NRA Women on Target Instructional Shooting Clinic

I’ve killed off hundreds of thousands of people in my books — generally by impersonal means such as diseases — but at least one character shot off a gun. I just guessed at how it would feel, and apparently I got it right, but still, if I’m going to continue my lethal activities, I should know what to do, how to do it, and how it feels. To that end, I’ve signed up for a shooting clinic. The clinic is this Saturday, and I am looking forward to the adventure. This is what it entails:

Agenda: 8:30 to 9:00 am Sign in at the Clubhouse
9:00 to 9:30 am Introduction and safety brief at the Clubhouse
9:45 to 11:30am Range Instruction (2 stages)
11:30 to 12:45 pm Lunch catered by a local Mexican restauran
1:00 to 2:45 pm Range Instruction (2 stages)
3:00 to 3:30 pm Debriefing & Certificates

What to Bring: We will provide all firearms, ammunition, safety equipment. We provide foam ear protection you insert in your ears and clear safety glasses. Wear your prescription glasses or contacts and safety glasses can be worn over them if necessary. Sunglasses are recommended if you wear them. If you have earmuff style ear protection and wish to use it, please feel free to do so.

You should wear light colored, loose fitting clothing that will offer some protection from the sun as it is likely to be hot and we will be outdoors most of the time. Scoopneck or v-neck blouses are not recommended for the range. We suggest a men’s style t-shirt with a high neck line. We will receive a visor at the event but may wish to bring your own hat or visor to protect you from the sun. Bring sun block if you are sun burn prone. We are in the desert and are subject to winds, be prepared. You will be walking on gravel and concrete so wear shoes that offer some traction and protection: hiking boots or running shoes work great. Don’t wear open toed shoes, flip flops, or sandals.

Bottled water will be available at all stages of the event. Restrooms are located at or near each range.

What you will be doing: You are going to learn to safely handle and fire rifles, pistols, and shotguns. You will also learn to hit the target. You can expect one on one instruction and coaching, and we will maintain a pace of events that is comfortable for you. We encourage you to try everything but your comfort level will be respected. This event is designed to take a novice shooter to a level of comfort with firearms that will allow that shooter to pursue further instruction. We replace fear of shooting with knowledge about shooting and apprehension about guns with respect for guns. At all times, we will maintain safe conditions and will instruct you in the safe, responsible and ethical handling of firearms.

‘The Top 5 Mistakes I Find as an Editor’ by Smoky Trudeau Zeidel

Please welcome today’s guest. Smoky Trudeau Zeidel is the author of two novels, On the Choptank Shores and The Cabin. She is also author of Observations of an Earth Mage, a photo/essay collection; and two books about writing. You can find Smoky and her three blogs at www.SmokyZeidel.wordpress.com. Smoky writes:

As an editor and as an avid reader, I see a lot of mistakes make their way into print. Many, if not all, of them could be avoided by having a professional edit your manuscript before submitting it to your publisher, or putting it up on Smashwords or Kindle if you ePublish on your own.

You might think you don’t need an editor, because your next door neighbor/best friend/Aunt Thelma offered to do it for free, or because you’ve read and re-read your manuscript a hundred times and just know it’s perfect.

You’d be wrong. First, your neighbor/best friend/Aunt Thelma may spell great, but do they know all the rules of punctuation and style? I doubt it. The Chicago Manual of Style, the go-to book for American publishers for punctuation and style issues, is more than 900 pages long and two inches thick. I doubt your beta readers have that thing memorized. I refer to it frequently, and I am a professional editor.

Second, as the book’s creator, finding your own mistakes is hard. That’s because you see what you thought you wrote, rather than what you actually wrote. Even though I’m an editor, I don’t edit my own stuff. I have my best friend do it—but hold on, before you protest, let me say that my best friend is a professional editor, so she is exempt from the best friend rule.

