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The Scribe--October 2015

THE SCRIBE

 

Copyright October 2015 St. Louis Writers Guild -- All rights reserved

 

Shakespir Edition, License Notes

 

Thank you for downloading this free ebook. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Shakespir.com to discover other works by authors of the St. Louis Writers Guild. Thank you for your support.

 

Photo by David Lucas

Cover by Brad R Cook 

 

In this issue

 

From the President’s Desk: The Past and the Future By David Lucas

Workshops for Writers: Writing fact, creative nonfiction and fiction—differences and difficulties By Jennifer Stolzer

Utopian Sci-fi/Speculative Fiction: Why it’s Intriguing and Necessary

By Sally Ember, Ed.D.

Poetry Calendar

A Quick Guide to St. Louis Writers Guild Events

From the President’s Desk: The Past and the Future

By David Lucas

 

On Oct. 28, 1920, members of the Missouri Writers Guild (MWG) who wanted to meet more than twice a year formed St. Louis Writers Guild (SLWG). Even then, St. Louis had a large literary community. From the 1940s to the 1950s, SLWG put on a huge literary conference. SLWG drew authors from around the country to St. Louis and held what was described as a premier writers’ conference.

St. Louis has never stopped being a literary community. Over the decades, SLWG has changed with the times and the writing industry. At one time, like the parent organization of MWG, SLWG only allowed published authors to join. At some point, a decision was made that SLWG should be an organization that embraced the bestselling author and the novice alike. The decision was to be fully inclusive. Since then, we have grown into the organization we are today. We have held writing events for all levels and genres of writing. We have held the only free writers conference—Writers in the Park—an event we will continue to hold.

We could sit back and coast to our 100th anniversary in 2020, but that would not be SLWG.

On the journey to our 100th anniversary, SLWG is resurrecting and exceeding what it has done in its past. In 2017, SLWG plans to hold not a writers’ conference, but a writers’ convention with a conference at its heart. The convention—Gateway to Publishing Con—aims to provide a gateway for writers to:

-- Connect directly to their audience.

-- Improve their craft.

-- Showcase the literary organizations in St. Louis—St. Louis Writers Guild and our friends and partners in the community.

-- Reach agents and publishers and access vendors who can help in the self-publishing career.

-- Explore the maze of the future of the writing and publishing industry.

This convention will not interfere with the MWG annual conference nor with the SLWG Writers in the Park annual conference.

Gateway to Publishing Con will provide:

-- Direct access to sell books to readers;

-- Workshops for writers;

-- Master classes;

-- Pitch sessions with agents and editors;

-- Networking with vendors for self-published and traditionally published authors; and

-- A debate featuring experts on the future of the publishing world.

Over the next few months, SLWG will be reaching out to our friends in other organizations to discuss how Gateway to Publishing Con can benefit their organizations and members.

The future of the literary world was changing when SLWG was formed. It is changing again.

Workshops for Writers:

Writing fact, creative nonfiction and fiction—differences and difficulties

By Jennifer Stolzer

 

Transcription of the October 2015 workshop featuring authors Gerry Mandel, Patricia Bubash, and Peter Green (moderator), along with Mike Stith of One Legacy

 

Green: If you have a great story, we’ll give you some options. You can do a factual case study like Pat does, or do like Mike, who enables people to write THEIR stories, or like Gerry Mandel, who wrote an autobiography for a dying man, and my book is creative nonfiction. We’ll talk about ways of creating scenes that are credible and can still be considered nonfiction.

 

Pat Bubash: Writing is something for which I’ve always had an interest since I was in fourth grade. About eight years ago, I decided to write based on personal situations with which I was familiar—families’ relationship life changes, divorce, etc. I’ve always heard “write what you know,” and I know how divorce can affect a family and the emotional impact of that, so I decided – I want to write a book that was positive, hopeful, for those who divorce and remarry.

