Meet Ed Cal—The Writer’s Best Friend

claudette young

 

 

By Claudette Young

Who’s Ed? Why, your Editorial Calendar, that’s who.

Okay, so you write. Remember those “w’s” followed by the “h”? You know, Who, What, When, Where, Why and How.

The answers to all of those questions resides on the pages of the writer’s editorial calendar. And if you’ve never used one or established a habit of formulating one at the end of the year for the next twelve months, stay put and I’ll explain why you might want to tackle this necessary writerly habit.

Who needs an editorial calendar?

  • Any writer who wants to keep a ready market to hand for their work
  • Any writer who freelances in any category
  • Any writer who works both as creator and editor
  • Any writer who works in multiple genres
  • Any writer

Why is a calendar necessary?

  • It allows a writer to anticipate possible markets months in advance
  • It allows a writer to track their progress on a daily, weekly, monthly basis
  • It provides guidance when the writer gets stuck on one project and needs to shift gears
  • It motivates the creative mind to keep creating
  • It stimulates the submission process by allowing for multiple markets for each project

How difficult is it to develop and maintain such a calendar?

  • Difficulty depends on the format used by the writer
  • Electronic (cloud-driven) editorial calendar systems are available for free online
  • MS Excel can be used for spreadsheet format planning and tracking
  • The writer decides on what is included (how detailed) on the calendar used
  • Some believe the more detail included on the calendar allows for less overall maintenance time needed by the user

What information goes onto the calendar?

Again, this depends entirely on the whim of the writer. For me, I’ve been excessively detailed and barely detailed. But then I use two different calendars. It’s every writer’s option as to how many calendars they need.

Let me explain. I write long and short. Short projects such as poetry, flash fiction, short stories, essays, etc. go on a specifically detailed calendar. Why?

I began my first calendars in cheap hardcopy ledger tablets. They had plenty of rows and columns for tilling with potential moneymakers. Now, I use Excel most of the time for my calendars. I have lots of boxes to play with for each project. That means whether I’ve begun a project or am just thinking about one. Here’s how it goes.

  1. Line one: Project name>Max length>Deadline due>Freelance/Assigned>Publication>DOS/Date of Submission>EDOR/Estimated Date of Response>Accepted/Rejected
  2. Line Two: Second Publication Choice>LDOSD/Latest Date of Submission Deadline>Rewrite from Different Angle Y/N>DOS>EDOR>Accepted/Rejected
  3. Line Three: Repeat of Line Two

As I said, this calendar style is for my freelance, short project side of things. I do hours of market research before beginning a calendar for the next year. I include contests, competitions of all sorts, anthologies, articles and as many diverse markets as possible. If I choose not to use some of them, no harm no foul.

My calendar is categorized by type of project, genre, audience, publication as indie or mass market.

For long projects, such as screenplays or novels, etc. I use a similar calendar style but without the same type of excess detail. For instance, if I want to begin a rapid-release series of novelettes/novellas on Kindle with a month/two-month release cycle, my calendar would look totally different and stand indecently of all others.

Why all emphasis on calendars?

The answer is simple. It’s how publication/publishers set up their coming year. Every publication, from major newsletters to international magazines, glossies or recycled paper, establish editorial calendars months in advance of a new year.

Themes for issues, special event issues, etc. are decided upon and carved in stone for the next twelve months. Guidelines are rewritten if necessary, whether agented-only submissions are allowed, and everything in-between is placed on the calendar used by that publication’s editors. It’s their publishing bible for those coming months.

If you freelance or simply work long projects, it’s always to your advantage to know what an editor is looking for as far in advance as possible. It allows you to plan, lets ideas percolate and put you in the driver’s seat.

So, how does a writer learn an editor’s expectations?

Simple, ask them. Go to the publications website or contact them directly. Introduce yourself and ask them if it’s possible to get a copy of their editorial calendar. Usually, the website has one ready for downloading or copying. Remember themes are established really early. You might as well get used to thinking ahead and plan accordingly.

If you have questions, ask them. You don’t have to go to the top for the answers. Find the name of an associate editor. They have much the same information. And they don’t always get lots of credit. It makes them feel good to have writers come to them as the expert. It could easily help later down the line, too, when you submit a piece for review. You have already established a minor relationship with one of the editors.

Takeaways

If you prepare even the most basic of editorial calendars, you’ll stay on track better, complete projects more often, and submit more often than without one. Think of it as your daily planner. Whether you freelance with small personal essays or big articles, poems or photos, Ed Cal can be the friend who smiles and says “Go for It” every week.

Editormial Calendars Available Online

 

Barbara Tuchman

my kingdom

By Janice McCaffrey

A book mark has been sitting on my desk for over two years now because I like the poem printed on it. Recently I looked up the poet and found that Barbara Tuchman (1903-1984) was not a poet, but a journalist and historian. Wikipedia says that she was criticized because she didn’t have a university degree and wrote history in a way that ordinary people could understand it. Seems she was ahead of her time. Nowadays easy-to-understand histories make the New York Times bestseller list (e.g. The Boys in the Boat by Daniel James Brown or The Monuments Men by Robert M. Edsel with Bret Witter.)

