Objective vs Subjective Writing (Last In A Series)

Now that we have discussed the 8 different narrators, lets look at the relationship between POV and the writing's degree of objectivity or subjectivity. First a couple of definitions.

Subjective Writing: The writer seeks to record the feelings and sensibilities behind his/her characters' thoughts, statements, and actions.

Objective Writing: The writer leaves it up to the reader to imagine/determine the feelings and sensibilities behind each character's thoughts, statements and actions.

Subjective writing enters into the thoughts and feelings of a character, whereas objective does not. It should be noted that POV does not determine whether writing is subjective or objective. What is the determining factor is how much of the character's emotions, feelings are explicitly described. In subjective there is a great amount of detail. Objective, on the other hand, has little if any. Hemingway's The Sun Also Rises was written using objective writing. Harper Lee's classic, To Kill A Mockingbird, uses subjective. LeCarre's The Spy Who Came In From The Cold utilizes both forms.

So, by now you may be asking yourself, "Which style of writing should I use?" The answer is simple, which ever comes naturally to you. Some writers are naturally subjective (this is especially true of the majority of new writers) and others are objective.

Writing is possibly the most personal endeavor done by Human Beings. No one can write for you, you must do it alone. You can get plenty of assistance from a good critique group once the writing is done. Until you write it there is nothing to critique. The greatest thing about writing (at least for me) is POWER! Can anyone think of any other endeavor where you are in effect GOD? You control the weather, locale, feelings, emotions and yes, even whether a character lives or dies... Now how cool is that?

Finally, the most important piece of information in this series appeared in this blog entry. It is: Write what comes natural to you; let your voice flow. Nothing is any more difficult than attempting to write against your grain, so to speak. Just watch out for those inadvertent POV shifts!

Third-Person Shifting Viewpoint Narrators (9th In A Series)

Even though I have listed this POV as being the 8th of 8, it is the second most popular (First-Person Protagonist Narrator being most popular). Some novels are best told by a single narrator, others by multiple narrators. Shifting narrators in third-person is no problem so long as the writer observes a couple of rules. Before we discuss the advantages and disadvantages of this POV lets review these important rules.

1. Whenever possible, the introduction of a new narrator should be done with a new chapter. This allows the reader to adjust to the new viewpoint and it allows the reader to become acquainted with the character from whose POV the chapter is being related. Using multiple narrators within a chapter can be utilized, however if the writer is not skillful when doing it the reader may become confused. This leads us to rule #2.


2. Once the reader has become acquainted with all of the narrators and can interpret each of the different POVs, the viewpoints can be shifted back and forth even within a chapter.

Let us now review the advantages of this POV:

1. The writer has a choice between restricted and unrestricted omniscient powers.


2. Multiple narrators gives the novel a broader perspective.


3. Shifting viewpoints provides relief and variety to the reader, thereby sustaining interest.


4. It allows the writer to communicate more emotion to the reader. The reader can vicariously experience the role of each narrator.


5. The writer has greater scope to characterize the individual narrators and other characters through their 5 senses.

This POV only has one disadvantage, or maybe pitfall is a better word. It can lead to the writer being too analytical, going into more detail than a character requires.

A novel that successfully uses this POV is LeCarre's The Spy Who Came In From The Cold.

First-Person Shifting Viewpoint Narrators (8th In A Series)

This style of writing uses a POV that shifts from one character to another. It seems to be utilized more of late than at any time in the past. Many thriller writers use different variations of this. As an example, James Patterson has used it in several of his Alex Cross novels in which he tells the story from Cross's viewpoint in First-Person Protagonist narrator and also relates the antagonist's viewpoint, usually in Third-Person Protagonist (maybe Antagonist is a better choice of words) narrator. Mr. Patterson it should be noted is an extremely experienced and accomplished writer and he is able to do this without revealing the antagonist's identity unless he expressly chooses to (as he did in his most recent Alex Cross novel, Cross Country).

Some writers will use a mixture of viewpoints using this one and Third-Person Shifting Viewpoints. Patterson does this in Cross Country.

However, this POV can be very useful if you are relating a story from the viewpoint of multiple characters. For instance if your novel deals with a sequestered jury, you might alternate chapters so the story can be told from the viewpoint of each juror. The writer should take great care to ensure that they do not become redundant by rehashing facts and event the reader is already aware of.

Another novel that uses this POV is Wilkie Collins's classic The Woman In White .