I looked at bookstores and honestly I didn’t find anything that really addressed success. I didn’t want this as a therapists’ book—I wanted to write about real people who had been divorced and remarried. How to write about that? I put out a call to friends and coworkers asking them if anyone wanted to share their story. Many of you may want to know about privacy, but that wasn’t a big deal. I didn’t want to hear why their marriage ended—that was not my focus. I wanted to know how they had reached success in their second marriage.

I asked for people who had been married at least seven years and had been divorced once. I wanted to know why they thought their marriage was currently successful. Had they done any counseling? What would they tell another couple to help them have success? I hired an editor, and we decided on nine couples. I sent out a preview of questions that would be asked—-questions that informed, but did not intrude. I made an appointment to meet at their house. I’d never go past two hours. I used false names. There was no financial exchange except for a gift card as a thank you for their time.

Every time I left those interviews, I was personally touched. I thoroughly enjoy interviewing people and talking to them about their lives. I think the biggest compliment I got about this book was when a reader told me they felt like they were sitting in the living room with me. My biggest goal was to provide a resource to counselors and help people work through their marriages. I have had many blog talk interviews with a variety of internet radio hosts. Several times, I have been a guest on iHeart Radio with January Jones. I also took books to California.

But what makes it a success for me is that I did it. I write because I enjoy writing. I continue sending articles, I’ve been exchanging letters with Hope after Divorce, and I’m going to be involved with their program. If we feel good about what we do, that’s all that matters, and I do feel good about this. I’ve had people make my day by saying it was helpful to them.

 

Mike Stith: I’m the founder of a company called “One Legacy,” and we’re story publishers. The program started when my mom died five years ago. I was fortunate enough to be with her for the last six months. She was unhappy and in pain, so a lot of the family avoided her. One day I asked her; “Mom, how did you meet Dad?” and that question was followed by another. Soon she was sitting up, smiling, and anticipating the next question. We’ve basically created a blog site for these kinds of stories.

All we ask is that you share a story from a life – about a person, about a pet. We take stories and turn them into something that’s pretty magical. I’ve got one of the greatest jobs in the world because people tell me their stories. We take a moment in someone’s life that they think could inspire others and write them down. We are a small team and a lot of writers and editors from around the country. We wanted to keep the magic going, so we invited senior communities and hospice to be involved. When you go into a senior community, people want to talk. We started a program called “legacy sharing” in which people shared stories about their lives. We didn’t know what we were getting ourselves into.

We started at Sunrise Senior Living and ran into three things we didn’t expect. One, they asked to turn off the TV. Two, people came out of their rooms who never did. And three, everyone stopped and listened. They wanted to get to know each other. We take these stories that we’ve collected and publish books for the residents and families. Our project takes eight to ten weeks, and we sit down and hear stories or receive stories—written or through audio. At the end, we create something for the family. We also have a deck of icebreaker cards we produced to help get the discussion started. Conversation doesn’t come naturally for some families. We offer our services to hospice centers, and we’ve joined with Boy Scouts of America to gather stories from their group. It’s pretty much who we are and what we do.

 

Gerry Mandel: I got a phone call one evening three or four years ago from a guy who said, “I heard you write autobiographies, and I want you to write mine. I just got back from my oncologist, and I have mesothelioma. I have two years to live.” When I met with Ron Gersten, I said, “What are your thoughts about what you want in this book?” He said “I want to tell my life story from a rather desperate childhood to today, but I want it to be a page-turner. I want it to read like a novel.” That told me it wasn’t going to be a typical biography.

When I write biographies and stories, I like to go back and forth in time. This told me it needed to be written in third person instead of first so I could invent people and composite characters in his life to keep the story moving. He’d talk, and I’d ask questions, and he’d talk more. The human mind works out of sequence. We went all over the place, but I was getting all the pieces of his life. We did this once a week for almost a year and then I spent several months putting it all together into book form. After a revision, we came to the most difficult part – showing it to a lawyer.

