NEWS

In elections conducted in the Fall of 2004, the following members were elected to serve on the Board of South Carolina Writers Workshop:

• Betty Beamguard, Rock Hill
• Leland Beaudrot, Greenville
• Mary Eaddy, Myrtle Beach (returning)
• Sandra Johnson, Columbia II
• Brenda McClain, Charleston (returning)
• Linda Shaffer, Aiken

They join Board members Craig Faris, Rock Hill; Ed Howe, Rock Hill; Terry Laws, Greenville; Frances Pearce, Charleston; Barbie Perkins-Cooper, Charleston; Shari Stauch, Charleston.

Pat Graney is our first alternate, should one of our members be unable to complete his/her term, followed by Jason Zwicker and Dan Barber.

Retiring this January are Steve Vassey, Peggy Cwiakala, Betty Almond, Tom Curtis and Kim Hazel-Lohr. We applaud their service to SCWW and solicit their guidance and support in the years to come.

In announcing the results of the election, retiring President, Steve Vassey, adds, "Thanks to all of you who accepted the nomination for the Board. We can still use your skills, even if you weren't elected this time."

At the January 22 Board meeting the following slate of officers and committee chairs were elected to serve in 2005:

• President: Sandra Johnson
• Vice-President: Barbie Perkins-Cooper
• Secretary: Terry Laws
• Treasurer: Frances Pearce
• Advertising: Craig Faris
• Advisors: Frances Pearce
• Anthology: Steve Vassey
• Chapters: Leland Beaudrot
• Conference: Sandra Johnson & Frances Pearce
• Contests: Betty Beamguard
• Grants: Sandra Johnson
• Membership: Shari Stauch
• Public Relations: Mary Eaddy
• Quill Editor: Leland Beaudrot
• Web Site: Steve Vassey
• Workshops: Barbie Perkins-Cooper

Sandra Johnson, author of Standing on Holy Ground, will be teaching Fiction Writing I & II at Midlands Tech beginning February 16.

In December, John Migacz, SCWW member since September of 2002, was elected President of the Greenville chapter. The author of three Science Fiction/Fantasy and Speculative Fiction novels, as well as numerous short stories and essays, some of which appeared in the 2003 and 2004 editions of Catfish Stew, the SCWW anthology. Retiring Greenville President, Phil Arnold, is a Contributing Editor of Elvis International Magazine.

With Leland Beaudrot assuming responsibilities as a new member of the SCWW Board of Directors, Marcia Migacz has taken over as Editor of Printed Matters, the Greenville Chapter's monthly e-mail newsletter.

In an amazing feat of dedication and perseverance, Leland Beaudrot finished the draft of his first novel, Church Bizarre, within the one month limitation imposed by the National Novel Writing Month contest. In a momentous achievement, Leland cranked out over 1600 words a day (a total of 50,056 words) during the thirty days of November.

Two years ago, Pat Stewart submitted an article on Scrapbooking to Reunions magazine. They contacted her last month and asked her to resubmit the article, as they might want to use it soon.

Gwen Hunter is busy selling her latest thriller, Shadow Valley, a departure from the Dr. Rhea series.

One of Grace Looper's short stories is to appear in the anthology Rocking Chair Reader: Memories from the Attic in February.

Linda Quinn has a poem and a nonfiction piece accepted by Penwomanship, and "Mom? Everything's Okay, But…" accepted for the anthology, I Wanna Be Sedated, to be published in 2005.

Betty Beamguard has articles lined up for publication in 2005 in Travelgirl, Mature Living, Consumer Economist and The Writer.

OPPORTUNITIES

The Quill needs your input to become a channel of communication by and for the members of South Carolina Writers Workshop. Our aim is to inform, educate and entertain our readers by offering helpful articles on every aspect of the craft of writing. By merging our Muses, we can all become better writers through the give and take of shared insight and encouragement.

Deadline for submissions is the 21st of each month. Please send submissions by email to quilleditor@spymac.com as an attached file in MS Word (DOC), Rich Text (RTF) or plain text (TXT) format. Articles accepted for publication will be published in The Quill and archived on the web.

Submissions may also be made on floppy disk and mailed to:

Leland Beaudrot
1 Cleveland St Ste 110
Greenville SC 29601-3646

Together, let's build an outstanding publication that will help us all become better writers.

Write on!

