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Skepi is an extinct Dutch-based creole language of Guyana, spoken in the region of Essequibo. It was not mutually intelligible with Berbice Creole Dutch, also spoken in Guyana. This language has been classified as extinct since 1998.

Description
By the twentieth century, the existence of a Dutch creole language in the former Essequibo colony was largely forgotten about, and the language only gained the interest of linguists after the Guyanese linguist Ian E. Robertson, who had already brought Berbice Creole Dutch to the attention of the scientific community, also found people on the Essequibo River who remembered a Dutch creole language. In contrast to Berbice Creole Dutch, however, Skepi—which name derives from Yskepi, the first Dutch name of the Essequibo River—was not actively spoken anymore during Robertson's fieldwork. The sample sentences and a Swadesh list compiled by Robertson were thus based on the memories of non-native speakers of the language still spoken by their parents or grandparents.

After Robertson published his material, some older sources emerged. In the memoir of reverend Thomas Youd, who was a missionary in British Guiana, it is asserted that British missionaries learnt Skepi in the 1830s and that they used this language in their church services. According to this memoir, these missionaries also produced a dictionary of the language, which since has been lost, however. This is equally the case for a "word list submitted by a German veterinary surgeon."

In 2013, a letter written by Essequibo planter Wernard van Vloten emerged which contained a small fragment in Skepi Dutch. This letter, which was dated 26 September 1780, is believed to be the oldest source of the Skepi language. In 2020, 125 Skepi sentences and 250 Skepi words found in the diary of Thomas Youd were published in the Journal of Pidgin and Creole Languages by Bart Jacobs and Mikael Parkvall.

Sample texts
Since the language was already extinct when Ian Robertson first investigated the Dutch creoles in Guyana in 1975, much of Skepi is known only through the memory the descendants of native speakers have of the language their forefathers spoke. The following three sample sentences appeared in a Zeelandic newspaper in 1997.

Translation: I want a slice of bread.

Translation: Where shall I put it?

Translation: "It was not you, it was that other minister (clergyman)."

Fragment from the 1780 letter by Van Vloten

Translation: "[...] and try to come one beautiful day to Uncle who lives in a warm country, and when he comes back to the country of the White people, he will bring nice things for the four children.'"

Notes

References

Dutch-based pidgins and creoles
Dutch language in the Americas
Languages of Guyana
Extinct languages of South America
Languages attested from the 18th century
Languages extinct in the 20th century
Creoles of the Americas

redpajama_set_name: RedPajamaWikipedia


The fashion industry is one of the most exciting industries on earth. This particular field of work utilizes some of the brightest of minds. These bright-minded individuals have produced some stunning attire over the years and the Academy of Art University has played a big role in the field's success. The Academy of Art University's School of Fashion hosted its annual Spring Show between May 18 – June 9. This event is basically a student showcase to some degree as it publicized many fashion pieces from the school's graduating class. Preparing the students for runway success is the goal and this event certainly didn't disappoint.
"Ideas and passions are reflected thanks to the school's diverse mix of people," said Elisa Stephens, president of AAU. The student-base here is rather large, and students come from all around the globe. This includes the nations of Nigeria, Mexico, China, Taiwan, South Korea and Indonesia. The professional world is full of collaborations and the Academy of Art University personifies this notion the best. The school's students have come from all walks of life whether it's the middle class, or it's the general wealthy. Eden Slezin, former-graduate of AAU, is the very definition of a hard worker that's from the middle class. Brandon Kee, former-graduate of AAU, has become a huge success, and he has starred on the hit television series "Project Runway." The next season of the show will be his 16th season of competition.
The Academy of Art University does a phenomenal job of preparing its students for the workplace. This fine institution offer graduate degrees, offer undergraduate degree and offer certificates. The school also utilizes some of the most technologically advanced innovations of today. What more could anyone ever ask for? The Academy of Art University is definitely reaching for the stars one student at a time.


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Syncrude Awarded Immersive Technologies' Global Business Improvement Award for 2011
Syncrude's Mildred Lake and Aurora mining sites received the Immersive Technologies' 2011 Business Improvement Award for outstanding results with its simulator-based operator training program.
Syncrude used its simulator-based operator training program to reduce production loss, improve equipment availability and advance operator safety initiatives. The Canadian oil sands company now has the ability to measure effectiveness of its training curriculum and program. Syncrude was chosen as the 2011 recipient of this award from more than 200 Immersive Technologies' mining customer locations in 30 countries.
In its fourth year, Immersive Technologies' Business Improvement Award recognizes achievements of mine sites focused on improving operational safety, efficiency and productivity achieved through strategic and focused training initiatives. Kinross Fort Knox was recognized as the 2010 BI Award winner for their adoption of this strategic integrated approach to simulator-based equipment training.
Syncrude adopted a comprehensive operational improvement program developed jointly with Immersive Technologies. The program identified performance goals and used targeted simulation exercises and classroom training sessions to accelerate safety, production and profitability milestones.
"Our successes can be attributed to the quality of training our operators receive from our training teams, shift trainers and mentors that include field, classroom and simulator sessions," said Brian Fairley, Syncrude Vice President, Production. "Our leadership at Mildred Lake and Aurora mines recognize the important role played by the simulators in the development of our heavy hauler fleet and shovel operators. We have made a great deal of progress on safety, reliability and productivity with their continued support."
"We are excited for Syncrude in receiving this year's award," said Cory Cook, Immersive Technologies' Vice President North America. "Their commitment and enthusiasm to continually improve the safety and efficiency of their equipment operator's skill sets is second to none and exemplifies the positive change and focus on training programs we are seeing from our customers globally. Utilizing Immersive Technologies' advanced simulators and training integration programs, customers have a proven method to measure the positive effect of their training programs on their site operations."
Syncrude is one of the leading producers in Canada's oil sands with a production capacity of 350,000 barrels per day.
Business Achievement Award presented to Syncrude

