1. No category

Chapter to vote on board proposals
by Tamra Westberry,
EIC(proposal wording
Leaving
your comfort
zone by SydneybyAlfrido)
Patricia Walters-Fischer
3) Proposal #2 - Realign the
Rather than
our usual
An evening
with Pamela
Morsi
agenda of welcoming a
guest speaker, SARA
hosted a board discussion
at the February meeting.
Below are the three choices
we SARAs have to decide
on by the next meeting,
Wednesday, March 19.
If you cannot attend the
meeting, your vote is still
important. Please decide
which board structure
you’d like SARA to and prepare to vote on it at the
meeting or send your email
vote to a SARA member
who you know will be in
attendance. The easiest bet
would be to send your vote
to our president, Sydney
Alfrido at [email protected]
1) Current BOD - no
changes to the board or
committees
2) Proposal #1 - Delete 2VP
position, have one VP who
does the work currently being done by the 1st & 2nd
VP. Delete the Historian
Parliamentarian position
and spread the responsibilities of this position out between the Communications & Recording Secretary. Committees remain
the same.
BOD - President, VP Programs & VP of Communications, and a Treasurer. Realign the committees under
the two VP and Treasurer so
that these committee chairs
work with a member of the
board in a "team centric" environment. This means that
the VP of communications
would be responsible for the
newsletter editor, website
coordinator, historian/
parliamen tarian, and publicity. This group would
work as a team to take care
of all "Communications related issues" concerning
SARA. They would be there
to back each other up and
to assist each other in the
event of a death, illness, or
inability to continue in their
position.
You can start by running
for a smaller position or you
can run for president. Did
you know that SARA covers
the RWA national conference fee for chapter presidents? That alone is a nice
compensation for the responsibilities of the position.
If you are a long-distance
member or maybe you have
too many publishing deadlines, you can still help out
by sending articles (anything romance/writing related)
to
me
at
[email protected] .
Writing as Tara West,
Tamra Westberry is published in paranormal YA
romance. She currently has
two books released in the
Whispers series. Please visit
With important decisions her at www.tarawest.com .
needed to be made, also
come responsibilities. When
I first joined SARA, I did not
consider an officer position
because I was unpublished.
Good News...3
I later learned that many
board members were unpubDialogue Tags...4
lished writers.The bottom
SARA Booksigning...5
line is, any SARA can run for
Storyboard collage 6-9
any position as long as you
Creating your
can attend the meetings and
story’s
backbone...10
spend a little time each
month with your duties.
Announcements...11
Inside...
2
A letter from the president...by Sydney Alfrido
SARA needs your input and your service
I hope all of you have
taken the time to go to the
Forum and look over the
various proposals for the
Board of Directors. These
proposed structures all meet
our needs in various different ways, but we can only
present one of them in the
new Bylaws we must send
forward to RWA National at
the end of the month.
It is important for you to
provide your input, as we
will use these inputs to help
us make a final decision on
which ‘Board’ structure will
ultimately be the one responsible for the day-to-day
business and administrative
operations of SARA. I will attempt to consolidate the inputs we have received into
one document that spells
out, to the best extent possible, the way people feel
about each proposed structure. You are all encouraged
to view these inputs so that
you will be better informed
and prepared to cast your
The Love Letter is the
monthly publication of the
San Antonio Romance Authors and welcomes comments and submissions.
Please submit articles to
The Love Letter as an email
to [email protected].
Submissions will be used at
the discretion of the editor
and may be edited for length
or suitability.
vote during the March 2008
meeting.
For those of you who are
out of town, Proxy votes can
be received and up to and including the day of the election. Please send your proxy
vote to a General Member
whom you choose to represent your vote at the meeting on March 19th. If you
have nobody specific in
mind to present your vote,
then please send your vote
into me at [email protected].
Simply tell us whether or
not you prefer Board proposal 1, 2, or 3.
two-plus years and we are
ready for a short break. Now,
we might take up other positions on the board or committees, but each of you
needs to take a look inside
and see what you might give
to support our organization.
Remember, we will vote on
which Board structure to
present in our Bylaws during the March 19th meeting,
prior to the presentation, “A
Day in the Life of a Real Cowboy.” Due to some difficulties, we will still be meeting
at the Wah Kee Restaurant
on Blanco.
Obviously, this will affect
you on a broad scale, but
unless you are unaware you
must also know that it affect
on you in a personal level as
well because several of these
positions will need to be
filled from within the General Membership population.
