Wednesday, February 28, 2018

You Don’t Have to Write a Book (to be a Writer)

I am very excited to introduce our guest blogger and to share this post with you! Organizing a large writer's group (The BWC is close to 300 members strong) and meeting even more writer's in the community via workshops, retreats, and conferences, there is one thing I know for sure, You Don't Have to Write a Book (to be a Writer.)
Our guest blogger this week is the incredibly talented Dennis M. Lavoie. Dennis is a charter member of the BWC and co-hosts our BWC Writing Workshop. He has become well known for his exceptional short stories and taught many of us the value of flash fiction.
 Happy Reading.

You Don’t Have to Write a Book (to be a Writer)

By Dennis M. Lavoie
     It used to be said that what distinguishes humans from other animals is that we are tool
makers. A more accurate distinction is that humans are story tellers.
     We’ve been telling each other stories ever since we hunkered down around the evening fire to tell about the day’s hunt, where to find the best plants for medicines, make jokes, gossip about the neighbors, speculate how the world was created. It’s how we make sense of the world around us and how we fit into it.
     Making stories is a process of pulling out bits of the chaos of “reality” and then putting them back together to build simplified versions of what happens around us—models of reality, if you will, models built of abstract things called words.
     At this high level of generalization there is little, if any, distinction between fiction and non-fiction, because all the models we build and communicate to our fellows are only selected bits of reality that we mix and match to suit the circumstances. They are all fictions in that sense.
     Some seem to follow predictable patterns, and we believe they reflect reality, while some are recognized (or not) as pure fantasy, but they are all only simplified representations of what we experience of the world. We occasionally are reminded that our views of the world are fictions when something unexpected, usually something traumatic, happens to us and our story doesn’t work for us anymore. (This situation is itself a recurrent theme in literature.)
     One characteristic of most of the stories we tell is that they are short.
     Even the longer ones are chopped up into “digestible” pieces. Your friend doesn’t tell you the story of her relationship troubles for six hours at a stretch; books don’t go on for hundreds of pages without a break. This is because, as recipients of the stories, we have a limited attention span. That’s not a disparaging observation; rather, it is a reflection of our biology.
     Neuroscience—the study of of how the brain works—indicates that learning involves
physical changes in the brain, addition of new neurons, but mostly new connections between existing ones, and formation of new patterns of interconnections. This all takes takes a finite amount of time as well as energy, and the amount of each depends on the type of input and where in the brain most of that input is handled.
     Although it is an oversimplification, we can think of the human brain as operating on two
levels, intuitive and rational. Most of the mass of our brain is the beneficiary of millions of years of evolution in which brain structures evolved for efficiently processing sensory input for the purpose of reacting in novel situations—making life or death decisions. We don’t have to ponder whether that shaking bush hides a possible predator, we are instantly ready to fight or flee; we don’t ponder whether to be wary of an odd-looking stranger, we are immediately on guard.
     As a result of these highly evolved brain structures, we can evaluate situations and make
intuitive decisions in milliseconds. When presented with new experiences, we instantly and
intuitively categorize them (of course, this process occasionally makes mistakes). This sort of activity constitutes the bulk of our mental processes, and we are largely unaware of it. When we believe we are being rational, we are usually just putting into words what our intuitive, primitive brain has already decided on.
     This speed and efficiency is not true for the higher cognitive functions, such as language,
voluntary action, planning, and abstract reasoning, which are mostly done in the newer parts of the brain, the frontal lobes (the part of the brain that gives us a bulbous forehead compared to our nearest cousins the chimpanzees) and cerebral cortex (the intensely folded and dime-thin outermost layer of the brain). This is painfully obvious to us when we try to learn a new language, learn a mathematical theorem, or puzzle out a philosophical argument. This sort of mental activity takes more time. It also takes a large amount of chemical energy in the form of glucose. It’s the reason you feel tired after a bout of heavy thinking or abstract input; the brain is accounts for about 20% of your daily calorie burn.
     All in all, this is probably why we can tolerate intense intellectual activity only for relatively
short periods of time before requiring a “rest” period to “process” the information and to rebuild energy supplies in the brain—think 50-minute algebra class periods.
     I don’t know if this hypothesis has been put to a scientific test, but I’m making the leap here that we as human beings are built for short stories. This is particularly true for written stories because the act of reading involves high order abstraction mental skills—interpreting dark and light spaces on a surface, associating them with words, and linking those words with experiences and concepts.
     But, you object, I just read a book in one long sitting! First, it probably was not a long
book—War and Peace is the cliché that fits here. Second, it probably had a lot of emotional
content—it was probably not a discourse on quantum physics (unless, of course, that lights up the pleasure centers of your brain). Again, input that is emotional and intuitive—i.e., stuff we don’t have to expend much mental energy on because most of our brain is built to deal with it quickly—is easier for us to handle than abstract input.
     So, if short stories are more natural, why do we think that writing a book is the ultimate
literary achievement?
     Here are three possible reasons:
     First, if you’re good at it and popular, you can make a fair amount of money.