Surfing the web I found a site with Barbara Tuchman quotes (quotetab.com). Here’s my favorites:      Human behavior is timeless.—Above all, discard the irrelevant.—One must stop conducting research before one has finished. Otherwise, one will never- stop and never finish.—Words are seductive and dangerous material, to be used with caution.                  An essential element for good writing is a good ear. One must listen to the sound of one’s own prose.           I have always been in a condition in which I cannot not write.          No writing comes alive unless the writer sees across his desk a reader, and searches constantly for the word or phrase which will carry the image he wants the reader to see, and arouse the emotion he wants him to feel. Without conscientiousness of a live reader, what a man writes will die on the page.               To be a bestseller is not necessarily a measure of quality, but it is a measure of communication.         Nothing is more satisfying then to write a good sentence. It is no fun to write lumpishly, dully, in prose the reader must plod through like wet sand. But it is a pleasure to achieve, if one can, a clear running prose that is simple yet full of surprises. This does not just happen. It requires skill, hard work, a good ear, and continual practice.             Nothing sickens me more than the closed door of a library.                   My bookmark says:  Without books, history is silent, literature dumb,science crippled, thought and speculation at a standstill.       Without books,  the development of civilization would have been impossible.      Books are engines of change, windows on the world, “lighthouses” (as a poet said” “erected in the sea of time.”     Books are companions, teachers, magicians, bankers of the treasures of the mind. They are humanity in print.

 

 

 

 

 

 

 

 

 

I Do All My Own Stunts, But Never Intentionally*

Ann Minnett MWW photo

 

By Ann Minnett

 

The title appeared in my Facebook feed this morning, posted by an ‘old’ friend. I resonated. 

I’m recovering from knee surgery (healing nicely) and had just purchased heavy duty ice cleats for my hiking boots. Northwest Montana is famous for winter ice, but I intend to keep moving, regardless of the weather. Hikes in all seasons are not only therapeutic for the soul but counteract the physical strains of writing.

Yes, writing.

Haven Kimmel, author of A Girl Named Zippy, spoke at the 2019 Flathead River Writer’s Conference. She talked about the physical stress writers experience by the act of writing. She’s had Carpal Tunnel surgeries on both wrists, developed from nonstop hours of writing. My fellow writers complain of shoulder pain, circulation problems, eyestrain, lower back pain, and my favorite, numb butt. 

I get it. When I’m writing and find my creative zone, it’s hard to stop, stand up, flex, bend, or take a walk. Health breaks disrupt the creative process. 

Recovering from surgery, I walk with a cane and try not to overdo my physical activity. Yesterday, I walked a bit outside and then sat at my desk for a couple of hours, forgetting to move. Ouch! I over did sedentary

That’s why I ordered the hiking cleats this morning. And that’s why my friend’s Facebook message hit home. I don’t have to hike five miles and slip on the ice to hurt myself. Writing, one of the most pleasurable activities of my life, can sneak up and bite me if I’m not careful.

Ann Minnett

annminnett.com

Twitter.com/@ann_minnett

Instagram.com/@annminnett

Facebook.com/annminnettwriter

annminnettwriter@gmail.com

*Facebook.com/OldTimers Community

 

Writing Blind

claudette young

By Claudette Young

Writers come in all shapes and sizes. Each one’s background is different, experiences unique, and needs individualized. 

But the challenges each writer faces aren’t always obvious. For me, the challenge is doing what I do from behind eyes that are virtually blind to the outside world.  One eye contributes little and the other battles to remain a viable organ.

So, how do I produce anything in this sight and tech-driven world? I have lots of help, in several forms.

I use Dragon Naturally Speaking for dictation and command software. Coupled with MS Office, I can write, revise and edit. My dragon, Usul, allows me to take command of my computer. Usul can transcribe my spoken notes from a voice recorder into a Word document as easily as hearing it through my headset mike.

MS Word also has speech/reading capacity and a voice command capability available. Any good geek—on the Squad or not—can set up that function. A bit of practice gains mastery.

For screenwriting, I use Final Draft, which is easy to learn, reads back text for revision and editing, and has everything needed for the job.

If I’m forced to read actual text, I can set up my computer document for huge font sizes. My fallback setting is 22 pt font—Times New Roman, to be exact. And a good headset with microphone helps keep things under control most of the time. 

Good software helps. As with any disability/handicap/challenge, accepting the need to adapt is the most critical aspect of working with a vision impairment. Understanding what you need, verses what you want, is also key.

For those who are facing a similar challenge or who know someone who faces it, I give these pointers.

