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marie-vertI had the privilege of interviewing five top Texas costume designers for Arts+Culture Magazine. Barry Doss (Huntsville), Susan Branch Townes (Austin), Christina Cook (Dallas), Macy Lyne (Houston) and LA Clevenson(Houston) were filled with enthusiasm for their chosen profession. I was so fortunate to be able to chat with them and tell their story.


Read the full article here.


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IMG_0934Do you run? Olympic marathon length or short sprints?

Writing is like running. We have different length pieces we work on. I just finished up what I would consider a 5K: a magazine piece for Arts + Culture Magazine about costume designers working in Texas. I am also on the home stretch for a marathon of a project, my first novel for children.

Naturally this lead to research about words. Specifically the word “run”. This took a lovely amount of time, during which I could feel like I was working, but alas, did not produce actual work. Hence the blog post. Gotta do something with all this not-work.

To Run: (according to dictionary.com)

verb (used without object), ran, run, running.

1. to go quickly by moving the legs more rapidly than at a walk and in such a manner that for an instant in each step all or both feet are off the ground.

2. to move with haste; act quickly: Run upstairs and get the iodine.

3. to depart quickly; take to flight; flee or escape: to run from danger.

4. to have recourse for aid, support, comfort, etc.: He shouldn’t run to his parents with every little problem.

5. to make a quick trip or informal visit for a short stay at a place: to run up to New York; I will run over to see you after dinner.

6. to go around, rove, or ramble without restraint (often followed by about): to run about in the park.

7. to move, roll, or progress from momentum or from being hurled, kicked, or otherwise propelled: The wheel ran over the curb and into the street.

verb (used with object), ran, run, running.

53. to move or run along (a surface, way, path, etc.):

Every morning he ran the dirt path around the reservoir to keep in condition. She ran her fingers over the keyboard.

54. to traverse (a distance) in running: He ran the mile in just over four minutes.

55. to perform, compete in, or accomplish by or as by running: to run a race; to run an errand.

56. to go about freely on or in without supervision: permitting children to run the streets.

57. to ride or cause to gallop: to run a horse across a field.

58. to enter in a race: He ran his best filly in the Florida Derby.

59. to bring into a certain state by running: He ran himself out of breath trying to keep pace.

There was more. Much more. The richness of adjective use and noun definition scrolled down my screen until I had to switch to my manuscript to keep from getting dizzy. Who knew one tiny three-letter word had so much meaning?

All this started because I didn’t want my character to “run” around the outside of the house. I needed a specific word that indicated “to move quickly and with great intent.” “Dashed” was my first attempt, but that seemed old-fashioned. I variously tried “loped”, “bounded”, “rushed”, “raced” before settling on “sprinted”.

This whole ten minutes of fiddling with the word “run” reminded me of an exercise that Darcy Patterson did in her weekend Novel Revision workshop she did for the SCBWI (Society of Children’s Book Writers and Illustrators) a couple of years ago. (No, my mind was not wandering. I originally wrote this book for that workshop.) She challenged us to demonstrate a variety of ways to get from one side of the room to another. I was in a rare panic when I realized I would be demonstrating word number 25. Fortunately no one else used “skulk”. I excel at skulking. 



Hearing voices

DSCN1028.jpgDSCN1028.jpg“I write only because there is a voice inside me that will not be still.” Sylvia Plath

2013-04-19 12.04.53This week was fairly productive writerly-wise. I Had It All Under Control.

So imagine my surprise when, during the creation of a new in-between chapter in my WIP, a new, insistent voice came to call. A kernel of an idea so intriguing that I had to come to a full stop to appreciate what I heard.

My first reaction was, “Did I just think of that?!”

My second was, “I don’t have time for this.”

I tried to ignore him, despite the fact that he intrigued me. Voices pop up in my head all the time. Most often when I’m supposed to be working hard on something that needs attention paid to get it right.

Then I remember the day that the main character in my WIP spoke to me. Compelling. Funny. Irresistible. I opened my ear to her and fell in love. So when this nerdy guy started nattering away in my ear, I stopped and take dictation. Because the character who is interrupting me today may be the star of tomorrow’s show.

Will you stop and listen to that voice deep down inside you? The one who wants you and only you to relate their unique story? Don’t block out this gift. Write it down. File it away for when you are able to give that character’s story attention. It may be a gift.


