Prove (or improve) Your Vocabulary Percentage
February 17, 2012
What’s your vocabulary score? This is a different quiz than the last one I brought to you. If you take this one, please share your results, and also, please let me know: What is your definition of vocabulary?
I started poking around online and looking at articles about vocabulary. I discovered articles from teachers and state learning institutions that tout the importance of having a good or as some called it, a wide vocabulary. I found other sites that suggest the best way to improve your life – get a raise or even a better job – is to raise your vocabulary. I even uncovered several sites willing to relieve you of your money to provide you with a vocabulary improvement course. Spend money to make money? Maybe.
Many dictionaries define Vocabulary as “the words of a language.” The American Heritage Dictionary – the online version as well as hardback, New College Edition (a relic from my high school days) and the Fourth Edition, richly illustrated in full color – takes the definition one step further. Their definition includes “knowing.” I agree. It isn’t enough to be able to pronounce a word, or speak a word; the true test is having an understanding, a knowing, of the word.
I’ll give you a personal example. My mother is Japanese. As a child, for four years, I lived and went to school in Japan, where I studied Japanese culture, dance and language. I learned two of the three Japanese alphabets – Hiragana and Katakana. Later, in college, I took Japanese and the five-hour A helped my GPA a lot. Today, when my mother does karaoke, I can sing along because I’m able to read most of the words…but I can’t say that I “know” them. My Japanese vocabulary is limited.
My English vocabulary? I continue to strive to improve it. Thus, I found another online vocabulary game at Dynamo Dictionary. I hope you’ll take the challenge. I admit, taking these mini-tests boosts my confidence. Offers me a few giggles and that little “atta-girl” when I’m trying to push the cobwebs from my brain and write.
Happy Writing!
(image creator for photo Danilo Rizzuti)
Not Until . . . NOW!
January 30, 2012
I don’t exactly have writer’s block, more like thinker’s anesthesia. At the moment, my heart is calling the shots and in my state of sadness, my heart has my brain in some sort of wrestling hold, of which hypoxia must be the by-product and it’s causing a numbing sensation that prevents me from working on my novel today. How else am I able to explain the reason I’m floundering at putting words together to make a meaningful sentence. After all, I’ve presented workshops on techniques for dismantling blocks for creative types. However, the techniques I suggest to unstop the flow and move imagination front and center were not grief tested. Until now.
Last Thursday, I arrived in West Palm Beach and after dumping suitcases at a hotel, I presented my ID at Good Samaritan Hospital. Between the time the security person took my photo, clicked computer keys, then provided a sticky name badge that gave me access to ICU, I observed my surroundings. The similarities between a hotel and hospital struck me as ironic. Both have fountains in their courtyard, a lobby with green plants, and both have lots rooms – for a price – with amenities like TVs and beds. From the moment of my arrival in south Florida, my world became H&H – hospital and hotel. Until now.
I won’t go into much detail except to say that Clara, my best friend since college days, died yesterday after living with a debilitating, deforming disease for many long years, surviving cancer (doctors refused to do chemo or radiation on her because of her scleroderma), and a long hospital stay after a bout with pneumonia. I am happy that she is free of pain, though sad because I miss her. I know I will see her again, but not until…

Clara Villaman is an example of someone who never gave up. Her last email instructed me to stay the course after I’d told her about a publisher’s rejection. She asked when I would query again. I said, “Not until…”
Her response was direct, short, and sweet. “Now.”
All we have is “now.” Yesterday is gone and tomorrow will never get here. Now is when we breathe and live. There is no waiting for until. So, in her passing, let Clara’s word be a beacon of light for you. Don’t wait. Whatever it is – do it.
Now.
P.S. If you check out my website, you will find my bio in English and Spanish. Clara did the translation for me, something we were proud of.
“Storm Country: The Anthology” – update
January 23, 2012
Greetings!
On October 26th 2011, I posted about Storm Country: The Anthology. My story, Arctic Arkansas, appears in the book. All sales are donated to the Joplin, Missouri school district, which was wiped out in last spring’s mega-tornado. (I saw a weather channel report and that tornado is one of the top three ever recorded in America.)
The Kansas City Star featured Storm Country: The Anthology in an article on Saturday. Here’s the link:
http://www.kansascity.com/2012/01/21/3380246/readorama-anthology-on-weather.html
I’m happy to announce that sales continue to rise. If you purchased a copy to help the schoolchildren in Joplin, thank you very much! Know that you have my heartfelt gratitude. For those who were unaware of this fund drive, there’s still time to join in and make a contribution by purchasing a book.