     Second, producing a book is a long and laborious exercise and its author should be respected for that reason alone.
     Third, in writing a book—especially fiction, but to even non-fiction works—the author must successfully master a difficult form.
     That form is deceptively simple: beginning, middle, and end. At a more detailed level,
especially in fictional work: there also has to be a plot; there has to be character development and the characters have to change in some significant way; there has to be conflict and resolution of conflict; and there has to be a wrap up. Note that this arc is largely artificial. Real life as chronicled in a book would be a series of “slice of life” sketches; it would not be a novel. As readers of long form fiction, we are not looking for real life. We may be looking for insights to real life, but primarily we are looking for some validation of our innate conviction that there is some order in the world around us.
     In my view, long-form writing is a specialized and rather constrained form of literature. It is demanding and risky: it may take years of effort, and when finally published it may not be
appreciated in your lifetime (e.g., John Kennedy Toole’s A Confederacy of Dunces).
     If you have the ambition, if you have an epic story to tell with compelling characters and
situations, and you are willing to meet the demands of the form, more power to you. If you are successful, you will have achieved a difficult goal.
     But it’s not the only literary art form out there, and there is no reason to restrict your creative talents to a single form of story telling.
     Recognize that there is a much larger world of short-form stories, especially if you want to make a living at writing. Current event and personal interest magazine articles, news and
commentary, essays, travel pieces, inspirational, how-to, humor, scripts, poetry, literary pieces. Although they may be constrained by conventions of their own, most of these are not constrained by long-form conventions of the novel. In short fiction, this means you can write anything from plot- or character-driven stories to prose poems that emphasize mood, emotion, and atmosphere to slice-of- life pieces. For that matter, that can apply to creative non-fiction too.
     Since you can turn these short pieces around relatively quickly, you can afford to experiment and push your limits. There’s less time and sweat wasted and less discouragement when you have the inevitable failure; conversely, there’s more elation when you turn out a string of good stories.
     And there has never been such a plethora of outlets for short work. There are still dozens of vibrant print outlets of all forms and genres, and, of course, burgeoning outlets of all types on the internet. Shorts for fiction and non-fiction anthologies are in demand. Writers Digest periodically highlights the advantages of short stories and a good article appeared in the November/December 2014 issue by Anne R. Allen. She listed nine professional reasons to write shorts, including the fact that, word-for- word, short pieces have a higher rate of return on effort than long works for most writers and they can be turned out faster. (I’ve summarized the article at the end of this piece.)
     Finally, many successful authors started out writing shorts, and many write shorts in between their longer publications, often to keep connected to their readership. If you are stuck in your novel, take a busman’s holiday and write a short to reset your creative muscle.
     So, I’m making the argument that you don’t have to write a book to be a writer. There are all sorts of ways to tell a good story. Writing short stories is natural, allows for more growth, and can be just as rewarding—in whatever sense you want to take it—as writing a book.

