Categories
BACCA Writers

Some Tech Tools for Writers

calendar of Oct - Nov - Dec 2014
What’s Left of 2014

It’s fall. Everyone’s back at their desks, and signs of the November->January holiday madness are still faint enough to ignore. So in other words, we’re all on the brink of overwhelm. If, like me, you are juggling writing projects with other work, you want to feel you’ve got the materials you need, wherever you happen to find yourself when the time opens up to work on your writing projects.

Lately, I have found a few tools that really help keep overwhelm at bay, particularly in collaborative environments.

Tracking Shared Projects

To keep track of shared projects (in my world, that usually involves 2-5 people), I used to make a table in Word of the topics and tasks within each topic that were to be managed. The parties involved each received a copy by email, and wrote back happy emails about how organized we all were. That part usually went pretty well. Then the ugly part began when it came time to update it, and keep track of version numbers, and revision dates, and who had received an emailed copy of the latest version, and on and on. It became a minefield, not a helpful tool. So many accurate and true things in that table could become wrong and out of date, so quickly.

Now for shared projects I encourage my book coaching clients and other project collaborators to use Trello. It’s a web-based tool, free for basic use, for listing items and adding comments, files, checklists, calendared deadlines, images and other media, and more. A page, known as a Board, in Trello’s default format, which is easily edited, shows three vertical lists headed To Do, Doing, and Done. One oddity: You can’t delete items from Trello, but you can archive them so they aren’t on your screen.

Sample Board in Trello
Sample Board in Trello

Search is nice and fast. It works on devices with a web connection – which includes computers, tablets, smartphones, and so on. And it’s always up to date. When people add their two cents, or a new task, or check a box in a checklist, everybody involved will know about it the next time they visit the Trello board. The ugly part from the old days of tables build in Word just pretty much disappears.

Floating Research Library

It’s true what they all say about Evernote: You really won’t need to keep those scraps of paper any more. It’s amazing to me how readily I adapted from “Where the $%^& did I put that stick-it with that book title / idea for subplot / phone number / song fragment?” to “Oh yeah, I’ll just look in Evernote. I bet I put it there.” Like Trello, Evernote’s search is super-fast and thorough. Also as with Trello, you can make categories and sub-items, here called Notebooks and Notes, subject to annotation, media attachments, live URL links, etc. For me, Evernote is my great reference library in the sky. Nothing is too small to put up there.

I’ve been at meetings with only my phone, yet equipped to answer questions, back up my assertions, illustrate ideas, and keep the ball rolling because I’ve got Evernote on my phone. And when you come across that brilliant idea or crucial piece of info while you’re out and about, you can email it to your Evernote library with your special dedicated email address (that you remembered to stick into your smartphone’s contacts directory, of course). It works on most devices. Unlike Trello, the Evernote software is not web-based – you download an app, free for basic use, from the company’s website and it resides on your device, while sharing the contents of your library with other devices you authorize. There’s a username/password gate to pass through, securing access to your stuff.

Facebook Groups

I feel a little tacky admitting this, but you know what? Facebook can be a useful collaboration tool. Protect your privacy, of course, as you would with anything at all posted there, but within bounds, a Closed or Secret Facebook group can become a terrific tool for shared projects. Keep one another up to date, ask questions, post calendared events, share files and links. The biggest downside? You have to go on Facebook to access the good stuff your colleagues are sharing with you inside your walled garden. Time sucks lurk just outside the garden wall.

Image of a garden wall
Beware what lurks outside. Image from HGTV.com

Again, it’s free of charge, web-based, and platform-independent. A web connection is all you need. We BACCA members rely on such a group for keeping in touch between meetings.

Google Calendar

The interface is unbeautiful, old, and clunky, admittedly, and privacy is, uh, dubious, but inviting people to meetings, setting aside the time for them, linking to an agenda document, and other such administrative tasks can be handled pretty well from within Google Calendar. By the way, you can invite people who don’t have a gmail address. It’s web-based, platform independent and free of charge.

File Storage

When I have the chance to get some writing work done, I’m not always at my home office with access to the files stored on the server there. I switched a while back from Dropbox to Sync, as the place to keep drafts of works in progress. Truth be told, I prefer to use it only for temporary storage. (That’s probably my 60s-era bad attitude showing up, as it is wont to do these days.) Like the other products mentioned here, it is free for basic use. Sync says it uses encryption and otherwise is better at protecting my privacy than the competition.