When you write about real people, you have to be very careful about what you say. The lawyer kept it for three months – keep in mind that Ron’s time was getting shorter and shorter. He was divorced and his ex-wife was emotionally unbalanced. They hated each other by the end. She was also a lawyer, so we changed her name and softened some things.

There’s often one theme that runs through a person’s whole life that has driven and carried them. In Ron’s case, religion was key to his philosophy of life and what drove him—many different kinds of religions.

When the lawyer finally finished with the book, I did the required revisions and we got it to a printer. I delivered the first copies off the press to Ron in his living room. He looked like hell when I walked in. I handed him the book and he got a big smile on his face. It was like he’d shed all the pain. Three days later he died.

But what happens when the story cannot be factual or purely nonfiction? I’m a big fan of Charlie Chaplin – I discovered him when I was living in San Francisco in 1960. God bless my wife, I have Chaplin stuff all over my house. I wanted to write a book about Chaplin, and I love writing fiction and using my imagination and being able to go where I want to go without being held back by the facts. When you’re writing about a real person, you have to hold to some facts, and mix with fiction.

Shadow and Substance was also the name of a play written by a British playwright. Charlie Chaplin bought the rights to it in 1942 and planned to make a movie starring Joan Berry. “She was a bitch from hell, and their divorce was all over the newspapers, which was one of the reasons he lost interest with the American public.” There was a great difference between the Little Tramp – his comic on-screen persona – and the lonely man himself.

How do we judge our artists? Do we judge them by the art they create or by their personal life? Chaplin’s personal life was a mess, but his films were great; Bill Cosby is a modern example. “My position is you judge them by the art they create,” Mandel said. “Their personal life is something else. Unfortunately in today’s media-sensitive world, you can’t separate the two.”

Formerly in advertising, Mandel said he was in Los Angeles in the Nineties doing a recording session for a Budweiser commercial at A and M Studios—the location of the original Charlie Chaplin studios in Hollywood. “We had this recording session at night, and at about 11 o’clock, we took a break,” he recalled. “I wandered over the Charlie Chaplin stage, opened the door, and wandered onto this big empty stage. My imagination took over and I thought; what if I could reach out and talk to Charlie right here. Is it possible? I believe it is.” Charlie didn’t show up, but what showed up was an idea about a guy who is visited by Chaplin in the present, and Charlie takes him back to Hollywood in the ‘20s. That was the starting point for the novel. “I didn’t want to write another research-based book and didn’t have the funds to travel for research, but I do have imagination,” he said.

Knowing your subject really well means you know the dark, as well as the light side – the shadow and the substance. “I wanted to remain true to Chaplin. I wanted his voice to be real, but I had to invent a lot of stuff,” Mandel said. The fictional elements, besides the time travel, are the playground. Charlie made a film called The Seagull that he was unhappy with for various reasons, so he destroyed it. No one’s ever found a copy, but in my book we find a copy. All the characters in present-day Hollywood are fictional people—that is how fiction and nonfiction blend.

 

Peter Green: My book started with the spark of an idea when I went back to the site where we spent my sixth summer on Annisquam, north of Boston. I ran out onto the beach, and memories flooded back.

My sources were four hundred letters that my mom saved in an old cardboard box, six episodes of what was to be a newspaper column that was called “Between Us Girls” written by my mother about the woman’s side of World War II and what they went through back home, and a filmed ‘This-is-Your-Life’ birthday party. My mother had saved those letters in the original postmarked envelopes, but I needed to set them in the wider context of World War II.

The catalyst was Summer Writer’s Institute at Washington University. My first class was creative nonfiction with Catherine Rankovic. She said, “You can write, just do it.” That advice tallied with my family’s experience: Thornton Wilder had told my mother in his University of Chicago creative writing class that the most important thing about becoming a writer was to “apply the seat of the pants to the seat of the chair.” So I wrote the beginnings of maybe ten chapters in her class and finished them later. She gave me permission to write.