redpajama_set_name: RedPajamaCommonCrawl


Before we get started, a couple of helpful points. First, there are many martial arts schools that claim ninja lineage. Ninja Magazine is not here to bolster those claims. It is the editor's personal belief that Ninja heritage cannot be validated due to the nature of the art. Our position is not meant to contest or dress down anyone else's beliefs in the matter. Ninja Magazine is not a forum to argue about which Ninja schools are legitimate and which are not.
What Ninja Magazine is about is exploring the Ninja mythos in all its aspects. The weaponry, the techniques, today's players and posers. We're interested in Ninjas as portrayed in books and films. We're interested in Ninjas from other cultures. We're interested in original Ninja fiction. We might accept Ninja poetry, but it would have to really knock our collective socks off.
And second: at the bottom of these guidelines you will find some advice for writers. We strongly urge you to READ & HEED this advice. We turn down over 80% of the submissions we receive. Almost all of those rejected submissions violate one or more of the principles in that advice. Read and heed, folks.
Ninja Magazine is a quarterly magazine, published in March, June, September, and December. Our first issue will be released in October of 2016. It is a perfect-bound magazine, 8 1/2 by 11.
Ninja Magazine considers articles related to Ninja practitioners, comparison of techniques, the bio-mechanics of different techniques, Ninja lore, Ninja psychology, Ninja mythology and virtually anything else regarding the Ninja as long as it is thoughtfully and professionally executed. Preferred article length is under 5,000 words, but that is not firm. If in doubt, submit it. Payment is $50.00 for original articles, $10.00 for reprints. Most probably we will publish no more than one reprint per each edition.
Ninja Magazine considers reviews of movies and books related to the genres we publish, and interviews of writers, publishers, etc. Preferred length is under 2000 words. Payment is $10.00 for original reviews; we will not consider reprints. Probably we will publish no more than one outside review in each edition.
Ninja Magazine considers original short stories of lengths up to 5,000 words [if your story is longer, please query]. Payment is $.03 per story, this rate taking effect with the December 2014 issue. Ninja Magazine also considers original flash fiction [less than 1300 words], for which the payment is $15.00 per story.
Ninja Magazine considers original poetry of up to 100 lines [if your poem is longer, please query], but like I said earlier, it better blow our collective socks off. Payment is $10.00 per poem.
Note: Ninja Magazine also considers reprints of short stories or poems, provided these do not exceed the word or line limits. Payment for reprints is $15 per story and $7 per poem.
Ninja Magazine considers original color art for the magazine cover. Payment for the art selected for the cover of the magazine is $25.
Ninja Magazine considers original art in black-and-white for interior art and, on occasion, color art for the back cover. Payment is $16 per piece.
Ninja Magazine considers reviews of movies and books related to the Ninja, and interviews of writers, etc. Preferred length is under 2000 words. Payment is $20.00 for original reviews; we will not consider reprints. Probably we will publish no more than one outside review in each edition.
All payments will be made upon acceptance. Payment includes one contributor's copy of the magazine.
In the upper left corner of the first page of your work, I want to see the name to which you wish the check made out to, the address to which the check is to be mailed, and your e-mail address. In the upper right hand corner of the first page of your work, I want to see the approximate word count.
Ten lines below your e-mail address, and centered in the page, I want to see the title of your work and your byline [note that the name in the byline does not necessarily have to be the name in the upper left hand corner]. Four lines below your name, I want to see the beginning of your work.
Indent paragraphs five full spaces [you may instead use a 0.25″ tab]. Double-space the lines. If you use italics, then use italics. However, if you submit in plain text format, use asterisks * before and after words and phrases to denote italics. Please use Times New Roman or Courier New font, preferably 12point.
Submit your work as an RTF or Word attachment, or pasted as text in the body of the e-mail. In the subject line of your e-mail, put Submission Ninja – and the title of your work in the subject line.
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In your e-mail, say hello, and provide your contact information. This is the same information that appears in the upper left corner of the first page of your submission. If your submission is accepted, I will request a bio and send you a contract.
Ninja Magazine makes every effort to respond within 2 months. Please do not query until after 3 months.
If you want your work to be published in Ninja Magazine, please pay close attention to the advice below–and yes, we know you've seen much of this before, but you'd be surprised how many writers either neglect these things, or just don't think we mean it [such writers number among those who have a really tough time getting published in a paying market].
1. Do proofread your work, and eliminate mistakes of spelling, grammar, punctuation, and syntax.
2. Do practice word management. Use the right word, and only as many words as necessary.
3. If you're submitting fiction, please remember that plot does matter. Without a plot, a story is history–in more ways than one. A plot, simply put, is the answer to the question: How do I get from the conflict to the resolution? Answer that question before you write the story, and let the answer guide your pen/keyboard/magic marker.
4. Do make your characters live through your words, for characters carry your story. A good story is not about an event or a circumstance or a moral question, but about how your protagonists and antagonists respond to the stimuli of the event or circumstance or moral question. In a proper story, your protagonist will change in some way as a result of the circumstances or events. If your protagonist does not change, you have not written a story.
a. Corollary: we receive a lot of submissions in which someone is abused as a child and therefore misbehaves as an adult. This sort of blaming is reductionist and not very useful. We as humans have and make choices, regardless of our traumas. We want stories with an eye to the future, not to the past. In other words, humans are complex, and should not be limited by reductionist motivations.
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Cambodian premier Hun Sen led a huge rally on Sunday marking the anniversary of the fall of the genocidal Khmer Rouge regime, seizing the opportunity to burnish his image as saviour of the nation.
Tens of thousands of people attended the event organised by Hun Sen's ruling Cambodian People's Party, which has dominated the country since it was installed by the Vietnamese forces which toppled Khmer Rouge leader Pol Pot on January 7, 1979.
The gathering on "Victory Over Genocide Day" attracted a much larger turnout than in previous years. Hun Sen's control over Cambodia is stronger than ever following the systematic removal of his rivals before a July election.
The crackdown culminated in the dissolution of the main opposition party in November, a move lambasted by Western democracies as a naked power grab by the strongman, who is determined to extend his 32-year rule.
Speaking before a sea of supporters on Sunday, Hun Sen took credit for the stability and growth his government has overseen since the Khmer Rouge era. At least 1.7 million Cambodians died during the regime's fanatical Maoist rule from 1975-79.
Most died through execution, starvation or overwork during the group's attempts to transform the country into an agrarian utopia.
Hun Sen, a former Khmer Rouge cadre who later defected and joined the resistance, frequently reminds the public of Cambodia's horrific past and warns that fresh unrest could break out if his government is ousted.
In a lengthy address Hun Sen also cheered the recent crushing of the opposition, saying it "evaded a new disaster for the nation, and will ensure the growth of democracy, human rights and rule of law in Cambodia".
Rights groups strongly disagree, saying the move plunged Cambodia's fragile democracy into peril.
The US and EU have withdrawn support for the July election due to the ruling, saying the vote would not be legitimate without the now dissolved Cambodia National Rescue Party, which won 44.5 percent of the vote in the 2013 election, according to election authorities.
Hun Sen has responded by ramping up his ultra-nationalist rhetoric, reiterating on Sunday that "Cambodia does not bow to external pressure".
After the speech Hun Sen and his wife released white doves into the crowd and received flowers from foreign diplomats.
Hun Sen's self-styled reputation as rescuer of the impoverished kingdom was also on display in the past week in a new documentary recording his role in the toppling of the Khmer Rouge.