Startling I know, but there I hope we’ll see you all there.
are at least three of us who
Sydney
have served on the board for
For signings, book features
and general news or notices,
the deadline is the first of each
month.
The accuracy of the articles
and announcements contained in this newsletter is the
sole responsibility of the submitting author and not this publication nor its supporting Executive Board.
The Love Letter and the San
Antonio Romance Authors
assume no responsibility for
the accuracy of market,
contest or conference news;
all information is presented in
good faith. Mention in this
newsletter should not be
construed as an endorsement by SARA. Our sister RWA
® contained in this issue, provided they credit the author,
The Love Letter and SARA.
SARA News
by Megan
Galloway-Winkler
leases in eformat on March 28,
2008. Contributing to the anthology are: Layla Chase, Betty
Hanawa, Desiree Holt, Myla Jackson, Megan Kerans, Shayla
Kersten, Eve Savage, Allie
Standifer, and Brenna Zinn.
Mary Jerrigin w/a as Myla
Jackson’s historical western novella FIT TO BE TIED is scheduled for release March 19th at
Ellora’s Cave.
While w/a as Elle James, her
story TEXAS-SIZED SECRETS,
Linda Carroll-Bradd w/a as a Harlequin Intrigue is in stores
Layla Chase’s erotica novella, now.
PLAY ON WORDS was released
Shayla Kersten has signed two
by Amber Quill press in Februmore
contracts with Ellora’s Cave
ary as part of their Games People
for PAST LIES, a gay contempoPlay series.
rary romance and LONGING
Also, Destination Pleasure, an FOR ETERNITY.
anthology of erotic short stories
Judith Rochelle w/a as Desiree
written by 9 SARA members, re-
Holt has made her
fourth sale to Totale-Bound, AFTER-
3
NOON DELIGHT.
Kimberly Kaye Terry is a
three category Finalist in the
Emma Awards at the 2008 Romance Slam Jam: Favorite Anthology - BIG SPANKABLE ASSES,
Favorite Steamy - RIDIN’ THE
RAILS and Cover of the Year RIDIN’ THE RAILS.
Tamra Westberry, w/a Tara
West’s second YA paranormal
DON’T TELL MOTHER hits the
shelves of the Wild Rose Press on
March 7th
Jenn Wilkins w/a Eve Savage announces
the
sale
of
her contemporary erotica OUT OF
CONTROL to Ellora’s Cave.
Update to the article “Buy a book, help a child in need”
by Tamra Westberry, EIC
On February 16, I received an
email from the editor of The Wild
Rose Press, Rhonda Penders, telling all TWRP authors that Judith
Rochelle’s (SARA member) book,
On the Run, was being pulled from
the bookstores at the request of St.
Jude’s. Below is a portion of the
message sent by Rhonda:
“...some of the donors who are
very involved (read very involved
as who donate enormous sums of
money) with St. Jude Children’s
Hospital did not feel it was in their
best interest to be associated with
a romance novel. I had previously,
at their request, sent them the
book to show them there was nothing in the story that was offensive
or portrayed St. JudeChildren’s
Hospital in anything but the most
positive manner.
“Any of you who had the privilege of reading this story know
that even the love scene was PG
rated. There was nothing about
this book that could be construed
as offensive.
erences to the hospital entirely and
then we will bring it out again this
summer without any connection to
St. Jude’s Children’s Hospital.
“All proceeds as of today that we
have collected from On the Run
will go directly to St. Jude
Children’s Hospital as promised.
“They made the decision, how- Once we re-release Judith’s book,
ever, to ask us to cease and desist we will donate every penny to a
all promotion and publication of foundation that deals with Childthis book. So while very disap- hood Abuse or Domestic Violence
pointed, we did as we were asked. but they will not be connected to
The book has been pulled from all the project to avoid this same type
our distributors, and our web site. of situation.”
“Judith Rochelle (the author) is
an amazing lady and she’s taking
all of this very graciously. She is
going to rework the story over the
next few months, removing all ref-
Rhonda Penders wanted to thank
all readers who bought the book.
She has also asked that no hate mail
or angry emails be sent to St.
Jude’s.
4
Words of Wisdom...