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One Act Play photo

Tuloso Midway High School students Brody Richter, Randy Tullos, Tyler Garza, Abigail Waddle in The Taste of Sunrise by Suzan L Zeder, directed by Wendy Pratt. Photo by Alexandra Olivares.

One of the things that children brought into my life was drama. No, no. Not that kind. The kind you find on stage once the lights go down. Serious stuff. Comedic stuff. Lines that make me itch for a pen in hand so that I can savor them years from now. I had the opportunity to write for Arts & Culture Texas about the One Act Play contest. High schools gear up for this each spring and put heart, soul and magic into a forty minute cut of an approved script.


Arts & Culture Texas Forty Minutes of Pure Drama


If you’re looking for inspiration or to get in the write frame of mind, try going to your local theater.



So if you signed up for my daily inspirations, I have let you down. I used an add-on to WordPress that was supposed to help me handle direct mailing and let folks sign up. I chose the wrong one. Posting things Monday through Friday on my Facebook page. Search on Julie Wray Herman if you are interested in seeing them. It’s a lot of work for a little inspiration. I apologize to all.




PathForwardI have come to the conclusion that my writing process is a killer. That would be a pun, except that I am deadly serious.


I am on my fourth pass through the current WIP, which, as yet, has no contract. (No contract to those of you who think writers just write for grins, means that no one is obligated to pay for this work of mine, which amounts to about 450 hours of labor. No. More than that, but I stopped counting around year two.)


The fact that I’m on the fourth pass through reflects what I have come to think of as the Very Long Trip Down a Broken Path.



My journey so far has taken these turns:

  • Main Character has aged and regressed twenty years in her time with me. In other words, she started out as a young protagonist, became much older in version two, and then went back to a younger version of herself in the third. So far in the fourth–Thank a higher power!– she has stayed in her middle twenties.
  • Main Character’s motivation has changed. Okay, so motivation may be a bit of a misnomer. It’s actually her backstory. Which motivates her actions in this tale. I think I have it right this time, but who knows. There may be a fifth revision in my future.
  • Cast of characters has changed drastically. I’ve gone from a cast of thousands to a cast of twenty. Juggling twenty is a chore, so I’m currently auditioning the remaining characters to see who has to stay to make the story work. If I’m having trouble remembering the names of characters who wander in and out of the story, I am envisioning readers tossing the book at the wall because they can’t keep it straight without a scorecard.

Then there’s the plot. That deserves a whole note of its own.


For now? Back to work. I have found some good things along this path, so even though the process has been pretty darn difficult, the end result is starting to look promising.


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Roughing It

Photo of feet, Mysterygarden dot com

Feet First

When writing a rough draft, I find it easiest to jump in and write a few chapters to see what the characters have in mind. Which works well for me – except when it doesn’t.


Ten chapters into my latest work in progress I stumbled upon a major problem. I didn’t know how it ended. Worse, I found that I couldn’t see where this story began. This is a stumbling block of insurmountable proportions, so I quickly stopped to take stock to see what I could do to get over, around or through it.


I hauled out every book I own on plot. (Amazingly enough, I own tons of books about writing. I must love to read or something.)

  • Scene and Structure by Jack Bickham
  • Save the Cat  by Blake Snyder
  • The Weekend Novelist by Robert J Ray
  • The Screenwriter’s Workbook by Syd Field
  • Plot by Ansen Dibell
  • Beginnings, Middles & Ends by Nancy Kress
  • and No Plot? No Problem! by Chris Baty, founder of NaNoWriMo, or how to pretend to write a novel in 30 days.


Surely these fine authors could help me plow through this challenge easily.




After spending an inordinate amount of time looking at these books – and a multitude of blogs – I came to the harsh conclusion that these folks are not me. Their solutions are not mine. I needed to look at this from my own perspective.


I filled out index cards. (Actually, I let Scrivener print the index cards — love this program.)

I plotted the fifteen point solution to plotting that so many children’s writers use.

I looked at inciting incidents and plot points and character motivations. And still had the front end problem.


So I took it to the mat, AKA my critique group.


They didn’t tell me what to do; They asked me questions. And I found my answer. I still have to do the work, but my critique group helped me find it. (Have I mentioned lately why I love critique partners?)


So what were the questions they asked?

What is her motivation? (She had two conflicting ones, which explains a lot about why I was sitting there treading water with her instead of moving forward.)

What does she want?

Why does she take the job that is central to the book’s action?

What scares her about the job?