That said, I know a lot of writers won’t hire an editor. And this really isn’t a pitch to get your business (although, of course, I am always open to that). So since you probably won’t hire me or any of my editor cohorts, I’m going to share with you a list of the five biggest mistakes I see in manuscripts, so you can watch for them, and fix them, yourself.

Mistake #1: Writers don’t place a comma between independent clauses separated with a conjunction. Independent clauses are clauses that can stand on their own as sentences, e.g., “He took the 405 freeway to work, and he exited at the Getty Museum.” Because both “He took the 405 freeway to work” and “he exited at the Getty Museum” are independent clauses—meaning they can stand alone as sentences, you must, must, place a comma before the conjunction, “and.” This is probably the biggest, most common mistake I find in manuscripts and books. Don’t make it. It’s a very easy punctuation rule to remember.

Mistake #2: Writers place commas between independent clauses and dependent clauses. This is probably the second most common mistake I see. A dependent clause is one that cannot stand on its own as a sentence. Let’s take the above example, and change it just a little: “He took the 405 freeway to work and exited at the Getty Museum.” I took the second “he” out. That makes the clause after “and” a dependent clause, because “exited at the Getty Museum” cannot stand alone as a sentence. It is dependent upon the first clause to be understood; thus, no comma should precede the “and.”

Of course, there are other places you need—and don’t need—commas, but this isn’t meant to be a comprehensive study of the comma. If in doubt, look up comma placement in The Chicago Manual of Style or other style manual.

Mistake #3: Writers don’t know their homonyms. In just the last few weeks alone, I’ve seen characters who were unphased, waiving to people, and peaking out windows. The writer’s spellchecker should have alerted her to the fact that “unphased” isn’t even a word. She meant “unfazed.” To waive means to relinquish, to set aside. The word this author wanted was “waving.” And a peak is the highest point of something; one peeks, not peaks, out a window.

Please, unless you are 100 percent sure you are using the right homonym, look it up. The wrong choice could have your characters doing some pretty strange things!

Mistake #4: Writers rely on their spellcheckers. This is a big no-no. If ewe think you’re spellchecker will fined awl yore miss steaks, your wrong. That sentence went through my spellchecker just fine, and there are no less than eight errors in it (“ewe” should be “you”; “you’re” should be “your”; “fined” should be “find”; “awl” should be “all”; “yore” should be “your”; “miss” and “steaks” should be “mistakes”: and finally, “your” should be “you’re”). Homonym spelling errors are the most common type of spelling error I find. Do not rely on your spellchecker. It will let you down every time.

Mistake #5: Writers who make errors in syntax. For example, look at this sentence: “I saw a deer driving to work today.” Uh, no—you didn’t, unless there are some very talented deer in your neighborhood! The correct sentence structure is, “I saw a deer while driving to work today,” or, “While driving to work today, I saw a deer.” Please, don’t put the deer in the driver’s seat!

Here’s another example: “If your toddler won’t drink milk, warm it in the microwave for a few moments.” Warm what in the microwave? You’ve got a choice of antecedents here. Heaven help the toddler if you make the wrong choice! The correct structure would read, “If your toddler won’t drink milk, warm the milk in the microwave for a few moments.”

Of course, if you and I were having a conversation, we’d probably understand each other if we made these syntax errors. But you can’t count on that when people are reading your words. Make sure you have them in the correct order so your meaning cannot be misconstrued.

I cannot list every error I run across while editing manuscripts. To do so would fill a book. But if you watch for these top five mistakes in your writing, your manuscript will be a lot more polished, and you can be more confident about submitting it to your publisher.

Good luck, and happy righting . . . er, happy writing!

***

Click here to read an excerpt from: On the Choptank Shores

Click here for an interview with: Smoky Trudeau Zeidel

Click here for an interview with: Grace Harmon Singer, Hero of On the Choptank Shores by Smoky Trudeau Zeidel

Seeking Stories that Live Within Us by Malcolm R. Campbell

I am delighted to welcome my guest, Malcolm R. Campbell and his newest novel “Sarabande.” Malcolm is so very generous to other authors, it’s great to be able to return the favor. Besides, he’s a fine writer who pens powerful tales, and he has better insights into storytelling than anyone I know. Malcolm says:

A living myth is told and retold as the centuries pass. Poets, painters, musicians are nourished by its imagery, and in each retelling something is added from the collective attitudes, conscious and unconscious, of the time and from the individual vision of the artist.” – Helen M. Luke in “The Laughter at the Heart of things.”