He Said, She Said..Or Nothing
by Linda Carroll-Bradd
A writer’s choice over the inclusion of dialogue tags is part of what creates his or
her style. For the most part, tags should be invisible (said or asked) and included
only to avoid confusion about who is speaking in a conversation between two
people. The overuse of “he said, she said” can slow the pace and steal power from
your sentences.
When three people are involved, tags have to be used for each line. The choice then becomes either an
action or dialogue tag.
Avoid using the tags to tell information about the character’s emotional state.
“Good morning all,” Dawn said cheerily.
“Good morning all.” Dawn greeted the students with a smile.
“But I wanted that dress,” Jill exclaimed petulantly
“But I wanted that dress.” Jill pouted.
Avoid dialogue tags at the ends of sentences.
“Listen,” Paul called. “Come up to the front. We’re ready for the speech,” he said.
“Listen,” Paul called. “Come up to the front. We’re ready for the speech.”
Avoid action tags that don’t add sufficient details.
Gary nodded.
Terrie smiled.
Jack grinned.
If you use both types of tags, avoid action tags that duplicate the dialogue tag.
Anna countered, shaking her head.
Stewart questioned, shrugging his shoulders.
Charlene enthused, her breath whooshing out in a puff.
In my opinion, action tags relay more information and always strengthen the sentence.
“I have to leave,” she said, rising reluctantly
“I have to leave.” With a slow move, she rose.
“Are the glasses here?” he asked, opening the cupboard door.
“Are the glasses here?” He opened the cupboard door and reached inside.
Be sure the effect you’re creating is the desired one when choosing the type of tags to include.
The Merritt Contest
5
has extended the deadline until march 15
The “Magic Moment”
The entry will be a 20-page “magic moment” from the novel: the pivotal, break-through moment from
the story as defined by the author. If the scene is taken from somewhere other than the beginning of the
novel, the entry should also include a 1-2 page “set-up” to explain the context of the scene.
Eligibility:
Entrants may be published or unpublished, but MS
cannot have been accepted for publication at the time of entry.
Categories and Final Judges:
• Short/Long Contemporary - Susan Litman, Harlequin
• Single Title - Allison Brandau, Berkley Publishing
• Paranormal – Hilary Sares, Editor, Kensington Books
• Historical – May Chen, Avon
• Erotica - Raelene Gorlinski, Editor-in-Chief, Ellora’s Cave
Entry Fees:
$20 per entry for San Antonio Romance Authors members; $25 for nonmembers. (If entering
more than one manuscript, fees may be combined into one check, but a separate entry/release
form must accompany each entry.) Payments can be made by PayPal or by mailing a check or
money order payable to San Antonio Romance Authors.
If you elect to use Pay Pal there is a $2 additional fee for a total cost of $22 or $27.
Questions: Please contact the Contest Chairs at [email protected] or visit
http://sararwa.net/contest.htm
Just in case you missed the Divas!
Much thanks to all the SARAs
who attended Romance Day at I10 Barnes and Noble on February 9. Many authors enjoyed the
sisterhood with SARAs. We
couldn’t have done it without
you!
Ellen Wulf put countless hours
into organizing the event. Sydney
Alfrido and Joni Hahn organized
a luncheon. Joni awarded Tamra
Westberry a box of chocolates for
the best Valentine story. Celia
Yeary and her husband drove
from Corpus to photograph the
event.
Marilyn got to sign books with
her daughter. Kimberly’s eyelashes looked fabulous! Judith
had a sell-through and was able
to sell her last
copies of On the
Run.
Tamra
sold out at her
first ever signing.
Jo-Ann
looked professional
and
poised with her
beautiful hard
cover books.
Linda signed
her highly-acc l a i m e d
Kensington release.
Story by
Tamra
Westberry,EIC
Pictured Left to Right: Kimberly Kaye Terry, Jo-Ann
Power, Linda Carroll Bradd, Judith Rochelle,
Marilyn Campbell, Tamra Westberry and Joie Del
Rio. Photo by Mr. Yeary.
6
It’s not for Readers: The Plotting Collage
by Masha Holl
1. What is plotting
It’s not preparing to overthrow the government. Or
the Board of Directors. Unless
that’s what you mean to do
in your work of fiction. In
that case, plotting is setting
up the steps that will take
your main characters from
the initial situation to the
conclusion of your story.
2. What is a collage
A collage is a more-or-less
random assemblage of parts
into a coherent whole, which
becomes significant only
when taken as a single unit,
not as its individual parts. Or
in other words, it’s an image
or a sculpture that’s created
from other images or parts
put together.
