, which sounded very enticing! But the two skills she emphasised for their editors were project management abilities and being able to have a good working relationship with the authors.

Our students are learning excellent project management skills - this year, they are publishing two collections of writing (Lizard magazine and the student anthology) and in my class, ten of them are creating their own book, magazine or website. They've had to work out a production plan and timeline, and they have deadlines that I give them big nudges about, to check they're up to speed. We're having a multi-launch in 3 weeks.

Working with authors is another skill that we work on with them, but are about to do a lot more in this area. There's a tendency to think the author-editor relationship is adversarial - the editor says Do this and the author has to defend herself. In some cases, it can be exactly like that, which is a great pity, because it often leads to a bad book. A too-defensive author can dig his heels in and become extremely difficult, and foster a reputation for it so that editors actively avoid working with him. On the other hand, an overly-pedantic editor can also be detrimental to a book, forcing changes that might adversely affect voice and style, if nothing else.

The same is true of an agent - many agents these days are expected to act as first editors for their clients, but I've heard of one agent who persuaded a client to rewrite, and then the publisher preferred the original version! It's tricky, there's no doubt about it. As authors, we spend hours and days and weeks and months and years on a book, and having someone pull it apart and tell us which bits aren't working can feel like they're ripping out our guts. But the bottom line is - once it leaves the cosy safety of your home and goes on a journey out into the real world of readers, editors and critics, it has to become the best book it can possibly be before it gets glued irrevocably into a glossy cover, ready for sale. If it's not your best, it won't survive. And maybe neither will you (bad reviews make people want to open veins).

Your editor should be your working buddy, the person who is on your side, the person who wants to help you make your book fantastic, and is probably the best person to see its weak spots. It's very likely you won't be able to! So cultivate your editor, work on the relationship from your side as well, and hopefully it will be constructive and inspiring. And if you have an editor you hate? Don't diss them in public. Don't even diss them to friends unless you trust them. Work on that book, and move on.