* * * * *
     Summary of “Short Is the New Long” column by Anne R. Allen in Writers Digest
November/December 2014, page 10.
     “Bite-sized fiction has moved mainstream, and today’s readers are more eager than ever to “read short.” Here’s why writing little stories is paying off in a big way”

  1. Small, portable screens are changing the way we read.
  2. Anthologies are hot. Multi-author anthologies are a great sales tool….
  3. Publication identifies you as a professional.
  4. Networking with short fiction editors can further your career. Editors at small magazines often have connections in the publishing world.
  5. Filmmakers buy rights to short stories.
  6. Online retailers favor authors with more titles.
  7. Short fiction contests can build you bio. Contests are easy to find and enter in the Internet era. (,,
  8. Shorts keep fans engaged and draw new ones. Shorts keep fans interested while they’re waiting for the next book [of your series] and a free story in between is a great marketing tool.
  9. Todays short stories make money and hold their value. Per word, a story can make more money than a novel.

Wednesday, January 31, 2018

Catching up with the Bayou Writers!!!

Dear Bayou Writers,

I’m very excited to get back to our BWC Blog Posts! There have been so many requests, from members that can’t make each meeting in person and this is a great way to give follow up information about our meetings, speakers and all things concerning writing in our community!

The kick-off to our writing year has been strong! Our first meeting was packed full of useful information to help our members find their writing focus for 2018.

Writing Contracts
Have you heard of our writing contracts? These are contracts that you make with yourself and can be considered a roadmap to help guide you to your writing goals! The contract is made even more awesome if you share it with your writing partner(s).

Writing Partners
Have you heard about our accountability partner program or as we like to call it, writing partners? This is where you and one or more BWC members work on your writing together. Your partner(s) will follow up with you outside of the meetings, either in person, by phone or even by email. Many of our members credit this for helping them finish their writing projects, journals, articles, novels and even helping them get published! Yes, the program is that great!!!
*** It’s not too late for you to fill out a writing contract. If you would like a copy, message me. It is never too late to find a writing partner either! Come to our next meeting and we’ll help you find someone!

New Orleans Writer’s Workshop (NOWW)
Helping each other with our craft is at the top of our wish list as a group and it was only fitting that we had instructors, Allison Alsup and Jessica Kinnison from The New Orleans Writer’s Workshop (NOWW) come in and introduce their upcoming programs and some mini-workshop ideas! They are AWESOME!

Allison gave us a crash lesson offering Strategies for Revision:
1.       Accountability Partners- Chat about the work and beta read for each other to see how the message comes across and potentially works (the BWC loves this, of course.)
2.       Brainstorm- Do you know what your writing (novel, journal, article, poem) is about? Try this exercise: Write the back-cover copy (what would be written) for your work.
3.       Change up the Beginning- Force yourself to try this... it gives you permission to change things up.
4.       Discipline- Be willing to do multiple drafts.
5.       Line edits don’t count as a revision. Revisions must be something fundamental in your work.
6.       Stop being the writer and start being the editor. Your novel (or story) should have a Theme, Characters, Conflict, and Stakes
7.       Work from Hard Copy. Change things up and look at it printed instead of on your computer screen.
8.       Realistic Deadlines. You cannot compare yourself or your work to others. Full-time jobs, Family or other external obligations may keep you from reaching your goal in the short term. The idea is to reach your goal in the right amount of time for you!

Several BWC members have taken writing courses through the Loyola Writing Institute (where many of the NOWW instructors began) and then through NOWW! We love them and I highly endorse their programs. You can get testimonials from some of our members at a meeting but also find out more information about them here: 
***Look for an announcement very soon regarding a North Shore weekend workshop (Saturday and Sunday) on Scene Building in either March or May.  Whoop-Whoop!