As I read Helen M. Luke’s analysis of the myth of the ring as viewed by Richard Wagner in The Ring of the Nibelungen (known as the four-part “Ring Series”) and J. R. R. Tolkien’s The Lord of the Rings, I was struck by the fact this story is now part of our world view. Whether we learned of the myth through the original source materials, Wagner’s musical dramas, Tolkien’s books, or the feature film trilogy directed by Peter Jackson, the story lives inside us as though it actually happened. Tolkien expressed contempt for Wagner’s version of the old Norse myth drawn from the 13th century Icelandic Volsung Saga. Yet most critics believe Wagner’s The Ring of the Nibelungen (consisting of “Das Rheingold,” “Die Walküre” Siegfried, and Götterdämmerung”), composed between 1848 and 1874, and Tolkien’s Lord of the Rings, written between 1937 and 1949, are different interpretations of the same myth, and that Tolkien was also influenced by Wagner. Myths often have as many interpretations as history as though they refer to actual events.

Listen to the discussions about J. K. Rowling’s Harry Potter books, and you will hear people talking about Harry, Snape, Dumbledore and Voldemort in the same way they speak of celebrities, world leaders and newsmakers who come into their lives television, concerts and the Internet. All of these people, fictional or actual, are larger than life. While novel readers and film audiences know there is a difference between Tolkien’s characters and Rowling’s characters on one hand and well-known people within our culture, all of them are part of our shared story.

Earlier generations were impacted by Star Trek and Star Wars events and characters just as strongly. We know the difference between fictional characters aren’t read and that real people aren’t fictional, but it doesn’t matter. They’re all the same. While even the most fanatical fans don’t expect to see Captain Kirk, Spock, Frodo or Hagrid searching for salad greens in the produce department at Kroger or addressing Congress about the state of the galaxy, the worlds of those characters is part of our lives as though it’s a living and breathing reality.

Most authors don’t write with the expectation that their stories will impact readers with such force that the characters will suddenly take on independent lives of their own. At best, authors hope their stories and characters will seem real while their books are being read. For a reader, there’s nothing better than plunging into a good story, becoming enchanted by it, and following it with the fervor they follow family dramas and the biggest news stories of the day.

Yet some stories catch our fancy and stay with us long after we put the book down or leave the theater. Those are the stories we seek because they take us on flights of fancy, display new worlds before our mind’s eye, and take us on physical and emotional journeys that expand our lives and enrich our imaginations. Ask any reader what his or her favorite books are, and s/he will tell you about good guys and bad guys and things that go bump in the night and awesome landscapes that are just as much a part of his or her life as co-workers, neighbors and family.

As readers, finding such novels is part of a never-ending quest for a real page turner of a story we will never forget because it lives inside us and evolves every time we read it, talk about it and think about it. As readers, we love our living fiction.

Malcolm R. Campbell is the author of three contemporary fantasies, Sarabande (2011), Garden of Heaven: an Odyssey (2010) and The Sun Singer (2004).

Click here to read an interview with: Malcolm R. Campbell

Click here to read an excerpt of: Sarabande

What to Say When You Remember a Word You Couldn’t Remember

One of the many things you lose when a dear friend or a spouse dies is your stock of private jokes. All the words and phrases the two of you used, the amusing shortcuts to speech, are gone because there is no one left who knows the personal meanings. I’ve decided it’s my mission to pass along one of these private jokes to keep it alive because it is so perfect and it fulfills a needed niche. This word is “ostrich.”

