Featured Works

21 Books to Help You Learn Your Craft

October 16, 2019 By LDSPMA 1 Comment

By LDSPMA

As I have done research for this newsletter, registered for multiple writers’ workshops, and prepared to help at the LDSPMA annual conference this month, I have been reminded how important it is to “learn your craft,” as Josi S. Kilpack put it in our Advice from the Experts article.

But what exactly does that mean? Different people might tell you different things, and it might look different for every profession, but for me it means learning about and participating in every area of what you do. As an aspiring writer, I am doing everything I can to learn grammar rules, what makes a good story, how other writers have succeeded and what I can do to overcome my greatest weakness— marketing. For an attorney, it might mean staying abreast of current legal issues and rulings as well as familiarizing oneself with past case law. For a firefighter, it might mean learning how to maintain the equipment and staying physically fit. To be honest, I am not sure what it would look like for each of you, but one of our board members might.

Below is a list of books that have helped a few of our LDSPMA board members learn their crafts. I encourage you to take a look and maybe add one or two (or three) of these wonderful books to your “must read in the near future” list. If you are interested in what profession each member of our board hails from, be sure to check out their bios on our website.

Happy reading!

From Suzy Bills

The Chicago Manual of Style
The Wealthy Freelancer, by Steve Slaunwhite, Pete Savage, and Ed Gandia

From Marianna Richardson

Writing That Works: How to Communicate Effectively in Business, by Kenneth Roman and Joel Raphaelson
News to Me: Finding and Writing Colorful Feature Stories, by Barry Newman
What the Dog Saw and Other Adventures, by Malcolm Gladwell

From Steve Piersanti

Stewardship: Choosing Service over Self-Interest, by Berret-Koehler
Cumorah, by Hugh Nibley
Leadership and the New Science, by Margaret Wheatley

From Barry Rellaford

The Speed of Trust, by Stephen M. R. Covey
The 7 Habits of Highly Effective People, by Stephen R. Covey
The Book of Mormon
Bonds That Make Us Free, by C. Terry Warner
Life Reimagined, by Richard Leider

From LoriAnne Spear

Save the Cat, by Blake Snyder
Write Your Novel From the Middle, by James Scott Bell
The Distant Hours, by Kate Morton

From Devan Jensen

The Chicago Manual of Style
The Copyeditor’s Handbook, by Amy Einsohn
The Handbook of Good English, by Edward Johnson
Style: Lessons in Clarity and Grace, by Joseph M. Williams and Joseph Bizop
Writing on the Job, by John Brereton and Margaret A. Mansfield

“The Fighting Preacher” Delivers a Knockout and Tugs at the Heart

August 13, 2019 By LDSPMA Leave a Comment

By Alice M. Batzel
Published Author, Playwright, Journalist, Poet, Freelance Writer

Writer/Director: T. C. Christensen
Producers: T. C. Christensen and Ron Tanner
Production Company: Remember Films
Distributor: Purdie Distribution
MPAA Rating: PG (for thematic content and some action)
Running Time: 121 minutes.

Review Ranking: 9 stars out of 10 (using IMDb’s ranking scale)

I attended the premiere of The Fighting Preacher, a movie by Utah writer/director T. C. Christensen, on July 17, 2019. Among those who attended were Christensen, cast members, the crew, the film editor, producers, Utah Film Commission representatives, production/industry associates, and family. In preparation, I did a bit of research and studied the promotional information regarding the subject of the film. I was interested and eager to see how the historical story of Willard Bean and his wife, Rebecca Bean, would be told.

The film takes the audience on a journey back to a time when religious prejudice in the United States was common, especially for a faith that was unfamiliar to the majority of Americans. And when such faith was accompanied by historical discord, acceptance would be a monumental feat. Willard and Rebecca Bean found such to be the case when attempting to set up residence in Palmyra, New York, in 1915. At the request of leaders of The Church of Jesus Christ of Latter-day Saints, the Beans accepted a unique missionary assignment. They were called to become residents and caretakers of the property known as the Joseph Smith family farm located in Palmyra and to preach the gospel. They were also called to establish community relations between the Church and residents in Palmyra and to help arrange the purchase of Church-related historic properties in the area. Any of those assignments would have been a challenge; in combination, they were daunting indeed.

