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February 2012

Mary Hallock Foote (1847938) made the move west with her engineer husband in 1875. Her descriptive letters of these new exotic and challenging locales, including California, brought her encouragement for writing fiction. Her attention to detail made her romantic plots popular while providing a needed income for her family. She illustrated her writings from her perspective of this rough West she was living in. Her letters were published posthumously. Wallace Stegner wrote his Pulitzer Prizewinning Angle of Repose (1971) based on Footes correspondence. Although he obtained permission from her family to use the letters, Stegner was criticized by some for not properly crediting Foote.

The best-trained ditch can never be a river, nor the gentlest wife a girl again.
from A Victorian Gentlewoman in the Far West, The Reminiscences of Mary Hallock Foote

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Presidents Message

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February 2012 contents

Presidents message Featured Speaker PR News Poetry Page Guest Column February Survey Book Review Call for Xmas Stories Volunteer Corner Member News & Tidbits The Last Word Speaker flyer Workshop flyer 5 Grade Story Contest
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View from the Mountain Top

Linda Brown
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In March 2011, I wrote my first Write Angles column. In that issue, I reminded readers about our Clubs mission, which (in the short version) is to educate writers of all levels of expertise in the art and craft of writing and in the marketing of their work. Those words continue to resonate with me today. This month I want to revisit marketing and measurements, both key components of the business side of writing and important in everything literary we do. For the CWC, marketing has two paths, internal and external. Volunteers on the Marketing, Communications, and Technology Advisory Teams help our published and soon-to-be published members market their work through website postings, media releases, and mention at CWC programs and workshops and other networking events. We do the same to promote the Club and our branch. Internally, your branch leaders strive to make continuous improvements through your feedback. Last November, the Membership Committee aka The Gang of Five (Cliff Hui, Barbara Gilvar, Barbara Ruffner, Madelen Lontiong, and Shereen Rahman) surveyed you with a Hangin Out With Writers Survey. As a result, we changed our Sunday speaker program times to allow more up-front time for networking and socializing. The next social event is scheduled for February 11. You have received or will receive details by email. Details are also on the new Google calendar on www.cwc-berkeley.com. These measurements (metrics in the business world) from the January speaker program show how we retain current members and attract new ones, two key success factors for all membership organizations. No. % Members Guests Total Attendees 49 6 55 89 11 100

upcoming events
2/4 Workshop: Sascha IllyvichWriting About Love from the Male Point of View 2/19 Speaker: Fred Setterberg Writing a True Life Novel

3/3 Write-A-Thon
3/15 5th Grade Story Contest Closes

Guests learned about us through the San Leandro Times, flyers posted in public places by members, and invitations from members. Program evaluations tell us if the speaker and topic met attendee needs. That feedback is beyond the word count for this column. Know that we have a strong speaker program and a members-only publishing benefit. Are you aware that the CWC-NorCal group developed a mentoring program to help our members plan their trip on the publishing path? If not, check out www.publishingpathways.com and contact your branch mentor, past president Lloyd Lofthouse, at lflwriter@gmail.com with a copy to NorCal representative Kathleen Orosco, KKLO45@aol.com. I look forward to seeing you at the February events: the workshop and the speaker program. And you will always be warmly welcomed as a volunteer.

Our monthly meetings are free and open to the public and feature a speaker, an author event, or both. Oakland Public Library West Auditorium 125 14th Street 94612

Entrance on Madison Street

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February Speaker
David Baker

