Shut Up & Write!
Page 17
support circle
your claim as a writer
Don’t Murder Your Mystery (Roerden)
Don’t Sabotage Your Submission (Roerden)
Dutch Uncles
earnings
e-books
editing
grammar
outside readers
overview
punctuation
the read through
self-editing vs. getting help
spelling
style guides
egotism
Elements of Style (Strunk and White)
endings
endorsements (blurbs)
exercisers
facts
Farber, Kirk
feedback. See critiques/feedback
fiction vs. nonfiction
first drafts
first person narration
Formatting & Submitting Your Manuscript
Fraser, Richard
friends/family
as characters
ethical issues
support from
Fryxell, David
“The Ghost Mother” (Librie)
Glimmer Train (Clancy)
glommers
“Go Gazebo” (Bridges)
Goldsmith, Oliver
Gone With The Wind
Good Things I Wish You (Ansay)
grammar
Griffin Peake (Howard)
“The Guy in the White Socks” (Rattan)
“The Haircut” (Wobig)
Hanrahan, Sheila
Hanratty, Tom
Hansen, Eric
Hemingway, Ernest
HerInsight
“he/she”
high rollers
Hiking Michigan’s Upper Peninsula (Hansen)
Hinshaw, Victoria
Hobart Journal (Clancy)
Howard, David
How to Write Fast (Fryxell)
“I"
ideas, generating
imagination
informational works vs. stories
In Shelly’s Leg (Vogan)
the inside, writing from
examples
inside the scene
inside yourself
overview
step-by-step guide
interest
Internet publications
Jacobson, Doug
“Jesus Did It First” (Chase)
“Jewel Tea” (Suhr)
“The Joker” (K. Chandler)
junkies (writing-class addicts)
Kalman, Maira
Kannenberg, Stacey
Katya (Parker)
Kelley, Bert
kill fees
Kingsolver, Barbara
know-it-alls
Lamott, Anne
Lance, Katie
Landis, Laurel
leads
Let’s Get Ready for First Grade! (Kannenberg)
Let’s Get Ready for Kindergarten! (Kannenberg)
Lewis, C. S.
Librie, Felicity
“Lisa Mullarkey” (Pagel)
logic
magazines as markets for shorter works
major characters
manuscripts
preparation/submission
sample format
submission follow up
“The Man Who Would Have Known Me” (Landis)
Martin, Philip
Martin, Steve
Martinez, Al
McQuestion, Karen
Melville, Herman
Mercer, Johnny
message
mid-size presses
minor characters
MLA Style Manual
Moby Dick (Melville)
mood/tone
myths about writers
names of characters
narrative drive
narrator
change of
location of
voice
vs. author
New Journalism
The New Writer’s Handbook
Index
Night of Flames (Jacobson)
Nocturne (Bergstrom)
nonfiction
and creativity
organization
overview
research notes
vs. fiction
See also Alligator Outlines
novels vs. short stories
Oates, Joyce Carol
“Olagam” (Landis)
omniscient narrator
on-assignment agreements
one-time rights
on-spec agreements
orchid file
organization
Other Colors (Pamuk)
outlines
See also Alligator Outlines; Bubble Outlines
outside readers
pacing
Pagel, Marjorie
Pamuk, Orhan
Parker, Pam
passive vs. active voice
Peale, Norman Vincent
“The Pilgrim’s Ground” (Landis)
Pittelman, Susan
plot
See also Bubble Outlines
point of view (POV)
critiquing
first person
as narrator location
overview
second person
selecting
third person limited
third person omniscient
tips for handling
vs. mood/tone
vs. voice
positive thinking
Postcards From a Dead Girl (Farber)
The Power of Positive Thinking (Peale)
Poynter, Dan
“The Price of Independence” (Bridges)
Print on Demand (POD)
proposals
Publication Manual of the American Psychological Association (APA)
publishing your writing
agreements
contracts
cover/query letter, preparation
cover/query letter, sample format
creativity in
enjoying
follow up
manuscript, preparation/submission
manuscript, sample format
overview
overview of the process
proposals
publication guidelines
rejections
sell-first path
study the markets
write-first path
write well
punctuation
The Purple Culture (Boehrer)
queens/kings
query/cover letters
preparation
for proposals
sample format
Rattan, Sara
Raymond, Alice
read throughs
real people as characters
Redbird Studio (Milwaukee)
rejections
re-keying/re-typing
Requiem (Akhmatova)
research notes
revising/rewriting
rhythm
rights
Rilke, Rainer Maria
Roerden, Chris
“The Rogue” (Raymond)
Roorbach, Bill
Ruskin, John
Sacken, Jeannée
“said"
Salsini, Paul
A Scattered Life (McQuestion)
scenes
Bubble Outlines for (see under Bubble Outlines)
critiquing
vivid
walking into
writing from inside
second person narration
self-publishing
The Self-Publishing Manual (Poynter)
sell-first path to publishing
senses
in Character Wheel
critiquing sensory detail
used for showing
used for walking into a scene
setting
“Shades of Gray” (Vaughn)
shorter works
>
markets for
sell-first path for publishing
write-first path for publishing
short stories vs. novels
showing vs. telling
action
critiquing
develop the habit of showing
examples of each
overview
setting
use your senses
Shut Up & Write workshops
sight
Index
small presses
smell
sound
spelling
stories
narrative drive
one-scene
overview
plot
short stories vs. novels
vs. informational works
Strunk, William, Jr.