Third-Person Minor Character Narrator (7th In A Series)

This POV is seldom used because the writer must continually use proper names instead of pronouns so the reader will know who is talking. Unless you are a very experienced novelist, I would suggest you avoid this POV at all cost. Below is an example of how tedious this POV can be to a reader.

Ed Traynor didn't see Buck Buchanan until Buck returned to town a week later. Buck told Ed that he had found a terrific fishing place in the White Mountains. Ed said they would have to check it out one of these weekends.

Imagine 250 to 300 pages of this type of narrative? It wouldn't take long before this book found its way back to the bookshelf or onto a table at the next yard sale.

First-Person Minor Character Narrator (6th Of A Series)

This is a POV where the narrator takes a detached view in relating the story. It is possibly best illustrated in the Sir Arthur Conan Doyle's Sherlock Holmes stories and novels. This POV offers many of the advantages of writing in the First-Person Supporting Char actor and Third-Person Supporting Character Narrators POVs. The advantages are:

1. 1. It can make the stories believable and realistic. Image how telling the stories with a First-Person Protagonist narrator would have made Holmes sound like an egotistical braggart. Having Watson narrate turned Holmes into a believable and interesting character.
2. The narrator can describe the protagonist.
3. The narrator is never asked to prove his/her knowledge of the protagonist.
4. It makes it easier to sustain reader interest.
5. It allows the narrator to present a philosophy of life that might be presumed as being presumptuous if recounted using any other POV.

Disadvantages include:

1. Use of omniscient powers is restricted.
2. The reader can participate in events and actions only to the extent the narrator does.
3. This POV tends to be more detached than either of the protagonist narrator POVs.

One of the difficulties with using this POV is that it forces the writer to use he said/ she said a lot.

Third-Person Supporting Character Narrator (5th in a series)

This POV offers no real advantage and is in fact difficult to use in an effective manner. The problem lies in its inherent ambiguity. It forces the writer to use multiple references. The following is an example of the problem:
What follows is taken from Structuring Your Novel: From Basic Idea To Finished Manuscript by Robert C. Meredith and John D. Fitzgerald:

Fred James was tired as he and Jim Harding found the trail leading to the old mine. He knew they couldn't reach the mine before nightfall. He watched Jim stare at the weeds and bushes that had grown over the trail. He asked Jim if he would mind camping where they were overnight.

The last sentence was purposely written to illustrate this POVs major disadvantage, which is that the narrator must refer to the protagonist as He. In the same paragraph, the protagonist refers to the narrator as he which in the hands of an inexperienced writer can lead to confusion on the reader's part--this could be disastrous...

Do You Know This Place?

I will send a free copy of DEADFALL, Level Best Books latest anthology of crime stories by New England writers to the first person to correctly identify the location in the picture above.

Send your answer to: vhardacker@comcast.net. Contest will end on January 31, 2009 or until the someone wins. Be sure to include your mailing address in the email.

First-Person Supporting Character (4th in a series)

A supporting character narrator can be any character who is the protagonist' relative, friend, or associate and can be either supportive or unsupportive of the protagonist. Probably one of the best know of these is Dr. Watson of the Sherlock Holmes mysteries. Since the narrator is a participant in most of the action, the first-person singular I is used less than the first-person plural we. The advantages of this POV are:

1. It can make a story more believable and realistic than if narrated by the protagonist. A supporting character narrator can describe the protagonist as the best, the greatest, or as being heroic and the reader will accept it without thinking it is bragging or boastful. He/she can also relate events about the protagonist without the reader questioning their credibility.

2. The supporting character narrator is seldom called to support his/her knowledge of the protagonist. He/she can reveal personal things about the protagonist's life going back to childhood to the reader. The reader will assume the narrator either experienced these events or the protagonist related them to him/her.

3. This POV allows the narrator to describe the protagonist. He/she can show how the protagonist's responds physically and emotionally to events as they occur.

4. This POV can reduce or eliminate reader boredom. If at some point n the story, the author feels the reader may become bored, the narrator can relate something interesting or exciting about another character.

5. The supporting character narrator has more freedom than a protagonist narrator and is therefore less restricted in the use of omniscient powers.

Disadvantages of this POV include:

1. A reader can only participate in events to the extent the narrator does. This can be a huge disadvantage because many dramatic and exciting scenes cannot be written in action. For example, if the protagonist and his/her significant other have an argument off screen, so to speak, the narrator can only tell about it. This violates the "Show; Don't Tell" Rule. In a court of law the event would be labeled "Hearsay".