  • In order to get the resources–whether visual aids, training, or support—tackle the situation head-on.
  • Diagnosis from a qualified specialist gives you more pertinent information than you might think. You can’t adjust or adapt without that knowledge and support. Once the problem is defined, you can search for necessary resources.
  • Begin with the Office of Vocational Rehabilitation. The gal to connect in Kalispell is Melissa Leggett: 406-751-5940. She’s in charge of the Division for the Blind for the Kalispell area. She has more resources at her fingertips than you’d ever find on your own.
  • If you need specialized equipment, there are avenues to pursue. Melissa can steer you toward what you need and when/where to lean harder in that direction. Within a year or so, I’ll probably need a large auto reader for print materials. Such readers come in many forms and sizes from desktop to hand-held. I already use a camera reader to enlarge print, for instance. Oh, and plenty of strong handheld magnifiers or lighted headgear.
  • Books, magazines and periodicals are available in audio form through the public library (provided by Library of Congress), Amazon Prime and Audible, and individual publishers.
  • For those online magazines and other reading material, Dragon Naturally speaking can read them for you, if necessary. 
  • The trick is to know when your eyes are being strained too much and when to let go of the physical reading experience. 
  • Organizations, such as Lion’s Club International, are also great resources for exploration. Lions Club chapters dedicate themselves to assisting those in need of dog guides—Leader Dogs for the Blind, specialized equipment too costly for the average person to afford, and other necessities like eyeglasses.
  • Yet, the most helpful and necessary resource is an adequate support structure to help buoy up a person’s spirits or help for navigating the unfamiliar territory of adaptation and growth.

I hope I’ve given those who need it the information to help make informed decisions about dealing with dimming vision. Not all are writers, but everyone is touched by this malady. Globally, blindness is one of the fastest growing challenges today, both economically and medically. Few are left untouched by it.

If anyone needs or wants additional information or questions answered, please feel free to contact me at: ettedualc48@yahoo.com. I’ll be happy to answer what I can or send you to someone who can get the information to you.

Remember, no one is alone. As writers, we care about each other and are here to help whenever possible.

Claudette

http://www.claudettejyoung.com

Resources:

  • Dragon Naturally Speaking can be found on Amazon.com or Nuance.com—Nuance is the software provider of this product
  • Final Draft for screenwriters/playwrights can be had at both Amazon.com and FinalDraft.com
  • Tutorials for Word Speech are available in video form on YouTube or on Lynda.com tutorials
  • Office of Vocational Rehabilitation Kalispell–   

          121 Financial Drive Suite B,  Kalispell, MT 59901, (406) 751-5940                   http://dphhs.mt.gov/detd/vocrehab/mvrservices.aspx

  • Library of Congress Low Vision Reading Program—Imagine If Library – downtown Kalispell or any legitimate library in the county.

Greenhorns

By Diane E. Bokor

In the 1970s, something in the culture shifted.  You often heard of people going “back to the land.” Tom and I were among them.  That is how I ended up here in northwest Montana, reflecting on one of the biggest decisions of my life.  We were twenty-five-year-old city kids who married after meeting in college. We were old enough to be completely emancipated and young enough to do some pretty stupid stuff.  We were greenhorns.

We had made a life in the great white city on the hill (San Francisco) when we caught the bug.  We sold everything that would not fit in the back of our grey Dodge Ram. We quit our jobs and hit the road in search of our piece of “the land.”

We arrived in Kalispell the first week of May, 1976.  It was hot that week, 90 degrees hot. This pleased me greatly, as there were two things that gave me pause about this adventure:  cold temperatures and wild bears. I’ll work on my fear of bears, I thought, this is going to be just fine. It’s just not that cold here.  

All but our brand spanking new REI camping gear went into storage as we headed “back to the land.”  Well, not literally “back” as we had not actually been there yet. We had a plan. Tom and I would spend the summer exploring the region, campground by campground.  In the fall, we would decide where to settle, where to buy our piece of this land. Then, we would confidently figure out the rest of the story.

We had been living in our tiny two-man tent greenhorns campsite for three weeks when Memorial Day weekend rolled around.  It rained for four solid days. I now know that this is a typical Flathead weather pattern. That weekend I was traumatized for four days, peeking out of a blue nylon tent flap, cold and damp, nibbling on candy bars.  It was too wet to start a fire. It was too wet to crawl out of the tent. Forty-three years later, I can tell you that even with climate change, it will rain at some point on Memorial Day weekend in the Flathead.

Later that summer, after drying out, I awoke at dawn to a noise coming from the direction of our campsite picnic table.  Severely nearsighted without my glasses, I sat up in my cozy down sleeping bag, rubbed my eyes and opened them to make out a park ranger bending over our table.  Weird, I thought, why is he up so early?  With my glasses on, I was shocked. HOLY MOSES!  A BEAR! greenhorns bearA man-sized black bear was standing on his rear legs, rooting through the box of groceries we had covered with a plastic garbage bag, to keep it dry of course.  The bear had found our green grapes. Greenhorns with green grapes.

Due to my life long fear of bears, I was pretty sure I was going to die.  Obviously, I did not. Tom was able to find the Dodge keys. I grabbed my single-lens-reflex Minolta.  In our pajamas, like commandos who scurry along the perimeter of a battlefield, we made our way to the passenger side of the truck.  Once safely ensconced in steel and glass, I snapped evidence of our stupidity. If not for the snapshot this whole incident might be lost to the mists of time.

Back then, there were no signs instructing campers about food storage.  There was no host coming by each evening to warn/threaten campers about food storage.  There were no campground brown metal communal food lockers. You can thank me and Tom (and the rest of our ilk) for all that.