RED ROCK REVIEW Publishes "Finisterre"
     by Sheila MacAvoy 
Spring 2003, issue thirteen
For purchase & subscription information: www.ccsn.nevada.edu/english/redrockreview/

RATTLE — Poetry for the 21st Century
Issue 19, Summer 2003
Purchase & subscription information: www.rattle.com

Editor Stella Sue Lee's "Tribute to the 20 Minute Poem" evolved out of her guest appearance at Perie Longo's poetry workshop in Santa Barbara (July 2002). Poetry is the perfect summer read, so get comfortable in a swinging hammock (preferably in dappled light) and see what some of our CoV authors have been up to in their spare time.

Mary Rose Betten

Age Comes While I'm Trying to Figure Out What to Say

EUREKA!

Linda Stewart-Oaten's short story, "A Mayfly in Winter", which won the Phantastic Fiction prize at the 2002 SBWC, will be published in the Eureka Literary Magazine (of Eureka College in Illinois) in Fall of 2003. To purchase a copy e-mail editor Loren Logsdon at <llogsdon@eureka.edu>.

Linda, who has a long dormant degree in entomology from UC Berkeley, wrote the story as an exercise, just to see how many insect references could be comfortably stuffed into it. The final version has fewer "bugs" than the original. 

John Daniel, publisher of Daniel & Daniel Press and fiction teacher, defines the short story as "Something (plot) happens to someone (character) somewhere (scene)."

Short-story writer Susan Chiavelli adds, "It should happen to someone we care about and it should change that character."

Ms. Chiavelli has written for several literary magazines ("Other Voices," "Rattle"), won the Santa Barbara Writers' Conference 1998 fiction award and her award-winning story "Winter Oranges" was read at the Speaking of Stories' Christmas performance this year.

Jean Harfenist received superb reviews, even from the dreaded New York Times' Michiko Kakutani, for "A Brief History of the Flood," her novel in which every chapter is also a short story.

Writers argue endlessly about the "rules" of writing a short story and what length constitutes a short story. Generally a short story is about 8,000 words or 32 pages, and a short-short story about 700 words. Magazines accept variations of these figures.

Both authors agree that the story and voice of the character determine much of the story's content. Ms. Chiavelli admits to not having read many short stories until she began writing them. "Then it became a passion and I love the short story form. I like examining deeply into the story, to look at the characters, why they are doing what they are and the decisions they make."

"Whatever works is the rule," says Ms. Harfenist. "Each story seems to create its own structure and that comes from the voice you hear inside your head. To me, once you get the story down, you spend eons figuring out what it's really about, then you rearrange the furniture a million times, such as changing paragraphs and wording. Then you edit and edit."

These days, short stories sell better when presented as a novel, as proved with "A Brief History of the Flood." In this case, the stories are tied together as a family saga. Amy Tan's "The Joy Luck Club" has a similar structure as does Sherwood Anderson's classic "Winesburg, Ohio" and Ray Bradbury's "The Illustrated Man."

Ms. Harfenist recognizes that the industry likes this concept. "No one knows what to do with a collection, but if they call it a novel, then it's acceptable."

"The public doesn't really know what the designations are or mean," adds Ms. Chiavelli. "Some people like to read a novel because they don't have to let go of the characters so soon. It's more like a completion to them. Others like short stories because they like to find out what happens more quickly. A short story is a self-contained unit and I enjoy that form."

Ms. Harfenist has a system to keep her going. It is a file marked "Stuck." In it are articles, notes from friends or editors, all those little things that give inspiration. She goes through it when she is down and then perseveres. "But perseverance is like courage," she says. "I can't take credit for it because I can't stop. People who get there are the ones who can't stop. Let's face it, writers are obsessive-compulsive. I guess that's why we do it."

Noted humor writer Ian Bernard headed a panel discussion at the 2003 Santa Barbara Writer's Conference with his three sidekicks whose stories are included in Ian's book, offering examples of successful humor writing:

Ernie Witham — "Happy Valentine's Day, Dear. Here's Your Mesh Body Stocking."
Ernie says, "The inspiration for my story came one Valentine's Day as I was nervously wandering around Victoria's Secret, wondering if my wife would prefer a peek-a-boo teddy or the black leather thong. As I looked around the store, I noticed a bunch of guys in exactly the same predicament. We all wanted to buy something without actually touching it or bringing it to the counter."

