[Nfb-editors] Writers' Division Slate & Style

[Bridgit Pollpeter]

Slate
	&
	Style

Publication of the National Federation of the Blind Writers' Division

Winter 2012
Vol. 30, No. 1

Editor: Bridgit Kuenning-Pollpeter
E-mail: bpollpeter at hotmail.com
President: Robert Leslie Newman
Email: newmanrl at cox.net
Slate & Style is a quarterly publication of the National Federation of
the Blind Writers' Division. Submission guidelines are printed at the
end of this publication. The editor and division president have the
right to cut and revise submissions. The division president has final
authority regarding publication for any submission.

Slate & Style is a magazine showcasing literary writing as well as
articles providing information and helpful advice about various writing
formats. While a publication of the National Federation of the Blind,
submissions don't have to be specific to blindness or the NFB.
 
Special thanks to Victor Hemphill and Ross Pollpeter for distributing
our Braille and print copies.
 
Slate & Style

Winter 2012


TABLE of Contents

>From the Keyboard of the President: Writing and the Zen of Carpentry,
Robert Leslie Newman	1

Short Sighted, Chris Kuell	4

The Fear of Writing: Learn to Pursue Your Writing Despite Your Fears,
Justin Oldham	13

Destiny on the Wind, Donna W. Hill	17

If All Your Friends Jumped off a Cliff, Would You?: Discovering Reasons
Why The Twilight Series is Popular, Bridgit Kuenning-Pollpeter	18

Records, Ken Volonte	22

My Talking Crotch Watch, Janet Di Nola-Parmerter	24

>From the Desk of the Editor: Embracing Change in the New Year, Bridgit
Kuenning-Pollpeter	28

Slate & Style Submission Guidelines	29

NFB-Writer's Division Application	31

2012 NFB-Writers' Division Writing Contest	32
 
>From the Keyboard of the President
Writing and the Zen of Carpentry
By Robert Leslie Newman

Greetings fellow writers and readers. Thank you for reading our 2012
winter issue of Slate & Style. The Writers' Division is doing well; it's
growing, improving, benefiting all who participate. 

My contribution to this issue has taken a different approach than the
newsy updates of past. This go-around I'm sharing a writing tip; a
technique I find helpful with my writing process. It is the metaphysical
outcome of an activity, that when engaged in, can bring on a state of
mind, taking our normal, logical, straight-line writing process, causing
it to transcend into a more creative sphere of thinking.

There is a lot of zen in the room when I engage in carpentry. I often
find a creative flow as a direct result from building; carpentry allows
my mind to focus, to settle, providing an outlet for my writing process.
I've noticed this connection between carpentry and creative writing for
years, and this will be the first time I have attempted to place it on
the page, making it the object of my subject.

I've also received similar creative boosts to my writing while running
and swimming long distances; you know, out of that "runner's high"
thing. In fact, I covered the effect of sustained vigorous, physical
activity upon the creative process in my June 2008 The Braille Monitor
article titled, "Swimming in the Zone: A mile in my backyard."

My point being, that the process of writing, at times, can be difficult,
time-consuming but if you find a way of boosting that process,
especially if it's positive as opposed to negative means, it's worth
noting, and written down in order to be shared with others. 

When I refer to zen, I'm basing it on the definition found on
Wiktionary-zen can be seen either as a reference to a religious
denomination, being a proper noun, and is capitalized. Or, there's the
un-capitalized form, which is the form I use. It's a philosophy, or
aspect, of meditation, a state of mind which is calm. And for real, I'm
talking about zen in the sense that the physical work done in carpentry
can open up a calm thought process allowing for creativity beyond the
norm. 

During the week of Christmas Eve, I was faced with two major projects.
One was the necessity to get my presidential piece for this winter issue
figured out, and the second was to construct a wheelchair ramp so my
father-in-law could get into our home for Christmas Eve celebrations. I
focused on the project with the closest deadline, the wheelchair ramp
since my letter wasn't due until January fifteenth. 

Let me make this distinction-though there are many parallels found
between carpentry projects and writing (structure, transitions, symmetry
in form, and more(it would be premature to conclude that a liberating
zen-like state of mind is found within either the number or nature of
these parts. Zen comes later as a byproduct of the construction process.