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Archive for category: News
Meet YA author Ashley Hope Pérez
Ashley is a critically acclaimed author of young adult novels and teaches world literatures at The Ohio State University. Her most recent novel Out of Darkness received a Printz Honor Award for Literary Excellence and won the 2016 Tomás Rivera Book Award and the 2016 Américas Award. It was also named a "best book of 2015" by Kirkus Reviews and School Library Journal and was selected by Booklist magazine as one of "50 Best YA Books of All Time." Ashley's other novels include What Can't Wait and The Knife and the Butterfly . She lives in Columbus, Ohio, where she enjoys all four seasons and tries to keep up with her two sons, Liam Miguel and Ethan Andrés. Visit her online at http://www.ashleyperez.com/.
Ashley's sessions include: Organic Plot Development ( a discovery-based approach to shaping your narrative's direction and getting characters into action); Get Inspired, Find Time to Write, and Be Happy While You're Doing It (Ashley & author Alisa Alering); and she will moderate the panel Writing Beyond Your Experiences (with Mitchell L.H. Douglas, Cole Lavalais, Larry Sweazy). Her Friday morning Buttonhole the Expert topic for discussion is: Engaging diversity and difference in fiction: Craft, research, and responsibility.
Gail Werner, long-time friend of Midwest Writers Workshop, caught up with Ashley recently and interviewed her for this Q&A.
MWW/GW: How did your writing career begin?
AHP: I had several professors encourage me during my college years, but I became a published writer because I found my audience. This happened when I started teaching English and ESL in Houston. Besides meeting all the standards and getting my students ready to have a serious chance at completing college, I wanted them to discover the pleasure of reading, a notion that was pretty foreign to most of my students. As my kids told me about what did or didn't engage them, I learned that many of them felt "their story" was missing from the library shelves. My first novel, What Can't Wait, incorporates many of the stories they shared with me, and I finished the first draft just in time to give it to my last group of students (all seniors) for graduation. My students were my first readers, and their excitement still tops every success I've had since.
MWW/GW: One of your MWW19 sessions is on the topic of revision-how it's not for the faint of heart. What have you learned about revising over the course of your career as an author?
AHP: For me, writing is really all about rewriting. I cannot express to you how horrendous my first drafts can be–shapeless, overwritten, awkward. But that doesn't matter, because once I have something with characters, and something like a beginning, a middle, and an end, I can revise and revise and revise.
For most of my novels there have been about ten substantial revisions, and for most of these rounds, I start typing in a new document rather than just making changes to the old file. Doing this helps me to write new scenes or rewrite ones that aren't working.
MWW/GW: What are your tips for how to manage your time and still work on your craft?
AHP: Be sure to sleep. It sounds obvious, but often when we're overtaxed, we think that stealing hours from sleep will help us get more done. In the end, it only sabotages the next day's productivity. Also, map out goals week by week and month by month. I try to have a semester or year plan and a five-year plan. Although achieving a goal often takes longer than we expect, putting it down on paper brings us a smidge closer to making the daily choices that will turn the aspiration into a reality.
MWW/GW: Your most recent book, the award-winning Out of Darkness, is a story about segregation, love, and family, set against the backdrop of a Texas school explosion in 1937. What drew you to want to write historical fiction?
AHP: I really wanted to shed light on an event that occurred close to home and also to use that project to shine some light on the experiences of minoritized people, which have too often been relegated to the margins of mainstream histories or erased altogether. We all need to engage with these stories.
Also, I think that readers of all ages benefit from the chance to recognize how many of the "givens" in our society can be changed. Historical fiction doesn't just show us how bad (or good) the past was; it dramatizes different ways of living, doing, relating, learning. Those differences in the past remind us of the possibility of change in the future. When we get that we are, individually and collectively, a work-in-progress, it's possible to begin talking about how our society needs to grow and change if we are to envision a more just future.
MWW/GW: What makes being a writer gratifying to you?
AHP: After they read an early draft of my first book What Can't Wait, a couple of my former students wrote me these incredibly powerful, moving letters. One of them said:
This is the first book that I have ever read from beginning to end. There are so many things here that I have never seen in a book before . . . There were lots of times I stopped reading a book, but I didn't want to stop reading this book.
He was one of my students who struggled most to care about what he was reading, so it was very moving that he took the time not only to read the book but also to let me know what it had meant to him. Even if the book had never been published, it was already worth it in that moment because I had a reader for whom the book was a gateway experience. And I think that's what I love: for my books to be gateway drugs for readers, to make them want to read more, because they've experienced something they hadn't experienced before.
MWW/GW: Can you share details about what you are working on right now?
AHP: Although I'm sure I'll be back to writing novels in the future, I've been working a bit more in shorter form pieces and some creative non-fiction, like a forthcoming piece that will appear in the Rural Voicesanthology. The book I want to write next is set "now," and there are some ways that the present political and social moment simply feels too unstable for me to predict how my characters' lives will unfold.
MWW/GW: And finally, when you're not writing, what could we find you doing?
AHP: I'm a full-time literature professor at The Ohio State University, so that takes up some minutes of my days. I also love cooking lavish breakfasts, collaging notebooks, and taking walks with my sons Liam Miguel and Ethan Andrés. Columbus has a ridiculous number of fancy ice cream places (I love Jeni's Splendid Ice Cream and Whit's Frozen Custard), so making those rounds also keeps us busy!
Register Today! Do this thing.
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Meet MWW19 faculty member Bryan Furuness!
Bryan Furuness is the author of The Lost Episodes of Revie Bryson, a novel. His next novel, Do Not Go On, will come out in the winter of 2019. With Michael Martone, he is the co-editor of Winesburg, Indiana, an anthology. His next anthology, My Name was Never Frankenstein: And Other Classic Adventure Tales Remixed, will be forthcoming from Break Away Books in the fall of 2018. His stories have appeared in Ninth Letter, Sycamore Review, Southeast Review, Hobart, and elsewhere. His essays have appeared in Brevity, Nashville Review, and Barrelhouse, among other venues. His work has been anthologized in New Stories from the Midwest, Not Like the Rest of Us: An Anthology of Contemporary Indiana Writers, Best American Nonrequired Reading, and elsewhere. He is a recipient of the Tennessee Williams Scholarship in fiction from the Sewanee Writers' Conference, a finalist for the Society of Midland Authors award, and a winner of the Midwest Short Fiction contest. He holds an MFA from the Warren Wilson Program for Writers and has edited for several literary magazines and small presses, including Booth, On Earth As it Is, Engine Books, and Pressgang, the small press he founded at Butler in 2012. He lives in Indianapolis, where he teaches at Butler University and serves on the board of Engine Books.
Bryan's MWW19 sessions include:
Session #3: Intro to Editing – A session about global editing and line editing, including exercises that can help students edit the work of other writers or revise their own work.
Session #3: Forming a Writing Habit – Figuring out your own ideal creative process and starting a sustainable writing practice.
Session #3: Reading like a Writer – Once you develop this way of seeing how stories are built, every text will become a teacher.
Bryan is also a member of the Manuscript Evaluation Team. Here's your opportunity to have an author and editor evaluate your manuscript pages!
Jama Kehoe Bigger, MWW Director, interviewed Bryan for this installment of our MWW19 faculty Q&A.
MWW: You have a page "Notes on Creativity" on your website. What do believe are the components of creativity?
BF: Here's a simple formula, straight from the pages of Creativity 101 by James Kauffman: Creativity = Novelty x Utility
"Novelty" means new or different. "Utility" is a little less obvious-here it's talking about how appropriate the creation is for the situation.
Finally, note the multiplication sign. If either novelty or utility are a zero, the whole thing is an airball.
For example: I ask you for a story. In response, you slowly push a banana up your nose.
Novel? Sure. Task-appropriate? Uh, no. Therefore, not creative.
(For a slightly more developed take on this topic, see this post. And if you like this kind of thing, you can sign up for my newsletter here and get a few short posts about creativity delivered to your inbox every three weeks.)
MWW: Since you are an author and an editor, what do you see as the common traps for aspiring writers?
BF: I'll give you one that's been on my mind lately: overestimating the amount of talent it takes to write a book, and underestimating the time and effort and sheer persistence that it takes.
(This miscalculation isn't exclusive to the writing world, by the way. See also this article with a very explain-y title: "People Underestimate the Value of Persistence for Creative Performance")
Here's a weird disconnect. If you tell people that it takes ten years of devoted work to reach mastery of a skill–not greatness, but mere mastery–they will nod and say, Right, that makes sense. But if you tell them that means it could very well take them ten years or more to write a novel, no matter how good their idea is . . . well, you can see the despair on their face.
But the thing is, you're allowed to enjoy those ten years (or however long it takes). Actually, you better enjoy it. If you find that you don't actually like writing all that much–if you'd rather be a person with a book than a person who writes–hit the eject button early and save yourself a ton of suffering.
MWW: What is your writing process like?
BF: I don't have one.
Or, rather, I don't have just one. My process depends on the type of project, the reason for writing, the time I get to work on it, and probably a thousand other factors I can't consciously discern.
For example, my process for writing this response is different than my approach for my current novel project, which is different than my approach for my last novel project, which is different than answering a hundred emails in an hour, which is different than–
You get the idea. Each project calls for something different. I have a mental junk drawer full of strategies, and I'm always on the lookout for new strategies. That way, if a certain combination doesn't work, there's always something else I can try. Flexibility is key. Flexibility and an experimental spirit.
That said, certain threads run through my creative practice, no matter what I'm writing. Daydreaming. Making notes. Showing up to the page (almost) every day, and finding ways to lower the pressure and boost the joy.
MWW: What advice do you have for writers coming to MWW19? What will your sessions emphasize?
BF: The first time I went to a writing conference, I ran into one of my old teachers. "Pace yourself," she said when I breathlessly told her about all the panels I'd already seen and everything I was planning to do.
Nah, I thought. I'm fine. I want to squeeze every last drop out of this conference.
As it turned out, the conference squeezed every last drop out of me–before dinner on the first day. So learn from my mistake, my friends, especially if you're an introvert who needs the occasional oasis of solitude to recharge. Pace. Yourself.
Okay, about my sessions. Three sessions, three different topics: writing, reading, and editing.
Writing: We'll talk about process and practice, the cornerstones of the writing life.
Reading: Once you learn how to "read like a writer," every text will become a teacher.
Editing: We'll dig into global editing and line editing, playing around with exercises that can you help you edit the work of other writers or revise your own material.
Hope to run into you there. And if I look all wild-eyed and manic, remind me of my own advice, won't you?
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Are you writing a mystery? Need help with a writing plan?
May 21, 2019 /0 Comments/in Faculty Interviews, MWW Events, News /by Midwest Writers
We look forward to welcoming Mary Carter – a Chicago-based, bestselling novelist and workshop leader at the Chicago Writer's Loft – to MWW19 this July.
Mary's works have been translated into a number of languages and include: Home With My Sisters, London From My Windows, Meet Me in Barcelona, Three Months in Florence, The Things I Do For You, The Pub Across the Pond, My Sister's Voice, Sunnyside Blues, She'll Take It, and Accidentally Engaged. In addition to her novels, she has written six novellas, two of which have been New York Times bestselling anthologies.
Readers and aspiring writers can check her out at MaryCarterBooks.com and thewritersloft.com, follow her on Twitter @marycarterbooks, or like her on Facebook at Mary Carter Books.
Mary also writes under the pen name Carlene O'Connor and is a USA Today bestselling author of "The Irish Village Mysteries." To date, as Carlene O'Connor, she has written Murder in an Irish Village, Murder at an Irish Wedding, and Murder in an Irish Churchyard, Murder at an Irish Pub, and Murder in Galway. September 2019 will see the release of A Christmas Cocoa Murder. Readers can visit her at CarleneOConnor.net or Carlene O'Connor on Facebook.
Mary will be joining us as part of the MWW faculty for the first time. Her Thursday workshops include "Get a Clue: Setting the Mystery Scene" and "Not the Usual Suspect: Developing Characters for Your Mystery." During Friday morning's buttonhole session, she will lead discussions on "Words as Weapons." And Friday afternoon, she will present "Plotting and Re-writing Your Mystery: Where the Magic Happens."
Janis Thornton, long-time friend of Midwest Writers Workshop, caught up with Mary recently and interviewed her for this Q&A.
MWW: According to your bio on the Fantastic Fiction website, you're an actor! Please tell us a bit about how you've applied your acting techniques to writing, primarily in creating and building your characters.
MC/CC:
I consider myself an ex-actor, although maybe there's no such thing. When I finally took the writing course that I now teach, the light bulb went on as far as the connection between writing and acting. All the work I did on my characters as an actress now had to apply to all the characters in the story. Acting helped with scene study, dialogue, motivation, and most importantly feeling everything your characters are feeling. It was a fabulous foundation for my journey as a writer, and I believe sped up my development once I made the connections.