2. The reader may identify with the narrator rather than the protagonist, this is not the case in the First-Person Protagonist Narrator or the Third-Person Protagonist POVs.

This POV has its place. It lends itself well to humorous novels, however a new novelist might be better off if he/she kept the protagonist as the focal point.

Third-Person Protagonist Narrator (3rd In A Series)

This POV has all the advantages of the First-Person Protagonist Narrator, discussed yesterday, except the writer loses in the personal touch that use of the pronoun I allows. However, it affords the writer the added advantage of using either the restricted or unrestricted omniscient power. This allows the writer to describe his/her protagonist and inform the reader of things the protagonist doesn't know.

Let's now look at the disadvantages.

1. The loss of the intimacy the pronoun I allows.

2. All the disadvantages of the First-Person Protagonist Narrator.

3. The danger for inexperienced writers to shift POV in midstream.

This last item is the greatest of the disadvantages. Avoiding it is a matter of projection. If the writer can truly project him/herself into the character when using this view, POV shift can usually be avoided. However, if they cannot, they must use unrestricted omniscient power exclusively when writing in this POV.

First-Person Protagonist Narrator (2nd In A Series)

In this viewpoint, the narrator is the protagonist singular. There are many advantages to this viewpoint, especially to the first-time novelist. These are:

1. Writing in 1st person comes easily since it is the most common way in which we communicate with each other. It offers a self-imposed discipline that the writer obeys. Use on the pronoun I confines the writer to the protagonist's POV and avoids inadvertent POV shifts.

2. The protagonist is the center of attention, which allows the reader to participate in all the events.

3. Since the reader shares the protagonist's most intimate thoughts, feelings and attitudes, they easily identify with the protagonist.

4. The protagonist shares his/her personal experience thereby nullifying any reader resistance to the story's credibility. It enables the narrator to speak with conviction and adds realism to the story.

So, what are the disadvantages?

1. The writer's omniscient power is restricted. He/she must confine themself to those things the protaganist sees, feels and experiences first hand. Since the protagonist can only be in one location at a time, this restriction is physical as well as mental.

2. Modesty is forced upon the narrator. While he/she can act brave and heroic, he/she cannot say they are brave.

3. There is a danger that you cannot hold the reader's interest, forcing the writer to make the protagonist colorful and exciting.

4. Description of the protagonist is confined. The protagonist cannot describe the expression on his/her face while experiencing an event.

In summary, the advantages of First-Person Protagonist Narrator, out weigh the disadvantages. More novelists employ this POV than any other and it is the predominant one in mystery novels.

Point of View: What Works Best For You (1st In A Series)

Point of View is simply the way the narrator of a story, scene or chapter views the action taking place. There are a number of POVs a writer can use and we'll discuss them in a few minutes. When using a POV it is important that the writer be cognizant of inadvertent POV shifts in their work. I cannot recall how many times my writer's group catches me in POV shifts. So let's start off defining the various POVs.

There are eight possible POVs and all traditional novels are told using one, or sometimes more than one. The eight POVs are: First-Person: Protagonist Narrator, Third-Person: Protagonist Narrator, First-Person: Supporting Character Narrator, Third-Person: Supporting Character Narrator, First-Person: Minor Character Narrator, Third-Person: Supporting Minor Narrator, First-Person: Shifting Viewpoint Narrators, and Third-Person: Shifting Viewpoint Narrators. In this post, I will discuss the Omniscient Power; what is it and does POV affect it.

I'd like to begin by defining Omniscient Powers. Omniscient powers are used by the writer to convey information that will assist the reader in understanding the story. This information can relate to characters, environment, and events. The omniscient view is a dispassionate view and the phrase omniscient powers conveys that the writer is playing GOD. Using these powers the writer can record conversations, enter into a character's thoughts and emotions, and even pass through locked doors. In short, the writer has absolute control on every aspect of his/her characters lives, even down to the era in which they live and what the weather will be like at any particular time.

The first thing a writer must determine is which level of omniscient power he/she will use; restricted or unrestricted. This to some extent is determined by the POV the writer has decided to use. If you are going to tell your story in First-Person you must use restricted omniscient powers and the following editorial rule must be observed: Only that portion of the action, narration, and description can be covered which the narrator can personally observe or deduce from his/her 5 senses, and no material beyond his/her perception or range of knowledge can be included in the novel.

In selecting the correct POV, the writer must ask some questions.