“Storm Country” is now available at
https://www.createspace.com/3707021
or
by sending a check for $13.95 per copy to
MWG Joplin Book Drive
1203 Spartina Drive, St. Louis, MO 63031
Happy Reading!
We are THE ones . . .
January 16, 2012
2012 started with sparklers and champagne. My husband and I in our wooded backyard celebrated the close 2011, a tough year. We turned our sights to the new one and reveled in hopefulness. Under a midnight blue sky with stars for sparklers, we toasted. I thought about all the positive possibilities for my life and my writing career.
In the following few days, I received emails from several friends sharing with me the Hopi Elders Message from The Elders, Oraibi, Arizona Hopi Nation. (If you haven’t read it all, let me know and I’ll pass it along.) I read the whole piece several times. One part really resonated with me, striking deep in my heart:
The time of the lonely wolf is over.
Gather yourselves!
Banish the word struggle from your attitude and vocabulary.
All that we do now must be done in a sacred manner and in celebration.
We are the ones we have been waiting for.
In the ‘gathering of yourselves’, new people are arriving in my life and old friends are reconnecting in new ways. I celebrate each of them. Friends are like sparklers, lighting up, burning bright – oh, so visible – when I need them most in my life.
Paul Goldman is one such friend. A man I’ve known a long time, since my earliest Kansas City days. With permission, I offer to you a poem Paul wrote that has great meaning for me.
Death & Rebirth
I go about the days
of my life sifting
through that which
has died and that
which is waiting
to be reborn.
The dead things
are gone- not served
any longer by mourning.
I choose
to celebrate
the constant rebirth,
finding now
that this secret
only resides
in where I place
my oft wandering attention.
(c)Paul Goldman January 6, 2012 All Rights Reserved

Paul Goldman is an Ecstatic Poet. His passion is fostering awakening in others.

Paul is celebrating the international release of his book, Journey Into Oneness by O- Books, United Kingdom, November 2011.
Please feel free to visit Paul at his Stone Spirit Lodge website, which contains a poetry blog. Or on facebook at: Wild Joy: The Ecstatic Poetry of Paul Goldman.
Please let me know if you were touched by Paul’s poem.
Revise? Now? But, I just Started!
January 9, 2012
Like a Tango dancer, I’m working to polish my craft. I’m told that Tango, a basic eight-step dance, requires passion and seduction. I like one-word keys to prompt me when things aren’t going exactly as planned, thus Tango. With burgeoning writing passion barely contained, I have discovered I needed to dig deeper to harness the seduction part in order to produce a successful Tango.
The American Heritage dictionary defines seduction as: to entice or beguile into a desired state or position.
So, how will it entice me into the desired state? By revising my goals.
I wrote them down on New Year’s Day, even told a few folks about them, enlisting my over-developed sense of accountability to keep my goals front and center. After all, when you tell someone you’re going to do something, you must do what you say you will in order to maintain your integrity. I included specific tasks and exact completion dates, some for the first half of the year and two longer goals for writing new novels. Yet, a week into the year and I’m madly revising – how’s that like a writer?
My goals were not inclusive enough and the rewards too wimpy. I started with a slingshot launch, fast and forceful into 2012. However, on day three, my slingshot broke and I disappeared into a shell of quiet solitude, yet the internal voices kept shouting so loud that silence turned out only a dream.
What I did learn? I require a balanced approach to my goals, incorporating my writing ones with the ones for everyday living. Sounds simple enough, right? Maybe a brain cramp produced by too many fireworks on New Year’s Eve prevented me from seeing the obvious.
Therefore, I’m making lists of things I want to for this year: writing, home, garden, and travel. I’m going to color code the specifics goals completion dates into my calendar. I’ll let you know mid-year how it’s going.
How’s your Tango going?
How To Get In The Room
January 5, 2012
I love writers.
I had the honor of meeting a gifted, dare I say brilliant – though I don’t want it to go to his head – screenwriter who agreed to be a guest blogger. So, I’m pleased to present *drum roll* the produced, working, Atlanta-based award-winning screenwriter Michael H. Harper and his insights on how to How To Get In The Room
P.S. At the very end, after his bio, watch the clip- then, let me know what you think!
Here’s Michael!
