Showing posts with label Gila Green. Show all posts
Showing posts with label Gila Green. Show all posts

Amazing YA with Gila Green and an Update on Her Australian Publisher

Wednesday, March 11, 2020
Many of you will know Gila Green because you've taken a WOW! class with her, read an article she's written for us, or watched one of her video posts, where she explained an important element of flash stories to you.  I was lucky enough to be asked to read her latest young adult novel, No Entry, and provide a blurb for the cover. The novel deals with elephant poaching, terrorism, teenage love, finding your identity, and so much more. I was honored. I wound up writing an entire review, and I want to share it with you today for a couple reasons:

1. If you are a young adult writer, you need to read good young adult fiction--read Gila Green.
2. Gila's publisher was located in Australia. Gila wrote to me and said this, "Stormbird burned to the ground and was evacuated in the Australian fires. They can use all the support available. They hope to rebuild and reopen in April. " This is devastating! Can you imagine being that publisher or those authors?

On Stormbird Press's website, they wrote, "In the aftermath, Stormbird Press is in the process of finding solutions (financial, marketing, and logistical) to help us get back on our feet. In the immediate short-term this means that:
  • All stock (physical books) have been lost to the fire.
  • As a result of loss of premises, equipment, and the need for key staff to rebuild their homes and lives, the press is unable to publish new books until later in 2020.
  • Although we utilise print-on-demand technology, there may be delays in posting hard copy books.
  • Beyond the short-term, Stormbird Press is rebuilding and planning for a climate-changed future. We intend to survive and thrive."
You can buy Gila's wonderful book as an ebook and help support this lovely press. More info on that after the review. 

Here's what I thought about Gila's book:


No Entry is a timely, beautiful, and complicated young adult novel written by Gila Green, a masterful storyteller, about a Canadian high school student who spends the summer at South Africa’s Kruger National Park after her brother’s death and her parents’ move to Africa. Yael Amar has a lot to deal with, as do so many teenagers today. She’s trying to navigate life apart from her steady boyfriend while taking advantage of an opportunity to study in the elephant conservation program with Clara Smith, a well-respected conservationist and program director, plus worrying about her parents and their grief, as well as her own. She suffers from some self-esteem issues and the green-eyed monster when she compares herself with her stunning new best friend, Nadine. But aside from the pain over losing her brother in a terrorist attack, the beginning of her story mirrors many teenagers who spend summers in internships, navigating new relationships while missing old ones.

This is a definite strength of Green’s writing. She creates a main character and a situation that any reader could see themselves in. Plus, she writes about problems her readers will be familiar with: friend drama, boyfriend insecurities, fitting in at a new place, and following their passions.

Yael, though--out of nowhere, one routine day at Kruger while with her native guide Sipho--is thrown into the world of elephant poaching and the fear, violence, and greed surrounding this horrifying crime that takes place all too often in this animal’s native land. Yael tries to keep what she sees and experiences to herself because Sipho is afraid of losing his job; and they are both frightened of the men who use violence and intimidation to maim and kill elephants on the land that’s supposed to protect them.

Yael is full of anxiety over what to do and grief for these beautiful animals. Questions rack her mind: Should she share what happened to Sipho and her with her boyfriend? Does Clara know more than she’s letting on? What about Nadine? Who can she trust? She misses her brother and mourns her life before her exposure to the elephant poachers and the terrorist attack turned her world upside down.

Not only does the author tackle teenage issues and the elephant poaching epidemic in Africa, but Green also does an amazing job of exposing her readers to the culture of South Africa—both inside and outside of Kruger. The novel opens in Johannesburg, South Africa, with Yael staying with her aunt and uncle. Before her uncle drives her to Kruger, they stop by Rosebank, which her aunt describes as “a mall with a roof market on Sundays. Lovely crafts, jewelry, and live African music. A
real vibe.”

While at Rosebank amongst “energetic street dancers,” Yael is drawn to a British photographer who asks her, “Are you here to shop or do you want to learn something about South Africa?” When she enters his exhibit, she sees pamphlets about animal rights and views walls of photos of wildlife: waterbuck; Long-tailed Paradise Whydah (a fire-engine-rednecked bird with a bright yellow stomach, a black head, and a matching long, black tail); and an adult rhino with a horn removed “by conservationists.” And then she comes to the second wall with an exhibit of photos titled “Elephant Poaching.” Yael’s experience at the mall is a definite foreshadowing of what’s to come later in the novel.

