Press on, yield pen

I run the risk of sounding boringly basic and amateurish. However, might as well pen some typical questions that  peck away at me (or should).

Am I writing? 
Am I writing consistently? 
Am I sharing it?
Can I commit to a writing schedule? 
Do I need to change my writing space/time/habits?
Do I have a goal this week? This month? 2013 goals? Am I on track? 
Do I feel satisfied or proud or discontent or frustrated with my work?
Is my voice authentic?  What is missing in my writing?
What does my attitude lack? Better yet: What the hell is WRONG with my attitude?
Where am I with the last piece I wrote? Is it complete or does it need rewrites? 
Should I take a class? What class? 
Should I try a contest? 
Do I want to start a blog? Am I keeping up my blog?

I could go on!

Last year, asking myself the FIRST question (over and over again), I was petulant. I beat myself up because I wouldn't write. More accurately, I refused to write. It's not worth going into the whys because that is old. Dull. Whiny. This year it's about forcing answers from myself by taking action. I have to, want to, need to be accountable. For real. Realizing that my only audience, me, was so over the baseless and silly sulking, I decided to get a grip and change my attitude. I'm talking about years of crappy attitude, being small-hearted, fearful and frozen. I was running away from work, from words. No one noticed or cared. Our insecurities are self-inflicted. Worst of all, they are long monotonous moans. No one is captivated.

I am shutting down the drama fest. I quit bleating. Don't have to be brave, I just pick up a pen. It is that simple. Blather, I do. Awkward and aimless, I can be. Feeble, I feel. But it is a start. Don't have to be bold and brazen, I just have to write and not bitch. Even long blank-page-staring is very acceptable; it is good noble suffering. Feeble words and sentences make me cringe but I'll figure out their stamina. Angst filled, I stumble down this writer path that may never lead to an arena. I'll bleed. I'll scar. But it beats the useless, senseless writhing and moaning into the void. Press on, yield pen. Finally.
@thewriterpath.

About Our Members: John C. Stipa

John C. Stipa is a corporate analyst who loves the beach, woodworking, playing and coaching sports, traveling, good food and storytelling. He is the author of adventure / mystery / romance novels including The Foiled Knight and No Greater Sacrifice. He has also published several short stories with his writing group: The Writers of Chantilly. Currently, John lives in Virginia with his family working on his next project.











Books by John:

The Foiled Knight, a tale of enduring loyalty

Tanya Davis receives that dreaded late night phone call: Stan Palmer has been critically injured in a car accident. Stan and Tanya were once close. That is, until she broke his heart, an act of cowardice for which she’s never forgiven herself. Given a second chance to make up for her past wrongdoings, Tanya digs into the facts surrounding Stan’s accident. What initially looks like icy road conditions turns into a suspicion that someone wants Stan dead. To complicate matters, Tanya has medical power of attorney for Stan, causing friction with the Palmer family. With Stan’s lifeblood ebbing away, the legal system closing in, and danger lurking, can Tanya redeem herself and save her Foiled Knight?

Click the image to download:

Reader Reviews:

a fun ride!, June 23, 2013 by Sunny from Virginia

Life is complicated, but ohhhh sooo interesting, just like this book! Tanya's relationship with Stan and the relationships of everyone huddled around that hospital bed will keep you turning the pages of this book. Stipa throws down some breadcrumbs for you to follow, but should you believe everything you read? It's up to you, go ahead and enjoy this book!

No Greater Sacrifice, an adventure, mystery, romance

When archaeologist Renée d'Arcadia is summoned to France for the reading of a will, she is plunged into a maelstrom of deceit and destruction. Her challenge: solve a 100-year-old mystery originating from a sinister church where nothing is as it seems. Renée joins forces with David Arturo, an ex-helicopter pilot with a troubled past, to interpret clues cleverly hidden in tombstones and classic works of literature to find artifacts scattered across Europe. Racing against time, Renée and David must overcome their inner demons to outmaneuver a network of evil bent on destroying them. What they find in each other just might provide answers to some of mankind's oldest myths.