Additional topics/presentations for January have been Developing Great Writing Habits, Ways to be Inspired and Getting Motivated; Overcoming Writer’s Block. Internet research (one of my fav.’s) and personal testimonials from fellow writers helped shape this discussion.

Great Writing Habits
1.       Establish a writing schedule and write daily. Fifteen-twenty minutes a day is better than a marathon writing once or twice a month.
2.       Read. This can be the genre you write but also any and all other genres too. It is extremely obvious if a writer is not well-read.
3.       Finish your work. It’s easy to get distracted with new projects but it’s a terrible habit to abandon something because it isn’t shiny and new anymore.
4.       Share your finished work. Find beta-readers or writing partners that can help you improve it.
5.       Know your craft and industry. Workshops, conferences, reading like a writer, writer’s groups can all help you polish your writing as well as understand the business of writing.

5 Ways to Get Inspired
1.       Take Pictures. Walk around your neighborhood or city and take pics. As writers, we are always observing and this will help you switch things up and possibly see them differently.
2.       Travel. You don’t have to go far. Jump in the car and go to the next town over and explore. Getting you out of your comfort zone can help wake up your sense. (This is one of my favorites…I like to go to different coffee shops and pick two or more people out and make up dialogue for them!)
3.       Have a writer date. Being around other artists is always inspirational. It’s one of the reasons the BWC has been so successful! Meet for coffee or tea and talk shop!
4.       Switch up your art. Many of my writer friends are talented musicians, painters, and photographers. Try something new, at the very least it will be fun. You can always invite a writer friend to one of those Cork and Canvas or Painting with a Twist places- two birds one stone!
5.       GO to a reading, a play or even a movie. It’s exciting to see the finished work of an author and can help motivate you and your own projects.

How to Overcome Writer’s Block
1.       Go for a walk
2.       Eliminate distractions
3.       Change your Environment
4.       Read a Book
5.       Freewrite
6.       Listen to music
7.       Brew some coffee
8.       Create a writing routine
9.       Brainstorm ideas in bullet points
10.   Read inspiring quotes to get you started.
***Additional information was used from writers, Melissa Donovan at, Writers Digest at, Jeff Goins at, and the BWC.

Become the Writer You Want to Be in 2018!
I hope this blog has caught you up with the group and that you’re more inspired than ever to write your own book, blog, article, screenplay or poem and perhaps even attend a meeting. It is the single best thing that I have ever done for my writing self (and myself overall) because meeting with a room full of creative writers and talking shop for a couple of hours motivates me more than anything else.
You can come check us out at

Save the dates for our next meetings:
·       Feb. 1st (Write-In)
·       Feb 17th (writing workshop-full)
·       Feb 22nd (Reg. Meeting)
·       March 1st (Reg. Meeting)
·       March 22nd or 29th (Reading Event @ The English Tea Room)

Until then, Happy Writing!


Monday, June 8, 2015

The Rewrite!

“All Writing is Rewriting”
-John Green

“Rewriting is a pain in the…”
-Paul Heingarten

I don’t know about you, but of all the parts of the writing process there are, re-writing is a strong contender to be my least favorite.  The forming of ideas, characters, themes, plot elements and weaving them together… lots of fun.  But after everything it takes to put a story of any length together, isn’t it enough?

Isn’t it… done yet?

When I wrote my first manuscript, I had little to no knowledge of the writing process like I do now.  I was at least several months out from finding the Bayou Writers Club for one.  The school training I’d had for writing of any kind came from one creative writing class in grade school and the writing for TV/Newspaper/Radio in college.  I could write a sentence but the concept of editing was not really something I dealt with much.  Tweaks for news stories, OK.  But when I worked for the school newspaper I relied on others, the copy editors, for more in-depth editing.

Fast forward to now, and I’ve been establishing a method for writing.  I wouldn’t say I’ve embraced it, but I’ve found a way to at least get through it.