Leland Beaudrot, Editor
The Quill

Erma Bombeck inspired people worldwide with her columns and books about life's trials and tribulations. Her memory lives on in the Erma Bombeck Writing Competition hosted annually by Washington-Centerville Public Library and the University of Dayton.

More than 1,200 writers from around the world entered last year's competition. Capture the essence of Erma's writings, and you could win in 2005!

• Personal essay that is previously unpublished*, or has only been published since January 1, 2004
• 450 words or less
• Two categories for entry:
  • Humor
  • Human Interest
• One Dayton, Ohio-area winner and one National/International winner will be awarded in each category
• Limit one entry (total) per person
• No entry fee
• No age restrictions (all ages are judged together)
• Entries and/or any accompanying materials will not be returned
• Washington-Centerville Public Library reserves the non-exclusive right to publish the winning entries
• Entries must be submitted online, using the official online entry form (link below under "To Enter")
• Entries must be submitted by Midnight, EST, February 18, 2005

* Essays that have previously appeared on Web sites are considered published.

First place winners will be selected in the categories of:

• Humor - National/International
• Humor - Dayton, Ohio-area
• Human Interest - National/International
• Human Interest - Dayton, Ohio-area

Each first place winner will receive a $100 cash prize. Winning essays will be published online on Washington-Centerville Public Library and University of Dayton Web sites. Dayton-area winners will be published in the Dayton Daily News.

Submit your entry for the 2005 Erma Bombeck Writing Competition using our online entry form.

Entries are now being accepted now for the second annual statewide single poem contest co-sponsored by the S.C. Poetry Initiative and The State.

We hope to attract more entries than we received last year that attracted more than 1,100 entries! Yes, entering the contest is about winning, but it is also about showing your support for the craft and the art of writing poetry. Entries must be received by Feb. 21. Here are the rules:

1. Each entry is a single poem.
2. Poets may submit more than one poem.
3. Each poem must be accompanied by a $5 fee made payable to USC Educational Foundation. This is important: Checks made payable to other entities will not be accepted.
4. Each poem must be no more than 100 lines in length.
5. The author's name should not appear on the page with the poem.
6. Each entry must be accompanied by a cover sheet that includes: a) name, b) address, c) phone number, d) name of the poem, e) e-mail address, f) author's date of birth.
7. All poems entered must have been written by the poet.
8. Only original poetry will be considered.
9. All entries must be unpublished poems.
10. No entries will be returned to the author.
11. Send a SASE or stamped postcard if you want notification of receipt of entry.
12. Announcements about winners will be made in The State.

Poets must be South Carolina natives or permanent residents of South Carolina and over 18 yrs. of age.

Sponsored by the South Carolina Poetry Initiative, this competition invites writers to submit unpublished collections of original poems. The competition is open both to those who have not published a book-length collection and those who have. Manuscripts must be post-marked by March 30. Those postmarked later will be re-turned unread. Manuscripts of 45 to 95 pages should be typed on standard sized paper or be a clean photocopy. DO NOT SEND YOUR ONLY COPY.

Name, address, and phone number should appear on the title page. Acknowledgments should appear on a separate page. Individual collections must be the work of a single author. Translations are not accepted.

Manuscripts should be submitted in final form; revisions or emendations to acknowledgments will not be considered during the contest. Multiple submissions to other publishers are acceptable provided we are informed if the manuscript is accepted elsewhere. The manuscript should be submitted in a plain 9 x 11 ½" manilla folder. Please do not submit manuscripts bound in ring binders or plastic holders.

Return of Manuscripts: Because we cannot guarantee the return of the manuscripts, all entries become the property of The South Carolina Poetry Initiative and those not chosen will be re-cycled. DO NOT include a self-addressed stamped envelope. All contestants will be notified following the final selection. Include a self-addressed stamped postcard if you wish acknowledgment of receipt.

Entry fee: Submissions should include a check for $15 made out to USC Educational Foundation to help defray administrative costs.

Judging: The final judge for the competition will be named when the winner is announced in April. Individual criticism of manuscripts cannot be given.

Prize: The winning manuscript will be published by the University South Carolina Press the following year and will be awarded a cash prize of $500.

Students in grades 11 and 12 currently enrolled in public and private schools in South Carolina are eligible. Works submitted by students who have already graduated are not eligible. Each student may enter only one manuscript in each category: fiction and poetry. All entries submitted must be original works of fiction or poetry and must be postmarked by March 31, 2005. Each work must be typed and double spaced on 8 ½ x 11" white paper with an entry form (attached) as a cover sheet. The student's name cannot appear on the entry itself.