MWW: When did you write your first cozy mystery, what led you to the genre, and what do you enjoy about writing them?
I wrote Murder in an Irish Village approximately five years ago. It was a request from my editor. He first asked if I would be interested in writing a murder mystery series for them set in England. I answered honestly, that I would have no idea how to do that -then added – but I could set in Ireland. I was in a parking lot of a grocery store in North Carolina. I had just moved there because I was tired of writing and working day jobs, so I Googled "cheapest, nicest places to live" and ended up in Wilmington, North Carolina. I will be honest. I never read "cozy" mysteries before that, unless you're counting Agatha Christie as cozy. It's the publishers that focus on genre. As a writer, there are times I'm given restrictions – i.e., there are reader expectations built into the genre of cozy mysteries, but then I had to write one that I would want to read. That isn't a dig on the genre; I just wasn't an avid reader of them, as I preferred gritty mysteries as a reader. I enjoy the challenge of sticking to those guidelines, but also stretching them, and creating a believable and compelling mystery within those guidelines.
MWW: What is your biggest challenge in keeping your storylines and characters fresh?
Believe it or not, I haven't run into that yet. I've been able to keep each mystery fresh by imagining scenarios that interest me. I employ change of seasons, new characters coming to town, new subjects – be it genealogy, or weddings, or poker games, and in the current one I'm writing, the characters venture a little outside of their hometown to shake things up a bit.
MWW: How have your Irish ties influenced your writing, characters, and plotting?
Of course. All my years of research at Irish pubs in NYC paid off. And all my Irish friends, Irish exes, and Irish in the family line. It's impossible to imagine the series set anywhere else, as setting and characters are such a deep part of the story. I'm sure I get things wrong that an Irish native would notice. I strive to learn from those mistakes with each book.
MWW: What authors have inspired you?
Oh boy. I read everything I can get my hands on and that is a long list. I guess I'll stick to mysteries. I like everyone from Tana French, Sue Grafton, Ann Cleeves, Raymond Chandler, John Grisham, Dennis Lehane, Jane Harper, Lisa Gardner, Tony Hillerman. I also love psychological thrillers. My TBR list is always piled high, and I read widely across genres. And now that I have author friends, I love all their books too.
MWW: And lastly, what's the best way for participants in your sessions to prepare, and what is the best new writing tip you want them to leave with?
No preparation needed, just an open mind, and a notebook, (or laptop), and I will leave them with a writing plan – the WOAES – that they can use the rest of their writing lives! Is that a little mysterious? A mini cliffhanger? I hope so!
MWW: Thank you, Mary! We're all looking forward to meeting you.
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Author Platform and Career Development Bootcamp with Jane Friedman!
May 14, 2019 /0 Comments/in Faculty Interviews, MWW E-pistle, News /by Midwest Writers
An all-day bootcamp to help authors sort through various strategies, tools, and opportunities available
and what makes sense at this point in time for the next stage of their careers
Midwest Writers board member Dianne Despain (writing as Dianne Drake for Harlequin), who got her start at MWW in 1993 and now has 57 books published, asked Jane Friedman about the Author Platform and Career Development Bootcamp intensive workshop she will teach at MWW19 (Saturday, July 27) this summer.
MWW: So first, who, exactly is your bootcamp directed toward?
Jane: It's for published authors or soon-to-be-published authors (those with a release date) who want to develop a long-term, sustainable strategy for marketing and promoting their work.
Many authors are confused about how to prioritize the many marketing tools and opportunities available-and what makes sense for their particular genre or readership. By the end of this bootcamp, writers will have a clearer idea of what's next for them-and if all goes well, an action plan with specific and concrete next steps for the year(s) ahead.
MWW: If you could list the top five things your bootcamp will address, what would they be?
Jane:
A strong definition and understanding of your target audience or readership. What is your understanding of your readership and who they are? How can you find out? Is there a potential readership you're missing out on?
Optimization of your product (your books or anything else you do) and brand. How well are your books "optimized" to appeal to your target audience? Are you offering a coherent marketing message across everything you do? Are you using the language of readers to help your efforts?
Direct reach development. How do you reach readers currently, and what areas need shoring up? What opportunities are available to expand your direct reach? What does your own website, email newsletter, or social media analytics tell you about that reach and where the opportunities lie?
Lead generation. What strategies and tools do you use to reach new readers? How effective are your methods? What methods should you try?
Using the power of community to help you. What opportunities exist to improve your reach through collaborations, partnerships, and influencers?
MWW: Since you're known for your nonfiction writing and advice, how will this workshop benefit fiction writers or poets?
Jane: My books and courses help writers from all across the industry. I focus on teaching marketing and business best practices that remain the same regardless of the genre you work in.
MWW: Is there an overall commonality between fiction and nonfiction when planning your career?
Jane: Regardless of what you write, the more you understand your target reader, how to reach them, and how to engage them, the more successful you'll be at turning your writing into a sustainable business.
MWW (DD): I wrote for Women's Day, Family Circle, etc. back in the day when they wanted words. The market has changed drastically since then, words counts are lower, pay is much lower, so is there a way to break into the magazine market today and make a living, or do magazine journalists need to seek out other types of writing to make ends meet?
Jane: It's still possible to make a living as a freelancer, but it's far more difficult to do so if focused strictly on getting paid by the print magazine market. Most freelancers have to diversify their business model and consider working for a range of outlets, print and digital, and consider work that readers might pay for directly. (Paid subscription newsletters are very popular right now with journalists of all kinds.)
When I first entered the publishing industry twenty years ago, one of the most popular books for freelancers was The Well-Fed Writer, which focused on how writers could get paid a much better rate by pitching themselves to corporate clients and businesses. E.g., there is significant demand for magazine-like content for businesses as diverse as Netflix, American Express, and Warby Parker. Even high-minded institutions like the New York Times and Atlantic have divisions to offer businesses custom content-to help pay their bills. So, if freelancers are flexible about the type of work they'll do, there is paying work to be found.
MWW: Self-help books used to be all the rage in nonfiction. Are they still, or is there something else out there that's currently the hot trend?
Jane: In recent years nonfiction sales overall have increased all around the globe. Partly this is due to current events and the political situation-so you'll see growth in those categories. But personal development (i.e., self-help and self-improvement) continues to dominate, in both the adult and children's markets. When I was at London Book Fair last month, a representative from Nielsen said she'd studied the words that are most common in the titles of books forthcoming in 2019. They include inspiration, calm, happy, and mindfulness.
In the current landscape, you might categorize nonfiction publishing growth in two ways: there are books that help you learn and understand the world, but then there are books that help you cope with and escape the world. (And some books are a little of both.)
MWW: If there's one best piece of advice you'd give an aspiring writer, what would that be?
Jane: Be patient with yourself and your progress.
MWW: And similarly, if there's one best piece of advice you'd give a writer who's had some success and is finally on the way?
Jane: Be patient in growing your readership.
This intensive is ideal for published authors or about-to-be-published authors, whether self-published or traditionally published.
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Explore how to live a more creative life | with Melissa Fraterrigo | MWW19
March 19, 2019 /0 Comments/in MWW E-pistle, MWW Events, News /by Midwest Writers
Meet fiction author Melissa Fraterrigo
Melissa Fraterrigo is the author of the novel Glory Days (University of Nebraska Press, 2017) which was named one of the Best Fiction Books of 2017 by the Chicago Review of Books ; she is also the author of the short story collection The Longest Pregnancy (Livingston Press). Her fiction and nonfiction have appeared in more than forty literary journals and anthologies from Shenandoah and The Massachusetts Review to story South , and Notre Dame Review . She teaches classes on the art and craft of writing at the Lafayette Writers' Studio in Lafayette, Indiana.
During MWW19, July 25-26, Melissa will teach " The Write Start: Cultivating Creativity." In this session, Melissa explains, "You will learn how to turn your love for the written word into practical experience. Whether you are new to writing, have an idea you are interested in pursuing, or write regularly but need a reboot, in this class we will explore how to live a more creative life."
On Friday morning, Melissa will teach " Finding Your Personal Essay Through Play" where participants will discover how form can be used to structure personal essays to reveal unexpected insights and create momentum through play. In the afternoon, she will present " Exploring the Novel-in-Stories." She asks, " What do Olive Kitteridge by Elizabeth Strout, Cathy Day's Circus in Winter and Winesburg, Ohio by Sherwood Anderson have in common?" The answer: All are novels-in-stories, existing between a collection of stories and a novel. Those attending this session will leave with a clear idea of possible linkages in their fiction and how to build upon these for their own linked collection.
MWW alum and volunteer Stephen Terrell asked Melissa a few interview questions to help us learn a bit more about her as a writer and faculty member.
MWW: When did you first know you wanted to be a writer?
MF: I have always loved writing and penned my first book when I was in the first grade. It was called "The Littlest Pukin" (I think I was inspired by "The Littlest Angel"; pukin was actually supposed to be pumpkin) and I can still remember how glorious I felt flipping the pages of my book, showing it to my parents. I always felt a kinship with words and stories and in many ways, I think I was destined to work with stories in some fashion; only it took me a long time to get to where I am. Despite that, I've got to say I have the best job in the world.
MWW: What is the Lafayette Writers Studio? How did it come about? What do you want people to know about the Lafayette Writers Studio?
MF: I taught high school and junior high English for three years after earning my bachelor's degree. My first job out of college was teaching high school English in a small town in downstate Illinois where the job prospects were few and many of my students were from families that were struggling both financially and emotionally. I really liked my students and loved talking to them about literature, but during that year my grandmother passed and I did some hard thinking about how I wanted to spend my own days. I hadn't forgotten the desire to be a writer, only I didn't know how to be a writer and also pay bills.
Somewhere during that first year I told myself to just start writing–just a little bit. I found the more I wrote, the more I enjoyed it. That summer I took at class at the University of Illinois at Chicago–my first fiction class–and met two other women who were also interested in fiction and poetry. For three years we met on a monthly basis to share work with one another and offer each other feedback. I have no doubt that without their support I would not be where I am today. Writers need other writers, and these two friends provided the support and encouragement I so desperately desired.
I love my parents with all my heart, but they were children of parents who survived the Depression. Working toward a degree that would get you a job, which in turn would pay some solid salary mattered more than doing work that fulfilled. Fortunately, I listened to my gut and kept writing, following the thrum of excitement I felt each time I drafted a new story or had an idea for a piece.
I attended Bowling Green State University and met a fantastic cohort of writers and instructors of writing–most of whom I'm in contact with today. This community of writers was essential for building the "literary family" that I craved–folks who were also driven to create worlds from their imaginations. We encouraged each other and continue to do so. I taught at Southern Utah University, Penn State Erie–all the while working on fine-tuning my short story collection, The Longest Pregnancy was published in 2006. With time, I shifted into freelance writing for different universities. However, I still missed teaching and three years ago established the Lafayette Writers' Studio to combine my love for teaching with my desire to help others tell their stories. I started my forthcoming novel, Glory Days a few years before I opened the studio.
The Lafayette Writers' Studio is a place where writers of all experiences and backgrounds can learn about the art and craft of writing in an intimate, encouraging environment. We offer a range of classes from one-night intensives to workshops that last several weeks. It's really a wonderful place with amazing students from all walks of life.
MWW: Working at the Lafayette Writers Studio, what are the three biggest suggestions you have for writers looking to improve their craft?
MF: I encourage writers to read like a writer, and approach texts seeking answers to the questions they have about their own work and craft in general. Every writer is different and as such, no one approach is going to help each and every writer get words on the page. As a result, I encourage students to take the time to get know themselves and their process.
MWW: Can you compare the process you go through in writing a short story compared to a novel? What makes one story more appropriate for a short story and another suitable for a more extensive treatment in a novel?