1. Is the story best told in 1st or 3rd person?
2. Am I going to enter into the thoughts and feelings of one character (restricted view) or into the thoughts and feelings of more than 1 character (unrestricted view)?

Which ever way the writer decides, he/she should not use restricted view in one portion of the novel and unrestricted in another (although of late there have been a number of novels that have done just this--usually established writers who will do a chapter in the protagonist's POV and another in the antagonist's).

Forthcoming posts will discuss the advantages and disadvantages of each of the 8 possible POVs.

Over The Fence: Plot Continued

"How's it going?" Larry asked.

"Okay, just finished working on a scene in my latest novel."

"The last time we chatted you mentioned scenes. I thought scenes were something you see in a movie."

I sipped from my can of soda. "Actually novels, and to a smaller extent short stories, are full of scenes. I think Robert McKee uses the best definition of scene in his book, STORY. He defined a scene as: ...an action through conflict in more or less continuous time and space that turns the value-charged condition of a character's life on at least one value with a degree of perceptible significance. Ideally, every scene is a STORY EVENT."

"That's a long definition," Larry said, "can you simplify it a bit?"

"Sure, a scene is is a sequence of events that seem to happen as if the reader were watching and listening to it happen; it's built on talk and action."

"I see, so a scene is like a chapter?"

"Nope. Although there are a number of popular writers, James Patterson comes to mind, who make each and every scene a chapter; others may have several scenes in a single chapter. Chapters are just a way to divide a book into pieces. Think of a book, any book in which there are no chapter breaks. "

"I don't think I've ever come across one," Larry said.

"Stephen King used no chapter breaks in Dolores Claiborne. I believe if any one but a writer of his stature had done it the reader would struggle to finish the book. How many times have you said, I'm going to finish this chapter and call it a night? We'll get into chapters later when we discuss structure of your novel."

"Okay, getting back to scene," Larry said, "a scene is a story within the story?"

"That may or may not be true," I said, "a scene isn't random; it must have a meaning. The true measure of whether or not a scene belongs in the book is to ask yourself one simple question: Does this scene move the story forward? If it doesn't scratch it."

"Hmmmm, there's a lot to this writing stuff that I've never thought about."

I glanced at the sky and saw the sun was hovering on the western horizon. "See you tomorrow? We'll talk some more about structure."

"Wouldn't miss it."

Over The Fence: Plot

I saw my neighbor, Larry, waiting at the fence and walked over to him.

"Hey," he said, "I wondered if you'd forgotten that we were supposed to meet."

"Nope, if I recall we're supposed to discuss plot."

"That's right."

"I suppose we should start by defining what a plot is."

He nodded.

"Not to make it overly simplistic, it's what happens in the story."

"That's it?"

"Not really. In truth the plot is built from a number of significant events. In your mystery now, what is the significant event?"

"The crime? I'm thinking making it a murder mystery."

"That's a good start, most mysteries are about murder. Robbery and caper novels seem to be more thriller than mystery."

Larry's brow furled. "I thought they were the same thing."

"Similar but different. Both usually start with a crime. The difference is that in thriller, everyone knows who did it, or is planning to do it. The plot then becomes, how do we stop him or her. Mystery, on the other hand, is a 'whodunnit'. We, neither the reader nor the protaganist, know who did the dastardly deed. The plot is how we find out who did it. Plots are really a matter of cause and effect."

"I get it," Larry said, "like in physics for every action there is an equal and opposite reaction."

"That's it. Let's leave it like this; plot is the things your characters do, feel, or say that make a difference to what follows the cause."

"Thanks, I'll see what I can do about coming up with a basic plot for my novel."

"Do that, then we can discuss how to utilize scenes to bring the plot to life."

The Hardest Thing I Ever Had To Do...

Okay, so tell me, what is the hardest thing you ever had to do as a writer? For me it can be expressed in a phrase I was told by an oft-published friend... "There are times when you have to kill your darlings..."

My first reaction was to say: "What?"

The answer I got was simple. The scene was great, it was full of action, both physical and psychological. So what was the problem you ask? It didn't belong in that novel for one very valid reason: It didn't move the story along.

How does a writer determine whether or not to kill his/her darling? I have to read the story out loud at least twice, once with the scene and once without it. If after the second reading I find that the story has not suffered by eliminating my darling, I have to kill it.

Keep in mind the single most important rule of writing (Forgive me if I forget who first said this) "The goal of the writer is to say the most in the fewest words."