Click the image to download:

Reader Reviews:

An exhilarating ride! A thrilling page turner! Move over, Dan Brown, 
John C. Stipa's in town!, By Gary Val Tenuta, December 29, 2009

John C. Stipa's debut novel, "No Greater Sacrifice" is in the genre of Dan Brown's "The DaVinci Code", "Angels & Demons" and "The Lost Symbol" but is totally original in concept and plot and takes no back seat to any of them. This thing rocks! Take the elements that made those stories so wildly popular, mix them with all of the elements that thrilled fans of the Indiana Jones adventures and you get the tremendously satisfying thrill ride called "No Greater Sacrifice" by John C. Stipa.

This book is a top-notch, exhilarating and (dare I say?) "brilliant" page-turner that kept me up until the wee hours several nights in a row. The plot is complex and deftly crafted. The twists and turns come at a furious pace. The two main characters (charming, ex-helicopter pilot, David Arturo and the sexy, adventurous archaeologist Renée d'Arcadia) have genuine emotional depth. The mystery they're confronted with is a real puzzler steeped in ancient mythology and esoteric lore. The narrative moves along at a quick pace. The action scenes explode across the page with tremendous descriptive power. The writing is impeccable. The final quarter of the book is hold-on-to-your-seat stuff and the ending is worth every minute it took to get there. Have I left anything out? Did I mention this thing rocks? Strap yourself in and hang on. You're in for a terrific ride.

From WOC Author Nick Bruner: The Importance of Not Flinching

Tuesday, January 29, 2013

Now we come to what I think is the most important rule of all for a writer: Don't flinch.

Everything you see and experience can be used in your writing, but you must have your eyes open to see it.  Be aware of your surroundings.  Listen to what others say, and how they say it.  Don't talk much yourself, but draw others out on what they think and believe.  Be open to new experiences, different ways of doing things.  Travel.  Become friends with different types of people.  Even if it's hard, even if you're shy, do it for your writing.  Don't flinch.

Sometimes you'll see something happening that's wrong.  If you can alter it, by all means intervene.  But maybe you can't really do anything about it, or your interference would only make things worse.  If you're a writer, your job isn't over in that case.  Keep looking.  You can use it later.  When others learn of it, they may have the means to act.  Whatever you do, don't flinch.

When you start writing, and you're putting your thoughts and ideas on paper, you may come to a part that's emotionally difficult.  Maybe your characters will say ugly things, or uncomfortable events may transpire.  Let them.  This is the part that others need to read.  They need to know others have thought those thoughts, or felt those feelings, or had those things happen to them.  The ugliness and discomfort need to be out in the open.  If it's ugly and needs to be killed, how can you do that if you can't even see it?  But sometimes, something you thought was ugly turns out to be beautiful once you really look at it.  You have to see it to know.  Don't flinch.

Perhaps you're writing escapist fiction.  Shouldn't you leave the ugly and uncomfortable out?  After all, people sometimes just want to read something for fun without all that real world stuff in there.  You'll have to use your judgment, but I would point out that some of the world's great escapist literature had a lot of uncomfortable truth.  Think of Huckleberry Finn, on one level a boys' adventure story, on another a penetrating look at attitutes towards race.  And even in escapist fiction, characters still have to follow their own nature.  Plots still have to unwind plausibly.  Sometimes that means they don't quite go where you want them to.  Don't flinch.

Maybe you're writing a book for children.  Of course there is material that's inappropriate for kids.  That's why fairy tales disguise uncomfortable truths in magic.  Once you break it down, is there any story, anywhere, harder and more clear-eyed than Hansel and Gretel?  Perhaps Lolita, but not much else.  And it's a fairy tale!  Even when writing for children, don't flinch.

Once kids are older, they can handle a lot, probably more than you think.  I well remember the smart kids in the seventh grade passing around Flowers in the Attic.  That book was truly lurid, with themes of bondage and incest, but we ate it up.  Probably not the healthiest thing for us to read, but we weren't corrupted.  If anything, it provided us a few pieces in putting together the puzzle that was sex.  It doesn't matter that it was trashy, we knew that, and knew it wasn't something emulate.  We were wide-eyed, and willing to consume anything that might help us understand.  Better were the YA novels of, say, Judy Blume.  Heavy, sexual subject matter, but treated with sensitivity.  That's how you should do it.  But whatever you do, don't leave it out.  Don't flinch.

In the post on writing breakout novels, I think I mentioned how that book describes debut novels, and novels by authors who haven't broken out, as feeling small.  I believe one key to overcoming the smallness is being willing to turn the light of fiction on those dark corners that many are afraid to peer into.  Even if monsters lurk there, even if ghosts pop out, whatever you do, don't flinch.