In creative nonfiction, historical characters can be treated fictionally. If you want to create dialogue, you can. When most characters are dead, as in my book, Ben’s War with U. S. Marines, I treat them fictionally. Creating scenes with setting, mood and characters with their own personal experiences was my way of introducing some potentially boring war and radio history material. I got to know my dad through his letters, and that was reward in itself.

 

Peter Green has written biography and creative nonfiction accounts of his father’s World War II odyssey, culminating in his most recent biographical memoir, Ben’s War with the U. S. Marines. http://www.peterhgreen.com/

 

Patricia Bubash, a licensed professional counselor, has written a practical guide to living based on real-life case studies, Successful Second Marriages. http://successfulsecondmarriages.com/

 

Mike Stith is founder of One Legacy™, a social enterprise business with the primary purpose of gathering, sharing, and publishing stories about personal legacy. One Legacy has launched a new community service called “Legacy Sharing™,” where stories are collected by offering a group activity for Senior Communities, Hospice Centers, and many other groups, including youth organizations. Stories from around the world can shared and read by visiting http://onelegacy.com/

 

Gerry Mandel, a Charlie Chaplin aficionado, is author of Shadow and Substance: My Time with Charlie Chaplin, a historical novel based on the true-life story of this multi-talented Hollywood innovator, entrepreneur and pioneer. https://www.Shakespir.com/profile/view/spidermandel

 

Utopian Sci-fi/Speculative Fiction:

Why it’s Intriguing and Necessary

By Sally Ember, Ed.D

 

image from http://www.nypl.org (New York Public Library)

 

Writers are often exhorted to “write the books we want to read,” especially when they seem not to exist, yet. I am following that advice with my books in The Spanners Series. I know what I want to read and what I can’t find because I am a life-long, avid reader. I have probably read hundreds of thousands of books in my 56 years of reading independently and quickly, sometimes enjoying ten books a week. If I say books like mine—more utopian sci-fi/speculative fiction series like The Spanners—don’t yet exist, I’m probably correct.

However, there is a long history of utopian sci-fi that spawned speculative fiction and inspired technological and biological/medical breakthroughs/inventions and social and political change over many centuries. Ann Grindley’s recently posted (May, 2014) UK article, [+ Utopia, Limited: What can sci fi tell us about our future?+], article gave me the following insights:

“Civilisations that do demonstrate utopian qualities have surpassed our view on money, weaponry and material wealth and anxiety. They have matured past our inequalities and share a common goal. This goal is usually scientific, in a sense that they have discovered, created, and utilise technology which unites people globally.” I don’t know which “civilisations” Ann Grindley refers to, but I’d like to find them!

Grindley seems to be quite supportive of my intentions when she states: “I’d like to think utopia still requires creativity and pleasure through art, although maybe utopians won’t need escapism.”

Later, Grindley verbalizes my heartfelt wish: “It is wonderful how even in our social and political density and under-development, that we can imagine an idyllic and model world…” But then, she recognizes the possibility that “our ideas of utopian and dystopian futures are only limited to our current knowledge and understanding, and perhaps that is why, in reality, we’re yet to achieve the fantasy; the fiction in our science. Perhaps utopia is beyond our imagination as well as our means.”

[Grindley article: http://www.fact.co.uk/news-articles/2014/05/utopia,-limited-what-can-sci-fi-tell-us-about-our-future.aspx]

Well, perhaps our imagination is not that limited! Check out these sci-fi/speculative fiction inventions and ideas that have become “real,” in a great posting by Annalee Newitz in March of this year: http://io9.com/7-utopias-that-changed-the-future-1541411068. Newitz describes several utopian sci-fi books whose ideas or inventions have influenced our lives directly, including:

 

Communism by Karl Marx

“Marx’s powerful vision…inspired coups, union movements, and even hippie communes….Pop versions of Communism inspired many ‘soft’ revolutions in the uprisings of the 1960s,… often inspiring positive social changes and greater freedoms.”