Last year, my wife Andrea and I went to Comicpalooza, an annual comic convention in Houston, TX.  There, we saw a presentation from Pamela Fagan Hutchins, an award winning author of several bestselling books (Her website is  This particular presentation dealt with rewriting.

I’ve incorporated much of what Pamela spoke about in her presentation.  Here’s a list of several items I use when I rewrite:
·       Start from the beginning of your manuscript and work your way forward page by page until the end.  Maybe this is redundant or obvious to most of you, but when I was just trying to rewrite something, I was hopping around the pages, trying to catch things.  No.  Front to back.
·       If you add things to your story: characters, plot elements, etc… do you follow through the entire manuscript with them?  Don’t let something major you added for resolving the plot go unexplained until the end like a Deus Ex Machina.
·       Have you met your story objective?  Has the plot been resolved satisfactorily?  Good or bad endings for characters aside, make sure things get wrapped up to some kind of resolution.
·       Does a scene matter?  Does it help move the story along?  If not, remove it.
Those are a few points I look for.  There are more but I think you’ll find as you start to rewrite, you will develop your own method for what you look for and change.  Like anything, practice makes perfect… or just better than before.

Another thing I do on my rewrites is to not try and get it done on a single rewrite.  Again, maybe this is redundant to some of you as well.  But I’ve been a “planner” writer more or less since I’ve started writing novels.  And as a planner, I always have some small feeling in the back of my head that when I’m done writing the story, it’s done.  And when I’m done on a rewrite, it’s done.

The way I got away from that mindset is to do my rewrites in passes.  In other words, when I start on a rewrite, I make up my mind to look for either one thing or a small collection of things in my manuscript.
Here’s how that might look:
·      Pass 1: Add scenes that I’ve come up with for beefing up the story.  Make sure the parts of the story the new scenes might affect are also adjusted so each new scene is now a needed part of the story, not just added fluff.
·      Pass 2: Check the dialogue for all characters.  Make the dialogue less formal.  Break up the lines of dialogue if necessary so each character doesn’t speak a soliloquy each time they say anything.
·      Pass 3: Make sure your characters each have a distinctive voice.  Perhaps you can give one of them a catchphrase they use a lot, or maybe an accent, etc.
I think you get the idea.  Of course, every story is different so I don’t use the exact same list of passes I mentioned each time.  But I think multiple passes is what finally got me to get through the tall (but necessary) task of rewriting my projects.

Happy rewriting!

Paul Heingarten

Saturday, March 7, 2015

Another Word on Writing your Bio

By Libby Prifogle 

A few weeks ago Dr. Kelley gave a wonderful class on bios and it made me realize how essential the "bio' is to all aspects of the publication process. I am picking up on a little resistance in writing bios from the group, so I wanted to share my experiences in writing bios for literary magazines/websites. 

As we all tackle submissions in literary magazines this year, you'll have to submit a bio and/or cover letter with each submission. If they don't ask for one with the submission, the editor will need one for the publication. While each publication will have different requirements, it is generally between 50-150 words (and if you are a few words off, it's probably going to be okay). I think it's understood, but just wanted to add - the bio needs to be written in 3rd person unless otherwise noted. If it seems daunting to sum up your life in 50-150 words - well, it is a challenge. I write and rewrite my bio and in my opinion it's never going to be a final draft (I gave mine a complete overhaul as I wrote this post). This is my current bio:

Lisbeth Prifogle served her country as a United States Marine officer and is working on a memoir about her experiences in a war zone. Lisbeth holds an MFA from Antioch University - Los Angeles. Her work was featured in Poem Memoir Story, The Splinter Generation, Citron Review, In the Know Travel, Hormones Matter, and the forthcoming veterans anthology, Homecoming. Lisbeth is an active member of the Bayou Writers Club where she gives presentations and writes articles on the craft and business of writing. She lives in Louisiana. 