Happy writing.

Mystery-Man

Book Review: Heat Lightning by John Sandford

The best-selling author of the Lucas Davenport Prey novels has returned with his second book featuring Detective Virgil Flowers.

Flowers is called up to investigate a series of killings that appear to be the work of the same killer. He determines that all of the victims had a common link; they served in Vietnam in the turbulent period before the U. S. pullout and eventual fall of the South Vietnamese govenment.

I found the book to be as fast paced and absorbing as Sanford's prior works and in many ways find Flowers to be a much more interesting protaganist than Lucas Davenport. I highly recommend this for lovers of mystery/thriller novels.

Mystery-Man

Over The Fence: On Writing Short Stories vs Novels

The other day I was outside when my neighbor called to me over the fence. He and I don't talk a lot so I was not sure what he wanted. However curiosity got the better of me and I meandered over.

"I hear you do some writing," he said.

"Yes," I said, "I've published some work."

"Well, I'm thinking of writing a book and I wondered if you could help me out."

That got my attention. If there's anything I can spend hours talking about, it's writing. "Sure, what do you need to know?"

"Everything."

"Well," I said, "that narrows it down some." I couldn't help but smile.

"Seriously," he replied, "I've done some technical writing for my company, but I've never written fiction. Surely, there are some basic rules and guidelines."

"My best advice is that first and foremost, you should have an idea of what you want to write."

"I want to write a mystery novel."

"Well, a lot of writers start out with short stories. There aren't a lot of paying markets, but there are tons of online magazines looking for material. If nothing else, it will help you build a writing resume for when you finish the novel and start seeking an agent to represent you."

"Do I need an agent?"

"No, but they have something most new writers don't have."

He looked a bit skeptical. "What's that?"

"Contacts in the publishing industry. Many agents worked at various publishing houses before setting out on a career as an author's representative. But that's a bit premature, lets talk about writing something first. The agent will come later."

"Okay. So what's the difference between a short story and a novel; other than a bunch of pages."

"Well, it's really not all that complicated," I said. "Let's use an analogy."

"Okay." He leaned against the fence and I knew I had his interest.

"A short story is like robbing a liquor store."

His brow wrinkled. "Really?"

"Yes, there isn't a lot of time for plot or character development; so like a liquor store heist; you get in, get the loot and get out fast. A novel on the other hand is like robbing a bank or an armored car. It requires a lot of planning and time."

"I get it. In a short story you need to get to the point fast; whereas in a novel you can spend some time developing the story."

"Exactly." I glanced at my watch. "I have to run some errands. Tell you what, why don't we meet here again tomorrow and we'll discuss plot."

He smiled and said, "Sounds like a plan to me. See you then."

DEADFALL Reviewed

Level Best Books' sixth annual anthology of crime stories by New England writers has been given a glowing review by Rae Francoeur in the Arts Section of Wicked Local , a local distributed newspaper in Rockport, Massachusetts.

The review states in part: "Deadfall: Crime Stories by New England Writers" is a veritable cache of inventive ways to die, offbeat characters that kill, and crime fighters who thought they'd seen it all." The review goes on to mention several of the anthology's stories, including: I found myself laughing a number of times. "Bagging the Trophy" by Vaughn C. Hardacker is a lively, funny story about a lawyer with the attorney general's office who's trying to get a suspected killer to implicate himself.

To read the review in its entirety click here to go to Wicked Local's website.

Every Writer's Library Should Include:

Andrew McAleer, author of Mystery Writing in a Nutshell (The World's Most Concise Guide to Crime and Suspense Writing), has published a book that should be in every writer's library. The 101 Habits of Highly Successful Novelists is available through http://www.amazon.com/.

McAleer is an accomplished writer whose books include: Appearance of Counsel, the Afterword to the Edgar Award-winning biography, Rex Stout: A Majesty's Life, and the well-received P.I. novel, Double Endorsement. The editor of Crimestalker Casebook, Mr. McAleer is an active member of the Private Eye Writers of America and the Mystery Writers of America. He has contributed to numerous publications including The Strand, Mystery Scene, Hardbroiled, Mystery Time, The Baker Street Dispatch, Whitechapel Journal, Futures, The Lizzie Borden Quarterly, and The Gazette: Journal of The Wolfe Pack. His legal essays include a critical analysis of the Lizzie Borden Grand Jury and the History of Suffolk Law School. President of the Boston Authors Club, Mr. McAleer practiced criminal law privately in Massachusetts and taught The Master Sleuths at Boston College. He is the 2003 winner of the Speckled Band's Sherlock Holmes Revere Bowl Award. At this time he is pursuing a life-long ambition and is a new member of the United States Army.