 

Herland by Charlotte Perkins Gilman

Herland is a lost island nation where everyone is equal, goods are plentiful, and war is unknown. It is an enlightened, scientifically advanced society where everyone is educated and healthy…[and it is all] run and populated entirely by women…. This idea, that woman leaders would create a far less cruel and authoritarian world than men have, has influenced everything from philosophy to feminist politics.”

 

Brave New World by Aldous Huxley

“Brave New World…[influenced] the Occupy movement, which is in part a rebellion against capitalist societies that try to distract people with happy consumerism, instead of addressing problems with the disparity between rich and poor.”

 

Star Trek by Gene Roddenberry

“Freed from the need for money and from the horrors of war, humans in the Star Trek universe devote their lives to exploration or productive work that is freely chosen. But of course, Star Trek’s vision is almost as old as Thomas More’s. The Enterprise is a lot like the Isle of Utopia, with elements of de Toqueville’s America, Marx’s Communism, and even Gilman’s Herland thrown in.”

 

Newitz sums up the utility of utopian sci-fi so perfectly: “Utopia, after all, has always been a fiction. But it’s one that can inspire us to change our worlds —sometimes, if we’re lucky, in a way that brings us just a little closer to our ideals.”

In her list, Newitz, of course, includes:

 

Utopia by Thomas More

“Thomas More was a British writer who invented the word ‘utopia’ — from a Greek pun that means both ‘no place’ and ‘good place’ — for this book about his idea of the perfect society. Published in 1516, the book is about a man who has returned from the Isle of Utopia, where many of England’s social ills don’t exist.”

[+ www.tower.com+]

 

Just to prove the point, that sci-fi and speculative fiction continue to influence us, let’s go further into more specifics from this ground-breaking novel with these fascinating insights, from Charlie Jane Anders’ [_ Things From Thomas More’s Utopia That Have Come True Today_] [http://io9.com/5967561/things-from-thomas-mores-utopia-that-have-come-true-today].

Before getting married, you should see your partner naked.

Divorce is allowed for a married couple who ‘do not well agree.

You’re under constant surveillance….…there’s no private property and everybody works for the common good when they’re not farming…

] _basically means they eat out. All the tim*e.*

Criminals are marked for life.

Euthanasia is supported and even encouraged

Husbands and wives go to war together.

In fact, we owe the term “utopia” to Thomas More! According to: http://www.sf-encyclopedia.com/entry/utopias , “…[More] derived the word from ‘outopia’ (no place) rather than ‘eutopia’ (good place)….It can be argued that all utopias are sf [science fiction], in that they are exercises in hypothetical sociology and political science….[A] significant shift in utopian thought took place when writers changed from talking about a better place (eutopia) to talking about a better time (euchronia)….[U]topias ceased to be imaginary constructions with which contemporary society might be compared, and began to be speculative statements about real future possibilities…”

I agree wholeheartedly with this, and sadly agree with the opinion expressed later:”[Some authors set out to show that] all utopian schemes are absurd, and that real people could not live in them.” I think this explains a lot, particularly the reasons that dystopias are so much more prevalent in sci-fi: it’s easier to write about disaster and failure than to imagine what could actually work out for the best, since we almost never see that in real life.

A researcher from this site makes the claims:“Genre sf has never been strongly utopian…. they were often small enclaves facing imminent destruction” I hold out for members of this “small enclave” to become leaders and inspirations in every generation.

These and others recognize the dilemmas we utopian writers of sci-fi and speculative fiction face: “The necessity for works of fiction to be dramatic and the fact that workable plots require conflict inhibit the use of sf to display utopian schemes.”

I face this problem in my current series.

Because I don’t want to depict a lot of death, destruction, violence, apocalyptic futures and heartache, many readers request and editors demand that my series “show more conflict.” I resist. I do mention it and refer to it, but most of it happens off-camera, in the wings, so to speak, or in conversations between two or more characters rather than the ways most sci-fi authors and scriptwriters choose to depict conflicts.