Remember to check out our web site: www.cwc-berkeley.com

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TRUE IN SPIRIT
Fred Setterberg, our featured speaker for the February 19 meeting, wanted to tell the story of the ordinary people he grew up among in San Leandro during the 50s and 60s. Scarred by the Depression and World War II, these working-class Americans were astonished to find themselves with steady jobs, property of their own, and household conveniences unimagined a decade before. It was, Setterberg writes in an article for Talking Writing, a near-mythic moment of promises made and squandered. But what form should the story take? Memoir? Setterberg began by drawing on skills developed while writing previous nonfiction books. He did archival research, interviewed family members, and tried to make his personal experience into a tale of suburbias founding years that would prove funny, moving, and authentic. Instead, he amassed a ponderous collection of details and events that characterized his little life but failed to accomplish his purpose. His next attempt was a novel attacking the American appetite for material things and lamenting the abandonment of the people who do the real work in this country. It was, he admits, god-awful, lacking technique, conviction, imagination, and insight. After reflecting on these efforts, he returned to what he remembered and had researched but this time permitted himself to recall what didnt happen, the embellishments, inventions, fantasies, and outright lies we tell ourselves and anybody who will listen when the subject of our childhood holds the floor. The result was Lunch Bucket Paradise: A True-Life Novel, published last year by Heyday Books. Although the book is a novel with autobiographical underpinnings, readers come away with the feeling that theyve met real people. The adolescent-to-adolescent dialogue alone justifies Setterbergs claim that every word he wrote is true in spirit. Come to the February meeting to find out how Setterberg has written Lunch Bucket Paradise so that it finds its place on the fiction shelf in the bookstore.

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WRITE RETRO?
I just got back from CES 2012 in Las Vegas, the annual Consumer Electronics Show dedicated to unveiling the newest in breakthrough technology. Year after year, we see the results in the tools of our trade. When was the last time you used a typewriter? A mimeograph machine? Carbon paper? Probably rarely if ever after you got your computer. And now PCs seem destined to fall by the wayside. The same applies to writing in general. We blog. We tweet. We publish online. But when was the last time you wrote a Letter to the Editor of your local print newspaper? Let's not dismiss that particular approach quite yet. It still represents an effective PR strategy. Suppose, for instance, your branch just lost its meeting room. Try penning a Letter to the Editor. Address your dilemma and the larger threat to nonprofits when they can no longer find or afford a place to convene. Include a plug for your branch and its value to the local creative community. In so doing, you promote the CWC while possibly attracting new members and hearing from a church, school or lodge that has a venue for you. Or write about the latest state budget proposal and its impact on libraries. Or the closure of Jack London State Park. By all means keep blogging, tweeting and publishing online. Invest in solar power for your Kindle or a private cloud. But then go retro with a Letter to the Editor. The response might surprise you. If you do this and it works, please let me know. Thanks in advance. Donna McCrohan Rosenthal, PR chair, pr@calwriters.org

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POETRY PAGE

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LANGSTON HUGHES
Tanya Grove This months Poetry Page features a beloved American poet who was born in February one hundred ten years ago. Langston Hughes (February 1, 1902 May 22, 1967) was born in Joplin, Missouri, but spent much of his childhood in Kansas, raised by his grandmother. Before he even attended Columbia University, Hughes had published the poem The Negro Speaks of Rivers, a poem reportedly written on an envelope on a train crossing the Mississippi. Early on, Hughes dedicated himself to writing predominantly about the African American experience. He left Columbia and continued his education at historically black Lincoln University. Early influences include Carl Sandburg, but it was his devotion to black music that inspired him to fuse jazz and blues with more traditional verse. An important figure of the Harlem Renaissance, he promoted racial pride. After spending a year in the Soviet Union and then a year in Carmel, California, he wrote The Ways of White Folks, a collection of short stories that focused on race relations. His radical verse landed him in front of Senator Joseph McCarthy, who tried to disgrace Hughes for his Communist leanings. He wrote a weekly column in the Chicago Defender for twenty years, as well as many plays, more poetry, novels, nonfiction (including two autobiographies), and several childrens books. His poem Dreams is in numerous poetry anthologies.

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The Negro Speaks of Rivers

I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins. My soul has grown deep like the rivers. I I I I bathed in the Euphrates when dawns were young. built my hut near the Congo and it lulled me to sleep. looked upon the Nile and raised the pyramids above it. heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset.

I've known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers.
From The Collected Poems of Langston Hughes, published by Alfred A. Knopf, Inc. Copyright 1994 the Estate of Langston Hughes.