All publications will have a bio or byline at the end of a story/essay/article. Generally speaking, most periodicals (commercial magazines and newspapers) use bylines and literary magazines use bios (each publication makes that determination). As Kelley brought up during her presentation, it's good to have a byline as well as a short, medium, and long bio prepared so when you're asked for it, you can promptly provide it. For ideas and examples, read other writers' bios in your favorite literary magazines or books, although I think you get a wider variety in literary magazines.

Quick tip: Go to the "Editors" page of any literary website for a quick list. For example, these editors have bios around 50 words:

Printed anthologies are also a great quick resource.

Don't have anything published yet? No worries. First, write something for the Bayou writers blog. I keep mentioning this at the meetings and I'm saying it again because it's a great way to get published and show you're a credible writer. Second, talk about what you are working on, and anything relative to writing (degrees, writing classes or retreats you regularly attend), what you like to write, where you live or like to read. For example (totally made this one up - working up the courage to try fiction again some day):

"Lisbeth Prifogle grew up in Manhattan and fled the states as soon as she turned 18. At the moment, she resides in Thailand. Lisbeth annually attends the ExPat Writing Association's writing and publishing conference and regularly attends online writing seminars. Currently, she is working on a dystopian novel that follows survivors of a global financial collapse. Lisbeth keeps a travel blog titled Unexpected Journeys, it can be found at

This bio tells readers that this parallel universe Lisbeth travels, treats her writing as a profession, and probably has some interesting stories that likely show up in her fiction. You want your bio to be interesting, but remember this is your introduction as a writer so focus on writing. 

To pick on an active member of the group for another example, Chris always participates in the clever prompts (that I find to be really challenging) and shares them at our meetings. Chris your bio could, and in my opinion should, include somewhere in it: "Chris is a master at golden shovel poetry form, zhongs, and micro-fiction."  

The members who present for The Business of Writing and/or Reading like a writer segment can include that in the bio. "Dennis is an active member of the Bayou Writers Club and gives regular presentations on the craft and business of writing at bi-monthly meetings." 

In closing, start working on your bios and bylines. Don't be intimidated if you don't have a degree/certificate in writing publications, you're a member of the fastest growing writing club in Southeast Louisiana so submit your work to be posted on the Bayou Writers blog and submit submit submit!

And because I haven't written my byline yet, here's a first draft: 

Lisbeth Prifogle is a graduate of the MFA program at Antioch University - Los Angeles. Her work has appeared in Poem Memoir Story, Splinter Generation, Citron Review, In the Know Traveler, and the forthcoming veterans anthology, Homecoming. 

Wednesday, February 4, 2015

Short Stories are HOT!

Hey, Bayou Writers!

Dennis here, and Im starting a semi-periodic post to our blog concentrating on the short story form, including flash and micro fiction, and, frankly, anything else that strikes my fancy.

A couple of meetings back, I highlighted the Nov/Dec 2014 issue of Writers Digest, which had an guest column specifically aimed at short story writers: Anne R. Allens article in the Inkwell column entitled Short is the New Long. Ive been drawn to short stories for several reasons, chiefly: 1) They force you to be economical and precise in your writing, and 2) They allow for multiple experimentation in genre, style, voice, whatever, over a reasonable period of time. Even if youre writing a novel and its taking you years, taking time off to write a few short stories can restore your creative juices.

So writing short stories can be good for your craft, but what if you want to be a published, author whose work people actually read? And pay for? Allens article addresses just this issue. Here is the Readers Digestversion, but I urge you to check out the full column:



[Many writers equate] short fiction with those finger exercises piano students do before they graduate to real music. If youre serious about a career in fiction, you write novels.right?

Wrong. Short stories are having a revival in the digital age.thanks to consumers who want quick bites of informationIt seems the short story is backon an iPhone near you.