“They kill them for their tusks, for their ivory,” Douglas says to her. “Most of the ivory finds its way to Asia in an organized and ruthless global trade, and some of it finds its way to people like him, who sell them as curios,” Douglas says, gesticulating his open hand in the direction of the curio stall. Yael glances toward the curio stall just as the furious stall owner stomps toward them.

From the beginning, Green does a fantastic job of exposing young adult readers to the controversy and complex issues of life in South Africa and gives them a glimpse of what Yael will be faced with during her program at Kruger.

While Green takes readers along on the journey, she writes beautiful description with a strong voice. Even if readers have never stepped foot in South Africa or any wildlife park, jungle, or forest, after reading No Entry, they will have a vivid picture of the setting. She uses all of her senses to expose readers to the sights, sounds, and smells of the places Yael lives in South Africa:

“The rain is slowing as Yael lies under her thin, cotton sheet listening to the drops hit the tin roof of the room she was meant to share with two university students, who are studying environmental filmmaking on a separate program. It turns out they’d both been delayed for a reason she didn’t catch and so far, she has the room to herself. She inhales and smells the heat rising from the ground after the downpour, insect repellant, and traces of dust. When she returns at lunch, she’ll blast the intense heat away with air conditioning.”

This book is not for the faint of heart—some of the author’s descriptions are intense, and she paints a realistic picture of what Yael experiences, while not making it too scary or mature for teenage readers. In an interview, Green said, “The truth is I believe less is more. There's no need to sensationalize the scenes. Elephant slaughter in plain language is enough. In addition, there's a sub-theme of terrorism in the novel because violence is universal. I purposely made the terrorist event happen in Canada because I want to get the message across that senseless violence doesn't just happen in Africa or the Middle East. That attitude might allow some of us to feel off the hook. It happens everywhere, and we all have to make sure we are part of the solution...”

In this excellent novel, readers will find themselves experiencing the joys and sorrows of Yael, who is just trying to recover from her recent family tragedy with an adventure in South Africa, and they will become her biggest champion, as she unravels who is behind the elephant poaching on protected land and why anyone would want to hurt such magnificient animals just for money.

To purchase No Entry as an ebook, please click here.

Margo L. Dill is a children's and young adult author, works as managing editor for WOW! Women On Writing, and teaches a new class for middle-grade and young adult writers that starts March 31, where writers receive instruction and critique! Check out the syllabus here. There are still spots left.  


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Video: What If My Nonfiction Flash Has Some Imaginative Truth?

Friday, December 14, 2018
What if your nonfiction flash has some imaginative truth?  Does that change the piece from nonfiction to fiction? WOW instructor Gila Green answers these questions in the video below.



[Email subscribers: If you can't see the video, you can view it on YouTube.]


Gila Green is the author of Passport Control (S&H Publishing), and a novel-in-stories, White Zion (Cervena Barva Press, April 2019). Her first novel is King of the Class. She is working on an eco-young adult series for release September 2019 with an independent eco press in Australia. Gila has published dozens of short stories in literary magazines, and teaches writing workshops for WOW! Women On Writing. Visit her website at www.gilagreenwrites.com.

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Join one of Gila's upcoming WOW! Women on Writing classes: Writing Fiction: Setting and Description or Flash Fiction Workshop.  Both start on Monday, January 7, 2019 and run for four weeks.  Early registration is recommended!



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Video: What is the Difference between Non Fiction Flash and Essay Writing?

Friday, December 07, 2018
It's a common misconception that essays under 1,000 words are flash nonfiction, but what are the differences?  WOW instructor Gila Green answers that question in the video below. You'll get the information you need to know in this super quick message!



[For email subscribers: If you can't see the video above, you can view it on YouTube.]

Gila Green is the author of Passport Control (S&H Publishing), and a novel-in-stories, White Zion (Cervena Barva Press, April 2019). Her first novel is King of the Class. She is working on an eco-young adult series for release September 2019 with an independent eco press in Australia. Gila has published dozens of short stories in literary magazines, and teaches writing workshops for WOW! Women On Writing. Visit her website at www.gilagreenwrites.com.

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Join one of Gila's upcoming WOW! Women on Writing classes: Writing Fiction: Setting and Description or Flash Fiction Workshop.  Both start on Monday, January 7, 2019 and run for four weeks.  Early registration is recommended!