Tribute to Betty Hyland, our champion

MY FIRST MEMORY OF BETTY HYLAND FROM MARYELLEN GAVIN

Gathering adults together to improve their art of storytelling was always exciting. Still, there was one first morning when a lovely female walked through the door and caught my eye. Her

flowing ensemble and blonde hair was so Lauran Bacall, so movie star, so California. But, her sparkling brown eyes and quick words were so Elaine Stritch, so Broadway stage, so New York.

This attractive woman sat at a desk as everyone told what kind of writing project they were trying to finish, Betty Hyland revealed that she had a book in print. Hungry to be published, the class was eager to ask about it. She explained that MY CRAZY BROTHER was a fictional account of a boy entering his teen years where schizophrenia waited for him.

Enthralled with the topic, we threw questions at her. She graciously answered each one proving her expertise and her compassion for all family members struck by this calamity.

Our classes continued and whenever a question about the basics of writing or storytelling arose, Betty's hand was the first to go up. She easily gave the correct information and more to

our class. We all warmed to her. especially when she told about a tough writing teacher she had studied under in California who embarrassed the adult students when they erred. Betty's eyes lit up when she said, "But, we never forgot what she told us!"

A few classes in, I walked to the parking lot with this elegant lady and asked her why she was in this writing class when she could teach it? She slipped her arm through mine and said, "I kept hearing your name when I asked about writers groups ... so I wanted to meet you."

We both laughed until I explained, "You could have joined us at the Chantilly Library!"

And Betty did join us, sharing her life stories and razor sharp wit. Still, Betty Hyland was a task mistress when it came to "publishable writing." When she caught any one of our works filled with bad grammar, sliding tenses or erroneous spelling? She threatened to make us bend over so she could spank our bottoms with her Big Stick!

We were blessed with Betty's vigilant stewardship over our words and her sweet companionship in our hearts.

DEDICATION FROM CLIF BERRY

The Writers of Chantilly dedicate this anthology in fond memory of our leader, Betty Hyland.

Betty’s loving grandchildren called her Nana—hence the title of this anthology. Betty taught us and she cheered us on. She motivated us to be creative, accurate, and precise. Betty maintained the highest standards in all aspects of her life. She set a fine example for all who knew her and loved her.

She was—and she is—truly an inspiration to all of us, reminding us to “get crackin’” and to become better writers.

MY TRIBUTE FROM DIANE HUNTER

When Mary Ellen Gavin invited me to become a part of the Writers of Chantilly, I was both excited and nervous. I had no idea what to expect or what would be expected of me, a “wannabe” writer who had been writing “that first novel” since I picked up a pen as a child.

The first person I met was a vibrant, outspoken lady named Betty Hyland. She welcomed me graciously. I brought my first reading and nervously awaited comments from the writers. I was surprised that their corrections were not only spot on, but done with great care to encourage, not discourage me. I discovered why this was so. Betty had set a precedent with WOC that everyone who sat around the table was to be treated with respect, regardless of what talents or perspectives they held.

Here’s what I learned from almost a decade of sitting around the writers’ table while Betty chaired our meetings:

She was honest. She shared about her particular talents, life experiences and achievements, but never held them up as “bragging rights” (even though all of us recognized how talented she was).

 She was forthright. She always saw the best in our writing efforts, but offered ways to help us to help ourselves. Betty asked that we not bring our personal lives to the table, so that we would keep our views unobstructed by personal feelings; they would only get in the way of our objectivity and honesty.

She set the example for us. Our anthologies became our “voices.” Betty took on the challenging aspects of editing and dealing with the publishing companies, the extent to which none of us had an inkling of the time, cost  and frustration that entailed until she had passed away.

She gave us structure. Because of Betty’s self-respect and the respect we felt for her, the leadership was passed on, at Betty’s request, to Ruth Perry. In the spirit of what Betty meant to all of us who knew her and to honor her memory, her strong influence continues. I can think of no better way to honor her, than to be a part of the Writers of Chantilly flourishing and becoming all that Betty knew we could be.

The best indication of who Betty Hyland was is felt at our meetings. She gave us something permanent to reflect back on and to keep us moving forward. As writers, we keep on writing. She said it best with “get cracking.”