style guides
Suhr, Kim
support circle
synopses
taste
telling vs. showing. See showing vs. telling
testimonials
third person limited narration
third person omniscient narration
The Tiger Claw (Baldwin)
title pages
titles for works
tone/mood
touch
tough times. See difficulties, facing
Twain, Mark
Tyler, Anne
Vaughn, Robert
The Vicar of Wakefield (Goldsmith)
“A Vision of Daffodils” (Martinez)
Vogan, Sara
voice
in Alligator Outlines
critiquing
passive vs. active
vs. point of view
Vonnegut, Kurt
Walker, Alice
warm-up exercises
“we"
Wells, H. G.
Welty, Eudora
“What Shall We Do?” (Sacken)
White, E. B.
Wired Style
Wobig, Carol
write-first path to publishing
writer’s block
writers’ groups
college-style
expertise in
feeling welcome/comfortable
finding
genres welcomed
leadership
living room/café
members vs. organizer served by
number of members
online
overview
reasons for joining
structure of
studio
successful writers in
task-oriented vs. social
See also critiques/feedback
Writer’s Market
Writing Life Stories (Roorbach)
writing process
decide on story or information
edit
get an idea
get published
mull it over
organize your thoughts (outlines)
overview
preliminary scribbles
revise and rewrite
spend your earnings
surroundings
warm-up exercises
write every day
write from the inside
Yahoo! Style Guide
“you”
Zinsser, William
Table of Contents
Praises for Shut Up & Write!
Copyright Page
CONTENTS
List of Figures
Preface
Chapter One
Oh, Yes You Can
Ah, If Only . . .
Myths about Writers
What It Takes to Write Well
Commitment
Confidence
Courage
Communication
Craft
You Are Never Too Young, Never Too Old
Oh. Yes. You. Can.
The Rogue
Chapter Two
In a Nutshell
The Writer’s Process
The Ideal Pattern
Write Every Day
Get an Idea
Mull It Over
Try Some Preliminary Scribbles
Decide: Story or Information?
Organize Your Thoughts
Do a Warm-up Exercise
Write from the Inside
Writing from Inside of You
Writing from Inside of a Scene
Revise and Rewrite
Early Rewrites
Get Feedback
Re-key
Let It Sit
Rewrite More
Edit
Get Published
Go Spend the Big Bucks
Do It All Over Again
Chapter Three
Characters
Real and Imagined
The Character Wheel
Creating Kelly
The Hub
Spokes on the Wheel
Sight
Sound
Touch
Taste
Smell
Circle the Missing Thumb
Creating Major Characters
Creating Griffin
The Hub
Spokes on the Wheel
Sight
Sound
Touch
Taste
Smell
Creating Minor Characters
Creating a Minor Character—Jacky
The Hub
Spokes on the Wheel
Sight
Sound
Touch
Taste
Smell
When You Write about Real People
Remembering Eva
The Hub
Spokes on the Wheel
Sight
Sound
Touch
Taste
Smell
Tips for Using the Character Wheel
Practice
Create a Wheel for Each Character
Keep Your Notes Short
Stay with Concrete, Sensual Details
Notice Any Spokes that Are Regularly Light
Aim for Simplicity
Play “Twenty Questions”
Keep a Binder
Playing Twenty Questions with Your Character
Tips for Working with Characters
Choose Characters Wisely
Choose Names Wisely
Just Say “Said”
Avoid Overly Chatty, Overly Described Dialogue
Writing about Friends and Family?
Writing about Yourself?
Chapter Four
Stories
Fact or Fiction
Short Story or Novel?
Jump-start the Narrative Drive
To Plot, or Not to Plot
Creating a Bubble Outline
Put the Bubbles in Order
Where Do You Begin Your Story?
Writing the First Scene
A Scene within a Story
A One-Scene Story
Chapter Five
Point of View (POV)
Seeing Eye to Eye
It’s All about the Narrator
First, Second, and Third
First Person
Advantage
Disadvantage
Examples
Second Person
Advantage
Disadvantage
Examples
Third Person Limited
Advantage
Disadvantage
Example
Third Person Omniscient (a.k.a. Unlimited)
Advantage
Disadvantage
Examples
Tips for Handling Point of View
Example
The Difference between Point of View, Voice, and Tone
Point of View = The Location of the Narrator
Example
Voice = The Personality of the Narrator
Example