In the movie Sodbusters, written and directed by Eugene Levy and starring Kris Kristofferson, there is a scene where the character Shorty is trying to tell the other sodbusters that they’re acting like ostriches, but he can’t remember the word. What ensues is a hilarious comic routine of his trying to describe the bird to people who don’t believe there is such a creature. Later in the movie, the sodbusters go to the saloon to confront the bad guys trying to force them off their land. They burst through the door, and Shorty yells, “Ostrich!”

A few days after we watched Sodbusters, my friend — my mate — and I were talking, and he couldn’t remember a particular word. Later that day, he came into the living room and exclaimed, “Ostrich.” Then he said the word he’d just remembered. Cracked me up. And so, until his death, “ostrich” replaced the phrase, “I remembered the word I couldn’t remember when we were talking before.” See how convenient “ostrich” is? One word in place of twelve. What a deal!

I worried that making this private joke known would bring me unhappiness, but the opposite turned out to be true. At a lunch with a few friends, I told this ostrich story. During the same meal, we mentioned the football player who gave up his career and enlisted in the army, but no one could remember his name. Later that evening, I got a text: “Ostrich! Pat Tillman”. Made me smile.

So, when you remember a word you couldn’t remember, remember to say — ostrich!

Joylene Nowell Butler Likes DAUGHTER AM I!

If you haven’t yet met Joylene Nowell Butler online, you should. She is a delightful person, wonderful author (Dead Witness, and Broken But Not Dead), and marvelous blogger. Her blog is a great site to browse. She posts gorgeous photos of Cluculz Lake in Canada. She offers valuable information such as how to beat writer’s block. She often has guests on her blog, other authors you either know or want to know, such as A.F. Stewart, who talked about the 5 best ways to promote your books on a budget during her latest visit.

And she writes insightful book reviews. She says, among other lovely remarks, that my novel “Daughter Am I is a character-driven page-turner. Every person has a distinct and endearing voice. Their very persona jump off the page. Even the character of cold-blooded killer Iron Sam comes alive in a way most writers can only dream of creating. The dialogue is sharp and concise and very believable. The descriptions are familiar, yet crisp and original. The prose are smooth and straightforward, and not once did Miss Bertram use terms or language that pulled me out of the story. I was her captive audience for three days. I could have read it faster, but frankly, I didn’t want to say goodbye to these wonderful characters. ” (Read the entire post here: Review of Daughter Am I. Be sure to read the comments! I got such a kick out of seeing people talk about my book.)

How can you not like someone who loves your book? You can find Joylene at her blog, A MOMENT AT A TIME ON CLUCULZ LAKE. Tell her Pat sent you.

Is the Glass Half Full or Half Empty? Who Cares?!

It’s time to bury the glass half-full/half-empty metaphor. Here is the truth of it: If you are filling a glass, when you get to the halfway mark, the glass is half full. If you are emptying a glass, either by drinking it or pouring it out, when you get to the halfway mark, the glass is half empty. The amount of liquid in a drinking glass is an example of action not perception. And you know the truth of this. If I tell you a waitperson brought a bottle of wine and two glasses to the table and that a woman held out a hand when her glass was half full, you immediately presume the server had been filling the glass. If I tell you a waitperson brought two glasses of wine to the table and that a woman waited until her glass was half empty to begin to place her order, you immediately presume she’d been drinking the wine. In neither case does the partial glass of liquid leave you with a perception of optimism or pessimism. It’s merely a result of the action.

Even if it were a matter of perception, why is a “glass half-full kind of guy” considered to be a more upbeat, positive person than a “glass half-empty kind of guy”? Take for example a glass of very rare wine, so rare these are the last few ounces of its kind. While you are savoring every sip, delighting that half of a glass still remains, you can at the same time be experiencing the bittersweet knowledge that this glass of precious liquid is half empty. Which makes every remaining taste even more precious. In this case, the amount of liquid in the glass has nothing to do with positive or negative feelings and everything to do with appreciation.