I can’t be the only one who is bored and disgusted by these dystopias’ conflicts: large-scale, CGI “wars” and “battles,” martial arts “fights” resplendent with wires to create impossible acrobatics, and car or other vehicle chases, because they supplant character development, plot depth and actual emotions.

Unfortunately, dystopian futures abound in both fantasy and sci-fi. Most genre writers, even those that include romance in their stories, choose to depict increasingly worsening conditions on and around this planet and across their universes. In some imaginary incipient time, their visions pile on the violence, showing increasing discord, more political and social unrest, death and destruction even worse than we have now.

We already have too much awfulness in real life for me to want to read about even worse to come.

Enough, already!

Fortunately, I am in good company. Conferences, seminars, webinars, zines and print currently devote a lot of time/space to these topics. The great Sheri Tepper’s The Fresco (2000) is an excellent example of what I attempt to emulate to counter this trend: employing humor along with serious insights into politics, religion, family and cultural life on Earth seen through the lens of friendly aliens who come to help Earth before it’s “too late.”

I am encouraged by this exhortation to writers like me from a panel moderated by Mary Robinette Kowal with Ursula K. Le Guin, Pat Cadigan, Ellen Datlow, and Nancy Kress, given this year (June, 2014). Kowal summed it up: “We write science fiction and imagine the future we want to live in. We want that future now.”

Kowal went on to say: “Seeing how the field has changed gives me perspective on the future that I’m living in and, hopefully, will help women writing today continue to destroy science fiction for subsequent generations of writers.” [http://www.lightspeedmagazine.com/nonfiction/women-remember-a-roundtable-interview/ ]

Even more approval flows to us writers of utopian sci-fi when I see that a [+ Science Fiction Symposium+] planned for every July. [http://www.wfs.org/worldfuture-2014/special-events/science-fiction-symposium] Here is the 2014 list of events:

A. Panel Session: Fiction as a Futuring Tool, featuring Madeline Ashby, Trevor Haldenby, Glen Hiemstra, and Tom Lombardo.

“The work of science fiction writers and futurists often informs, sometimes predicts, and occasionally affects the future.”

[B. Panel discussion: [_Hacking into Utopia: The Future of Optimistic Innovation. _]Featuring Ramez Naam (moderator), Gray Scott, Lindsea Wilbur, and Kevin Russell.
“Science fiction writers have been talking about utopian futures for a long time. What are young writers and innovators doing right now to create such a future?”]

C. Panel discussion: [*What Current Science Fiction should Futurists Read? *]Vicki Stein (moderator) Glen Hiemstra, Brenda Cooper, Madeline Ashby, and Brad Aiken.

I wish I could have attended that or the one this past July 2015 (https://www.wfs.org/Upload/wfs_conference_overview_m4.pdf has that list of events). Their website is “under construction,” so I couldn’t find out if they put the discussions online.

I believe we need some hope, ideas of how else things could go, whether or not I always believe they will take these turns. I am imagining routes for improvement for the entire multiverse.

I am not alone in believing in a more perfect future that, due to simultaneous time, is already “here.” Gray Scott, Futurist/Founder of SERIOUS WONDER ™, has this tagline on his website: “The future has already happened and technology is just the echo bouncing back at humanity.” His “think-tank” self-describes in this way:

SERIOUS WONDER is a progressive future concept and technology website. We are obsessed with the future. Our mission is to bring our readers the best in futuristic ideas, technology, robotics, science, techno-philosophy, psychology, space travel, and modern concept design. Intense curiosity, positive intention and inspired imagination can transform our future. This future will be more magical and abundant than anyone could ever imagine. We are constantly looking for innovation and optimistic wonder. The future is our passion.”

The future IS now! [http://www.seriouswonder.com/about/ & http://www.seriouswonder.com/category/scifi/]

Donna Dickens lists 20 or more of these “science-fiction becomes science-fact” every year. Here are some highlights that I’m especially interested in from her collections from the past few years:

Quadriplegic Uses Her Mind to Control Her Robotic Arm

Stem Cells Could Extend Human Life by Over 100 Years

And, from 2013:

Two rats have their brains telepathically linked.