Mail entries in a 9 x 12" envelope to:

SC Writers Workshop
P.O. Box 7104
Columbia SC 29202

Student name_______________________________________________________

Title of submitted story or poem___________________________________

Grade___________________________ School____________________________

Student Address____________________________________________________

City _________________________ State____________ Zip_______________

Student Phone______________________

School Name___________________________ School Phone _______________

School Address_____________________________________________________

City _________________________ State ____________ Zip______________

School Contact Person_______________________________________________

SPARTANBURG - Registration has opened for "Writing in Place," a regional writers conference sponsored for the fifth year by the Hub City Writers Project at Wofford College. The conference, which will occur June 17-19, features several of the most accomplished writers in the South as faculty, including novelist Tommy Hays, children's author Melinda Long, and Affrilachian poet Nikki Finney.

The Hub City conference is a hands-on, intensive writing experience, designed to help both beginners and professionals develop the craft of creative writing. Participants in the conference will receive six hours of instruction in their chosen discipline. The conference is limited to 60 people, and registrants must sign up for one of four tracks: poetry, fiction, creative non-fiction, or children's literature. Full details and registration information are available at www.hubcity.org. Additional sessions will be offered in performance poetry, novel writing, songwriting, online publishing, manuscript critique, and more. There are faculty readings, open mic sessions, and a Saturday night barbecue.

The 2004 faculty includes Cathy Smith Bowers and Nikki Finney (poetry), Steve Harvey (creative nonfiction), Tommy Hays and Thomas McConnell (fiction), and Melinda Long (children's literature). Deno Trakas will teach a group of rising high school students nominated by their schools.

Finney, who teaches creative writing at the University of Kentucky, will deliver the keynote address on Friday evening to open the conference. She is a South Carolina native with three volumes of poetry, including Rice. She is a founding member of the Affrilachian poets, a collection of Appalachian writers of African descent. New this year is a special session on children's literature led by Melinda Long, author of the New York Times bestsellers Hiccup Snickup and How I Became a Pirate.

The cost of the conference is $150. Lodging is available at Wofford College for $15 a night. Call 864-577-9349 or email hubcity@bellsouth.net for a brochure.

FEATURES

Columbia II meets each first and third Monday at the Richland County Public Library with six to fifteen writers in attendance. Larry Hamilton, our facilitator, opens the meetings, welcoming guests and making introductions. Our unwritten rule is that we carefully read each work presented and critique honestly, but in a manner to encourage the writer. Many of us use the meeting as a deadline for finishing a story, chapter, or poem.

We have a solid group of writers who attend regularly, including Sheryn, working on a romance novel; Nuke, trying his hand at short stories; Mickey, developing the plot of his second novel; Maurice, scripting episodes aimed for television; Doris, lately writing poems; Carol and Alex-anything goes with them.

Our writing is as varied as our personalities, though our Southern heritage is a strong presence. Several members are exploring, through their characters, contemporary issues such as the psychological impact of rape, divorce, infertility. Some are writing memoirs, some fantasy/mystery. Historic fiction is a strong genre with us with two ongoing novels-an antebellum story and a romance about a Muslim woman who lived centuries ago. We recently had an essay on the tension accompanying reading aloud for workshop criticism.

As critics, we're continuously developing our skills. As was pointed out in our most recent meeting, we sometimes lapse into reading out of natural curiosity and forget that our objective is to help the writer improve his craft. Often mentioned problems with manuscripts are wordiness (too descriptive), lack of tension (too flat), passive constructions, word choice, and switching voice (we know omniscient from third limited, but still?). Writer's block gets sympathy. We've all been there.

By the end of the evening, every writer has had a chance to read and the group has discussed each work. We sometimes make suggestions about marketing. We pass along tips about contests and bogus publishing companies, for most of us are serious about getting our work published. By 9:00 PM, we've had our writing fix until the next meeting.

Chicago Style (free offer!), Presenting Self-Published Books to Agents, Disclaimers and Trademarks

Q: What is the difference between Chicago style editing/grammar and the regular business style editing/grammar?