AN OKAY BROAD FROM JD YOUNG/SCARLETT

Betty was simply an okay broad. In the very best sense of the phrase. And being from the Bronx that is a true compliment.  Betty pulled no punches, but was the most adamant supporter of writers I have ever had the privilege of meeting.

I met her in 2003 when I joined the Writers of Chantilly. She was professional, exacting, supportive, but also fun. She was patient, which I find a rare attribute for a writer, especially such a gifted and knowledgeable soul as Betty.

She laughed freely, even at herself. She was more than accommodating and when listening to rather dull, ill-written tomes (even mine), she smiled and kept a beautiful composure adding critiques only to benefit the writer though I’m sure her thoughts were different than the helpful words that left her mouth.

She helped me immensely in my writing – but – mostly by being my friend. When my daughter passed she was a warm and supportive confidant. I so appreciated her being there. A lovely women that had only the best to share with and about others.

Though a great life may have been had and enjoyed, the loss of a wonderful woman, spirit and muse is never acceptable.  

I will miss her so very much.

MY CHAMPION, OUR CHAMPION FROM REBECCA THOMPSON
Betty. When you passed away, I was sad. Sad you were gone. Sad that I had disappeared on you yet again. I didn't get a chance to say goodbye. I wish I could look at you now and say thank you, deeply and meaningfully.

I have a folder full of emails from you. Pages after pages: reminders, meeting minutes, advice, grammar lessons, competitions. I love the personal emails. You embraced me, encouraged me, pushed me, valued what I penned. Even when I vanished for a year or two I filed those emails. Why? Because you believed in me even if I was hiding and silent. I avoided me, but you wouldn't.

You were beautiful, kind, gracious - a forceful presence in our writing lives. I loved your unflagging devotion and your energetic passion. When I feel timid about my writing, I only have to think of you, and doubting voices fall away.

Dear Betty. Deeply, meaningfully, I THANK YOU for being a champion for all the Writers of Chantilly.

I'M GLAD I GOT TO KNOW YOU FROM MELANIE FLORENCE

When I joined the Chantilly Writers Group in early 2003, Betty had not yet taken the helm.  But even then she was a strong, encouraging presence in our group whose suggestions were concise and on target.  

After Mary Ellen left, Betty led our group successfully.   As we read our pieces at the meetings, or had someone else read them for us, Betty always made pertinent suggestions for improvement in a helpful, positive way.

I left Virginia in 2005 and Betty continued to email me, expressing confidence in my short stories and giving me valuable pointers.  I was thrilled when she suggested that I should gather my short stories up and publish them as a collection.  I’ve held that thought in my mind over the years and intend to carry out her suggestion in the near future.  

Thanks for all your advice Betty!  I’m glad I got to know you.

+++++++

Below is the last full email I received from Betty in 6/29/2010:

Good advice from my friend and first teacher, Gloria Miklowitz    Betty

======

SHORT STORY CHECKLIST

1. Does your story have a plot type? Is it PURPOSE ACHIEVED (through ingenuity, courage or a special ability?) or MISUNDERSTANDING, DISCOVERY AND REVERSAL?

2. What is the story question in one sentence?

3. What is your theme, the moral statement you want to make? Is it developed through the story's action?

4. Have you shown the story problem within the first page? Is there action in those first paragraphs?

5. Do you have conflict through an antagonist, nature, or the main character's personal flaw?

6. Does the hero solve his own problem?

7. Is the story told through one person's viewpoint?

8. Have  you avoided solving problems through coincidence?

9. Does the story build through several scenes to a climax in which the hero seems to have lost the battle? Then, does the solution follow quickly?

10 Have you checked every word, sentence, paragraph to see if it belongs or can be improved?

Master these elements and you'll write a better short story. Master them and writing the novel will be even more manageable. 

DEDICATION FROM JOHN STIPA

I tried to sneak into a Writers of Chantilly meeting in ~Aug 2005 and hide in the back, an author wannabee, a newbie, nervous that my beginner status somehow made me not worthy of attendance. And then I met this wonderfully kind and energetic woman who accepted me into the group: Betty. In 5 minutes she put me at ease with a warm smile that might as well have been a hug from an old friend.

And that is the memory I carry with me of someone I knew for only a short time, but where each interaction was meaningful and touching. To the point I developed a true bond and friendship. I like that. So much so I'd like for it to become a part of my personality. Thanks for that Betty. I'm going to get crackin' now...

More tributes to come...