Portable device allows users to see through walls.

Program allows user to remotely move objects with their hands.

The world’s first fully mind-controlled synthetic leg goes for a stroll.

Then, we have the incredible Raymond Kurzweil. I read about him recently in Mike Floorwalker’s post from March, 2013: http://listverse.com/2013/03/15/10-ridiculously-specific-predictions-that-came-true/

Kurzweil is an inventor, Director of Engineering at Google, and futurist who has “made dozens of predictions over the several decades—with an absolutely unbelievable rate of accuracy. Not only do Kurzweil’s predictions almost always come true, he usually can accurately predict WHEN they will come true.” As if that’s not enough, “…[i]n his novel The Age Of Intelligent Machines, Kurzweil predicted the fall of the Soviet Union by 1991; a computer beating the best human players at chess by 2000; and wireless Internet becoming practical for mainstream use in the early 21st century. In The Age Of Spiritual Machines (1999), he predicted E-books, face recognition software, and nanotechnology…”

Furthermore, “Kurzweil stated that by 2009, 89 out of 108 predictions he had made were entirely correct. Of the rest, 13 were ‘essentially correct’—likely to come true within a few years. A re-evaluation in 2012 determined that Kurzweil’s prognostications are correct a ridiculous 86 percent of the time—and the good news is, this is a man who has predicted that it won’t be too long before we humans conquer death altogether.” Floorwalker stunned me with these stats on Kurzweil.

The man is beyond a genius, and he reinforces the existence of simultaneous time. How else do you explain his timely “inventions” and uncanny “predictions”? Floorwalker informs us: “His inventions are numerous—text reading software, speech-recognition devices—and five of his novels have been bestsellers.” We should ALL be more like Kurzweil!

I like to believe that I am predicting, prognosticating, prophesying and foretelling, since my stories depict better times in every way. Even when things are “bad,” there is more “good” than bad. I’m going to continue my utopian illusions (some of which, since I started the series in 2012, have become science fact!) in The Spanners Series.

In my current and future multiverses, all communicative beings, including humans, will have more pervasive and lasting peace, better circumstances and conditions, and inner spiritual strengths that lead to harmonious living: we can have it all!

LINKS

http://www.sallyember.com  main website
http://www.amazon.com/-/e/B00HEV2UEW  author page

https://www.twitter .com/sallyemberedd Twitter: @sallyemberedd

https://www.facebook.com/TheSpannersSeriesbySallyEmber Spanners Series’ page on FB

https://www.facebook.com/sally.ember

http://www.pinterest.com/sallyember

http://goo.gl/tZKQpv Spanners Series’ page on Google+

[+ https://plus.google.com/u/0/+SallySueEmber/about/p/pub+] Sally Sue Ember on Google+

https://www.youtube.com/channel/UCqnZuobf0YTCiP6silDDL2w/videos

https://www.goodreads.com/author/show/7237845.Sally_Ember  

 

 

Sally Ember[,] Ed.D., is a sci-fi/romance author of _*The Spanners Series ebooks, the host of [*CHANGES] *conversations between authors, a blogger, a published nonfiction author /editor, and a nonprofit manager. She lives in St. Louis, Missouri, USA, where she meditates, swims, reads, sings, plays piano, and writes. Her sci-fi /romance/ speculative fiction/ paranormal/ multiverse/ utopian ebooks for New Adult/adult/YA audiences, _*The Spanners Series, are getting great reviews. Vol I, This Changes Everything, is FREE everywhere. Vol II, This Changes My Family and My Life Forever, is $3.99. Vol III, This Is/Is Not the Way I Want Things to Change, releases 11/1/15, and Vol IV–X, 2016-2021.

Poetry Calendar

second friday notes, second Friday of each month, 7 p.m., at Whole Foods Town & Country, Clayton Road just west of Highway 141.