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Your High School Science Teacher was Wrong (and your creative writing instructor was, too)

Friday, December 15, 2017
by Gila Green

Writers must think about description. A lot.

We're told to paint in words, and to use vivid prose. But there's one piece of description-writing advice we hear most: Five Senses.

What many writing instructors really mean by this is to drop the visual emphasis and dip into sound, smell, taste and touch. Mostly, we're diligent about it. On paper every meal becomes a sensual, olfactory, mouth watering experience, or the opposite: even hot Turkish coffee cannot perk our wilted heroines.

Turns out this old-school advice needs a reboot and this is great news for your writing. There may be as many as seven or twenty-one human senses. There are whole worlds of senses to integrate into our descriptions, and no reason to recycle the same old five page after page.

What about incorporating equilibrioception (our sense of balance) into a character? Magnetoception anyone? This is the ability to detect magnetic fields, which is truly handy when you're trying to get somewhere. There are a myriad of ways these senses can be applied to fantasy, sci-fi, magical, horror or realism.

Is your character oblivious to time? The ability to perceive long vs. short periods of time passing may come from two different parts of our brain, but either way, it's a great sense to manipulate in your writing. Who doesn't have it? What are the stakes? One class participant based a story around it. It was about a couple who longed to move to Mexico because they couldn't fit into their time-conscious American society. Ouch! That brings me to pain receptors that are entirely separate from our overall sense of touch. How about a character with a very high or very low pain tolerance?

Proprioception is yet another sense you may not have heard of. It's the ability to distinguish your body from the rest of the world and move it (i.e., we can scratch our feet without looking because we know where they are). What about a character that lacks proprioception? She can't scratch her back without help. She can't find it.

So, should we ditch the five senses? No. But do add to your writer's toolkit when it comes to description. Even the ones we know can sport a new look. Take smell. Many of us learned humans have a weak olfactory system (compared to dogs or elephants, for example). That's a myth. We can sniff over one trillion scents.

Say goodbye to "my character can only pick up on overpowering smells like coffee and baked bread" and explore this sense without worrying that it's unrealistic or reserved for super powers.

As for taste, sweet, sour, salty and bitter are so yesterday. We have savory (cheese, meat) and maybe even fat and calcium. Scientists are split on that, but we're not. Go ahead. Make your heroine bite into that sandwich and be disgusted or charmed by the fatty sharp calcium taste. It will make your story that much more fresh and delicious to read.

***

Want to make your story come alive for the reader? Join Gila's latest WOW! Women on Writing class: Writing Fiction: Setting and Description, a four week course starting on Monday, January 8, 2018.
Early registration is recommended!

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Gila Green's  young adult novel No Way Home is forthcoming from Simon Pulse, an imprint of Simon & Schuster. Her first novel, King of the Class was released by NON Publishing (Vancouver, 2013). Her short stories have appeared in dozens of literary magazines in the US, Canada, Australia, Israel, and Hong Kong. Her collection, White Zion, is a finalist for the Doris Bakwin Award (Carolina Wren Press), and her work has been short-listed for WordSmitten’s TenTen Fiction Contest, the Walrus Literary Award, the Eric Hoffer Best New Writing Award, and the Ha’aretz Short Fiction Award. Her short stories have appeared in dozens of literary magazines including Fiction Magazine, Akashic Books, Many Mountains Moving, The Saranac Review, Jewish Fiction, Pilot Pocket Books, The Dalhousie Review and Noir Nation. Please visit: www.gilagreenwrites.com
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Crash! Crunch! Cabang! Where have all the Literary Devices Gone?

Wednesday, December 16, 2015
by Gila Green

Writers are forever hearing they need to improve their writing skills. No matter what we produce and how frequently, there’s always some well-meaning editor, fellow writer or classmate hinting that you can never learn enough about writing.

Interpret that as you wish. Perhaps, you see great writing as an exercise bike you need to ride forever, or like a sink in which dishes grow (if it’s anything like my kitchen sink). Either way most of these messages are downers.

The answers we’re given repeatedly once we ask that inevitable question—How does a writer improve her craft?—are often framed as more of a chore than a bowl of cherries.