Backup Is On You

With Trello and Evernote and Facebook and Google Calendar and everything else web-based, backing up your data is your job – not theirs. Procedures and file formats differ, so be sure to find out the ways to save copies from the cloud down to something local under your control. Then – and this is important – slot the time into your regular routine actually to DO those backups. It’s the old umbrella-toting-rainstorm-averting theory – if you make backups you’ll probably never need them. So make them.

Privacy

Yeah, not so much. I recommend assuming, at a minimum, that what you put up in the Cloud is or may be subject to anonymous data-mining. In addition, personally, I wouldn’t use any of these tools to store usernames and passwords, Social Security and other such valuable identifying numbers, large address books and contacts directories, valuable intellectual property, and confidential documents. Sync’s website includes a blog post itemizing some of the more egregious privacy policies out there.

The Monster in the Shadows

Okay, I admit it. Not covered here is a recommendation for the tool that facilitates easy collaboration on an actual document. That’s because I’m still looking for something better than Track Changes in Word. Please understand, by that I mean I really really really want to find something better. I have been known to wail, curse, stamp my feet, sigh, and otherwise demonstrate my utter frustration with that inadequate, inelegant, outdated tool. One that I’ve read interesting things about is called Draft. Here’s its info page about version tracking and revisions.

PS – In the day since this blogpost went up, I’ve come across a few more things on this topic. Two colleagues and fellow BACCA-ites chimed in: Bethany Joy Carlson mentioned Google Docs as a useful alternative to Word for some purposes (although I’ve also seen negative reviews of it for security concerns, for example), and C E Cameron is checking out Scrivener (as I am). And then I recalled having seen mention of Poetica for online document collaboration. And then I realized that Jane Friedman’s recent blog post about alternatives to Word may have been the place I learned about Poetica.

What do you think? Do these and other tools help you keep the overwhelm at a manageable distance? Please tell us in the Comments below.

— A M Carley writes fiction and nonfiction, is a founding member of BACCA, and is CEO of Chenille Books which provides editing and coaching services to authors.

Categories
BACCA Writers

7 Things I’ve Learned About Writing From Casting

Bethany casting a major motion picture in 2014... right before 1,055 boys and their entourages arrived
Bethany casting a major motion picture in 2014… right before 1,055 boys and their entourages arrived

One of my favorite jobs is being a Casting Assistant for Arvold.

A funny thing happens when you work casting. Actors come up to you and ask, “why didn’t (my son / my niece / my spouse) I get the part?!?”

If I’m ever feeling low about my rejections (I’m currently 0 for 2 this year on screenwriting competitions), I remind myself of these seven things I’ve learned about writing from casting.

  1. There’s a lottery element to producing creative work. I recently assisted at an “open call”, e.g. an audition for a major motion picture that was open to the public. We auditioned ONE THOUSAND FIFTY FIVE boys in four hours. We turned away over a thousand more. The police had to direct traffic. Art is tied to dreams, and a lot of people share the dream of seeing their creative work produced and shared and enjoyed. So the competition is stiff. It’s just not statistically sound to expect more yesses than noes.
  2. It’s worth it to show up even if I don’t book the gig. Most of the actors I see don’t book the part they’re auditioning for. But, I get to see them work. Which means when I’m brainstorming whom to call for the next project, the faces I’ve seen over and over again leap to mind. Familiarity is powerful. If you’re professional on the phone and email, show up on time, take direction, and keep your cool, you’re showing that you’re a pro – even if you don’t book this particular gig. So I make sure when I’m talking with agents, editors, producers, and other professionals, I’m behaving myself accordingly. Even if they don’t bite on my project. Yet.
  3. A performance can be amazing – and not right for the job. I have cried at auditions where the actor did not book the part. If we are looking for a haggard woman crying over the death of her son, and the actor is young and beautiful, they may nail the performance but simply not be right for the role. I submitted to a comedy screenplay contest earlier this year. My script is good, but it is dark. I call it a dark comedy, but reviewers call it a comedic drama. If the contest winner turns out to be a classic slapstick comedy, I’ll know my submission just was not right for what the judges were looking for.
  4. No performance happens in a vacuum. No actor’s performance stands alone in a film or TV show. It needs to be compatible with the other performances. If we’ve already cast 10 of 20 speaking roles for a particular show, the other 10 roles that remain to be cast need actors who complement the rest. The same holds true for a publisher’s line-up. If I submit a Young Adult manuscript about a 15-year-old Physics prodigy, and the publisher is already about to debut a Young Adult book about a 15-year-old Astrophysics prodigy, that’s just my bad luck. My book does not exist in a vacuum.
  5. Some days are bad days. This doesn’t really need an explanation. Even good actors have a bad day and turn in a lackluster performance. Sometimes my writing has no spark. C’est la vie.
  6. Some actors aren’t ready yet. We’re doing emerging actors a favor by not putting them in roles they can’t carry. Ideally, we want to set everyone up so they can succeed. Frankly, when I look back on it, I’m really relieved some of the manuscripts I submitted never got picked up. I would not want my major debut to have been that (in hindsight) overwritten mess.
  7. Beautiful and photogenic are not the same thing. I’m still trying to come to grips with the difference between what looks good to the naked eye and what works on camera. There are a lot of differences, actually: What works on stage is massive overkill on camera. Comic timing and dramatic connection are not the same muscle. Large features on a face may look a bit strange in person, but the camera lens may love them. And lots of actors are still trying to work out where exactly their talent lies – and auditions can help that process, because experts are effectively giving feedback over time based on what kinds of jobs an actor ultimately books. I felt that way about my writing for a long time. Do I write short stories? Fables? YA? Flash fiction? Graphic novels? It wasn’t until I really dug into screenwriting that I felt like I found my true strength.

