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Currently you can go onto the Internet and find conspiracy theorists everywhere, it is amazing indeed. You can find links to Alien Abductions and secret “Men in Black” websites, which explain how the human race is being controlled and you are next! You can find old “Cold War” embellishments of covert secret NSA projects and stories of NAZI spies who joined the CIA. If you search you will find secret groups like the Illuminati, Skull and Bones and high-levels of the Masonic Right. Now you must know that many people who run these websites have entirely too much time on their hands and some suffer from borderline Schizophrenia. Some even suffer from worse bizarre disorders of the mind. Yet some of what you read maybe real, it would be less than 5% as the Intelligence Community often says. Recently I met such a Conspiracy Theorist at a coffee shop and he just kept talking and talking. So, I thought it was an interesting idea for a Movie Script, here is what he told me;

“I am not a conspiracy theorist, although, I do believe that our CIA is working from outside the country in Canada and on Indian reservations now spying on Americans who maybe in cahoots with susceptibles or foreign nationals who may or may not be Al Queda. Some of these outside our nation working for the intelligent agencies might be attempting entrapment pretending to be bad guys calling a citizen they suspect is dirty, so that is an issue. Once the CIA contacts them from outside the country pretending to be Al Queda, well now they have a reason to use surveillance on a person and track them until they break some law.”

When hearing this, I thought to my self that his scenario was plausible indeed, but highly unlikely. Yet his conspiracy theorist mind had come up with what appears to be a great concept for a video game scenario for the new Xbox 360, as it could be made around a story and seem very reality based they way he had described this. Which is indeed an Orwellian type scenario and would fit well in not only a video game, but perhaps a movie script or Sci Fi novel too, you see? If you are designing video games, writing Sci Fi Novels or making movie scripts you should listen to at least some of these conspiracy theorists every once in a while, just don’t start believing them, you may catch what they have got? Think on this in 2006.

Lance Winslow - Online Think Tank forum board. If you have innovative thoughts and unique perspectives, come think with Lance; www.WorldThinkTank.net/wttbbs/

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Every writer knows that the urge to write is not always present. As a result, the dedicated writer writes anyway. Professional writers face the task without think too much about the actual activity. They have established the habit, so they sit down and put their thought to paper whether they are relevant to the project or not. They know that they can rewrite, revise, edit, and improve. They know that the first draft is not or need be the last.

The writer forces him or herself to write, usually at a prescribed time and in a set place. Most successful writers have an office, a place set aside for writing, and so they go to that place to write. Seldom do such writer’s experience what is know as writer’s block which is a state of mind that can be changed with a conscious effort.

And interesting thing about writingputting thoughts to paperis that the very act clarifies one’s thinking, and fosters more thoughts. The simple act of putting thought into words, sentences, and paragraphs causes the mind to sift, to correlate, to organize, and intensify thinking. From a blank mind to one teeming with ideas is the usual process that occurs as one writes.

Thus one sees that writing is related to mood, which changes from one moment to the next. During the day, one experiences many moods from joy to sadness, from calm to anger, from activity to idleness, while state of mind tends to be less volatile. Since mood is so capricious, it is only a matter of time until the urge to write takes over, and writing becomes a joy rather than a chore.

So what is difficult writing can be excellent and worthwhile. Often, after reviewing earlier writing, it is difficult to know what was arduous and what was effortless. Often the burdensome is the finest.

Charles O. Goulet has a BA in history and BEd in English literature. He has several historical novels published and available from Amazon.com, Amazon.ca, Barnes and Noble and many other bookstores.
His website is http://www.telusplanet.net/public/go1c. His blog is http://go1c.blogspot.com

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Style manuals are all well and good, and in fact, highly desirable for newspapers. The average reading level of newspaper readers is the sixth grade. Over the years it became imperative that newspaper writing be simple, consistent, and use basic punctuation, even when that violated some elementary rules. The end result has been that borderline idiots may now understand today’s papers.

I feel that these manuals should not be taken as carved in stone for fiction writers. Imagine, if you will, someone dictating to Picasso, Dali, or the French impressionists which colors of paint they may use, which strokes, which perspective, etc. Unthinkable, yet there are many people who insist that fiction writers must abide by the (sometimes) arbitrary grammar and style rules in the popular style manuals.

There are certain rudimentary dictates we must all follow, otherwise our writing would be chaotic. However, fiction writers should, more than any other writers, be allowed enough freedom of expression to create a style that is special to them. In other words, a style that is peculiar (in the correct meaning of that word.) In the editing process of my book, TALES FROM THE WRECKTORY, I had an incident with the editor (He won, I lost.) over the use of the word, “tenebraephobic.” (Tenebrae is the service used during Christian Holy Week, and the Latin word, “tenebrae” means shadows, hence darkness.) I wanted to use it to convey a particular kind of fear of the dark. Now, there is more than one word for this condition: nyctophobia and lygophobia, to name two. The individual I was writing about was afraid to be alone in an old, multistory, rambling house in the dead of night. I ask you, which word conveys the impression I wanted to create: one of the two clinical names I mention, or the one which speaks of fear of shadows?