A: The answer is not what you think. Chicago Style does not dictate grammar. Instead it standardizes variables such as when to capitalize and when to lowercase letters. It addresses when to write out words and when to abbreviate them. It dictates when to use a numeral and when to write it out. It even covers when and how to use commas and other punctuation. Style details such as those vary according to whether you are writing a business letter, a magazine or newspaper article, a legal document, or a book.

Book publishers generally prefer Chicago Style, set out clearly in The Chicago Manual of Style published by The University of Chicago Press. The book is more than 900 pages long, though, and you don't need to know everything in that book, which not only covers style but also production, printing, bookmaking, and more.

I'll condense a little of the information to show the differences in style, and I'll make you a free offer.

In business English we learn to use formations such as this one: "The compartment takes twelve (12) batteries." In journalism we learn to spell out numbers under ten and use numerals for anything above nine: "The compartment takes 12 batteries." Chicago Style says to spell out numbers up to ninety-nine: "The compartment takes twelve batteries."

In school we learned to capitalize the word president when it refers to our American leader, but in Chicago Style it is capitalized only when it appears with the person's name: "The crowd watched President Carter walk up the stairs. The president waved to the crowd."

In Chicago Style we put a comma before "and" in a series, although most of us were taught in school not to do so. Many writers are still confused by that variable, especially because AP Style, used by most newspapers and magazines, calls for no comma before "and" in a series.

The details are too numerous to list here, so I have an e-report that helps even more. E-mail me and ask for free Report #105, Chicago Style Variances. It will give you an idea of some of the major differences between business style and Chicago Style. For a comprehensive list of differences, buy The Chicago Manual of Style.

Q: Please give me some thoughts as to presenting my first novel to an agent. Perhaps it could be republished along acceptable channels, even if it required a re-write. What about re-writing the book and presenting it as a new novel? I own the copyright.

A: Never stop dreaming, please, but most agents do not handle books that have been self-published, because they are nearly impossible to sell. Only a few books--those that have sold thousands of copies on their own--have been sold to traditional publishers after self publishing. We hear stories about books such as The Celestine Prophesy that went from self published to traditionally published, but only a handful of books can boast such a move, and they had a good sales record on their own, first. Completely rewriting the book is the best solution. You've learned much from writing the second novel. You can apply that knowledge to the first in your rewrite.

Q: I wrote a short essay in which I use Avon, the company, throughout. In fact, the name is in the title. I have a disclaimer at the bottom of the page as follows: "All trademarks, brands and names used here belong to Avon Corporation and/or its subsidiaries, representatives or associates." I realize you're not a lawyer, but do you think this is enough to avert possible legal trouble if published? Have you heard of similar situations?

A: I'm not a lawyer and am not the person to resolve legal issues. I don't know if the disclaimer is necessary or even legally valid.

My recommendation: Look for ways to avoid legal confrontations. Any company, especially those with deep pockets, can sue if it wants, and only a judge can decide if the suit has merit. You would have to defend yourself, no matter what, and that defense could be costly. To avoid the issue, let me ask this question: Is the Avon name essential to the essay? Would the essay have the same impact, for example, if you referred to the corporate entity simply as a well-known cosmetics company?

If your essay says good things about the products and the company, you probably won't be in danger. Highly published author Cec Murphey says, "These days, most companies LOVE to have their products mentioned (in a good context). It's good advertising for them. That's a big shift from a decade ago. I mention products by name all the time in what I write. It's much stronger to write 'a Honda Accord' than it is to say 'a gray car.' Last night I finished reading a novel in which the author mentioned Chevy at least a dozen times."

Send your questions to the book doctor at Bobbie@zebraeditor.com. Bobbie Christmas is a book editor and author of the award-winning book Write In Style: Using Your Word Processor and Other Techniques to Improve Your Writing, available in bookstores and online. Write in Style is published by Union Square Publishing, an imprint of Cardoza Publishing, and distributed by Simon & Schuster.

• State first what works for you, then what might improve the piece. Be specific. Be kind.

• Do not be overly picky about small details--typos, spelling, grammar. Unless stated, these are not final drafts.

• Avoid repeating another's comments in detail. It is all right to say you agree, or to not comment at all.

• Consider asking another to read your material so that you can hear it objectively.

• Listen carefully to critiquing; do not interrupt; do not defend the work or overly explain. The material should explain itself. If it does not, rewrite.