 

RIVER STYX. Third Mondays, 7:30 p.m., Tavern of Fine Arts, 313 Belt Ave. riverstyx.org/events.

 

POETRY AT THE POINT, 4th Tuesday of the month, at Focal Point, 2720 Sutton Ave

 

Sheila Nolan Whalen Reading Series at SLU, 221 N. Grand Ave., Dubourg 409. Tuesdays at 4 p.m. Nov. 10, Edward McPherson.

 

CHANCE OPERATIONS on the last Monday of each month At Tavern of the Arts, 313 Belt Ave., just off Pershing, between Union and DeBaliviere. 7:30 p.m. Open mic follows featured poets.

 

EVERY WEDNESDAY open mic for poetry and music at Stone Spiral Coffee & Curios, 2500 Sutton in Maplewood (2 blocks N. of Manchester). Great food and beverages. Open mic, 8 until around 11 p.m.

 

GOODY HOUSE, 7 p.m., fourth Thursdays at Art Marketplace, 2028 S. 12th Street. Featured poets.

 

R-SPACE. Last Saturday of the month, Lenny Smith and friends at 2 p.m.

 

ST. LOUIS WRITERS GUILD open mic for prose and poetry, second Tuesday of each month, 7 p.m., Kirkwood Train Station, Argonne Drive, just west of Kirkwood Road. Allow time to find parking.

 

ADDITIONAL OPEN MICS at The Wolf, (every Tuesday), Legacy Books & Café (every Friday), The Historic Crossings (every other Tuesday), Shameless Grounds (Wednesdays at 7), Venice Café (Mondays at 9)

 

River Styx is partnering with Webster Groves Public Library to offer a series of fall workshops. Richard Newman will lead. Applications available at the library at 301 E. Lockwood Ave. and at riverstyx

 

A Quick Guide to St. Louis Writers Guild Events

It’s as easy as

One

Two

Three!

 

Workshops for Writers

First Saturday of every month (except holiday weekends)

10 a.m. to Noon at the Kirkwood Community Center

 

Station Open Mic

Second Tuesday of every month

7-9 p.m. at the Kirkwood Amtrak Station

 

SLWG Authors Series

Third Thursday of every month

 

Query for “SLWG Authors Series” on You Tube or check the Members’ Room on our website, www.stlwritersguild.org.

 

 

 

The Scribe Editorial Staff

 

T.W. Fendley

Editor-in-Chief

 

Brad R. Cook

Cover Designer

 

Jennifer Stolzer

Staff Writer

 

Lauren Miller

Staff Writer

 

Melanie Koleini

Staff Writer

 

Special thanks to:

Sally Ember

 

 

NOTE: If you are a St. Louis Writers Guild member, please consider submitting a poem, short story or an article about writing (4,000 words or less) for publication in this newsletter. THE SCRIBE is now issued monthly and promoted to more than 1,000 people on our mailing list. Submissions should be sent by the first of each month to [email protected]—put SCRIBE in the subject line.

 

Also, if you are interested in joining the editorial staff as a writer, please contact [email protected] -- put SCRIBE in the subject line.

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The Scribe--October 2015

For more than a decade, The Scribe has been the mainstay for communicating with members of the St. Louis Writers Guild. It began as a way to showcase the organization and share insights into the publishing world. Back issues give a wonderful record of the Guild. The Scribe is now available to everyone, not just members. It features stories, poems, and essays from our members, as well as information about our events, most of which are open to the public. The October 2015 edition features an article by Sally Ember on "Utopian Sci-fi/Speculative Fiction: Why it's Intriguing and Necessary," and a report by Jennifer Stolzer on the Guild’s Oct. 3 Workshop for Writers: Writing fact, creative nonfiction and fiction—differences and difficulties, featuring authors Peter Green (moderator), Pat Bubash, and Gerry Mandel, along with Mike Stith of One Legacy.

  • Author: T.W. Fendley
  • Published: 2015-10-31 10:40:10
  • Words: 5672
The Scribe--October 2015 The Scribe--October 2015