Langston Hughes

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Guest Column

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I look at that picture and think about Scheherazade each time I work on a script. She was THE consummate story-teller and understood that how you tell the tale is at least as important as the tale itself. I try to always edit my own work with the image of a swords-mans blade waiting for me if I should ever lose my readers or viewers interest. If the greatest duty of the writer is to tell the truth, then the greatest obligation has to be to not bore his audience. And since the majority of my work is scriptwritingwith its tight time limits and page countsI ask the same question of all my efforts: Is it dramatic enough? I have long subscribed to the famed screenwriter and playwright David Mamets definition of the dramatic scene: The quest of the Hero is to overcome whatever obstacles there are that prevent him from achieving his goal. Each scene must culminate with the Hero finding him/herself either thwarted in his attempt or educated that another way to achieve his goal exists. This is the crucible in which all scenes must be tested. Pass this test and survive, or fail the test and be cut out. The three filters Mamet uses for every scene are: 1. Who wants what? 2. What happens if s/he doesnt get it? 3. What HAS to happen next? Answer these three questions truthfully and youll be able to tell very quickly whether your scene works as drama or not. For me, I work from outline, not long but broke into beats. And, invariably, someplace between the outline and first draft sprout all manner of talking head scenes, extraneous material and false starts. Its natural and I let it happen because sometimes I learn things about the characters here that I didnt know before. But they never survive the later drafts because here is where I have to be ruthless. Any scene where two people are talking about a third has to go unless by taking it out I lose my audiences focus. Applying the filters above, I know that each scene buildsunfoldsupon the last. Each character must have a pressing need that impels him from the last scene into this one and then from this scene into the next. There must be a real reason for him/her to show up each time. If there isnt, the scene will be boring and that violates my First Rule.
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Learn from Scheherazade

Art Holcomb

Two pieces of paper hang above my desk. One is a quote and the other is the picture below.

It is from One Thousand and One Arabian Nights. As the tale goes, the Persian King Shahryar would marry a new virgin each night only to slay them the following day. He had gone through a thousand virgins before he got around to Scheherazade, the daughter of the Kings vizier, a woman who was witty, wise andmost importantlywell read. So as to avoid being slain, Scheherazade spun for the king a fabulous story but stopped in the middle. So enthralled by the story was the king that he broke his rule for the first time and spared her life for a day so she might finish the story the next night. But the following night, Scheherazade finished that story and then started anotheronly to stop halfway through once more as dawn approached. The King spared her again. This pattern continued for a thousand and one nights.By the time Scheherazade ran out of stories, the king had fallen deeply in love with her.

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Continued from page 4

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From Mamet again: This need (compelling reason) is why they came. It is what the scene is all about. His/her inability to get their need met will lead, at the end of the scene, to FAILUREthis is how you know the scene is over. This failure will then, of necessity, propel us all into the next scene. . . . and so on until the final resolution. These attempts and failures, taken together, constitute your plot. Note here this is your plot, NOT your story. Think of it this way: your job here is to make the audience/reader NEED TO know what happens next. Questions: Ask yourself these questions about your current piece: 1. How much of the time are you TELLING the readers whats happening versus SHOWING them through your characters actions? 2. Be honest with yourself: are there passages in your current work that cant hold your own attention? If so, why should they then hold your readers? 3. Do your scenes flow necessarily from one to another? Look at the juncture at the end of any given scene. Is this where your characters should be heading? Are you still interested in seeing what they do next? Practice Exercises: Choose a scene youre having trouble with: 1. If its dialogue heavy, try rewriting the scene without dialoguejust description and action. See how much of the content you can give non-verbally. 2. Try staging the scene in a different location of the story. See if the location adds better continuity and drama. 3. If it still doesnt work, consider eliminating the scene altogether. Can you move the main element of the scene to another that works better?

Art Holcomb is a screenwriter whose work has appeared on SHOWTIME and a comic book author of Marvels X-MEN and Acclaims Eternal Warriors. He is a regular guest blogger to storyfix.com. Many of his recent posts appear in the collection: Warm Hugs for Writers: Comfort and Commiseration of The Writing Life. He appears and teaches at San Diego Comic-Con and other writing and media conventions. His most recent screenplay is 4EVER (a techno-thriller set in the Afterlife), and he is completing a workbook for writers entitled The Pass: A Proven System for Getting from Notion to Finished Manuscript. He lives in Southern California.