3. What is a plotting collage,
and why do it
A plotting collage combines
the two: it serves to take the
author from the initial idea
to the conclusion of the
story, not in a linear manner
(which a flowchart would accomplish), but rather in a holistic manner, by looking at
the representation of the total idea in a single image.
4. What a plotting collage
isn’t
It is not a formal work of
art. It is not to be agonized
over and it is not to be composed following the strict
principles of balance and proportion and space and color.
It’s quite likely that it won’t
be done until the story is finished. It’s just as possible
that it will never be as fin-
ished as the story itself. Or
that it will show the initial
situation, but never the denouement.
5. What is the purpose of a
plotting collage
As a visual exercise, a plotting collage will prod the
other side of your brain, the
one that’s underutilized
when you write and think
logically and in a linear manner. As a product (a more or
less finished piece), it is
something to stare at when
your mind goes blank in the
middle of a scene. Your collage basket (or box, or bag, or
whatever container you use
to collect your odds and ends)
is something to dig into and
play with when you can’t
string two words together,
but don’t really want to get
away from your work. It is a
tool to stimulate the senses.
6. What are the tools of a
plotting collage
a. The base
The base is the framework
for your collage. It’s the backing that will support everything you will add to your
image. It can be made of anything you wish, but I suggest
you choose something sturdy
that will support itself:
Foam core board
It has the advantage of
thickness and will allow the
use of push pins for temporary attachment while you
decide on the placement of
items.
Tri-fold boards
Cardboard or foam core;
foam core has the above advantage. Cardboard is usually
cheaper. Tri-fold (presentation) boards have the advantage over plain tri-fold boards
in that they are self-standing.
Poster Boards
Much more flimsy, and will
require special handling for
display (must be attached to
a wall, a display board, or
some kind of backing). But
they are available in a wider
range of colors and are much
cheaper and more easy to
find.
Random bases
Be creative: Shadow boxes,
printer’s drawers, paper
plates, wooden boards. Anything that speaks to you and
feels like your story will
work.
b. The materials
Images
You don’t have to be an artist to put together images.
Surf the web. Collect magazine. Cut out postcards.
Don’t throw away catalogs.
Save those ads. Any image
that reminds you of your
story should go into a folder
or an envelope.
Objects
Again, don’t spend too
much time looking for the
perfect replica of the battered
T-Model Ford with just the
right scratches. That’s not
the point. Find something
that evokes your story. What
Continued next page...
Continued from page 6
if you can’t find a black bear?
Use some paint on a grizzly
replica, if a grizzly toy is the
only one you can find with
the right look. Visit garage
sales. Trade with your kids.
Make a trip to the dollar store
and the craft market.
Tools
Scissors. Brushes. Blades.
A tablecloth to protect your
work surface. Water. Whatever other liquids you need
to go with the paints and
glues you’ll be using.
Supplies and resources
Glue (glue sticks, craft glue,
super glue, tape). Paint(s).
Pens. Pencils. Markers (permanent markers of all sorts
of colors are great). Crayons.
Whatever else you’re used to
work with (I like metallic
markers for highlights).
The computer and a printer
Stickers
Note cards, card stock, tissue
paper, random paper supplies
Visit the craft store, the office supply store, and any of
your favorite mega-stores
7. How do you put it together
a. Selecting the materials
Start gathering things that
feel like your stories, your
locations, and your characters. Not things that look like
your stories, or things that
illustrate your stories. Go
with the fuzzy feeling. Pick
things you like and which fit
well with the rest of the pictures. Don’t think too hard.
Don’t try to be logical.
You’re not trying to illustrate
your story.
You’re not trying to tell your
story to anyone.
Your collage is not supposed
to make sense to anyone but
you.
Your readers won’t see your
collage, or if they do, they’re
not supposed to understand
it.
Dream up your story, don’t
write it in pictures.
The Brightest Heaven, coming this summer from The
Wild Rose Press.
7
b. Finding a work
space
Once again,
don’t try too hard.
Make it portable. If you have
a craft corner where you can
set up, great. If not, then
make sure your base is
sturdy, and prop it up, so you
can keep adding to your collage without having to spread
out between sessions.
Make it comfortable. Make it
casual. This is not a big
project, and it’s not a major
work of art. This is for you.
Think of it as a working vacation.
c. Collaging.