*Used with permission from T. C. Christensen*

After the Beans arrived in Palmyra, they were emotionally tormented. Numerous attempts were made by community members to defame the Church and to make the Beans’ lives miserable. When Willard and Rebecca arrived, they had been married for less than one year, so you can imagine what an obstacle the opposition presented for the young couple. The fact that they chose to remain despite such circumstances shows their character, grit, and commitment to the calling that their Church leaders had extended to them. The Beans were the first members of the Church to reside in Palmyra in 84 years. A welcome was long overdue, but the Beans surely didn’t receive one. As I watched the film, I couldn’t help but feel empathy for the Beans because of the community’s negative reception of the couple. There was an occasional acceptance, and when it occurred the Beans felt as though it was a blessing from heaven. I felt the same way whenever the Beans achieved a victory during their earliest years in Palmyra. Additionally, I particularly enjoyed seeing this couple grow in their love and devotion for one another.

The Beans attempted through various means to make friends and contribute to the community, but often the responses were a deaf ear, unkind actions, and vicious remarks. Finally, Willard, with the encouragement of Rebecca, defended himself, his family, and the purpose of their mission. The community soon learned with whom they had been dealing. You see, at one time, Willard had held the title of middle-weight champion in the United States. At times, Willard had to call upon those boxing skills to defend himself and his family because of the enraged sentiments of the abundant number of individuals who opposed the Church. As a result of using his boxing skills while a Church representative, he was often called “The Fighting Parson,” to which the film adapted the title to be “The Fighting Preacher.” The boxing scenes in the movie show Willard’s boxing to be an asset to meeting the challenges of his Church assignment. The portrayal of gratuitous graphic violence is absent. Instead, the film successfully shows Willard’s sportsmanship, athletic ability, and defeat of his challengers.

While some residents responded through facing Willard in the boxing arena, others responded with continued contention. The Beans then implemented a more robust effort to provide community and individual service and compassion without any expectation of reciprocation. The endeavor was tedious and sustained over time, resulting in gradual acceptance and a feeling of belonging. Finally, after years of continued effort, the Beans became respected community members and took an active role in many service organizations in the community. Their children likewise received benefits from enduring their trials. What began as a Church assignment of five years ended up as a mission of twenty-five years, by the end of which the Beans were endeared to and honored by the community.

The film’s cinematography is exceptional. Attention is given to detail of subject and expression, as well as an expansive panoramic view. Such cinematography has become a trademark of Christensen, and audiences look forward to him delivering it in each of his films. I commend the casting director; each of the actors provided a solid performance, demonstrating skill, consistency, and sensitivity. I didn’t detect any weakness in the acting. Even the extras presented a colorful collection of characters of unique expression and appearance, adding to the entertaining visual quality of the film. The technical components of the film are aesthetically pleasing. The musical score is captivating and appropriate for the period. Even a seasoned critic would find it difficult, if not impossible, to point to any legitimate flaws in these aspects of the film.

Similar to other historically influenced films written/directed by Christensen (e.g., The Cokeville Miracle, Ephraim’s Rescue, and 17 Miracles), The Fighting Preacher demonstrates attention to biographical detail and historical accuracy throughout, excepting minor instances of artistic license. Filmed in New York and Utah, the cinematography takes advantage of the topography of the land. Clothing and architecture of the period are well represented. Even the interior of the old schoolhouse where a number of scenes take place helps the audience feel transported in time. After the film, alongside the credits, numerous historical photos and informational facts about the Beans were presented. My eyes were already teary, but with the archival and photographic feast, tears coursed down my cheeks.

The Fighting Preacher is a noteworthy filmmaking accomplishment. Christensen has written and directed an exceptional film worthy of numerous awards. He’s a well-researched visionary filmmaker—one of the most talented filmmakers of this generation—and he consistently delivers quality films. He shows the audience the truth and invites them to receive a valuable message. He uses the highest caliber of storytelling through his screenwriting, directing, and cinematography. This triple combination is unique among industry professionals. Whereas other filmmakers choose to work with fiction, he tells a true story of historical significance, one that is worthy of the audience’s time and that can inspire the human spirit. The running time of the film is not adequate to tell the entire story of Willard and Rebecca Bean, but the events depicted in this film portray the significance of this couple’s lives. In Christensen’s final remarks to the audience attending the premiere, he said, “My hope is that this film will go out and inspire others to be kinder to one another.” That takes courage and faith. That’s what Willard and Rebecca Bean had. That’s what Christensen has.

Adapted, with permission, from the review at https://www.alicembatzel.com/2019-1.