The ramp needed to be six feet in length, the deck 28 in. wide by six
ft. long, with at least a 1-1/2 in. fence on each side, preventing the
chair's wheels from rolling over the edge. It needed to be solid enough
to handle a weight of nearly 400 pounds; my father-in-law is 6'2 ft.
tall and 200 pounds, plus the weight of the wheelchair, and finally me
at 150 pounds. 

The materials I required were:

.	two eight ft. long two-by-fours

.	two six ft. long one-by-four inch boards

.	One cut down three-quarter inch thick piece of plywood sheeting,
twenty-eight inches-by-six foot.

.	fifty wood screws

Preparing the boards for assembly of the ramp was the next phase. The
heavy thinking had been completed-the measuring twice and cutting once
(a cardinal rule of carpentry) and the step-by-step plan for putting the
pieces together. I even created a cardboard template allowing precision
placement of the screws, which had to be fastened every six inches along
the two under-deck supports and the two side-fences (12 screws per
board, a total of 48). So once I was setup, I could work my tools, get
into a rhythm of sequential steps, freeing up the mind in a very unique
way.

The rest of the job would be 90 percent physical labor, requiring
frequent monitoring as opposed to thought only, and this is when the zen
state releases.

Attaching the under-deck supports came first. I worked my template,
beginning to drill twelve pilot holes down the length of each long side,
tucking the 2-by-4s underneath each side, lining up their edges. The
measuring, drilling down through the decking into the supports, my hands
working through the repetitive movements, allowed my mind room to
consider more than the five to ten percent attention necessary so as to
not lose focus of the job at hand. 

Feeling the zen coming on, I started thinking of possible ideas for my
presidential letter; I explored my emotions-feelings help connect a
writer to a topic. It could be about our monthly telephone meetings, or
Maybe something about the writing process, or possibly something
off-the-wall.

Back to my carpentry, I was ready to secure the two supports; it was
time to twist in screws. Common screwdrivers are my tool of choice
instead of electronic tools. I don't like the wine of an electric
driver; I need quiet in order to think better. Aiding this process, I
soaped up the shiny metal screws by rubbing their threads on a bar of
hand-soap; this eases the amount of torque and sweat necessary to sink
screws into their holes. Working towards the middle, I alternated right
from left while placing the screws into the under-deck supports. 

Thinking in the zen: Working from both ends towards the middle,
tightening up mechanical things, leveling out the stresses, is smart.
When writing a story, sometimes it works to first figure out its
beginning and its end, later its middle can be deciphered. It can be
beneficial to burn a candle from both ends. Using this method doesn't
have to lead to frustration and nothingness. When our dog devours a
chew-bone, working from one end to the next, the bone is not gone; it
just turns into a different form. Stories can end up this way too,
starting in one way but ending up in a different form not initially
intended. 

Continuing with my carpentry effort, preparing and attaching the two
boards that would become the guard-rails was the next step. Applying my
template, I drilled twelve more holes then drove in the screws. The deck
was now tilted up on one side, and the fencing board was clamped on.
Hands busy, aware of the final piece of fencing to be attached, my
thoughts moved from idea to idea, and I eventually realized I needed to
fire up the voice recorder app on my IPhone or key in notes on my
computer.

It is time to credit this process, and take advantage of this
mind-boosting method. For years I've used it; others must know of it,
and Others can benefit from it. Writing and the zen of carpentry-a
simple but useful tool. 

 
Short Sighted
By Chris Kuell

The pimply boy with a stud earring hammering away on his electric
guitar, stopped suddenly. Pulling a cell phone from his pocket, he read
the text saying, "Mom's here. Gotta go."

"Okay, keep practicing-half-hour a day, remember?" Spencer Sullivan
listened as the kid packed the red mahogany guitar into its case with
the gentleness of a playful orangutan.

A Gibson Flying V, just like Jimmy Hendrix used to play, worth about
eighteen-hundred dollars, and Zach couldn't even play "Mary Had A Little
Lamb," Spencer thought.

"Catch you next week," Zach said heading out the front door. 

Spencer put away his own guitar, a Martin D-35 acoustic, and unplugged
the amp. He grabbed the mail, put the digital book he'd received in his
room and left the rest on the kitchen table for his mother.