No doubt you’ve read that writers have to be voracious readers, readers so starved for reading material that only the dry end of a book cover or sharp end of a kindle is true nourishment. Food is blasé in comparison, simply providing enough fuel for you to swallow the next page.

The other most common response I’ve read to this question of how to improve your writing is to simply write. Write we are told! Even if your words are headed for the trash, eventually the cream will rise to the top, the garbage will fall to the dregs, either metaphor, the route to victory is to produce yet more writing.

Number three on my list of most popular advice is to review grammar and sentence structure, to shake the cobwebs off of an old Strunk and White’s Elements of Style and commit it to memory.

All of this advice has some merit.

But never do I read what I think is equally good advice (if not better, OK, I think it’s better): brush up on your literary devices. Yes! It bears repeating: brush up on your literary devices.

There are a variety of reasons why this is my number one, though far less popular answer. I’ll give you three here. First, they are fun. When you are having fun and enjoying the writing process, you will automatically improve your writing. Your mood and enjoyment will sizzle onto the page. It’s fun to attempt an alliteration (repeated consonants). Try it right now. Here’s my stab: “They appeared chained to their chairs, like anesthetized chimpanzees.” Pure amusement.

What is more merry: memorizing the difference between its and it’s or manipulating onomatopoeia into a sentence? Ker-plash! The wet towel smacked him in the face. Crunch! Uh oh. What did she just sit on? That has to motivate you to write better far more than reading about evil adverbs for the umpteenth time. I had to stop myself from adding another example because let’s face it: boing, snort, plop, plop, fizz fizz are fun to write.

Then there’s one of my favorite literary devices: description. Consider how delightful it is to experiment with vivid verbs. The bus bleated for the passengers to board, instead of the usual honked; or she melted onto her chair, instead of sat down. Is it possible that this might encourage better writing and be just as effective as reading every genre, including the telephone directory or writing, possibly for years, until your best works jumps out at you or doing another spellcheck? Absolutely.

There are so many literary devices to choose from; even a quick review should jazz up your work in no time.

***

Canadian Gila Green moved to Israel in 1994. Her novel King of the Class was released in April 2013 by NON Publishing, Vancouver. Her stories and articles appear in tens of literary magazines in the U.S.A., Canada, Australia, Israel, UK and Hong Kong. Her collection, White Zion, is a finalist for the Doris Bakwin Award and her work has been short-listed for WordSmitten's TenTen Fiction Contest, the Walrus Literary Award, the Eric Hoffer Best New Writing Award and the Ha'aretz Short Fiction Award. Gila has an MA in Creative Writing and an undergraduate journalism and English literature degree. Please visit: www.gilagreenwrites.com


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Join one of Gila Green's upcoming online classes!


Visit our classroom page for details and enrollment.

*****
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Four Takes on Publishing Short Stories

Monday, March 30, 2015

by Gila Green

“Get your short stories published,” they tell you in creative writing programs, in workshops, on blog posts and in lectures. We all hear this over and over again, but nobody ever told me how to do this; and when I asked, all I ever received were vague answers that mostly involved pounding the pavement such as, make connections, befriend editors, network, and get yourself out there (my favorite). Huh?

Six years later I’d published thirty short stories in a wide variety of literary magazines in six different countries and had received seven international award nominations, and guess what? I didn’t do any of those things. I could hardly network living in Israel where the first language is not English, which severely limits my ability to reach out to English speaking writers and English language publications—at least in person.

Is there an English-speaking writers’ community in Israel? Of course. Is it large? No. And it’s often stratified along religious, geographical and political lines, the way it is anywhere in the world.

Besides, I only enrolled in my creative writing master’s degree when I was two months pregnant with my fourth child (yes, I was lucky enough to attend a university that offered maternity leave and was pro-baby and pro-nursing). This means on a practical level, I had four children under the age of seven, two of whom were allergic to half the foods in the supermarket.

I could hardly get to the shower let alone get to any networking arenas. In addition to this, like many families with small children we can’t afford a home in the heart of the city, so I live in a very suburban community, hardly a magnet for literary publishers and magazine editors.

So, what’s an unpublished writer/full-time-mother to do? Get on the internet, that’s what, and that was in 2006 when the net was in its infancy. So if it was doable then, it’s absolutely doable today.