What are the stakes for her if she fails?


None of these were new-to-me questions. I had done an extensive character sketch that includes these questions before starting this book.


But remember that duality I was dealing with. I hadn’t decided if she was inherently light or if she had a slight streak of larceny running through her veins. Turns out the duality makes sense for this character. One of her main motivations is to reunite with her family. She’s been cast out for getting arrested for grand larceny. Made sense if her family was on the good-guy side of the art world, but things kept cropping up in the chapters  that indicated her family were criminal masterminds. (Which I was loving.)


Then came  a follow-up question, the perfect question.


What if it was the character’s family of origin had a split-personality?


One branch are law-biding, fine upright member of society kind of people. The other branch of the family are highly organized thieves. Main Character’s got to make a decision which path to take incidentally deciding which side of the family are “her” people.


That sounds like something I can work with.


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Fish Heads

I have been waiting for several months for the latest revision to perk a bit on the back burner before jumping back in.

Just before I turned in my manuscript for the SCBWI conference critiques, it hit me. I had it all wrong.

When my husband goes fishing, he has the presence of mind to gut the fish and chop off the head before he tosses the fish into the cooler. He knows how I feel about fish. I like them fried, broiled, sautéed, but never ever with the head on.

Readers like their books the same way. Appetizing, without a stinky dried up piece of inedible flesh hanging about on their plate.

Writers often have to know so much more than readers need  or want to know about what is going on in the background. Writers need that background noise to give us insight into characters motivations and history. When I write my initial drafts, there is so much extra information on the page that the book is often twice as long as it needs to be. (Still trying to figure out a more efficient way of figuring it all out!) Thus, writers often need to prune their manuscripts before it goes to agent, editor, and reader.

I was fortunate enough to get into a novel revision workshop a month before the deadline for my seven minutes of fame with a hot agent. I took my recently completed middle grade novel featuring a young girl who lives for horses. (Sound like anyone you know?) The workshop went like this. We were teamed up with three other writers. We sent out manucripts to each of the other three writers and they did a detailed critique. My results? All three people who read my manuscript picked the eighth chapter as the first strong chapter. That meant the opening of the book contained seven weak chapters in a row. Ouch!

Not all that many readers are going to stick it through to the eighth chapter just on the off chance that the book will get interesting . . . eventually. So I started reading the book at the first strong chapter, Chapter Eight. The story still made sense and moved quickly…yes there were some key things missing, but it was clear what had to be done.

Fish Head. Whack. First six chapters hit the NotUsedMaterial.doc file. Voila.

I reworked the first page of the Chapter Seven, aka new Chapter One, smoothed the rest of it a bit, then sent it in and began to work on another project. After all it would be another two months before I got to sit down and listen to the notes the agent had for me on the piece.

Of course I spent some of that time worrying. Had I cut it too close to the action? Six chapter off the front of a manuscript is an awful lot of material to cut. Would the characters and their relationships still be understandable?

Evidently yes, because when I sat down with my critiquer, she said it read well. Not well enough that she wanted to rep it, but she did give me loads of great notes to work from, but all in all a much more positive outlook from this than I got last year.

So now all I have to do is rewrite the rest of the story so that it 1) fills enough pages to actually be a book and 2) keep it exciting and satisfying enough that someone will want to read it all the way through.



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NYC Bridge BubblesThe magnificent Deborah Adams, author of the Jesus Creek mystery series and editor in chief of Oconee Press, asked me to guest blog for her. This made me realize just how long it had been since I posted a new blog article here.


Long time, no see. Now working on a blog schedule for myself. I am letting myself go. This Will Not Do.


Happy Writing!


Not that I’m shutting the door on anything just yet, mind you.

But the magazine article writing is going well.

My first article in Texas Gardener comes out in the April/May issue. Look for it at stores near you.

Fiction requires a pretty darn long stretch with no other commitments in it for me to accomplish anything much. I need to clear a few things off my desk first before I can really tidy up the WiP and send it out. I expect to get back to writing my stuff – as opposed to other people’s stuff – within the month. I’ll be back to blogging regularly then.


Until then, I’ll leave you with a quote for thought:

“The role of the writer is not to say what we can all say but what we are unable to say.” – Anais Nin

A great exercise to figure out where you don’t want to go is to write, “I am afraid….” over and over again until the sentence rises up off the page and punches you in the gut. Then you’ll know a compelling subject on which to set your sights.



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