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February Survey
April Kutger

Rate Writers Conferences and Workshops

This months survey is about writers conferences and workshops: the good, the bad, and the ugly. Last summer I spent a week at the Squaw Valley Writers Workshops. It was incredible. As if you could combine every college writing class you ever took, every critique group you ever participated in, every conference you ever attended. Im sure many of you have had similar experiencesor maybe some that were, unfortunately, the opposite. This survey asks you to share your experiences so CWC-BB members can learn what might be good for them or, perhaps, what they should avoid. If you attend writers conferences, which conferences would you recommend to others and why? What are the most important things you take away from writers conferences? If you attend writers workshops, what kind do you find most helpful? Consider subject, size, format, presentation, facilitator, etc. What are some of the workshops youve attended in the last year? How were they useful? Do you participate in writers workshops sponsored by the CWC? What appeals to you most about them? I hope Ill hear from you by February 10. Please send your responses to me by email: akutger@berkeley.edu.

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Book Review

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Unfamiliar FishesA History of Hawaii

John Q. McDonald

In 1898, after a series of political accidents, most of which brought about by venal American missionaries and entrepreneurs, the island nation of Hawaii was annexed to the United States. It would become a state 61 years later, and today we've got a Hawaii Five-O revival on TV. In Hawaii, there remains a long-simmering resentment toward outsiders, or haoles. There is a fragmented independence movement in the islands and a drive to have native Hawaiians defined by law as a Native American tribe. Hawaii is a paradise. The people are warm and cheerful, the land stunningly beautiful, and the sea an indescribable blue. But haoles know they are haoles. We cannot relate to what it is to be Hawaiian. Sarah Vowell respects this. Her narrative of the Americanization of the islands is generous to Hawaiian culture and devoted to a personalized truth about American behavior in the world. She tells us of Hawaiian royalty and their brutal history of warfare. Kamehameha unified the islands after a bloody war, and his descendents kept a tenuous hold on power as first, Captain Cook, then a flood of missionaries and speculators, arrived in the islands. She relates the scheming of wealthy white outsiders, and their plans to annex the islands to the USA. This is the ugly story told by the Hawaiian native movement today. America's claim is based upon legally dubious actions of the kind familiar to Native American tribes. Vowell connects the fate of Hawaii to that of her Cherokee ancestors in Georgia. Both peoples endured the meddling of missionaries who brought both their Bible and cultural chauvinism. This led to the quashing of Hawaiian culture, its founding myths, its language and the hula. At the same time, Vowell is canny enough to tell us how Hawaiian kings and queens, through neglect, dissipation and greed, sold Hawaii cheap, or failed to see the conspiracy wrought upon them by untrustworthy haoles. This is an old story: natives outmaneuvered by mendacious invaders more driven by greed than their scriptures and founding documents. It is not a pretty story. Vowell tells it with a note of anger. As a nation, we are so devoted to the good of which we are capable that we are often blind to the evil we allow in our name. Now, Hawaii is pretty well off as a state. Tourism drives the economy after the collapse of the sugar industry. The land is healing from the onslaught of invasive species. But the story of Hawaii's joining to America is full of injustices. This remains a wound that Hawaiians are still coping with. Vowell's book is an accessible story, witty, sharp, and full of the joy of discovering an exotic place with a full history. She brings the same genial intelligence she brought to Assassination Vacation. Much of what she writes has been told elsewhere, but never before with the kind of personal wit we find in her book.

Call for Heartwarming Christmas Stories

Our featured speaker in January mentioned at our meeting that she was accepting submissions for an anthology she is editing. She sent us the following information.
Jennifer Basye Sander

I am currently collecting short, first-person stories involving heartwarming holiday encounters for an anthology to be published by the nonfiction division of Harlequin in the fall of 2012: A Miracle Under the Tree: Real Stories of Hope, Faith, and the True Meaning of the Season. Stories should be between 1,500 and 2,000 words in length. (Feel free to submit longer ones, and I will consider them.) Deadline for submission is February 5, 2012. Should your story be chosen, you will receive author credit, a small payment, and a copy of the published book. Feel free to contact me to discuss ideas or stories you already have. basyesander@yahoo.com.

