Entries for the writing contest have started to trickle in. I know there are more out there hiding on hard drives...don't be shy, send them in. I've extended the deadline to give you a little more time. A few questions about the contest have come up from readers, so I've added some clarity to the contest guidelines (I hope). It's my first kick at the cat, and I'm pretty laid back when it comes to rules and regs.

The question of regular submissions also came up. Because this is a one-horse show, I lack the financial means to offer any monetary compensation for submissions, which is why I've never actively sought any. To do so would make me hypocritical, as I've been quite vocal about other editors who expect subs for exposure. However, having said that, if you still want to contribute to the newsletter, I'd be happy to look over anything you'd like to add. I'm certainly not trying to exclude anyone, but I'm not out to rip anyone off either.

The website is slowly being resurrected. I've added a few markets, resources, etc. Check it out when you get a chance. More will be added as time and work schedules permit.

Happy Writing!
~Arlie

I've made a lot of mistakes in this learning curve called writing. One of the biggest was POV, a fact that one editor pointed out in a detailed rejection letter. In my newbie attempts to educate my readers on what EVERYONE was thinking, I had no less than 3 POV's in one short story. The end result was a good story being sent to the editor's recycle bin instead of inclusion in the intended anthology.

I've progressed a little since then, and now when I read other writers' work with the same problem, it is glaringly obvious. Why? Because it's confusing. Just as you're getting into the headspace of the main character, there is an abrupt switch to another character, and then another. I've seen this in published books as well. Sometimes I try to ignore it and muddle through; other times, my brain goes on tilt and the book/story gets tossed aside.

A very basic rule of thumb is one POV per short story or chapter. In a short, the other characters aren't paid to think, their job is to interact with or affect your main character. In a novel, there is a mental break at the end of a chapter; so one can successfully get away with the introduction of another POV.

If you really must switch POV in a short story, alert your readers' minds that something is about to change by separating the paragraphs with ***. Limit the use of this little trick though-you don't want to follow every other paragraph with astericks.

If you're not sure who's doing the talking, put yourself in the main character's shoes. You are now 'Bob'. Would Bob really know what Tom is thinking? Would Bob be privy to Tom's rationale? Unless Bob is psychic, all Bob is going to know is how he is personally affected by what Tom says or does.

Once you become symbiotic with your character, it'll be easier to keep your POV straight. Your story will flow better, your readers won't be left dazed and confused, and editors will have one less reason to reject you.

~Arlie

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