Linda Stewart-Oaten — "I Could've Been in Pictures"
Linda wants everyone to know that this short story is a work of fiction. It is absolutely NOT autobiographical.  True, her first husband was a jerk, but he never wore clip-on ties.   Also her ex-mother-in-law was not an Olympic swimmer. Not even close. And she has never known anybody with twins. Especially twins named Tinker and Ducky. In fact, Linda really has no idea where the inspiration for this story came from. Let's just say it fell from the sky.  Yeah, that's it. 

Dean Opperman — "Brain On A Big Screen"
Dean says, "this is the absolute, unvarnished truth and an accurate reflection of what goes on in my head every morning. For me, it is simply a snapshot of the great pain I endure in the course of day-to-day life. If Brain On A Big Screen bears any resemblance to humor, it is an unintentional side effect.  The big question is: How did this piece end up in Ian Bernard's book? I've always dreamed of being a published author, but not under his byline. This is just more proof that the universe is conspiring to kill me."  

SANTA BARBARA BLUES—A REVIEW by Grace Rachow
Dramatic Women presents New Short Plays by Santa Barbara Writers
Producer, Bob Potter

THE GIFT by Sojourner Kincaid Rolle-- a musical and a monologue. Great use of performed lyrics telling the story of how down and out is up and rich.

ALASKA by Judy Bauerlein--Writer as performer. Another monologue ripe with waders, bells, and eggs. Extra points for creative use of lighting. High marks for writing.

CALL ME RACHEL by Linda Stewart-Oaten--this play gets the prize for the best writing and the best understanding of how to tell a fully nuanced story in the ten-minute dramatic format. Great characters and intriguing situation.

PAVLOV'S BITCH by Adrienne Maclain Loh--Lots of dance, no words. An exploration of the dark side of the male/female relationship. Creative use of belly dancing.

PUFF by Emma-Jane Huerta--A mad woman in red tights fights for her right to be cared for. Rivetting.

ALWAYS, LUTAH by Terre Ouwehand--High points given for the background proj ected images, the table legs and the period costuming. This is an performed essay on Santa Barbara architecture.

TIP OF THE ICEBERG by Joshua A. Kashinsky--This is an icy and dicey exploration of a couple's reunion in an unlikely place and time. Extra points given for physicality and performance with a real live chain saw. I kid you not. Please tell me why the guy takes off his shirt.

THE BARDA by Leo Cabranes-Grant--this is a fascinating and creative exploration of the immigrant experience in Santa Barbara. The writing goes deep and wide. The scope is possibly larger than the ten-minute play can do complete justice to, but it is worth the extra minutes it takes. Special credit goes to Melinda Yao for her stunning performance. Casting her in this role was a stroke of genius.

HONEY, THERE'S AN IRAQI IN THE LIVINGROOM by Ellen K. Anderson--more dancing and singing in the service of exploring international relations as well what it means to be an artist. Yes, all in ten minutes!

STIFF PICKLE ORCHESTRA--this is not a play title but the Santa Barbarba blues musicians, Rod Rolle and Tom Murray who provide the toe-tapping musical transitions between plays. In its deep-feeling ways, Stiff Pickle offers the perfect connective tissue for the nine plays. If you get a chance to talk to the band members (get it, ha ha), they will provide banter well-salted with tasteful innuendo related to their name.

Directors not mentioned above as writers: Jennifer Estes, Marcella Faustini, Michelle Osborne, Marc Shaw and Sarah Woodward.

Actors or others not mentioned as writers or directors: Wendy Sims-Moten, Ted Harmand, Monica Ottiliana Rolandsson, Jacob Womack, Susan Jackson, Daniel Case, Carie Anne MacAlpine, Kathleen Russell-Hardin, Neda Kohey Brown, Sarah Scharf, Brian O'Reilly, Tom Hindshaw, Sam Muir, Melinda Yao, David Courtenay, César Ramos, Christopher Peña, Ariel Wilkins, Rebecca Karr, Carrie Anne Macalpine, Sarah Scharf.

The Fairest of Them All

Daniel & Daniel has just released the annual 99-word anthology, based on the theme of Snow White. The stories - many by Community of Voices authors - are set in any land or any age, told from any point of view, yet inspired in some way by that classic American fairy tale and/or film. The One Rule: each story had to be exactly 99 words long, not including the title (no longer than five words).