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Volunteer Corner
Madelen Lontiong

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Membership in the Berkeley Branch of the California Writers Club (CWC-BB) means we belong to something. And that something is a group of peoplewriterswith a common purpose: to improve and strengthen our writing skills in a supportive environment. We belong to CWC-BB because we want to be around and spend time with other writers. We want to learn more about our craft, to focus better on our goals, and we want support to achieve those goals. Without support we would be like a beam in a building that has no supporting beams or members, that cant stand on its own without leaning or falling. Or in a writing analogy, we would be like a lonely word in a sentence without its companion words or members, i,e., a verb, a subject, nouns, prepositions, conjunctions and an adverb or adjective sprinkled in. The sentence wouldnt exist. So it is with our branch. Our branch exists and functions because of the involvement of its members. Two such members are: Cliff Hui and Barbara Gilvar. As Vice President of Membership, Cliff guides enrollment of new members, facilitates re-enrollment of current members, and promotes communication among all members. He accomplishes this by evaluating new member applications, maintaining a roster of current members, keeping Central Board apprised of branch membership status, and issuing reminders during the re-enrollment period. He is a resource for related issues. Cliff also chairs the Nominating Committee, which oversees the search for new officers and committee chairs prior to elections in May. Cliff believes that being Membership VP is a good way to meet the members of the branch because much of the membership activity flows through that position. In that regard, he oversees welcoming members and visitors and participates in new-member orientations. To further facilitate members getting to know each other better, Cliff initiated a Self-Introduction Roster last year and has begun organizing social opportunities. Barbara Gilvar is VP of Writing Groups, also known as support/critique groups. Barbara is always thinking about how to improve the experience of membership for the club. At her first meeting, she had the good fortune to sit next to our former president, Al Levenson. He told her about the Sunday speaker meetings and other resources. Barbara knew she was fortunate to have such a welcome and introduction. Besides, who can resist Als charm? Barbara decided the branch needed a way to introduce people to the club and help them find their niche. And so the New Member Orientations were born, a formal introduction to the club in an informal setting, held in a members home. Barbara continues to add new information to her presentation so that attendees know whom to call or where to look for resources. Part of the orientation meeting is learning about each person and his or her interests/ genre. Because of the importance of being involved with a critique group, Barbara works to set newcomers up with a group. Knowing that starting and maintaining a critique group is akin to planting seeds, watering and fertilizing to have them flower, she patiently tends her garden. Barbaras involvement with membership includes strategizing with the committee on how to keep members engaged, telephoning, and providing refreshments. This month we salute Cliff Hui and Barbara Gilvar. Be sure to thank them for their service to the club.
Madelen Lontiong (center) presents awards to volunteers of the month for November (Tanya Grove, left) and January (Barbara Ruffner, right). Photo courtesy of Linda Brown.

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Member News

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Risa Nyes article on craftSo What?appears in the December 2011 issue of Hippocampus Magazine, and brings to our attention the important questions to consider about our writing: So what, who cares, and why now? Risa will continue to address matters of craft in Hippocampus Magazine. You can follow her with the link http://www.hippo campusmagazine.com/2011/12/ craft-so-what-by-risa-nye/. Risa, Julie Renalds, and Joan Cehn, co-authors of Writin' On Empty: Parents Reveal the Upside, Downside and Everything in Between When Children Leave the Nest, are featured in the About.com Jackie Burrell interview, The Empty Nest Blues, TakeTwoJanuary Often Brings a Return of Empty NestDepression. http://youngadults.about.com/od/emptynest/qt/The-Empty-Nest-Blues-Take-Two.htm Lucille Bellucci's story "Cicadas" made the Short List in the Fiction category for pixelhose, an experimental variety blog. See details at pixelhose.com.

Tidbits
All of this months Tidbits were contributed by Kristen Caven, Tech Team Leader

Calling Member Authors!

We are currently scheduling members for the CWC Author Presentations at our meetings. This is a great chance to practice getting up and talking about your book, especially if it's a new title. Send your name, the title of your book, and about 100 words that can be read to introduce you. Also include your top three choices of months you'd like to appear. This is a wonderful opportunity for members to be publicized by the club, get some speaking experience, and share your strategies with your fellow writers. Prepare about 8 minutes of material (an excerpt plus the 'inside scoop' on writing and publishing), and be prepared for about 5 minutes of questions. Make your club the first stop on your publicity tourso we can show you how proud we are of you! Contact Charlie Russell to be scheduled at 510-898-1958, or email charlierussell@comcast.net.