Doris Sullivan was busy at the stove making dinner. He smelled breaded
chicken with broccoli and baked potatoes-her usual, boring,
unimaginative cuisine. 

"That boy has the musical ear of a coat hanger," she said while
sprinkling the broccoli liberally with salt, her primary spice of
choice.

"He's like all sixteen-year-old boys." Spencer opened the utensil drawer
gathering silverware to set the table. "He wants to play like a rock
star, but he doesn't practice."

"Not like you," she said. "I remember as a boy, you used to practice for
hours and hours. I remember one time, Marge Delaney-you remember Marge?
She had gall bladder surgery."

Spencer tuned her out, setting the table, getting a glass of water for
himself and ginger ale for his mother, who believed it helped with her
self-diagnosed hiatal hernia.

Spencer washed the dishes after dinner while his mother wiped down the
table and counter tops.

"Let me do the utensils," she reminded him. "Those knives are sharp."

Drying his hands, he grabbed his coat and took the trash outside. 

"Be careful on the steps," she warned. "They could be icy."

"I know, Mom. Don't worry so much."

"Who's going to worry when you slip and fall and break your neck?" 

Stepping into the brisk night air, he went down the back steps and found
the big trash bin. He deposited the bag, noticing the distinct odor of
cigarette smoke in the air. It probably was Mr. Siskel, their neighbor,
who Spencer knew liked to sneak a smoke when his wife was out playing
bridge. Spencer longed to try it despite the health risk, taking a long
drag, filling his lungs and exhaling as cool as Humphrey Bogart like in
those old movies his mother liked so much. 
 
The following day, a Thursday, he accompanied his mother to Wal-mart and
the grocery store. He had two students in the afternoon.

Hailey Matson was his 3:30 appointment. A talented eighth-grader
currently working on the Beatles song, "Blackbird." Hailey was having a
little trouble singing while playing, but her voice was soft and true,
her finger technique solid. She'd have the song down in another week or
two.

Spencer's 4:30 was an obnoxious boy named Jonathon, who spent more time
asking him about being blind than actually trying to play his guitar.
Not that Spencer minded questions, but they'd covered just about
everything from Braille to voice recognition software several times, but
it was like a stall tactic growing old. 

Around a quarter-to-six, while Doris fussed over her spaghetti sauce
from the jar and Spencer set the table for dinner, the doorbell rang.

Halfway to the door, Doris still asked Spencer, "Honey, can you get
that? I don't want my sauce to burn. If it's a kid selling magazines,
just tell them you're not interested." 

It was a woman at the door. her voice sounded mid-twenties, maybe early
thirties. She had a mellow, velvety smoothness, and Spencer liked it.
The way she enunciated Spencer's name, he thought she sounded educated,
sophisticated.

"Hi. Are you Spencer?"

 "Yes, yes I am."

"I'm Terry Carr. You were recommended by a boy who lives downstairs from
me. Sean Flanagan?"

"Oh, Sure. Sean's a good kid. He likes to rock--AC/DC, Black Sabbath,
Van Halen."

"Yes," she said. "He plays very . . . loudly. Very loudly." She took a
step closer and said, "I'm putting out my hand so I can shake yours."

A quick flush crept up Spencer's neck finding Terry's hand.

 "I'm looking to learn a song on the guitar in time to play at a
memorial service this June. That's four months. Think we can do it?"
 
"Depends on what song you have in mind." 

"Falling Slowly, by The Frames. You know it?"

"I'm not sure," Spencer said, shaking his head, struggling to impress
her by recalling the song. 

With a voice so sweet and smooth you could spread it on a stack of
hotcakes, Terry began singing. "You have suffered enough, and warred
with yourself, it's time that you won-" She paused for a beat, took a
deep breath and continued, urgency spreading through her voice, her alto
climbing the scale like a sparrow taking flight. "Take this sinking boat
and point it home, we've still got time. Raise your hopeful voice, you
had a choice, you've made it now." She stopped abruptly, a little
self-conscious. "It sounds better with the guitar accompaniment."

"No. It's lovely." Spencer was caught in the spell of her voice.