MF: My first book, The Longest Pregnancy, was published in 2006. About 1/3 of the book was written as part of my graduate thesis at Bowling Green State University. The stories really were stand alone pieces and I was nearly finished with the book before I started to see how they might fit together. I started my novel, Glory Days a few years before I opened the Lafayette Writers' Studio and the first chapter I wrote for the book–"Teensy's Daughter" actually appears ¾ of the way through the book. I initially thought I was just writing a story, only after I finished drafting "Teensy's Daughter" I continued to think about three of the characters–Gardner, Teensy, and his daughter Luann. So I wrote another story with Gardner and Teensy at a much earlier part in their lives and found that I still had more to uncover. I was absolutely fascinated by these characters and once I realized how the town of Ingleside was a part of the conflict of the book, I knew there was a whole novel to be unearthed. So to answer your question, I really think it begins with the author's own interest in the story and whether it can be sustained.
MWW: How do you channel real life experiences in your fiction – or do you?
MF: I keep a small notebook with me at all times and jot down ideas whenever they strike–it could be an arresting image or a word or lately, a lot of memories from my own childhood. Some writers call this rich content "composting." Just like you might mix together certain ingredients to make a soil healthy, you can use elements of your life and what you find interesting to create memorable characters and situations.
MWW: What are the most satisfying aspects of writing for you? Conversely, what are the most frustrating or difficult aspects of being a writer, and how do you cope with those issues.
MF: I love revision, I love the thrum of a new idea, I find structure immensely satisfying and there is nothing better than discovering a new writer who fuels my work. Yet the days are long and can be rather lonely. It's important to surround yourself with other writers who can support and encourage you when the work isn't going the way you initially envisioned.
MWW: I've seen Glory Days referred to as "Fly Over Fiction," a term I've heard applied to other writing about middle America. Yet when I look at the wish list of literary agents, I never see "flyover" or "middle America" mentioned. Given that this is the Midwest Writers Workshop, do you think there is a place in the current fiction market for "flyover fiction", that is, fiction that has its roots in the people, places, challenges and values of middle America?
MF: I actually think there is an increasing interest in the Midwest as a place with its own identity, culture and values, which is quite separate from the coasts. That being said, I don't sense that flyover fiction or Midwest literature is a concern of the big publishing houses. But smaller indie presses such as Nebraska University Press , Graywolf, Coffee House Press do not offer huge advances and therefore don't have the same constraints as large publishing houses so they can pursue topics and approaches that appeal to different audiences, and this includes a newfound interest in work that is often overlooked such as flyover fiction.
MWW: Rejection is the most common shared experience among most writers. Do you have any advice for dealing with rejection from publications, agents or publishers?
MF: I think it's always important to keep in mind why you are writing. Are you writing because you want to become rich and famous? Are you writing to prove to your high school English teacher that you had more potential than the C- he gave you your sophomore year? While all of us dream of sharing our work with a wide audience, I think it's much more realistic to think that the results of our efforts may not play out the way we imagine. The work you do must be the reward–publication, awards, all of those moments when you and your work are in the spotlight are fleeting. But the work is with you for the long haul. Try not to focus to much on those outside forces you cannot control and instead honor your relationship with your craft and your writing.
MWW: What is the best piece of advice you have ever been given about being a writer or about life in general? What was the worst?
MF: Read everything you can get your hands on and don't just read your genre–everyone should read poetry! Write! Put yourself on a writing schedule and commit to writing regularly. Even if you are only sitting at your desk twiddling your thumbs, the longer you sit there, the more ideas will come to you. As you begin to take note of those thoughts by jotting them down or mulling them over in your mind, your brain will send you even more ideas. Writing begins with paying attention to your world and your surroundings and choosing to be curious with your own thoughts and reflections. I think writing helps you be your best self-at least that's what it continues to do for me.
MWW: Any last thoughts or comments that you want to share with those considering the MWW19?
MF: Come write with us!
Come to MWW19 and meet Melissa! Register here.
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Meet Joanna MacKenzie, literary agent with Nelson Literary Agency
Joanna MacKenzie joined Nelson Literary Agency in 2017 and is building a list of adult titles in the areas of mystery, thriller, and commercial women's fiction as well as select young adult passion projects. She loves creepy islands, mysteries set in close-knit communities (if those communities happen to be in the Midwest, all the better), and fierce mom heroines. Joanna is looking for smart and timely women's fiction where the personal intersects with the world at large, think Emily Giffin's All We Ever Wanted or Camille Perri's The Assistants.
Joanna's Wish List:
Her list includes: mysteries, atmospheric thrillers, women's fiction, moms with secret lives, anything set on a creepy island (or any island, really), midwestern-set mysteries/thrillers/fiction, re-invention stories (She'd love to find more about women in their 40s and 50s reinventing themselves following tragedy or break-ups). She'd also love to find a Beaches redux (aka friendship stories).
MWW Board Member Dianne Drake interviewed Joanna about her life as an agent and about coming to MWW Agent Fest.
MWW: Could you give us a little background of the agency you represent and the overall philosophy or focus of your agency?
JM: Nelson Literary Agency was found by Kristin Nelson in 2002. We are a full-service agency and though we may look like a boutique agency, we don't operate like one. We have amazing support staff who, for example, tackle things like royalty statement review and contracts, so agents can focus on their authors.
MWW: Because you primarily represent fiction, what makes fiction masterful in your eyes?
JM: For me, masterful fiction has voice and a sense of place. I want to get swept away, no matter what the genre, and transported to a new locale and I want to go on that adventure with a fascinating host.
MWW: Besides "good writing," what are you looking for right now and not getting? What do you pray for when tackling the slush pile? Conversely, what are you tired of seeing?
JM: I'm actually getting a lot of great stuff right now! So please keep it coming. I'm always down to confident voice, even if, and sometimes especially if, that voice is unexpected and new to me. When I pray to the slush pile deity, I specifically ask for the next Tana French. Or the next All We Ever Wanted by Emily Giffin or the next Station Eleven by Emily St. John Mandel. Personally, I'm a little tired of drunk cops down on their luck. I think there's a fresh way to approach this character.
MWW: As an agent who's being pitched, what do you want to hear in the allotted time? What don't you want to hear?
JM: I want to hear a clear statement on what I'm being pitched, even if it's wrong. Tell me you've written an 80,000 word thriller that will appeal to fans of Gone Girl, rather than an 80,000 word novel that might be a thriller, but could be women's fiction and will appeal to everyone who has ever picked up a book. It's up to me, ultimately, to decide if your comps are right, but I want to hear the clear idea.
MWW: What, in general, should a person do to make a good impression during a pitch session and what, specifically, should she/he do to impress you? And, if you like, what doesn't impress you at all?
JM: I love it when authors can place their manuscripts on a shelf for me, when they tell me of comparable titles.
MWW: Any other advice?
JM: Practice and don't be nervous. Easier said than done, I know, but I'm here to help and to listen. And I'm a nice Canadian, now Midwestern, person. Also, don't be afraid to ask questions. It's rare to have face to face time with an agent.
MWW: Also, what do you represent, and do you have preferences within that list?
JM: I represent commercial adult fiction in the areas of women's fiction, mysteries and thrillers, as well as select young adult projects. Right now, I'm drawn to female stories of reinvention (women on their second or third acts or finding new direction after a life-altering event); moms with secret lives (think Weeds); and women pushed to the limit who push back (think Widows). I'm also a fan of Midwest stories as well as creepy islands.
Come to the Agent Fest and pitch to Joanna!
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5 ways to rock your writing
Registration for MWW19 is now available!
Here are FIVE ways to rock your writing by coming to MWW19, July 25-27, 2019:
ENJOY NETWORKING OPPORTUNITIES
This is a chance to find your tribe. Network between or during sessions, over lunch, and of course at the evening activities.
GET MENTORED BY THE BEST
Learn from a faculty with award-winning bestsellers who will help refine your work and propel your career. Check out the faculty bios.
CREATE YOUR IDEAL EXPERIENCE
Choose from dozens of breakout sessions. Stretch yourself and select sessions outside of your comfort zone! Check out the schedule.
HONE YOUR FIRST 10 PAGES
The Saturday Intensives offer hands-on editing for your fiction or nonfiction manuscripts.
DEVELOP A STRATEGIC LAUNCH PLAN FOR YOUR WORK
Saturday Bootcamp with Jane Friedman, for published authors or about-to-be-published authors, will help you come up with an action plan.
Come for the creative energy that is MWW19…
Choose Your Genre: YA, Mystery, Middle Grade, Nonfiction, Poetry, Essay, Feature Writing
Fortify Your Writing: Editing and Revision, Cultivate Creativity, Form a Writing Habit, Research
Cross the Finish Line: Author Platform and Career Development Bootcamp
Manuscript Makeovers: Fiction, Nonfiction, Mystery, Romance, plus Nonfiction Book Proposal Workshop
Sometimes you just need to be surrounded by your people, to work on your craft, to get energized.
See what happens!
What writing will you produce after you leave? What friends will you make to hold you accountable? What impact will you give have on others in the writing community?
**MWW began in 1973 and has years of experience helping writers move forward in their writing journey.**
MWW hotel group rates available.
THREE-DAY: Thursday-Saturday, July 25-27, 2019
$399 [includes: Thursday reception, Friday & Saturday morning refreshments, lunches]
THREE-DAY REGISTRATION HERE.
TWO-DAY: Thursday-Friday, July 25-26, 2019
$289 [includes: Thursday reception, Friday morning refreshments, lunch]
TWO-DAY REGISTRATION HERE.
ONE-DAY: Saturday, July 27, 2019. [Intensive Sessions; small class, six-hour master session with an expert]
$155 [includes: morning refreshments and lunch]
ONE-DAY REGISTRATION HERE
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February 18, 2019 /0 Comments/in MWW Events, News /by Midwest Writers
Meet Savannah Brooks, literary agent with Jennifer De Chiara Literary Agency
Savannah Brooks joined the Jennifer De Chiara team in 2018, after interning for a year and a half. She's a nonfiction MFA candidate at Hamline University and earned her BS in marketing management from Virginia Tech. As well as agenting, she works as an editor at Red Bird Chapbooks, as a teaching artist at the Loft Literary Center, and as a reader for multiple literary magazines. Her own creative work has been publishing in Barely South Review, Hobart, Lime Hawk, and Every Writer's Resource, among others. When not immersed in the world of words, she can be found on her motorcycle, at her boxing gym, or lounging at one of Minnesota's 10,000 lakes. She lives in the most beautiful literary capital: Saint Paul. Follow her @slbrooks91.
Savannah's Wish List:
For YA, she's interested in books that focus on friendship, conflicting identity, and the theme of truth. She's always drawn in by a protagonist venturing into a realm where society says they don't belong (think swapping gender norms), and characters with weird obsessions. She's all about magical realism, mythology, and modern retellings (but not high fantasy or science fiction). She's invested in representing the diverse world in which we live and would like to see that reflected in a cast of characters. Show her variations in race, sexuality, gender, dis/ability, and ethnicity without that difference being a point of contention.
For adult fiction, she's interested in contemporary/literary novels/stories that are relevant to culture and focus on themes and issues that impact our daily lives. She loves a meaty cast and am drawn in by the fine line between humor and depth (think Liane Moriarty's Nine Perfect Strangers). She would love to hear more from marginalized voices, regardless of whether or not marginalization is a central theme.
She'd love to bring more nonfiction into this world, especially topic-driven books/essays such as those written by the likes of Mary Roach, Leslie Jamison, Michelle McNamara, Malcolm Gladwell, and Bill Bryson. She's also interested in memoir that will inspire generations to come—H is for Hawk is a personal favorite—and interested in humor that does more than just make her laugh—see: Priestdaddy by Patricia Lockwood.
MWW Board Member Marissa Rose interviewed Savannah about her life as an agent and about coming to MWW Agent Fest.
MWW: What's something that comes out soon that you're excited about?
SB: I'm cheating a bit with this one because the book has already come out, but Angie Thomas's new YA novel, On the Come Up, is on my immediately-to-read list. It just arrived on my doorstep the other day, and I can't wait to crack it open.
MWW: Besides "good writing," what are you looking for right now and not getting? What do you pray for when tackling the slush pile?
SB: I really want to see more teenagers (and all characters, really) who are engaged in things outside of school. Not just sports (although sports are good too) but maybe a weird hobby or job. Or maybe they're deeply embedded in a culture or community otherwise inaccessible to some readers. As a poster child of innate human curiosity, I want to learn about something new while I'm reading.
MWW: What are you tired of seeing?
SB: YA novels where either the establishment of high school or the parents are the ultimate evil. Both high school and parents have an intense psychological impact on teenagers, and that impact can be negative, no doubt, but those relationships are always more nuanced than that of a hero and villain. For adult fiction, I'm tired of characters whose entire persona relies on other characters or on the plot. I want a narrator to be able to stand on his/her/their own.
MWW: What questions should a writer coming to Midwest Writers Agent Fest ask an agent who is offering representation?
SB: Seeking representation is ultimately seeking someone to nurture and grow your professional development as a writer. So asking questions that move past the business logistics of writing and selling and get more at the ways you would work together and the future of your career are really telling for finding the best fit.
Come pitch to Savannah!
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text:
André Santos est un nom porté par :