Published Members Page

Our published members page is up! So far, 14 members have chosen to be posted on this page...but we KNOW there are more of us with books, blogs, and other projects who would like a link from our site. Check out the page at http://www.cwc-berkeley.com/our-members. There's a link at the top to a form, if you'd like yourself to be listed. A huge thank-you to JoAnn Ainsworth for her efforts on this long-awaited project.

Member Profiles
There has been some confusion with all the surveys members have been getting via email. One is from Clif Hui, our Membership chair, who is collecting basic information on members. The other is from Thomas Burchfield, a contributor to Write Angles, who profiles members for this publication. The two of them are now coordinating with one another and with the Web master to create a smooth and seamless system that both helps us stay in touch and creates publicity for those who seek it. You can contact Clif at bioinvestigations@yahoo.com and Thomas at tbdeluxe@sbcglobal.net. And don't forget...Send your member news to Anne Fox (writefox@aol.com) for publication in Write Angles!

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Editor Copyeditor/Member News/Tidbits Cover Author Contributor Presidents Message Speaker Profile Poetry Page Editor Member Profiles Survey Analyst/Reporter Tanya Grove Anne Fox Karren Elsbernd Linda Brown David Baker Barbara Ruffner Thomas Burchfield April Kutger

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The Last Word
Tanya Grove

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I think as writers, we have to be open to anything. You can plan all you want, but dont expect your career to follow a predictable path. Five years ago I decided to follow my muse and write childrens bookspicture books, poetry, chapter books, middle-gradeall varieties, but all for children. But you never know where your writing will take you. To illustrate, let me take you back to April of last year. My middle-grade novel had made the rounds of publishers and struck out. I was reading the weekly police blotter in my favorite local online daily, the Albany Patch. Not because I have a penchant for violence or larceny, but having previously lived in Richmond, I found it refreshing to read what passed for crime in Albany. For instance, this was an item on April 11: 5:42 p.m. A woman came into the police department to see if a police officer could speak to her 5year-old daughter as a reminder about Not good behavior. My first thought was, really? Scared straight in kindergarten? I reprinted parts of the police blotter on my blog, For Words, and it became a semi-regular feature. One day Emilie Raguso, editor of the Albany Patch and apparently a regular reader of my blog, asked if I would consider becoming one of the Patchs local voices. Why not? Among the pieces she encouraged me to submit were my musings on Albanys crime blotter, which I was happy to do. I certainly didnt write about it every week, and I hadnt planned to comment on more than the occasional blotter item that seemed too ripe to pass up. One week in January the police log was particularly crazy, and a Patch reader wrote in: I hope Tanya Grove does her commentary on this one! Someone was requesting me by name! Well, I couldnt let her down, so I obliged.

A week later I attended Emilie Raguso Appreciation Day, organized to show her how much we support her efforts to bring the community together through her great outreach and hard work at the Albany Patch. It was a convivial gathering of staff and regular contributors, and it ended up being a double celebration because the Albany Patch had just received a much-deserved award, Best of the West. People were introducing themselves to each other, taking pictures, and congratulating Emilie, who, appropriately enough, was wearing a crown.

You may have notions about how your writing career will go, but never rule out the possibility that someone out of the blue will ask you to speak to a crowd of assembled strangers.
Amid all this, a woman approaches me and asks if Id be interested in speaking at her clubs luncheon. I point to my name tag and introduce myself, gently explaining that she must have mistaken me for someone else. Tanya Grove? she asks, and I nod, still confused. The one who writes the funny pieces on the crime blotter? she confirms. I nod again and ask, But why me? Now someone better versed at self-promotion might have whipped out a business card and maybe even negotiated some perks. But, my mouth agape, I was still recovering from the shock that on the basis of some silly blogs I posted, someone was inviting me to speak at the Hillside Clubs Last Friday Ladies Lunch. So beware: you may have notions about how your writing career will go, but never rule out the possibility that someone out of the blue will ask you to speak to a crowd of assembled strangers. Dont pass up that opportunity! It may lead to something else. Ill let you know

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