So what’s my take on it? Here are four takes:
1. Take yourself seriously. If you don’t, nobody else will. For me it meant dedicating two hours a day to researching publishing options (the most time consuming of all), emailing queries, perfecting cover letters, reworking stories that were repeatedly rejected, but with comments from editors about what worked for them. My list could go on, but the grease for this wheel is to believe in yourself and your goals. And yes, sometimes I did it one-handed nursing a baby; other times I thanked God for that battery-operated swing. Yes, it’s worth the investment.
2. Take criticism. I am amazed to this day when I meet aspiring writers who cannot take criticism. Don’t just take it, seek it out! Seek out really tough, word shredding, confetti-making criticism from someone published whom you respect and admire and who believes in you (preferably not someone related to you.) 
3. Take rejection. That’s right, just take it. Don’t let it crush you or deter you from your goal. Think about why you were rejected. Did you try to get published in one of the top ten most prestigious magazines in the USA? Did you send a light-hearted piece to a publication that advertises itself as edgy and experimental? Learn what you can. Don’t ignore it or you’ll repeat the mistakes and move on.
4. Take action. I’ve wanted the dishes done thousands of times, but this left me three choices: wash them, sweet talk someone else into it, or stock up on throw-away plates and cups. In all cases, wanting got me nowhere. Make yourself an action list and there’s no one-size-fits-all. I used to fulfill a quota of five queries a day which came to 25 queries a week (given the weekend, come on you deserve a break!). My reasoning was at 100 queries a month, statistically, I was bound to progress and I did. Find an action plan that works for you and stick with it.

Many of you might be thinking, I can’t raise young children, work, and get published. If you work full or part-time on top of mothering, numbers 1,2,3 apply, but you still need to take action, just cut it down to a size that fits. Send out one query a week, you’ll still be eight queries down the road in only two months. Remember what a wise pediatrician once told me: women can have it all, just not all at the same time.

***
Canadian Gila Green moved to Israel in 1994. Her novel King of the Class was released in April 2013 by Now or Never Publishing in Vancouver. Her stories and articles appear in tens of literary magazines in the U.S.A., Canada, Australia, Israel, and Hong Kong. Her collection, White Zion, is a finalist for the Doris Bakwin Award and her work has been short-listed for WordSmitten's TenTen Fiction Contest, the Walrus Literary Award, the Eric Hoffer Best New Writing Award and the Ha'aretz Short Fiction Award. Gila has an MA in Creative Writing and an undergraduate journalism and English literature degree.

Join Gila Green's upcoming class, How to Publish a Short Story Workshop. Limit: 8-10 students. Early registration is recommended. Visit our classroom page for details!
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Ten (More) Things I’ve Learned Four Months After Publishing My First Novel

Friday, December 27, 2013

In my last post I wrote about promoting your debut novel from my experience with King of the Class. Today I want to list some don'ts.

1. Don’t forget to make a post-novel plan. What do you want to do now that your novel’s been out for a while? Write a new novel? Go on a book tour? Go back to your day job? Try a new genre? This is especially important if you are anything like me i.e., flounders without specific goals.

2. Don’t respond to criticism. It’s an absurd expectation to think you will write a book that appeals to everyone. Thank them for reading your work and move on. Some comments might be indecipherable. One reader told me that I was admired and talented and then went on to write that the best thing for me would be to write a novel that had no Jews, no Israel and nothing to do with any religion whatsoever. That would be a book to read, if I’d only write it! Umm. Thanks. I think.

3. Don’t check Amazon’s author central more than once a week. Your writer life won’t change by the minute. Is it worth becoming obsessed with that graph?

4. Don’t use an amateur author photo or one that makes you cringe. Almost every publication and site that prints even the smallest mention of King of the Class requests a photo. After that your photo pops up on the internet everywhere.

5. Don’t confuse yourself with your work (see #2). You want people ultimately to like and care about you, not your writing. If someone lets you know they didn’t enjoy your novel, that’s not a criticism of you. Ditto for the opposite. When you receive a rave review from a critic or friend, let a smile go to your face (a big one!), but keep your feet on the ground.

6. Don’t turn down publicity in the smallest publication or blog. You never know who reads what and whether or not a larger publication might repost information about your work or ask for an interview. Readership is valuable. Period.

7. Don’t forget to follow-up. If you or your publisher mailed out courtesy copies, keep a list that includes dates and follow up 6-8 weeks later. This is not rude, it’s smart. Out of 100 courtesy copies around 15% of my follow-up emails read: Sorry, Gila your copy never arrived. You can resend or offer an electronic version if your mail budget is depleted. This is someone who has agreed to a copy. Don’t waste a potential review by not following-up. It’s also preferable to making assumptions about certain editors and possibly bad mouthing them.