As you can see from the examples of my own collages,
they really don’t tell the
story. They really are amalgams of images (I didn’t use
objects this time) that recreate the mood of the story for
me and help me focus on the
central conflict of the story.
Other details are there simply because they fit.
My two examples are quite
different. In the first one (the
wolf-themed one), I have used
a computer-based scrapbook
template to assemble pictures I gathered here and
there. The same effect can be
achieved with a paper template (either commercial or
home-made), glue, and scissors. I intended to used the
Wolf collage both as an image on my flash drive, and as
the cover for my plotting
binder.
In the second example, I
also started with a digital
collage (which I later used as
Continued next page...
8
Continued
from page 7
base for a binder cover), but
then I printed it out and
pasted it onto a poster board.
Then I added other images
which fit the mood, the plot,
or the background of the
story. Or looked right with
the other elements of the
collage.
The thing to stay away
from is trying to tell the
story in images. Don’t do a
graphic novel out of your
story. That is the opposite of
what a plotting collage is.
Now, if you want to do a
graphic novel as well, that’s
entirely different, but it is not
the subject of this article.
Be bold. Position elements
in the middle (I don’t mean
center them — just get out
of the corners). Don’t be
afraid to overlap. Don’t be
afraid to reposition, start
again, change your mind,
cover up. Your book will
evolve, and so will your collage.
d. Displaying the collage
Pack Justice, a werewolf story in progress (book 2
of a trilogy).
While I work on a story, I
keep my collage where I can
see it, or at least where I can
get to it easily (especially if I
have several projects going
on at the same time). An easel is a useful tool. A cork
board, or a magnetic board.
A hook on the wall. A shelf to
prop it on.
You will probably want to
find a spot where you can see
your picture from your writing chair.
8. Alternative methods
Some people just hate scissors and glue. Or paper. Or
really, really despise large
displays. Or need something
more tactile.
There is hope for them.
a. Digital
You can do a digital collage.
In fact, I start my collages as
digital works. Pick a graphics program and play with it.
Copy and paste images into
it and edit them. Blend,
erase, crop, cut. Layer.
I’m not going to give a lesson in digital imaging here.
There are BOOKS for that.
b. Rosaries
One author (see the Notes
below) made a more portable
version of a collage, and a
more tactile, too. She calls it
a rosary – a string of objects
connected to her story or her
characters.
You could also make collections, or mini-collages, or
small boxes that you carry
with you. Or story jewelry.
It’s the collage principle
that’s important: an assemblage of things that speak to
you of your story.
Continued next page...
Continued from page 8
c. Spreadsheets
This is the extreme opposite of the image collage. But
to some extent, color-coded
spreadsheets and fancy flow
charts are also collages. Anything that represents your
story visually is a plotting
collage, as long as it allows
you to step back from the
words and the ultra-linear
grammar-controlled writing.
9. In the words of the guru,
and the psychology of visual
art
In the online workshop she
held in 2007, Jennifer Crusie
wrote: “I’m all about the details, I see the book as individual interactions, colors,
textures, tones, scenes. (...) I
collect the details and glue
them together so I can see a
whole: my collages.”
But once the whole picture
is well set in your mind, and
the book is under way, and
you’ve been traveling your
story world for months and
months, new problems arise.
“Your left brain keeps running over your right brain.”
(Jennifer Crusie, He Wrote,
She Wrote Workshop, 2007).
This is when “you choose
images and objects that remind you of your story, not
that illustrate the story, but
that look like the story in
some way” (Jennifer Crusie).
This is what we’ve been trying to do. Balance the logical, linear work of the left
brain, most suited to words
and structure, with the random, visual, color-coded expression of the right brain.
We often need to take a
break from writing by watch-
ing a movie. Or play a video
game (I prefer role-playing
games with great graphics
and developed characters). It
only inspires us to write
more. Collages allow us, instead of passively watching
images on the screen, to
make the break into an active exercise by selecting pictures and objects and arranging them into patterns of our
own liking. We will achieve
the same result, and feel
rested, and avoid the sense
of guilt that haunts us when
we desert our manuscripts.
10. Notes: Links and sources
for materials, and technical
considerations.