The editor objected to my “tenebraephobic” because he said there was no such word, that I had made it up, and, of course, he was right. There wasn’t and I had. Damn it all, if a fiction writer is not allowed to coin a word, who is? Political speech writers? Computer nerds? Or, as we see happen every day, the intelligentsia who, through ignorance or sloppiness, take a perfectly good word or phrase, misuse it, and give it a whole new meaning. Others follow the bad example and it suddenly jumps up the ranks in today’s parlance. “Impact” is a perfect example of that.

The same editor then pointed out that most people would not know the meaning of the word, “tenebrae.” My answer to that was: “Then, let them look it up. If they want simple words that won’t strain their poor brains, they should stick to newspapers (or television) for their entertainment. Fiction should do more than entertain; it should also broaden the mind.”

Another editor (I quickly changed this one) tried to correct my grammar and spelling in dialogues. Now, to me, dialogue is sacrosanct. Apart from obvious typos, no one fools around with it. Words in dialogue are, after all, not my words, not the editor’s words. They belong to the character speaking. You wouldn’t say, “Just between you and I” but one of your characters certainly would. You’d die rather than say, “Me and my friend did…” Would one of your characters? You betcha.

Years ago, I was responsible for training several would-be writers for an international corporation. It was hoped that what they wrote would convince those who read it to buy our products and services. These young writers soon became sick of hearing me say, “We don’t write the way we speak, any more than we speak the way we write. Writing is a visual medium; speaking is an audible medium.” I convinced them (I think) to throw away the style manuals (or at least leave them on the shelf most of the time), and concentrate on what was important: getting a message across, a message that was brief, succinct, and easy to read.

When it comes to the final showdown, who wins, editors or you, the writer? That’s an easy one. Editors. Certainly you have the right to take your work elsewhere. My rule on this is quite simple. If I have any doubt whatsoever of the suitability of what I wrote, I don’t mind giving in, especially to an editor who is usually cooperative. Such an editor deserves my cooperation. On the other hand, if I believe I could not go on living with myself by abandoning my precious words, I’ll insist it stay as written and accept the consequences. Quod scripsi, scripsi.

The test of fiction writing is not whether it conforms to any style manual, but whether or not it works for you, the writer. Unless your words move you to laugh or cry (preferably both), it isn’t likely to affect anyone else. How do you make your words work? The formula is simple, although not easy. You must make your words flow as though they were about to run off the page. The nonfiction writer must be careful that all facts are correct, make sure the writing conforms to the publication for which it is written, and for the intended audience. You, as a fiction writer must do the very same, but only as a starting point. You must go on become a poet, a word-painter, a strummer on people’s emotions. The person who originally said one picture is worth a thousand words had it all backwards. A thousand words can conjure up as many pictures, as many emotions as there are people who read them.

As a writer of fiction, you need only keep one eye on your style, and only an occasional eye on the rules set down, but you must at all times keep both eyes wide open and directed towards that which you hope to pursue, and by that I mean pursue that noblest of trades: the writer who leads others to far-off lands in this world and in other worlds; the trade of Dickens or Tolstoy; of Bradbury or Poe, of Cartland or Hemingway; and above all, the trade of ________(please insert your name here.)

copyright 2003 Joseph E. Wright

Conditions of use: Editor: The following article is offered for free use in your ezine, print publication, or on your web site, as long as the content is not altered, and the copyright and author credit box at the end are also included. Notification of use would be appreciated.

Joseph E. Wright is the author of Tales from the Wrecktory (http://www.metropolisink.com}, The Bodies Out Back and The Remigrants (both published by http://www.booksunbound.com). His writing has appeared in Ellery Queen Mystery Magazine.

About The Author

Joseph E. Wright was born and wemt to school in New England and later moved to Philadelphia. He considers Philly his home town. Joe grew up addicted to the British cozies of Christie and Sayres and the American counterparts of Queen and Stout. He was a fan of the film noir of Hammett and Chandler.

His first published novel, Memorandum of a Murder (Manor Books) confirmed his determination to become a writer. A short story of his appeared in Ellery Queen Mystery Magazine.

While writing, Joe had to make a living, which he did in many ways. One period of his life, he lived in a dark, rambling, nineteenth century rectory in downtown Philadelphia. It inspired his Tales from the Wrecktory (MetropolisInk) which appeared last year.

Somewhat different from the whodunit style of novel, Joe’s The Remigrants, the story of those who return from the dead, is currently in the editorial stage. The Bodies Out Back is the first in a completed trilogy starring Pat Montgomary and Phillis Toner. The next two, The Maris Cove Murders and Aisle of the Dead should be published this coming year.

Joe and his life partner spend most of the year in sunny Florida.

glpjew@excite.com

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