8. Don’t send courtesy copies to editors who don’t review your genre. Unless you have an unlimited budget for courtesy copies, make sure your copies are going to reviewers of your genre. There are people who will say yes to a courtesy copy of a novel without mentioning what they review. Even if you ask them to pass it on to someone who does review your genre, that person never agreed to a courtesy copy.

9. Don’t assume anyone cares as much about your work as you do. I’ve read this before, but it’s worth repeating. Not your publisher, spouse, sibling, child, best friend, editor or publisher cares as much about your work as you do. Translation: the hard promotional work is yours.

10. Don’t be afraid to talk to strangers. There’s no need to overdo this, but I wrote a few writers I’ve never met if I thought they published a similar genre or with a similar-sized press and asked for advice. Most are happy to help and expanding your writers’ community is a good thing.

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Join one of Gila Green's upcoming WOW! classes:

~Learn how how to craft story ideas into flash fiction in her
Flash Fiction Workshop. You'll focus on carving your work down to its essence, while still conveying meaning through the successful interplay between character, conflict and theme.

~Learn how to layer your writing with literary devices in her Literary Devices Workshop. Through short readings and in-class assignments, you'll learn how to create suspense, tension, change the pace, deepen and control your writing through the use of devices from repetition to personification. This class is suitable for anyone working on a novel, short story, memoir, essay or life story.

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The New Year is almost here! Would you like to participate in Friday "Speak Out!" in 2014? Email your short posts (under 500 words) about women and writing to: marcia[at]wow-womenonwriting[dot]com for consideration. We look forward to hearing from you!

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Ten Things I’ve Learned Four Months After Publishing My First Novel

Thursday, September 19, 2013
I’ve been publishing short stories since 2007, but this year my debut novel King of the Class was released by a small literary Vancouver publisher (www.nonpublishing.com).
I’ve received many questions from debut authors mostly asking "what worked." Here are ten things that worked for me:

1.Target freelancers for reviews. I spent hours emailing publications I felt shared my target audience. Hands-down most of them ignored me or sent me polite ‘no’ emails. When I discovered the freelancers who sell regularly to these publications, I had far more success. Find them by clicking on contributors’ names.
 
2.Only no means no. Perseverance works. No answer does not mean no. Once in a while I’d get an email: “Good for you for not giving up. I was so busy with X, but now I’d be happy to read your book”.
 
3.Everybody knows somebody. At first I only asked some friends for contacts in the media industry. I learned to ask everyone. Do not pre-judge. You need reviews, so ask everyone about their friends in the media industry.

4.Expect nothing. I was wrong to assume some people would happily forward emails, post on Facebook and generally help spread the word about King of the Class. Meanwhile strangers I met online and others I barely knew went the extra mile (thank you again!) for me. Assumptions will only cause needless disappointment.

5.You can’t do it all well and simultaneously. I received many well-meaning tips to use every social media, hire a publicist, you get the idea. Try new things, but ultimately do what you are good at and what you enjoy and not all at once.

6.Don’t forget to write. Writers write. Turning yourself into a full-time marketer is OK temporarily (set a real deadline), but don’t lose your identity or risk your health to sell one more book.
 
7.Update all previous posts. The links are already there. Don’t waste them. If you’re a writer who has previously published articles and blog posts, email those editors. Every one I contacted was happy to update old posts with my book link, even posts that were years old.
 
8.Fortune favors the bold. Don’t fall into the trap of ‘how can I possibly ask them’. You have no idea what any publication takes into consideration when they are approached. Try them. I did and received a few pleasant surprises.
 
9.It can be hard to internalize that your control is limited. The only recipe for success is to enjoy what you’re doing, regardless of the outcome. See it as an adventure and lower your expectations.

10. Use Linked-In. I read the contacts of my contacts until my eyes were falling out of their sockets. Yes, it’s tedious. I limited it to ten hours. When I found someone who might potentially give me a review, I asked my contact for an introduction and met with success.

***

Join one of Green's upcoming WOW! classes:

~Learn how how to craft story ideas into flash fiction in her
Flash Fiction Workshop  starting September 30, 2013. You'll focus on carving your work down to its essence, while still conveying meaning through the successful interplay between character, conflict and theme.