If a glass with liquid in it is sitting on a table unattended, is it half full or half empty? I don’t care, and you shouldn’t either. You don’t know what it is, how long it has been there, who it belongs to, so it has no bearing on your state of mind. If this orphan glass is your responsibility to deal with or if you are a neat-freak who cannot bear to have unknown liquids lurking about, the glass is half empty because you will pour it out. Unless of course, you are so desperate for a drink you down the liquid despite its dubious origin. In which case, the glass is empty . . .  and so is your stomach after you throw up.

So please, let’s bury this particular metaphor in the graveyard of moribund cliches and be done with it.

Tomorrow is Blog Jog Day!

Blog Jog is a trot around the blogosphere, each blog linked to the next so that you can explore new blogs with a simple click on the link to the next blog. Many participants will be offering giveaways and contests, and so will I. Anyone who leaves a comment on my Blog Jog post tomorrow, August 7, 2011 will be entered into a contest to win a free download of one of my novels, including my latest, Light Bringer.

Light Bringer tells the story of  Becka Johnson, who had been abandoned on the doorstep of a remote cabin in Chalcedony, Colorado when she was a baby. Now, thirty-seven years later, she has returned to Chalcedony to discover her identity, but she only finds more questions. Who has been looking for her all those years? Why are those same people interested in fellow newcomer Philip Hansen? Who is Philip, and why does her body sing in harmony with his? And what do either of them have to do with a shadow corporation that once operated a secret underground installation in the area?

Malcolm Campbell, author of  Garden of Heaven,  Jock Stewart and the Missing Sea of Fire,  The Sun Singer, and  Worst of Jock Stewart had this to say about the novel: Light Bringer is TYPICAL BERTRAM: plots within plots, multiple characters with multiple agendas, fast moving, more than enough mystery and intrigue for everyone, satisfying conclusion.

Author Aaron Lazar has this to say: I’m already a fan of Pat Bertram’s books. I’ve read them all and loved them deeply. But LIGHT BRINGER was something completely new and surprising… surprising in its freshness, originality, its genre bending brilliance. Part thriller, part fantasy, part sci fi, part mystery…its plots were large and complex, encompassing themes that plague us every day; offering social and world commentary blended with weather trend observations (where ARE all those tornadoes and tsunamis coming from??) I do believe Bertram has defined a new genre, and it is a pure delight. Fresh. Original. Riveting. The characters are real and engaging. I particularly enjoyed the bit of romance between Luke and Jane – yes, another subplot. I couldn’t put it down and extend my highest compliments to Ms. Bertram for her supremely smooth writing – there are no hiccups in this book. Very highly recommended.

So stop by tomorrow, leave a comment on my Blog Jog Day blog, and you might win an ecopy of one of my books, including Light Bringer.

***

Click here to download the first 20% of Light Bringer free at: Smashwords

Click here to read the first chapter of: Light Bringer

M.I.C.E. (Types of Stories)

I thought we’d talk about M.I.C.E. No, not the little furry creatures, but Orson Scott Card’s list of types of stories. In How to Write Science Fiction, he says there are 4 types of stories: Milieu, Idea, Character, Event. These are skewed toward Science Fiction, obviously, since he is a science fiction writer, but they seem fit with all stories/novels.

The Milieu is the world — the planet, the society, the weather, all the elements that come up during the world creation phase. Every story has a milieu, but in some stories, the milieu is the point of the story. It follows the basic structure of Gulliver’s Travels — an observer goes to the strange place, sees all the world has to offer, and comes back a new person. The Milieu story obviously starts when the stranger arrives in the world and end when he leaves (or decides to stay for good).

The Idea is about the new bits of information that are discovered in the process of the story by characters who did not previously know that information. Idea stories are about the process of finding the information. The Idea story begins by raising a question; it ends when the question is answered.