I guess if there’s one thing to take away about writing from casting, it’s that persistence and professionalism pay off. Don’t take rejection personally; it’s probably moving you closer to your goal.

 

Arvold casts award-winning film (Lincoln), television (Turn: Washington’s Spies), and commercials (just wait till you see the Williamsburg Tourism commercial coming in 2015). If you are interested in learning more about film and television in the Mid-Atlantic, consider attending one of the monthly Arvold Live sessions – they are an invaluable discussion with industry pros about how Virginia’s star is rising for actors – and everyone who works in the business.

Bethany Joy Carlson writes dark comedy screenplays. (Or comedic dramas, depending on whom you ask.) She is a WriterHouse Board member, owner of TheArtistsPartner.com, and founder of BACCA.

Categories
BACCA Writers

The Safe Space To Dream Big

“May 25, 2019. Bethany Carlson has won the coveted Palme d’Or at this year’s Cannes Film Festival.”

So begins an exercise I did on 2/8/14 at this year’s BACCA writing retreat: write a press release, five years in the future, about achieving a major writing dream.

I don’t have an agent. I have only taken two screenwriting classes, one at WriterHouse, one at UVa. But not for credit. I didn’t even need to apply to get in. Just write the tuition check. I’m not famous, I don’t live in LA, I don’t have connections. So go right ahead and laugh.

This is the thing about having a great writing group: it’s a fortress. It’s not just me against the world. I know BACCA has my back. My writing group is a safe space to dream big.

The follow-up exercise was to list practical steps towards achieving that dream. I scribbled down: “Write three feature-length screenplays. The first two will probably suck but the third one might be pretty good.”

Who knows if that Palme d’Or press release will ever get written; it’s almost totally outside of my control. Except for the part about writing. I definitely can’t win if I don’t write. And one thing that has actually happened in the last two months: after years toiling on YA novels and short stories, I finally finished a draft of my first feature-length screenplay. And I’ve submitted it to BACCA for critique.

I’ll get honest feedback to make screenplay numero uno better. And the encouragement – and accountability – to move on to screenplay number two. And then #3. And they do say the third time’s the charm.

final draft
We’ll Always Have Kabul, my first feature length (almost) screenplay, in software Final Draft

Bethany Carlson is a co-founder of BACCA Literary. She is a WriterHouse Board member and the owner of TheArtistsPartner.com where she helps authors and other artists to professionally produce and distribute their work.

Categories
BACCA Writers

The Stories We Tell

I loved to make up stories when I was a kid. It seemed a simple, easy thing to do, back then. As I grew up, I stopped writing stories. Later, I committed to other art forms, and when I wrote sentences, I wrote nonfiction, not stories. Not long ago, I began again. I dared myself to try making up stories, by signing up for classes at WriterHouse.

Since then, I have slowly gotten more competent through practice, practice, and practice. My writer group, BACCA Literary, is one reason why. We first met, in fact, in a fiction class at WriterHouse.

This writer group has provided me with a monthly deadline for producing – well, something. We’ve been sharing work with one another for at least thirty months. I’ve emailed a Word document out to the others by the late-Friday deadline, every darn month. Well, there was one exception, when my family life was too chaotic, a couple of years ago. So let’s say I’ve been sharing work for at least 29 months and leave it at that.

Good Enough?

Sure, I recognize that I haven’t always sent my best work to the other three writers in the group. “Best” is relative, measured on a sliding scale. Over time, I raised my standards for what’s good enough to send out to the writer group members. After I allocated more time each month to work on writing, I became dissatisfied with my earlier stories. Now I can predict with confidence that the stories I am pleased with now will one day look a little shabby to me.