A recent interview with John Daniel
by Susan Chiavelli

SC: John, what do you think of your latest anthology?
JD: I am delighted with the quality of the stories, poems and essays in this collection. A lot of humor and also a lot of people bravely exploring the dark issues of vanity, jealousy, murder, heightism, narcolepsy, etc. I was also impressed that so many writers returned to the original Grimm version, which has a much different, even scarier ending (the wicked queen is forced into red-hot iron shoes and made to dance herself to death).

SC: I know this is your gift to the writing community, and I would like to thank you personally for providing such a valuable gift. I have learned much about editing and the wisdom of "less is more" by writing in this abbreviated form. How did you start the tradition of the 99-word anthology?
JD:  My anthologies go back over ten years, and they started when I had my students at UCLA Extension give me stories based on a common theme. I surprised them at the end of the term with their works in print. Since then, the contributor base has grown and grown, including not only beginning writers but some real pros as well. But it's always been my practice to accept anything submitted (although I do allow myself to edit some of the stories, and I reserve the right to refuse stories that gross me out).

SC: What themes have you used in the past?  
JD: Past titles have included "Star-Crossed" (Romeo and Juliet), "Yellow Bricks and Ruby Slippers" (The Wizard of Oz), an "To Be or Not to Be" (Hamlet). Other themes have included Cain and Abel, the Garden of Eden, Cinderella, Little Red Riding Hood, The Ugly Duckling, Pygmalion, Pandora, and others.

SC: Will there be another anthology next year?
JD: I don't know yet. There's a lot happening in my life right now and I don't know whether I'll have the time or whether I'll be able to afford it. But if so, I'll let COV know about it. Meanwhile, interested writers might be thinking about three cities: Sparta, Troy, and Ithaca.

SC: What's happening in your life? Big changes?
JD: This spring my wife and I are leaving Santa Barbara after twenty years. We're moving our lives, our business, our home, our office, our warehouse, and our two cats to McKinleyville, in Humboldt County, about 600 miles north of here. We'll also be downsizing the publishing business some, while I try to build up my other career as a free-lance editor, writer, and creative writing teacher. It's a big, big change for us. We will miss Santa Barbara and we'll especially miss our friends here, but the time has come.

SC: Will you still run a pirate workshop at the Santa Barabara Writers Conference in June?  
JD: Yes, I'll still be a pirate. I couldn't give that up! I will also be giving my SB City College Adult Ed writing workshops at the SBCC Writer's Workshop, Feb.22, and an all-day short story workshop at Schott Center March 8. (The Fairest of Them All will be available at all three venues).

SC: I know I speak for the entire writing community of Santa Barbara when I say this: John, you will be missed. Good luck and please keep in touch!
JD: Thank you. I certainly will!

New Workshops at the 2003 Santa Barbara Writer's Conference

The Art of Storytelling in the Digital Age
workshop by Sunny Ross & Gary Nale

The ancient art of storytelling is evolving in the digital age to combine text with video clips, audio and still photographs. Digital stories can be used by writers on their websites to reach more readers, and on business card-sized CDs to market their work to editors and publishers. The workshop includes lectures and multimedia demonstrations, as well as advice for developing a website.

Moving into the Marketplace:
The Nuts & Bolts of Getting Published
workshop by Marla Miller

A new hands-on SBWC workshop focused on the left-brain of writing: selling your work. Students who bring story ideas, query letters, book proposal materials, etc. to class will leave with improved versions. Also bring the rejects —specifically rejected queries, articles & book proposals. Writing is rewriting!

Into the sunset wrote the 600...

Let us know!

The Santa Ynez Writing Group resumes with Leonard Tourney as leader.
Information: Diane de Avalle-Arce, diandaa@mindspring.com

Ian Bernard's Writing Group (with a focus on humor)
Information: Ian Bernard, ian@syv.com

A long-standing Fiction Writer's Group with Yvonne Nelson Perry, Suzanne deCayette, Kathy O'Fallon, and other SBWC regulars is looking for new members. The group meets around San Diego twice a month, Saturday mornings at 10.
Information: Kathy O'Fallon, kathyofallon@earthlink.net

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