Book Review: The Subversive Copy Editor

December 8, 2016 By LDSPMA Leave a Comment

By Jonathon Owen of ArrantPedantry.com on Carol Fisher Saller’s The Subversive Copy Editor. Read the original post here.

Disclosure: I received a free copy of this book from the University of Chicago Press.

I have a terrible editor confession:¹ Until now, I had not read Carol Fisher Saller’s book The Subversive Copy Editor. I also have to take back what I said about But Can I Start a Sentence with “But”?—this is the best book on editing I’ve ever read.

The book, now in its second edition, has been revised and expanded with new chapters. In the introduction, Saller explains just what she means by “subversive”—rather than sneaking errors into print to sabotage the writer, she aims to subvert the stereotype of the editor locked in an eternal struggle with the writer or so bound by pointless rules that they can’t see the forest of the copy for the trees of supposed errors.

I find Saller’s views on editing absolutely refreshing. I’ve never been a fan of the idea that editors and authors are mortal enemies locked in an eternal struggle. Authors want to share their ideas, and readers, we hope, want to read them; editors help facilitate the exchange. Shouldn’t we all be on the same side?

Saller starts with a few important reminders—copy editors aren’t the boss, and the copy doesn’t belong to us—before diving into some practical advice on how to establish good author-editor relations. It all starts with an introductory phone call or email, which is the editor’s chance to establish their carefulness, transparency, and flexibility. If you show the author from the beginning that you’re on their side, the project should get off to a good start.

And to maintain good relations throughout a project, it’s important to keep showing that you’re careful, transparent, and flexible. Don’t bombard the author with too many queries about things that they don’t know or care about like arbitrary points of style. Just make a decision, explain it succinctly if you feel the need, and move on. And don’t lecture or condescend in your queries either. Saller recommends reading through all of your queries again once you get to the end of a project, because sometimes you read a query you wrote days ago and realize you unintentionally come across as a bit of a jerk.

Too many editors mechanically apply a style without stopping to ask themselves whether they’re making the manuscript better or merely making it different. Sometimes a manuscript won’t perfectly conform to Chicago or whatever style you may be using, but that can be okay as long as it’s consistent and not wrong. (If you’re editing for an academic journal or other publication with a rigid style, of course, that’s a different story.) But there’s no reason to spend hours and hours changing an entire book manuscript from one arbitrary but valid style to another equally arbitrary but valid style. Not only have you wasted time and probably irritated the author, but there’s a good chance that you’ve missed something, introduced errors, or both. Rather than “What’s the rule?” Saller suggests asking, “What is helpful?” or “What makes sense?”

And Saller doesn’t have much patience for editors who get “hung up on phantom issues and personal bugaboos,” who feel compelled to “ferret out every last which and change it to that”²—if you’re still relying on your high school English teacher’s lectures on grammar, you need to get with the times. Get some good (current!) reference books. Learn to look things up online.

I also appreciated the advice on how to manage difficult projects. When faced with a seemingly insurmountable task, Saller recommends a few simple steps: automate, delegate, reevaluate, and accept your fate. See if you can find a macro or other software tool to save you from having to grind through long, repetitive tasks. Delegate things to an intern if possible. (Sorry, interns!) Ask yourself whether you really need to do what you think needs to be done. And if all else fails, simply knuckle down and get through it.

There’s also a chapter to help writers navigate the copyediting process, along with chapters on learning to use your word processor better, managing deadlines, working as a freelancer, and more. And throughout it all Saller provides sensible, practical advice. Some of my favorite bits come from a chapter called “The Zen of Copyediting,” which aims to help editors let go of the things that don’t really matter. When faced with an apathetic author, one of Saller’s colleagues tells herself, “You can’t care about the book more than the author.” Saller herself dares to suggest that “some of our ‘standards’ are just time-consuming habits that don’t really make a difference to the reader.” And finally, one of Saller’s former mentors liked to say, “Remember—it’s only a book.”

Whether you’re a seasoned editor or a novice just breaking into the field, The Subversive Copy Editor provides sage advice on just about every aspect of the job. It should be a part of every editor’s library.

The Subversive Copy Editor is available now at Amazon and other booksellers.

Notes

1. ↑ You can choose to read that either as a terrible confession for an editor or as the confession of a terrible editor.

2. ↑ I saw this happen once on a proofread. Remarkably, I don’t think the author used a single relative that in the entire book. The proofreader hunted down every last restrictive which and changed it to that—and missed a lot of real errors in the process. And changing that many whiches to thats surely would have wreaked havoc with the copyfitting.