 André Santos (1983-), footballeur brésilien ;
 André Santos (1989-), footballeur portugais.


LAWASIA's governing body, the LAWASIA Council, is composed of representatives from peak legal bodies within the United Nations ESCAP* region. As such, its policies and agenda are informed by, and directly address, issues confronting the legal profession throughout the Asia Pacific.
In addition to the bodies represented on its Council, LAWASIA has individual, organisational, law firm and corporate members drawn from over 40 jurisdictions. Every member has the opportunity to make a meaningful contribution to LAWASIA's activities by participating in one or more of its Sections and Committees.
Click here to view our organisational chart.


Prayer is one of the most precious gifts of God to man.
My beloved sisters and brothers, God our Father is not a feeling or an idea or a force. He is a holy person who, as the scriptures teach, has a face and hands and a glorious immortal body. He is real, He knows each of us individually, and He loves us, every one. He wants to bless us.
In His mercy, the God of heaven, the Creator and Ruler of all things everywhere, had heard a prayer about a very minor thing. One might well ask why He would concern Himself with something so small. I am led to believe that our Heavenly Father loves us so much that the things that are important to us become important to Him, just because He loves us. How much more would He want to help us with the big things that we ask, which are right (see 3 Nephi 18:20)?
"Hallowed be thy name" (Matthew 6:9; Luke 11:2). Jesus addressed His Father in an attitude of worship, recognizing His greatness and giving Him praise and thanks. Surely this matter of reverencing God and giving heartfelt and specific thanks is one of the keys to effective prayer.
"Thy kingdom come. Thy will be done" (Matthew 6:10; Luke 11:2). We freely acknowledge our dependence on the Lord and express our desire to do His will, even if it is not the same as our will. Our Bible Dictionary explains: "Prayer is the act by which the will of the Father and the will of the child are brought into correspondence with each other. The object of prayer is not to change the will of God, but to secure for ourselves and for others blessings that God is already willing to grant, but that are made conditional on our asking for them" (Bible Dictionary, "Prayer").
"Give us this day our daily bread" (Matthew 6:11; see also Luke 11:3). We ask for those things we want from the Lord. Honesty is essential in requesting things from God. It would not be fully honest, for example, to ask the Lord for help on a test in school if I have not paid attention in class, done the homework assigned, or studied for the test. Often as I pray, the Spirit nudges me to admit that there is more I should do to receive the help I am asking from the Lord. Then I must commit and do my part. It is contrary to the economy of heaven for the Lord to do for us that which we can do for ourselves.
"And forgive us our debts" (Matthew 6:12), or in another version, "Forgive us our sins" (Luke 11:4). An essential and sometimes forgotten part of personal prayer is repentance. For repentance to work, it must be specific, profound, and lasting.
"And ye ought to say in your hearts—let God judge between me and thee, and reward thee according to thy deeds" (verses 10–11).
Then we must drop the matter completely, letting the Lord take it from there, if we desire to be healed.
"And suffer us not to be led into temptation, but deliver us from evil" (Matthew 6:13, footnote a; from Joseph Smith Translation, Matthew 6:14; see also Luke 11:4, footnote c; from Joseph Smith Translation). Thus, in our prayers we may begin the protective process of putting on the whole armor of God (see Ephesians 6:11; D&C 27:15) by looking forward to the day ahead and asking for help with the sometimes frightening things we may face. Please, my friends, do not forget to ask the Lord to protect and be with you.
"For thine is the kingdom, and the power, and the glory, for ever" (Matthew 6:13). How instructive it is that Jesus concluded this prayer by praising God again and expressing His reverence for and submission to the Father. When we truly believe that God rules His kingdom and that He has all power and all glory, we are recognizing that He really is in charge, that He loves us with a perfect love, and that He wants us to be happy. I have found that one of the secrets to a joyful life is to recognize that doing things the Lord's way will make me happier than doing things my way.
We must not imagine that any kind of prayer, no matter how sincere, will be very effective if all we do is to say the prayer. We must not only say our prayers; we must also live them. The Lord is much more pleased with the person who prays and then goes to work than with the person who only prays. Much like medicine, prayer works only when we use it as directed.
When I say that prayer is a sweet privilege, it is not just because I am grateful to be able to talk to Heavenly Father and to feel His Spirit when I pray. It is also because He actually answers and speaks to us. Of course, the way He speaks to us is usually not with a voice we hear. President Boyd K. Packer explained: "That sweet, quiet voice of inspiration comes more as a feeling than it does as a sound. Pure intelligence can be spoken into the mind. … This guidance comes as thoughts, as feelings through promptings and impressions" ("Prayer and Promptings," Liahona and Ensign, Nov. 2009, 44).
Sometimes we seem to get no answer to our sincere and striving prayers. It takes faith to remember that the Lord answers in His time and in His way so as to best bless us. Or, on further reflection, we will often realize that we already know full well what we should do.
Please do not be discouraged if this does not work for you all at once. Like learning a foreign language, it takes practice and effort. Please know, though, that you can learn the language of the Spirit, and when you do, it will give you great faith and power in righteousness.
I cherish the counsel of our beloved prophet, President Thomas S. Monson, who said: "To those within the sound of my voice who are struggling with challenges and difficulties large and small, prayer is the provider of spiritual strength; it is the passport to peace. Prayer is the means by which we approach our Father in Heaven, who loves us. Speak to Him in prayer and then listen for the answer. Miracles are wrought through prayer" ("Be Your Best Self," Liahona and Ensign, May 2009, 68).
I am deeply grateful for the privilege of going to my holy Heavenly Father in prayer. I am thankful for the countless times He has heard and answered me. Because He answers me, including sometimes in predictive and miraculous ways, I know He lives. I also humbly testify that Jesus, His holy Son, is our living Savior. This is His Church and kingdom on the earth; this work is true. Thomas S. Monson, for whom we fervently pray, is His prophet. Of which things I testify with full certainty in the name of Jesus Christ, amen.
See Francis M. Lyman, "Proprieties in Prayer," in Brian H. Stuy, comp., Collected Discourses Delivered by President Wilford Woodruff, His Two Counselors, the Twelve Apostles, and Others, 5 vols. (1987–92), 3:76–79; B. H. Roberts, comp., The Seventy's Course in Theology, 5 vols. (1907–12), 4:120; Encyclopedia of Mormonism (1992), "Prayer," 1118–19; Bruce R. McConkie, Mormon Doctrine, 2nd ed. (1966), 583.