The Character story is about the character’s character. It’s about the transformation of the character and the character’s role in society. The attempt to change doesn’t have to be a conscious decision, it can be unconscious, a seizing of an opportunity that takes him in a new direction. The Character story begins when something happens to make the character so dissatisfied with his present role that he begins the process of change. It ends when the character settles into his new role (happily or not) or gives up the struggle and remains in the old role (happily or not).

The Event story is about a change in the universe, a disorder, and the story begins when a new order is about to be established. The Event story begins when when the world becomes disordered and ends when a new order has been established. (Or when the world descends into chaos).

So, are there other basic types of stories? Do your stories/novels fit one of these categories? What is your Milieu, Idea, Character, Event? Most stories have more than one of these elements, so how do they fit together in your stories?

A Great Love Story

I’m working on my grief book, typing up my grief journal entries. I thought this would be a book about grief, but it seems more like a love story, which is so very ironic. Soon after I met my life mate — my soul mate — I quit my job to write. I wanted to tell the story of a great love that transcended time and physical bonds, told with wisdom and beauty. I sat down to write, and  . . . nothing. Back then, I thought all one had to do to write was to sit down, pen in hand, and let the words flow. Well the words didn’t flow. So I put off my dream of being a writer and went about the business of living. Years later, while going about the business of dying (his dying) I started writing again just to get out of my head, to get a respite from my life. I eventually learned how to write, but I always wrote slowly . . . until I started a grief journal and posthumous letters to my mate. Those flowed. And now it turns out that this grief book could be that love story I always wanted to tell. Life sure plays games with us!

Several people have told me they envied me my great love, but I’ve hesitated to tell the truth: it didn’t feel like love. We never had much of a romance. After a few brief years of hope and happiness, our love was sublimated by the constraints of his growing ill-health. It seemed that our cosmic love devolved into the prosaic things of life: cooking meals, doing errands, struggling to keep our retail business alive. And then it devolved further into simply surviving. Getting through the days as best as we could. We thought we’d stopped loving each other. We thought we were ready for the coming separation — he to death, me to life alone.

His hospice nurse, who got to know us both very well, told me she didn’t think he and I knew how much we loved each other. And apparently that was true. That mystifies me — how could we not  have known? We always knew we had a deep connection, though we never understood it and at times we both railed against it in our struggle to maintain our own identities, but we took that connection for granted. And what is that connection if not love?

In my foolish youth, I thought I’d still be able to feel his presence when he was dead, but I only feel his absence, and maybe that’s enough to remind me that love is not all hearts and flowers and passion. It is not what you feel. It is what you do. It is being there for each other. And, until the very end, we always were.

Surviving a New Stage of Grief

I’ve been working on my grief book, typing what I wrote immediately after the death of my soul mate. Suddenly it seems as if the past sixty-two weeks have melted into oblivion and I’m back there again, newly bereft, wandering in a fog of pain, wondering how to cope with the massive changes in my life. I know I have come a long way because the revisited pain seems bewildering to me. Did I really feel all that? Did I really survive such a terrible time? Apparently I did, because here I am, mostly back to normal. I’m still lonely, though, and the loneliness surges unbearably at times.

Loneliness is the newest stage of my grief, as it is for so many who are coming out of the first numbing months of grief. I don’t know how to cope with this vast loneliness, but I didn’t know how to cope with any of the other stages of grief, either. I just embraced the pain, the anger, the sorrow, and waited for a gentler time. So that’s what I will do with the loneliness. Embrace it and wait for it to subside. Waiting is not all I’ve been doing, though. I’ve been making an effort to be with people, which helps, and so does writing. I’d forgotten how quickly the hours go when one is immersed in words.

I still wonder if anyone will want to read this grief book when it is published. It is so intensely personal. And painful. Yet people who have read my blog posts about grief have found some comfort in them, so perhaps this book will serve the same function. Even if no one is interested in reading my daily struggles to come to terms with the death of my mate of thirty-four years, the book is important to me. It’s a way of binding my grief into a neat bundle so I can get on with my life, though I have been told one never truly gets over such a loss. But we do survive, and that is ultimately what my book is about — surviving grief.