Brooke Bannon , collage rosaries (referenced above):
http://brookebrannon.
blogspot.com/2007/03/collage-rosaries.html
Image links (where you can
find some good, free images)
http://www.dailykos.com/
story/2007/1/20/15451/
6564
http://yotophoto.com/
http://www.dreamstime
.com/free-photos
Software links (available free
imaging software):
http://www.getpaint.net/
features.html Paint.NET
http://www.irfanview.com/
IrfanView
http://www.gimp.org/ GIMP
(GNU Image Manipulation
Program)
Note on copyright: Generally, you do not need to worry
about copyright, since all the
images you’ll be using are
strictly for your own benefit,
and not for commercial purposes. A note about your
sources for images should be
sufficient. However, I am not a
9
copyright expert, and if you
have any doubts whatsoever
about displaying your collages on the internet (on your
blog, on forums, etc), please
consult a specialist.
My own images are usually
edited and modified to a significant extent, and meant
strictly for my own use. I also
play with graphics. If you
want to play along, contact
me.
Note on software: the links
I provide are all to freeware
or open-source software
which I have either tried
myself or read reviews about
which satisfy me about their
functionality and their
safety. The standard commercial software is Paint
Shop Pro and Photoshop.
Except for Paint, which
comes free with every Windows installation, graphics
software is never completely
intuitive. But once you’ve become somewhat familiar with
it, it’s quite fun to use. If you
like computers.
Conclusion
Plotting collages are to fine
arts what fiction writing is to
technical manuals. The
same, and yet not at all. One
can help the other, or it can
inhibit it entirely.
Here are the five rules of
collaging:
1. Relax
2. Don’t think too hard
3. Go with the flow
4. Get messy
5. Have fun
10
From the Collection
by Beckie Ugolini, Librarian
Creating your story’s sional characters.
backbone
*Surprise!—The unexIn “Creating Your Story’s pected keeps the reader
Backbone: Unleashing the turning pages.
unexpected power of turnRemember, actions don’t
ing points in plots and subdrive
your story—actions
plots,” (RWA 2007 06 12019) Robin Perini discusses drive emotions; emotions
the use of turning points to drive your story. Turning
develop your readers’ emo- points are not just about a
big plot event. They’re how
tional investment.
characters react to change
Turning points contain and how it impacts emoconflict, action, emotion, tions in surprising and reand surprise. Perini defines vealing ways.
*Conflict—Advances conflict
Use turning points to raise
stakes and change direction
for your characters—the action becomes more dramatic, the emotional investment more at risk. How a
character reacts to the turning point event can deepen
character by showing how
external events impact emotions.
a turning point as a scene
Major turning points in roor series of scenes that
change the direction of the mance always center around
plot or subplot for the char- the H/h, though subplots,
acter in an unexpected way. depending on their complexity, often have their own
Layering internal and exKeys to a successful story turning points. Perini recommends
aiming
for
one
ternal conflict with the use
include:
major turning point for ev- of unexpected twists and
turns will keep readers won*Deep characterization— ery 20-25K words.
dering what happens next.
It’s not who your character
Turning
points
serve
as
a
appears to be, it’s about who
-Beckie Ugolini, writing as
they are inside. Whenever framework for a story’s narrative
and
can
be
instrumenWilhelmina Rush
your character does something, you have to ask why. tal in plotting each of the
four types of dramatic
*Theme—This is the point scenes:
of
your
story—your
protagonist’s epiphany and
what she learns on her journey.
*Exposition—Provides information.
*Character development—Il*Braiding external and in- luminates through actions
ternal conflicts—Make sure or thoughts
to intertwine plot and character. Layer multipurpose *Plot—Advances plot/subscenes and multidimen- plot
Happy Birthday!
March
Pam Morsi 3/15
Sally Jane Driscoll 3/22
JoAnn Prater 3/29
Writing Announcements
11
by Lupe Gonzalez
CONTESTS
Favorite Concert Memories
Writing Contest
Sponsored by The National
Association of Baby Boomer
Women
Share your favorite concert
memory in 500 words.
Entry Fee: None
Deadline: April 15, 2008.
First prize: $100 and free
membership or renewal in
the National Association of
Baby Boomer Women. Plus
your story will be placed in
the Our Voices section at
www.boomerwomen
speak.com.
Please make sure to include
your name, email address,
and short bio at the top of
your entry NOT in the body
Cover Art Blog
Got questions about cover
art? On March 14 go to
www.writersatplay.com .
Please join cover artist,
Tamra Westberry at Writers
at Play for her blog, “Confessions of a Cover Artist:
How to Make Your Book
Beautiful and Increase
Your Selling Potential”
of the email.