~Learn how to layer your writing with literary devices in her Literary Devices Workshop starting September 30, 2013. Through short readings and in-class assignments, you'll learn how to create suspense, tension, change the pace, deepen and control your writing through the use of devices from repetition to personification. This class is suitable for anyone working on a novel, short story, memoir, essay or life story.
 
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Interview with Clare Thompson-Ostrander Spring 2013 Flash Fiction Contest Winner

Tuesday, September 17, 2013
Stop over at the Spring 2013 contest page and read Mercy by Clare Thoompson-Ostrander. Then join us for a closer look at her story and why she decided to take the plunge and enter a writing contest.

Despite writing her first story when she was in eighth grade, Clare Thompson-Ostrander never shared her work with others. That soon changed. After taking a writing class right here at WOW!, Clare submitted a story to our quarterly flash fiction contest.

Looks like it paid off!

Currently, Clare is a professor of developmental writing at a community college. She feels privileged working and writing alongside her students; Clare thinks they are her greatest inspiration. Her most supportive and encouraging readers are her six sisters, her brother, and her parents. Without them, her stories would still be stuffed in boxes.

Clare lives in Massachusetts with her husband, her daughter, and her puppy.

WOW: Welcome to The Muffin, Clare, and congratulations! How exciting! Let’s jump right in and talk about your story. I am interested in how you developed the theme of the piece.

Clare: Most of the stories I write revolve around navigating relationships. I began writing the story "Mercy" to explore the theme of forgiveness inside of a relationship. I imagined the most difficult situation a couple could face, losing a child. As the characters in the story emerged on the page, I followed the narrator through her emotions of guilt and anger. These two emotions made it almost impossible for her to forgive her husband for introducing her boy to hunting, or to forgive herself for being alive when her little boy is not. I also wanted to explore the role of hope in a tragic situation like the one she faces in the story. I wondered about how she would move on. What form of hope would allow her to move on? Lenny's character is meant to be the glimmer of hope. He makes her laugh and this helps her recognize that her way of thinking is misleading, and that may be the small start she needs to heal and move on in her life. When I imagine Lenny beyond the story, I see him as someone who helps the narrator rediscover herself so that she and her husband can heal from their terrible loss.

To build on the theme of forgiveness, I set the story as a chance encounter at a community college because I teach at a community college. My colleagues and my students are very diverse and just about every day I have chance encounters that take me to new places. I wanted the story's turning point to be based upon a chance encounter. Chance encounters are so rich for gaining insights into emotions like forgiveness. I actually got the idea for having Lenny's character wear biker clothes and boots with bullets from a chance encounter with a student. The student asked me for directions on campus and I noticed his boots. They had a round of bullets around the ankle and I thought that's a great detail for Lenny.

WOW: That’s so cool! And, Lenny’s boots with the bullets offer an interesting element to the story. I’m doing to start paying attention to footwear! As a teacher, I look for the lesson or “moral of the story” I want students derive from a piece. What's the one take-away you want readers to discover or learn from your story? For me, it's that people make snap judgments based on stereotypes and often, people jump to the wrong conclusion.

Clare: I like your take-away about snap judgments. I think you are right. The narrator makes a lot of snap judgments and I think we all do, especially when we are not in a healthy place to accept others and see them for who they really are. I also hope people who read the story feel as though they've been let inside a woman's struggle to find forgiveness. Forgiveness is such hard work. It is wrapped up anger, resentment and guilt. When a person's head is full of these emotions, it's especially difficult to see how forgiveness can lead to hope and acceptance. The narrator's encounter with Lenny is her first step to getting out of her own way so that she can heal.

WOW: And that healing process is extremely important. I also like that Ginny decides to take a class, even if it’s to appease the counselor. Speaking of classes, your bio mentions that you took a WOW! class. What is one writing principle you learned and applied to this particular piece?

Clare: I took Gila Green's Flash Fiction course. As part of our course work, we had to incorporate an allusion. I had written "Mercy" before I took Gila's class, but I revised it to help me complete the allusion assignment. I used an allusion to the relationship between Virginia and Leonard Woolf. I liked how the allusion helped me portray the narrator's grief in a deeper way. I think Virginia Woolf found much needed hope inside her relationship with Leonard Woolf, so I thought the allusion worked for my story. In my story, "Mercy," I wanted to show how the narrator, Ginny, finds hope, almost against her will, when she meets Lenny. Gila was wonderful in helping me shape this allusion. She provided great feedback. In the end, I liked how adding an allusion transformed the story.