In November, Linda posted a well-considered and helpful “how-to” on what to do when pitching a new manuscript to a potential publisher, literary agent, or manager entitled “You, too, can have Pitch. Pitch On!” In the comments section, I added my two cents’ worth, based on my own pitch experiences in the film business. Shortly thereafter, Linda asked me to write about pitching for film, specifically a few ways a screenwriter might land the ever-elusive meeting with a producer. What follows is a short list of tactics I’ve used to get in the room; I hope it helps…
How To Get In The Room
Aim for the right door. Most screenwriters will never get the chance to pitch to Steven Spielberg, Joel Silver, or Brian Grazer; they’re some of the biggest producers in Hollywood. So don’t hang your hopes on landing a pitch meeting with them … yet. There are tons of lesser-known, but reputable, producers out there; set your sights on them. Find a film on IMDb similar in tone to your screenplay, and contact the producers listed lowest in the credits; they’re the most likely to respond. But for best results, look outside Hollywood: go smaller, local, and more independent; just get produced. Successful experiences with smaller producers lead to future opportunities with bigger producers.
Knock. Put yourself out there. Writing is a somewhat antisocial undertaking. We lock ourselves away, alone in our offices, and create fictional worlds full of imaginary people. But filmmaking is a collaborative effort and a “who you know” industry. You have to meet people. Almost every town has some sort of film community. If yours doesn’t, consider moving to one that does. I’m not kidding; to be “in” the industry, you first need to be near it. (I’m not just talking about Hollywood. The Atlanta film scene has grown by leaps and bounds the past few years, and there are thriving film communities in Austin, Chicago, and many other cities across the country and around the world.) Industry events; film festivals; premiere screenings; they’re full of producers looking for new projects. Be there. Meeting potential producers in a social setting reduces stress, and leads to better networking opportunities … including pitch meetings. And many films have been greenlit from “off-the-cuff” pitches at these types of gatherings.
Climb in the window. Work on other people’s projects. Making a movie is like going to war. A big part of a producer’s job is pulling together the team needed to fight that war, and producers want to surround themselves with people they know they can trust to do good work. Get your name on that list; take smaller jobs on smaller crews, and do those jobs well. The next time that producer is looking for a crew, she’ll remember you’re a team player. Building a relationship through work is a great excuse for you to mention your script. “You know, I’m a writer, and having watched you on set, I can’t imagine anyone else producing my screenplay. I’d love to schedule a pitch meeting…” A lot of today’s Hollywood royalty started out as Production Assistants on other people’s sets.
Build your own door. Do it yourself. Produce a film from a screenplay you’ve written, and travel with it to film festivals. Now you’re a writer-producer. This opens doors to other, more experienced producers; some are more inclined to take a meeting with someone who has an idea of what it takes to produce a film. At film festivals, I’ve watched scores of writers speak with other writers, directors hang out with other directors, and producers rub elbows with other producers. If you’re a multi-hyphenate, you can move in all circles, expand your contacts list, forge relationships, and make scheduling those pitch meeting appointments a bit easier.
Go big; then go home. Travel to Hollywood. If you think you’ve got the next summer blockbuster or mumblecore darling in your desk drawer right now, head out to the left coast and attend a pitch summit. Inktip.com is hosting their third annual pitch summit at the end of March; I’ll be there this year, pitching two feature screenplays and a television series I’ve co-developed. But be warned: pitch summits are controlled chaos; 300 producers sitting in a ballroom as writers “speed date” their way through five minute pitches. Timekeepers, bells at the ready, keep the lines moving. It’s also an expensive undertaking; with airfare, hotel, registration, food and miscellaneous expenses adding to the tally, I’m spending well over a thousand dollars for the chance to pitch to as many producers as I can in one afternoon. (Some local film communities also hold pitch summits, if the trip to Hollywood is too big a leap.)
As stated above, this is but a short list of some of the ways a screenwriter can meet potential producers. I’ve heard all sorts of wild stories about how this producer found that project, and I bet a lot of them are true. There’s no “one, right” way to get in the room; there’s not even “one, right” room. There are thousands of producers looking for their next project right now; it might as well be yours, right?
–Michael H. Harper is a produced, working, Atlanta-based screenwriter who’s been pitching projects to producers for almost five years. He currently has three films in various stages of development; two in Atlanta, and one in L.A. In 2010, he produced and directed the award-winning short film Take Me Out, based on his original screenplay. Now a sometime-producer, he’s been on the receiving end of several pitches; he heartily prefers the writer’s side of the table.