For more info: http://
For more information, go to www.greenprints.com
http://tinyurl.com/2vk7rg
INTRIGUE PRESS
Writers’ Exchange Contest
Publishes mysteries with a
gentle touch and unique reThe Writer Magazine
Show your sense of humor. gional settings.
Sharing a favorite faux pas For more info: http://
www.intriguepress.com/
from your writing career.
Deadline: May 31, 2008
Entry Fee: None
PROMOTIONAL
Word count: 50-250 words
OPPORTUNITIES
Prize: $50, a one-year subscription to *The Writer*, Free Promo Ops at The
and publication in the maga- CataNetwork
CataRomance,
zine and/or online at For
Ecataromance, Single Titles
Writermag.com.
For more info: http:// and Sensual, you can submit
www.writermag.com/wrt/ a smooch, an excerpt, a fun
fact, request an interview
default.aspx?c=a&id=3635
and/ or request a book review. You can even go on
WRITING OPPOR- there and chat about what
you’re reading and inspire
TUNITIES
others.
GreenPrints
For more info: http://
“the personal side of gardencataromance.com/ or http:/
ing.”
/www.ecataromance.com/
Word count: stories up to
index.php
2000 words.
Payment: $200 or less.
The Merritt Contest
has extended the deadline until
march 15
Submissions are low, so please enter!
Questions: Please contact the Contest Chairs at
[email protected] or visit
http://sararwa.net/contest.htm
12
by Linda
Carroll-Bradd
Membership Report
(as of 3/1/08)
During this past month,
SARA has gained two members, bringing our total to
50.
Welcome to:
Helen Converse, who lives
in Austin, worked as an electrical engineer and is now a
fulltime writer. She writes
paranormal stories and has
experience as a technical
writer.
Phyllis Hartley has worked
in law enforcement as a 9-11 dispatcher and relocated
to Corpus Christi from Virginia. She writes single title
contemporaries and is con-
sidering
paranormals.
writing
Last, sign up for the Forum on the SARA website
and read about what’s happening. You can most easily receive support when
you’re in touch with the
other chapter members.
Critique Groups
Kharities contact Linda at
[email protected]
Upcoming meetings are: Inperson meeting cancelled in
March due to plotting weekend. Online 3/6, 3/20, 4/3
W.I.T.C.H.E.S. (Writers in
training
can
handle
encouragingsuggestions)
meets Friday evenings for
brainstorming and sharing.
Con-tact Sydney K. Alfrido
at [email protected] .
Don’t miss the next meeting...
Wednesday, March 19
Special Presentation by Lee Haile...
“A Day in the Life of a Real Cowboy”
Mr. Haile is a working rancher and a professional entertainer and winner of numerous storytelling championships.
Wah Kee Chinese Restaurant
18360 Blanco Rd.
San Antonio, TX 78258 - 497-6669
North East corner of 1604 and Blanco Road
in the strip center behind Luby’s cafeteria.
Meeting starts at 6:30, but come early to order food.
2007-2008
SARA Officers
President
Sydney Alfrido
1st Vice President
RubyChristine
2nd Vice President
Ellen Wulf
Treasurer
Gimoy Louie
Recording Secretary
Linda Carroll-Bradd
Corresponding Secretary
Patricia Walters-Fischer
Parliamentarian
Marjorie Brody
Immediate Past President
Sydney Alfrido
Communications
Patricia Walters-Fischer
PAN Liaison/PRO Liaison
Jo-Ann Power/Tamra Westberry
Newsletter Editor
Tamra Westberry
Librarian
Beckie Ugolini
Merritt Contest coordinators:
Beckie Ugolini &Margaret Batschelet
Assistant Coordinator:
Patricia Walters-Fischer
Kharities Coordinator
Linda Carroll-Bradd
W.I.T.C.H.E.S. Coordinator
Sydney Alfrido
Hospitality
Patricia Walters-Fischer
Membership
Linda Carroll-Bradd
Special Events Coordinators
Judith Rochelle & Mary Fechter
Ways & Means/Web Liaison
RubyChristine/Sydney Alfrido &
Judith Rochelle
Love Letter Reporters
Sydney Alfrido, Linda Carroll-Bradd,
Megan Galloway-Winkler, Lupe
M.Gonzalez,, Masha Holl, Gimoy Louie
and Beckie Ugolini