WRITERS' GROUP GUIDELINES

A good writers' group is not a social teaparty (Although the members will form close personal bonds--how can they not? Where else will you find a group of people who will (or should) tell you what you need to hear, not necessarily what you want to hear.). If a group is to meet its purpose guidelines should be set at the first meeting. Here are some that one of my groups uses.

Purpose: The Purpose of this writers’ group is to help writers grow as writers whether they are seeking publication or not.

1. This is a safe place to read and discuss your work.

§ What is said in this group is said in confidence.

§ What is said in this group is said out of care and support.

§ As a writer you don’t know what you are really writing until you read it out loud.

§ As a writer of published works you must be (or appear to be) comfortable reading your own work out loud.

§ All group members hear the work at the same time.

2. Sharing of resources.

3. Open discussion of writing.

Expectations:

1. Come prepared to participate.

2. Share your news and industry contacts – good and bad – with the group.

· Helpful magazine articles.

· New markets.

· Upcoming workshops.

· Contests.

3. Be respectful of others opinions. We can disagree, critique, and debate but we must do so without attacking another group member or another group member’s opinion.

4. Share tactfully.

5. Bring no more than 1000 words to share with the group.

6. Offer to read for others (especially for newbies and second or third – or more – readings).

7. Decisions on projects, etc. are by group consensus.


Agenda:

1. Introductions.

2. Group business.

3. News.

4. Agent/Publisher contacts.

5. Critiques.

I realize that over time, as personal relationships grow, many of these guidelines will fall by the way. In fact, for a small group of 3 to 4 writers, they may not apply at all. But, if your group is large (I've been in groups that were as large as 10 to 15 writers), you should strictly adhere to the '1000 words', which is about 4 pages in manuscript format. Only you and your group can determine what works best for you.

Guidelines For Critiquing Another Writer's Work.

Every year at this time I hear many writers comment that they need to find a GOOD writing critique group. If you are a member of a group already here's some guidelines my group uses for Critiquing.

CRITIQUE GUIDELINES

1. Listen to what the author says (s)he wants/needs from the critique. That is your minimum responsibility to the author.

2. Be positive. Think positive, constructive, dietetic (i.e. not too sweet) sandwich cookie with your critique.

3. Be tactful. You may have to eat your own words so make sure you wouldn’t mind eating them.

4. Ignore the genre of the actual writing, critique the writing itself.

5. Begin with your over all opinion.

6. Critique as the story flows from beginning to end.

7. Be as detailed in your critique as possible.

a. Ask the author questions to find out intent.

b. Make comments as clear as possible.

c. Pay attention to active vs. passive voice.

d. Does scene advance the story?

e. Try to make suggestions as to how the writer may improve his/her work; rather
than sound as if you are rewriting the author’s story for him or her.

8. If the author wants/needs to tighten his/her writing point out where this could happen.

9. End on a positive note.

Resolutions vs Objectives

Well, 2009 is here and like most people I think about resolutions for the New Year. Of late I've come to believe that resolutions are doomed to failure as soon as they are made; so I choose to set yearly objectives.

So, you may ask, what's the difference? Well, a resolution is defined as: A resolve or determination: to make a firm resolution to do something. An objective, on the other hand, is something that one's efforts or actions are intended to attain or accomplish. I've never seen anyone develope a plan for a resolution. Objectives on the other hand usually involve some sort of plan or course of action. So that being said, here are a list of my objectives for 2009.

1. Stop procratinating and WRITE! My style of late has been prolonged periods of procrastination, intermixed with frenetic periods of writing. The problem is obvious, the former out numbers the latter.

2. Expand my network of writers and people in the industry. I've already started on this one by signing up on facebook.com and building my list of friends.

3. Take time to touch bases with old friends.

4. Finish the novel I started last fall!

Tom Peters, a reknowned motivational speaker, once stated, "If you have more than three or four objectives and/or priorities, you have none..." So there are my four objectives for 2009. How will I achieve them? That's a topic for another blog!

Great Forum To Meet Writers

I recently joined Facebook.com and was amazed at how many writers are using this terrific networking tool. If you aren't already on it you should check it out at http://www.facebook.com. Best of all it's free!