• Accept each comment as a catalyst for your writing. Use each one to improve your writing skills and take you closer to publication. Do not allow inappropriate sensitivity to discourage your efforts. Better to hear what might improve the piece than to waste postage and time sending it out prematurely.

Fiction

Warm Up

How did you feel when the reader finished the last word? Example:
When you finished reading, I felt:

Eager to learn what happens next
Confused by Olivia's determination to return to show biz
Cheated at the abrupt conclusion
Delighted by Rick's humor
Concern for Meg

Big Picture

1. Is the title effective? Does it get your attention and hint at the content?
2. Is the story question [i.e., What is the main character's conflict(s)/ex. Will Marty get a baby?] clearly presented early on?
3. How is the main character different at the end of the story from the beginning? What is/are the events which led to the change?
4. Are the lead and conclusion effective?
5. Would the basic idea appeal to the target market?
6. Does the manuscript begin in the right place?
7. Are there ineffective repetitions--words, thoughts?
8. Are the characters well drawn and fleshed out?
9. Does the plot flow naturally from the characters' action and reaction?

Fine Tuning

1. Did the writer show, not tell?
2. Are good word pictures, metaphors, and other figures of speech employed?
3. Did the writer appeal to the five senses?
4. Is vocabulary level appropriate?
5. Is the writing tight?
6. Is the passive voice avoided?
7. Were specifics used?

Wrapping Up

1. What would make this piece even better?
2. What is a possible market for this piece?

Some of this material adapted from Donna Clark Goodrich's packet: How to Start & Run a Christian Writers' Club.

Non - Fiction

Warm Up

How did you feel at the when the reader finished the last word? Example:
When you finished reading, I felt:

I could identify a take-away
Encouraged
Like I learned something new
Confused
Indifferent

Big Picture

1. Is the title effective? Does it get your attention and hint at the content?
2. Is the theme clearly presented?
3. Are the lead and conclusion effective?
4. Would the basic idea appeal to the target market?
5. Does the manuscript begin in the right place?
6. Does the material flow in logical order, or should it be rearranged?
7. Are all paragraphs related to the subject?
8. Are there ineffective repetitions--words, thoughts?

Fine Tuning

1. Did the writer show, not tell?
2. Are good word pictures, metaphors, and other figures of speech employed?
3. Did the writer appeal to the five senses?
4. Is vocabulary level appropriate?
5. Is the writing tight?
6. Is the passive voice avoided?
7. Were specifics used?

Wrapping Up

1. What would make this piece even better?
2. What is a possible market for this piece?

Some of this material adapted from Donna Clark Goodrich's packet: How to Start & Run a Christian Writers' Club.

Nancy Koesy Parker, a Greenville Chapter member, is an editor with the Greenville Hospital System, and in addition, writes for the inspirational market. She leads the Greenville Christian Writers Group, which she founded in 1991, and will serve on the faculty of the upcoming Florida Christian Writers Conference.

An ancient proverb states, "As iron sharpens iron, so one man sharpens another." But what's a writer to do if there is no local critique group to review their writing? One answer can be found in Yahoo's on-line forum, WriteThingToo. While an on-line group might lack the camaraderie of a face-to-face meeting, it can bring some helpful insight to bear on your work. In addition, in the process of critiquing and helping to fine tune the writing of others, one sharpens the editing skills so necessary to the process of polishing one's own work.

The list is quite active. Only two thirds through January there are already over 550 posts. When signing up through Yahoo, you have the option of receiving each post via e-mail or once a day as a digest or only viewing the posts on-line. All genres of writing are accepted (except erotica); helpful critique is appreciated and encouraged. From time to time, writing exercises are offered to challenge everyone to exercise their talent and experiment. Writings posted to the list are not to be shared outside the group without permission of the author.

Moderator Toni Somers says in her introduction, "If you're looking for a place to hone your writing skills or to dip your first pen into the 'ink-pot' in a kind and helpful atmosphere, you've found it! The experienced writer can frequently learn much from the questions and concerns of the new writer. We are never 'finished' writers. Come join us!"

MUSINGS

Lunch in hand, I sat in my recliner, put my glass down on the coaster and reached for the TV remote to flick on the noon news. Not finding it, I shuffled through the post-Christmas debris of bills and Spring catalogs on the end table.

"Looking for this?"

I gasped twice. Once when my resident Muse spoke, and again when my sandwich landed, mayonnaise side down, in my lap.