WOW: Sounds like a successful class . . . and story. (smiles) What advice would you offer to other writers contemplating entering a contest?

Clare: I have been writing stories for most of my life, but this is the first year I've tried to publish a story. I entered the WOW contest last winter and made the final round of judging. I found some hope there and tried again in the spring with "Mercy." I was amazed my story was chosen! Since then, I've sent two more stories out to magazines to see what will happen next. I will always write stories whether they are published or not, but having a story published by WOW has inspired me to take more chances. It's a great feeling. My advice to writers would be to not wait on taking chances. I wish I had taken a chance years ago.

WOW: Great advice. (Writers, what are YOU waiting for?) What projects are currently on your agenda?

Clare: I am currently revising a novel I have written. The novel is about a young woman's recovery from a brutal rape. The story follows her journey as she forms the relationships that allow her to heal and move on. I've been working on the novel for almost ten years! In between teaching full-time, being a mom and wife, I write stories and work on the novel. Writing the novel has been the most rewarding creative experience in my life. Every time I devote my energy and time to the novel, I like it even more. The characters are a deep part of who I am because for so long they've "lived" inside of my head. I know them very well, and it may sound crazy, but I'll miss them when I finally finish the novel.

WOW: I’m sure you will. Thank you for talking to our readers today, Clare, and once more, congrats!

Interview by LuAnn Schindler. Read more of her work at her website

The next session of Gila Green's Flash Fiction course begins September 30. 


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Plot On: Literary Devices to Help Writers Who’ve Lost the Plot

Monday, January 09, 2012
by Gila Green

Mired in your plot? Consider literary devices. Here are a few plot-oriented literary devices you should keep in your writer’s toolbox: red herring, repetitive designation, poetic justice, plot twist and plot device.

What is a red herring? They are often, but not exclusively, used in mysteries when the writer wants you to focus on Mr. Guilty-Looking. This deliberate diversion has readers chock-full of literary suspicions, while the genuine guilty party moves through the pages unsuspected.

Similar comments about casting a spotlight could be said about repetitive designation (linked to foreshadowing). Here, the writer shines a light on an object that appears trivial, but later turns out to be vital. A character might wear a key around her neck that she “just” found. The “trinket” gets noticed on a smattering of pages, but readers’ ears never perk up. At the height of the conflict, readers discover it is the key to the secret passage; has life-saving powers; is invaluable; the lock is found around the neck of her future husband; the list goes on and on.

Repetitive designation is at times resolved with another plot tool: poetic justice. This crowd-pleaser means the good are rewarded and the bad are punished. Poetic justice is that ironic twist of fate that means the character got what she deserved (think: the wicked step-mother in Cinderella or Snow White or just about any famous wicked step-mother. They are all fated to the sword of poetic justice).

Two other plot-directed writer tricks you should slip into your toolbox are the following: plot twist and plot device. A plot twist is just that, a twist or surprise in the plot which takes the story in an entirely and unanticipated (on the part of the reader) direction. If someone (Dorothy?) wakes up and “it’s all a dream,” that’s a plot twist. If the “tourist” in Paris, turns out to be an undercover French agent, that’s a plot twist. Readers are often thrilled by plot twists, but I advise caution; plot twists can sometimes make readers feel cheated. If the only way you can resolve your conflict is by making the heroine disappear into thin air, readers may not come back for novel number two.

I offer the same counsel for the plot device. If a writer uses a plot device it means that she introduces a character or an object solely to forward her plot. That’s a terrific tool, but it should be seamless. An “Oh, how convenient, an identical twin brother!” is not the response you are going for. Plot devices, unlike poetic justice, should be invisible to the reader. In the same way that we’re not supposed to know how magicians make rabbits pop out of tall black hats, a good writer uses her literary devices to create magical worlds that readers want to re-inhabit, while the tools of the trade remain unseen.

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Gila Green's latest online class for WOW! Women on Writing starts on Monday, January 16th! Sign up now for her popular LITERARY DEVICES WRITING WORKSHOP while there's still space available. For details and enrollment, visit our classroom page.
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