Your Best doesn't always look the same
Your Best doesn’t always look the same

Meanwhile, I have become less able to turn off the inner voice whispering, “Go ahead. Send something out and see if it gets published.” It was easy the first couple of years to hush that voice. I knew my work wasn’t ready to travel beyond the writer group.

For new-ish writers like me, hushing that voice gets trickier over time. We want to believe we’re improving. We want to believe there’s going to be an audience one day, however small or particularly quirky that audience may reveal itself to be. We want to nourish the creative spirit that energizes our whole enterprise. We want to begin to send work out to people – strangers – not in our writer group. I considered how to start.

The P-Word

To prepare to send work out into the world, I set up a spreadsheet to track my efforts to get published. Then I let the spreadsheet sit for quite a while, untouched. Later on, I added a tab to my spreadsheet with key facts on the publications that most appealed to me – things like deadlines, formatting preferences, lag time before they decide what to publish, method of submission, categories they favor, contact information, etc. The enhanced spreadsheet sat again, for a long break. More recently, I actually sent a few things out and made entries into the spreadsheet. I’ve heard back with two rejections, which I dutifully entered into the appropriate cells. I’m waiting for replies from the others.

I hesitated to send out my work until I felt satisfied enough with it that it didn’t feel too embarrassing. I chose carefully the places I sent those first few submissions – not too grandiose, and yet consistent with who I am as a writer.

And that just begs the questions, doesn’t it?

Questions

Who am I, as a writer, and why am I doing this? Author Dan Holloway, in his recent essay, What Do You Want from Your Writing in 2014 and Beyond? at Jane Friedman’s blog, says:

“If you don’t know what you want from your writing, what on earth are you doing writing anything? How can you possibly tell whether your words do what you want them to?”

It’s actually not that hard a question. It rests on a more fundamental one. Why do you write?”

Please don’t tell me the answer is “I make art because I must.” To me, that feels lazy and self-aggrandizing in a “poor-me,” humblebrag kind of way. Besides it ignores free will.

the words, Why Write?
Oh. THAT question.

I could tell you I write because I’ve engaged with the challenge to improve my work. The challenge is difficult enough always to involve real effort, yet rewarding enough, because of the progress I am making, to continue to motivate me to get better at it.

I could tell you I write because my life with music was altered when hand surgery made playing instruments too difficult. I could tell you I write because I’ve grown old enough to take a longer and more loving view of life. I could tell you that there’s plenty to love about writing for its own sake. Polishing a story can make my day, even when no one else has seen it yet.

Also, the most fun I’ve had with my writing lately was when some visiting non-literary friends asked me to read them a piece after I cooked them dinner. That was a blast. My fellow BACCA-ite, Claire Elizabeth Cameron, touched on this recently when she wrote,

“People are doing work for free, work for fun, work for creativity all over the place, and it’s making this world a better place. Success [in writing] is making a connection.”

So why am I writing? To get better at it. To see how much I can improve. To see if my embarrassment-meter gives me the green light to send out stories to more publications. To see if I receive a green light in return. And, in the meantime, to keep telling stories.

#amwriting

A M Carley

A M Carley is a co-founder of BACCA Literary. She owns and operates Chenille Books where she works with nonfiction authors.

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Events

Support WriterHouse Cville and Bid for a BACCA Critique Session

WH logo

BACCA Literary is thrilled to be donating an authentic BACCA experience to the annual WriterHouse Words & Wine benefit Sunday afternoon, October 13, at Glass House Winery (in Free Union, just North and West of Charlottesville, VA). The benefit starts at 1pm and ends at 4pm.

The successful bidder at the silent auction will receive a full 4-member, 30-minute, in-person BACCA critique of up to 3,000 words of their manuscript. The customary value of this invaluable feedback is $100.

We’ll be following the same routine that has proved so useful to the BACCA members since January 2011:

1. Submit Work-In-Progress a full week in advance.
2. Meet to hear discussion of the work, following Whisnant’s code for great critiques.
3. Allow time for author Q&A.

The founding members of BACCA first met in a fiction class at WriterHouse, so it is particularly enjoyable for each of us to come full circle and give back some of the valuable encouragement and critiques that have taken our own writing to the next level. BJC

Be sure to join us at Words & Wine this October 13 at Glass House Winery! Admission of $35 includes food, wine, a gift, live music, and one raffle ticket. The silent auction will be held during the benefit. Full details at WriterHouse.org.

wine glass and bird of paradise