"Thaleia! You've got to stop doing that. Can't you phone ahead and make an appointment?"

Lounging on the burgundy leather sofa, her abundant freckles served as camouflage. "Aren't you glad to see me?"

"Of course. I've more work to do than ever." I reassembled my sandwich and looked around for a napkin.

She proffered the box of tissues. "That's why you're so tense. Chill out and watch the tube for a bit." She clicked on BBC America.

"Is there a Brit-com coming on?"

She grinned. "Even better."

The TV came alive with a chirpy young chap saying, "Welcome to House Doctor. The show that helps a seller turn a passed-over property into a buyer's dream home."

"Trying to get me in touch with my inner interior decorator?"

She giggled. "You're not the type. It's just a pleasant diversion. You need to get your mind off writing for a bit."

"Bring me up to speed. What are they doing?"

"Alistair is the host. He introduces a home seller with a property that just won't move. Then he brings in a California real estate agent with an eye for decorating to shape things up."

As if on cue, Ann Maurice strolls into the scene. After a brief interview with the owner, they take a tour. Immediately she finds fault. "When you come into this hallway, all this clutter makes it smaller than it is--which is none too big--and the dark paint doesn't do anything to help...."

"Ouch! She's rather tart tongued, this American know-it-all, isn't she."

"You're right about the last part," said Thaleia. "If she doesn't know it all, she knows enough to make a difference. Watch."

Wandering purposefully throughout the house, the straightforward commentary continues. Praise is granted sparingly, when clearly due, but the scales are clearly tipped to the negative. "Carpet on the bathroom floor? What were you thinking? How unhygienic! Who would want to buy this? They're going to think, 'I'll have to redo this whole bathroom.' There goes another sale."

At the commercial break, my poor manners came to mind. "Could I get you something? Or do Muses eat mortal food?"

"Nothing, thanks. But actually, we can eat anything," she said. "And the beauty is, the calories don't matter."

"Yeah, I guess immortality would be heck if you had to spend the whole time dieting."

When the show continued, Alistair popped in to arbitrate a rather testy conversation between Ann and the homeowner. Ann's suggested improvements, though not overly costly, were not going down easy.

"Ah, but let's see what the viewers think," said Alistair, slipping a tape into the VCR. The homeowner sits back and watches prospective buyers, caught on hidden cameras, pick apart her home, often echoing Ann's very words.

After a bit more persuading, the homeowner relents and Ann takes charge. The homeowner is put to work packing and storing her precious, personal mementos ("Remember, people are buying your house, not your life. Depersonalize the space so they can see their things in here.") and working in the front garden ("First impressions make or break a sale. You have to make the buyer say 'Oh yes!' instead of 'Oh no!'") while the House Doctor crew revamps the interior ("It's all about flow and continuity. You have to show the buyer what the space is all about: this is the living room, this is the dining room, this is the master suite.").

As soon as the dust settles, Alistair again raps on the door. "Well, Ann, I see the transformation already. This front garden is gorgeous!" The cameras pan the before and after views, voiced over by Ann's commentary. She leads us all through the transformed home where her touches and tweaks have turned obstacles into opportunities. After Ann departs, Alistair once again sits down with the homeowner to view a video of the same prospective buyers on their second tour. The home is so well received it sells for more than the asking price, recouping many times the sellers investment for the fixup.

"I just love happy endings!" said Thaleia. "Guess we need to get to work."

I washed down my last bite of lunch. "Somehow I have the feeling this was educational television. I believe you're a Muse on a mission."

She grinned. "And that mission would be...?"

"To show me a lesson on the value of good critique--an objective, straight forward, sometimes painful examination of that which we hold dear. If we patiently endure and carefully put into practice the suggestions of our peers, we will reap the fruit in due season."

She sighed and lifted the remote. "My work here is done."

"Hold it a second! Isn't this 'What Not to Wear' coming on? I think they might have something to say about your lime green tube top and teal shorts."

She laughed and bounced a cushion off my head. "Get back to work!"

Leland Beaudrot, a Greenville Chapter member, is a SCWW Board member, Chapter Liaison and Quill Editor. Thaleia, the immortal going on twenty Muse of Comedy, has adopted him as a protégé.

The Quill is the newsletter of the South Carolina Writers Workshop.

Copyright 2005 by Leland Beaudrot, Editor. Contributing writers retain all rights to their work.