The test drive fundraiser will take place on Saturday, September 15 from 8-4 at Bill Dobson Ford in Washington.
For every test drive taken, Ford Motor Company will donate $20 to Lena Dunn. One driver per household. All drivers must be 18 or older with a valid license and valid auto insurance. We can have up to 300 test drives, ($6,000!!!) so its really important we share the information with our students, families, and friends.
The HS Football team will be selling concessions, the Red Cross will be hosting a blood drive, and Lena Dunn staff will be having a bake sale.
Funds raised from the test drive will go towards our outdoor learning area. Funds raised from the bake sale will go towards field trips for Lena Dunn students.
Come out and test drive your dream car and support your school!


text:
Robert Pattinson Is the New Batman -- and We're Freaking Out
"Twilight," "Harry Potter" alum to star in "The Batman," due out in 2021; scores role over "X-Men" standout Nicholas Hoult
by iDaily Staff | 5.31.2019
Robert Pattinson has been signed to star in The Batman, the new Caped Crusader movie. The film, to be directed by Matt Reeves (Dawn of the Planet of the Apes, War for the Planet of the Apes), is scheduled to open in theaters in 2021.
Pattinson, 32, rose to fame playing vampire Edward Cullen in the Twilight franchise. The actor reportedly won the part of Bruce Wayne/Batman over the X-Men movies' Nicholas Hoult. Pattinson inherits a role most recently played by Ben Affleck in 2017's Justice League.
Hollywood Reporter, Variety, and Yahoo Entertainment all have the scoop on the Pattinson-Batman deal.
For more bat-details, read on:
"Warner Bros. is lighting the Batsignal for Robert Pattinson."
- Hollywood Reporter
Robert Pattinson is officially Batman https://t.co/KH7rl94RRl pic.twitter.com/Z3tBtgvJQJ
— Variety (@Variety) May 31, 2019
IT'S OFFICIAL: Robert Pattinson the new Batman. 🦇 https://t.co/eisZgO3mMB pic.twitter.com/Z8n5mOk22r
— Complex (@Complex) May 31, 2019
What Hollywood Insiders Are Saying About Robert Pattinson and Batman
THIS JUST IN: His deal has closed and Robert Pattinson is officially the next Batman in Matt Reeves' #TheBatman. The film hits theaters on June 25, 2021.
(IMO, they couldn't have picked a better dude to play the Bat. I'm ALL IN on R-Patz!) pic.twitter.com/jq48vGURRd
— Erik Davis (@ErikDavis) May 31, 2019
Why Robert Pattinson is an inspired choice to play Batman https://t.co/M3p3hdlQzk
— The Independent (@Independent) May 31, 2019
Check back 👉 on our trending news page all day for the latest news about Robert Pattinson — or any of the celebs, movies, shows or fandoms you love the most.
Celebs: Robert Pattinson, Batman, Nicholas Hoult
Topics: Trending, Robert Pattinson, Batman, Twilight
I'm Batman?
Quiz: Are You Batman?
Bestest
The Only 10 Superheroes Who Matter, Ranked
Which Extremely Pale Actress Are You?
Which Member of the Justice League Are You?
GAG-WORTHY
Here's Who Won RuPaul's Drag Race Season 11 (and Who Should Have Won, According to You)