Katherine Farmer’s “Cracking the Story Code”

November 18, 2015 By LDSPMA 2 Comments

By Amy White

Cracking the Story Code: Increasing a Work’s Success through Age-Appropriate Plot Patterns (An Introduction)

Each stage of human development has a corresponding plot pattern. Because of this, young readers will either accept or reject a work depending on whether it parallels their patterns of thought.

Finding the right plot pattern for each developmental stage doesn’t take a degree in Piagetian philosophy, but it does help to have the insight of one who has studied human development and how it can be applied to narrative works.

There are five plot pattern “pure forms,” three of which are drawn from Aristotle’s classic model:

1. Simple: Single goal plot pattern, in which the entire action seeks to resolve the initial problem, with clearly defined beginning, middle, and end. Often found in children’s picture books such as The Cat in the Hat or Alexander and the Terrible, Horrible, No Good, Very Bad Day.

2. Episodic (two varieties):

a. Nesting Episodic: Self-contained story units that pile up on each other, but are not connected with a story line. Same characters, new stories (e.g., Christmas Story, Dahl’s Charlie and the Chocolate Factory).

b. Latticing Episodic: Open-ended story units that spiral and pile up cumulatively. Same characters with multiple stories where there is an over-arching story line through-out (e.g., Lobel’s Frog and Toad are Friends, and many of today’s television series).

3. Complex (Level 1): Single on-going action that includes the element of surprise, at least one reversal, and a recognition process. These works are psychologically complex, but with action that is not hard to follow (e.g., most one-act plays, Patterson’s Bridge to Terabithia, Oedipus Rex).

And, after the study of more than 2,000 works in 10 geographic regions in 320 library systems, two more plot patterns emerged:

4. Cumulative: Incidents that pile upon other incidents with the only unifying tie being the central character (e.g., The Gingerbread Man, There Was an Old Lady who Swallowed a Fly).

5. Paralleling: Multiple story lines that run parallel to each other, at the same time. Each story line is unique, and usually pulled together by the end (e.g., Pinballs by Byars, television series such as Modern Family).

Pre-Operational Thought: Zero to Seven-year-old Children
This Intuitive phase of development prefers simple and single-goal patterns as found in the Simple and Cumulative plot patterns—patterns where the entire action seeks to resolve the initial problem. Narratives that have a clearly defined beginning, middle, and end. Works such as Seuss’s Cat in the Hat. These children judge by a single clue, are preoccupied with the parts of the whole, as they are not able to see the forest for the trees, and will always judge a work by its end—not the process that got them there.

Concrete Operational: Seven to 11 year old children.

The awareness that others do not share their personal perspective identifies this age group. The discovery of other points of view leaves this age with a need to verify their ideas with concrete evidence supporting their view. This age prefers a narrative that has neat and self-contained units, like those found in episodic plot patterns. Examples include Lobel’s Frog and Toad Are Friends, up to the mixed nesting and latticing episodic pattern of Rowling’s Harry Potter and the Sorcerer’s Stone. The need for this age to have near reality–with the fantastic taking place within the home, or nearby. Dahl’s Charlie and the Chocolate Factory is considered nearly unbelievable, until the concrete and seemingly real machines are introduced. Machines that can be felt, seen, and heard, that then justify the existence of the remarkable and fantastical the story contains.

Formal Operational Thought: 12 year old children, young adults, and cognitively mature adults.

As a child’s thinking matures at age 11 or 12, they are capable of shifting to a higher and more complex level of thought, and Complex plot patterns. This shift usually settles into an equilibrium by age 16. At this point they begin to find irony as a form of humor, along with satirical works that contain hidden and subtle meanings. Interweaving, paralleling stories—works with multiple plots and subplots—like those found in Collin’s Hunger Games, or Tolkien’s Lord of the Rings, along with Shakespeare’s works are found to be comprehensible and even fun.

The above plot patterns are not a complete listing, there are mixes and variants that branch off of, and blend, the five “pure forms.” Variations that also bring in differing developmental ages. It is merely a launching point for delving into the powerful impact that appropriate plot patterns can have when they are matched to appropriate developmental stages. You will find that, as you match your work’s target age with their developmental capabilities through deliberate plot management, you will be keeping those audience gateways open. And we as producers of narrative works should always be looking for those gates. Every mental gate you successfully identify and keep open will put you yet another step closer to influencing the world for the better through your good works.

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