Here are nine factors working in favor of a short story renaissance:

1. SMALL, PORTABLE SCREENS ARE CHANGING THE WAY WE READ. The single-serving quality of a short narrative is the perfect art for for the digital ageStories are models of concision, can be read in one sitting, are infinitely downloadable and easily consumed on small screens,bestselling short-story writer Amber Dermont told The New York Times.

When Amazon in 2011 launched its Kindle Singles programwhich publishes works of fiction or creative nonfiction of 5,000 to 30,000 wordsit sold more than 2 million short titles in 14 months.Today, [Amazon is] further promoting short fiction with a Short Reads sectionand Day One magazine, which showcases short fiction from new authors. (Find submission guidelines at

2. ANTHOLOGIES ARE HOT. Multi-author anthologies are a great sales tool, and theyve been reborn in the e-book space, where theyre inexpensive to put together and provide wide visibility.

3. PUBLICATION IDENTIFIES YOU AS A PROFESSIONAL. If youre on a career track, you need to show agents, publishers, and reviewers youre serious. Placing stories in respected literary journals will do that.

4. NETWORKING WITH SHORT FICTION EDITORS CAN FURTHER YOUR CAREER. Editors at small magazines often have connections in the publishing world.


6. ONLINE RETAILERS FAVOR AUTHORS WITH MORE TITLES. The more titles you have in an online bookstore, the more visible you are.

7. SHORT FICTION CONTESTS CAN BUILD YOUR BIO. Contests are easy to find and enter in the Internet era.( and ( are good free sources for vetted and free contests, and established publications (including WD) often sponsor competitions that provide opportunities for authors in all genres. A win or even honorable mention looks great in a query or bio. Some of the biggest awardsare still for short fiction, sometimes offering a prize as high as a standard novel advance, as do the Pushcart and O. Henry Prizes.

8. SHORTS KEEP FANS ENGAGED AND DRAW NEW ONES. Forward-looking agents encourage authors to self-publish short storiesespecially when writing a series. Shorts keep fans interested while theyre waiting for the next book, and a free story in between is a great marketing tool. a couple of shorts about your main charactermay get you through a tricky spot in the big work and give you a salable product for laters. (Also, many great novels started as shorts. A story about a minor character may expand into a novel of its own.)

9. TODAYS SHORTS STORIES MAKE MONEY AND HOLD THEIR VALUE. Per word, a story can make more money than a novel. Not only does it take less time to write, [it may sell for] the same price as a novel-length e-bookSome large magazines still publish short fiction, and such publications as Asimovs, Ellery Queen, and Womans World still pay top dollar for genre stories…”

Short storiescan keep your prose from getting flabby. Dont give up your magnum opus, but try a few ideas out in short stories. Youll be grateful you have inventory when opportunity comes knocking.

[Anne R. Allen is the author of seven comic mysteries and co-author of How to Be a Writer in the E-Age: A self-Help Guide, written with Catherine Ryan Hyde.]

The full article may be found on pages 10-11 in the Nov/Dec 2014 issue of Writers Digest or on at

Friday, August 22, 2014

Oh How We’ve Grown

Figuratively and literally, The Bayou Writer’s Club has developed over the last year with several fun segments becoming member favorites if not a standard part of our meetings.  We are closing in on a hundred members and have about twenty regular participants each meeting with new faces all the time.  WOW! 
Finding a place to Meet-Up has been the challenge but for now we’ve settled into the large private room at Zea’s Restaurant in Covington, nicely.  When meeting on the south shore, La Madeleine’s Restaurant still works for now!  Finding room for all of us is a great problem to have and we look forward to meeting even more writers.

Some of our favorite discussions are Reading Like a Writer, show and tell (taken in part from Francine Prose’s book title) where members read a passage from a favorite author and discuss, or lead a discussion, about what makes the passage effective.  We've had some great examples of first lines, first pages, beat or pacing, writing style that affects tone and mood, and dialogue. 