text:
Q: Deadlock while using goroutines I have a program which does 2 things:

*

*Read log entries and create logEntry objects

*Process each logEntry instances

Here, reading is done by separate goroutines and processing of all the read entries is done by a single goroutine.
I'm using a waitgroup - wg to ensure that all the log entries are read before the program quits and a signal channel - done to ensure the processing of the log entries are completed.
The waitgroup is working as expected, however when I call <-done to ensure that the program exits only after the read log files are processed, it throws the error fatal error: all goroutines are asleep - deadlock!.
Could someone please explain why this is happening and how to fix the above error?
main.go:
package main

import (
    "fmt"
    "sync"
    "time"
)

type logEntry struct {
    lines      []string
    created_at string
    line_count int
}

var wg sync.WaitGroup

func main() {
    linesChan := make(chan (logEntry))

    done := make(chan (bool), 1)

    // Process entries from lines
    go func() {
        for c := range linesChan {
            time.Sleep(100 * time.Millisecond)
            fmt.Printf("%v\n", c)
        }

        done <- true
    }()

    // Read lines
    for i := 1; i <= 10; i++ {
        wg.Add(1)
        go func(i int, linesChan chan (logEntry)) {
            read(i, linesChan)
        }(i, linesChan)
    }

    // Wait till all the files are read
    wg.Wait()

    // Wait till all the log entries are processed
    <-done
    close(done)
}

func read(count int, channel chan (logEntry)) {
    fmt.Println(count, "read")
    channel <- logEntry{
        line_count: count,
    }
    wg.Done()
}

Output:
10 read
6 read
3 read
1 read
4 read
8 read
7 read
2 read
5 read
9 read
{[]  10}
{[]  6}
{[]  3}
{[]  1}
{[]  4}
{[]  8}
{[]  7}
{[]  2}
{[]  5}
{[]  9}
fatal error: all goroutines are asleep - deadlock!

goroutine 1 [chan receive]:
main.main()
  .../main.go:44 +0x13a

goroutine 18 [chan receive]:
main.main.func1()
  .../main.go:24 +0x145
created by main.main
  .../main.go:23 +0x9d
exit status 2

A: in your case you are listening for linesChan, but not close it. You need to close this channel, when all data will be passed. done <- true won't be executed.
But don't need channel for sync here, sync.WaitGroup{} will be enough.
package main

import (
    "fmt"
    "sync"
    "time"
)

type logEntry struct {
    lines      []string
    created_at string
    line_count int
}

var wg sync.WaitGroup

func main() {
    linesChan := make(chan (logEntry))

    // Process entries from lines
    go func() {
        for c := range linesChan {
            time.Sleep(100 * time.Millisecond)
            fmt.Printf("%v\n", c)
        }
    }()

    // Read lines
    for i := 1; i <= 10; i++ {
        wg.Add(1)
        go func(i int, linesChan chan (logEntry)) {
            read(i, linesChan)
        }(i, linesChan)
    }

    // Wait till all the files are read
    wg.Wait()
}

func read(count int, channel chan (logEntry)) {
    fmt.Println(count, "read")
    channel <- logEntry{
        line_count: count,
    }
    wg.Done()
}

redpajama_set_name: RedPajamaStackExchange


An eclectic mix of Australian antique spade back cedar chairs. x2 with curved top rail within shaped upright supports above solid seats, raised on ring turned and bulbous tapering legs, accompanied by a set of 4 Australian antique cedar dining chairs featuring the spade back with plain arch back rail and drop-in padded seat with tapering tulip front legs.
Suitable for any modern dining or kitchen table. Can be reupholstered to suit your taste or leave as is.
Available as a set of 6 or can be purchased with matching Antique Cedar extendable table at an additional price.
Note: Sold As Is. Restoration of 1 chair that had damage on inner frame left hand front side (photo provided) Good condition, wear commensurate with age.


Although Colorado's clean air laws prohibit anyone from building a source of air pollution without a permit, one oil and gas company seems to think it's above the law.
That company is Plains Exploration and Production. And right now, the company is building a giant natural gas compressor station in far eastern reaches of Mesa County of western Colorado in an area called "Alkali Creek." The company is building the compressor station, even though the company has yet to get a permit from the Colorado Department of Public Health and Environment.
DJ Beaupeurt at the BLM confirmed that construction has been ongoing for some time. The compressors are supposed to be up and running w/in 1 month. I asked whether it was standard BLM procedure to allow ground work before final permits have been issued. DJ said that she had the draft permits in hand and that all permits were supposed to be finalized before the plant was up and running.
In other words, the BLM is actually letting oil and gas drillers build their compressor stations before they get final permits. That's like letting someone drive before they get their driver's license.
Not only that, but the Colorado Air Pollution Control Division itself told Rocky Mountain Clean Air Action that Plains Exploration and Production was violating Colorado clean air laws by building without an air pollution permit. Guess what they're going to do? They told us over the phone that they're actually going to allow them to keep building and possibly fine them at a later date.
In other words, Plains Exploration and Production is in the midst of violating clean air laws, yet the BLM is condoning this behavior and the State of Colorado is looking the other way.
And as if that wasn't bad enough, Rocky Mountain Clean Air Action and a number of other groups filed scathing comments over the permits. Plains Exploration and Production should actually be denied air pollution permits because it's compressor station will release massive amounts of harmful air pollution, in violation of clean air laws. Consider the fact that the compressor station will annually release over 80,000 pounds of benzene, which is known to cause cancer.
With the federal government urging oil and gas drillers to violate the law and the State of Colorado turning its back on such lawlessness, it's no wonder people are outraged. On the heels of last week's Beyond the Boom series in the Rocky Mountain News, this incident only bolsters calls for reforming the oil and gas industry.
Once again, clean air loses while lawless oil and gas drilling prevails. While State and federal officials should be ashamed of themselves, it's the oil and gas drillers who are truly to blame.


text:
You are viewing all posts for tags: chevrolet
Used Chevrolet Tahoe Brandon MS 39042
Chevrolet Tahoe LT
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Sensibility and practicality define the 2017 Chevrolet Traverse. With less than 30,000 miles on the odometer, this 4 door sport utility vehicle prioritizes comfort, safety and convenience. It features an automatic transmission, front-wheel drive, and a refined 6 cylinder…
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You can expect a lot from the 2012 Chevrolet Cruze. This 4 door, 5 passenger sedan provides exceptional value! Smooth gearshifts are achieved thanks to the efficient 4 cylinder engine, and for added security, dynamic Stability Control supplements the drivetrain…
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You can expect a lot from the 2017 Chevrolet Colorado. This 4 door, 5 passenger truck has not yet reached the 50,000 mile mark! Smooth gearshifts are achieved thanks to the refined 6 cylinder engine, and for added security…
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You can expect a lot from the 2015 Chevrolet Equinox. It features a front-wheel-drive platform, an automatic transmission, and a refined 6 cylinder engine. Chevrolet infused the interior with top shelf amenities, such as: power front seats, heated seats, heated…
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4Runner All-New 1500 Altima Avalon Avalon Hybrid C-HR CADILLAC Camry Camry Hybrid Challenger Chevrolet Colorado Compass Corolla Corolla Hatchback Corolla Hybrid Corolla iM coupe Cruze Dodge Edge Equinox Escalade Escape Expedition Explorer F-150 F-250 Focus Ford