Our reading time where members share either a short story written from our writing prompts or part of their own larger projects has become a standard.  It’s an honor when new writers share their work for the first time!  It’s also very special to hear from our novelists and non-fiction authors!  We have a talented group!

Writing Critiques are still going on, behind the scenes.  We haven’t had time to do this as a large group, lately, but many members ask to have something read by the group and four or five people always step up to take on the task!

Work continues on the Swan of the Seas.  Our book project, oh my!  This project is where the group completes a novel together.  We are up to chapter 11 and are looking to wrap the first draft up in approximately two months!!!  So if you want to get your voice in there, consider volunteering soon.  Next, our task will be to edit!  We started with brainstorming stories ideas and have learned a great deal together about the process of writing a novel.   Overall, the idea has been to have fun together and learn through the process! 

Helping each other with our Writing Goals is what the BWC is all about.  We continue to share our favorite resources and here are some of our latest recommendations.

  •  The Fine Print of Self-Publishing by Mark Levine

And a couple of BWC favorites you’ve already seen:

  • Reading Like a Writer by Francine Prose

If you haven’t made it out to a meeting yet, we are still waiting for you!  Keep up the hard work.

Happy Writing!


Wednesday, April 23, 2014

A Few of Our Favorite Writing Tools!

A short while back I made a request for members to send in some of their favorite writing tools, such as websites, writing software, and books.  I put together a list of  our fav.'s and hope this is helpful for new and experienced writers!  

·         Scrivener- Scrivener is a program for Macs or PC’s that helps writers structure and edit their work!  It’s only $40 but there is a free trial option that you can use for a while before committing.  Things that are most useful about scrivener are the note cards or storyboard, character sheets, full screen editing, the ability to scroll to the different parts of your manuscript quickly, and the screenshot mode but those are just a few of the features.
·         Writer’s Digest- The magazine is full of useful information but the website is also spectacular.  There is everything from author interviews, Agent information, publishing news, grammar lessons, writing prompts to writing contests and conference information.
·         Twitter- Twitter is a great (and quick) way to learn what is going on in the writing industry.  Definitely worth the few seconds to sign up and once you do, consider adding (or following) these accounts:  writer’s digest, writer unboxed, Jane Friedman, P. de hemricourt, Chuck Sambuchino, Brian Klems, and any agents that you might want to query!
·         Snowflake Pro Software-  Snowflake Pro has an advantage for those who want to get a concrete story outline together.  This software allows for capturing really specific details about your characters.  It costs $100, but the creator of the software has a deal where if you buy a copy of his book “Writing Fiction for Dummies” currently $12.95 on Amazon, you get Snowflake Pro for 50% off.  Just make sure you buy the “Writing Fiction for Dummies” book by Randy Ingermanson.
·         Wordpress:  Similar to Blogger but Paul like the functionality of it better.  You can get all kinds of plug ins for things like auto-responding, building email lists, tracking links and the like.  This software is free, and you can have a blog hosted on or on your own server.
·         Author Sarah Selecky-  Free…When you sign up, she sends a brief writing prompt consisting of a couple of things that you have to write a short scene around, you write for ten minutes in longhand!  Ten minutes is a small amount of time to dedicate to the practice.  Dennis’ thoughts on the process are that it’s very different when writing longhand instead of typing.  When he types, he tends to go back and correct typos which interrupts his creative process.
·         Books the group recommends:
  1. 2014 Guide to Literary Agents by Chuck Sambuchino
  2. Reading Like a Writer by Francis Prose
  3. How Not to Write a Novel by Howard Mittlemark and Sandra Newman
  4. Time to Write by Kelly L. Stone
  5. Caffeine for the Creative Mind: 250 Exercises to Wake Up Your Brain by Stefan Mumaw and Wendy Lee Oldfield
  6. Stephen King/On Writing:  A Memoir of the Craft