"Who's that?" Doris croaked from behind Spencer. She nudged past her
son, wiping her clean hands on a dish towel, eyeing the woman on the
front porch. "Can I help you?"

"She's a prospective student, Mom. It's..."

"Don't you know it's dinnertime?"Doris asked. "Can't you call during
normal business hours?"

"Sorry," Terry said, stepping back. "Spence, can we just chat for
another minute?"

She called him Spence, like they were already close. Old friends, easy
and breezy.

"Some people," Doris mumbled. 

"Mom, go ahead and eat. I'll be in in just a sec."After Doris had
grumbled her way back into the kitchen, Spencer apologized. "She has a
very fussy stomach, and needs to eat exactly at six." He shrugged as if
to say, "hey, what can I do?"

"You think you can teach me the song?"

"I'll have to listen to it, but there isn't much I can't figure out. How
about we start next week? My usual rate is twenty-dollars for a
half-hour lesson." He was suddenly afraid she might think this too much.
"But if we go over, I won't charge overtime."

"That's fine," she said. "Here's my business card. Give me a call and
we'll set up a time."

He took the card, subconsciously running his fingers across it,
listening to her get into her car and drive away. The card was brailled.
He read her name and phone number on it. Slipping the card into his
pocket, he went in to have dinner with his mother, who had cut his
sausage so he wouldn't get sauce on his shirt.

Spencer called Terry the following evening. She told him she was an
accountant, and brailled her cards because someone close to her was
blind, and she had blind clients. They set up a lesson for Tuesday after
work.

Before hanging up, Terry asked, "I've got to work tomorrow morning, but
how would you like to have lunch? You could take the bus and meet me at
Pancho and Gringos. Do you like Mexican?"

"I love Mexican." With his mother's limited palate, the closest he'd
come to Mexican food was salsa and tortilla chips at the McFadden's
annual Christmas party. He enjoyed exploring different cuisines, and
meeting with Terry again was an exciting prospect for Spencer. "Do you
think you could come get me?"

"No, sorry-I can't. I only have forty-five minutes for lunch, and there
wouldn't be enough time. But, I know the bus goes to the corner of Oak
and Sycamore. It's only half a block from there."
 
"I don't really like taking the bus. Usually, my Mom drives me places,
but Saturday she does alter guild at church."

"Okay, no big deal. If you change your mind, you've got my number."

A wave of disappointment moved through him. His eyes stung thinking
about a missed lunch with Terry. Damn. But there were creepy people on
the bus, and you never knew where the stops were. Sure, you could ask
the driver, but who knew if they'd remember? Or even speak English? They
could dump you off at the wrong place, and then he'd be totally lost.

Mr. Nichols was a neighbor, who was blind, of Doris's when she was a
little girl. Doris always liked to remind Spencer of poor Mr. Nichols
who stepped into the street alone, and was hit by a pick-up truck,
sending him to an early grave. Although she was able to forget about the
alcoholism following his World War I injuries, the horror of the pick-up
truck incident was never far from her mind.

Spencer pulled on his coat, feeling around for his cane in the coat
closet.

"Where do you think you're going?" his mother asked as he moved to the
front door.

"For a walk. I need some fresh air."

"Don't be ridiculous-this house is full of fresh air. It's dark out
there, you could get hurt."

Spencer moved with determination to the door.

"Spencer, Jeopardy is on. We always watch Jeopardy together." 

As he turned the doorknob, he heard the creak of her recliner as she got
out of it.

"Stop. Let me come with..."

Stepping outside, he turned left at the end of the sidewalk. He
cautiously felt his way. Do you want me to come with you-unbelievable.
Twenty-six years old, and he couldn't even go out for a walk on his own.

It hadn't always been this way. When his dad had been alive, he'd take
Spencer fishing, making him bait his own hook and take the fish off. He
let Spencer use his sharpest filet knife to gut the trout and cut off
their heads and tails.

The summer Spencer turned eleven, his father came home with a used Huffy
bicycle, and oh what a fit his mother threw. They'd argued before, but
the shouting that day made the record books. In the end, his father won.
Spencer couldn't ride when his mother was around, but on the weekends,
his Dad would take him to the park and let him ride down a gradual slope
on the grass until he learned how to keep his balance. After that, he
could do circles around the parking lot, his Dad running behind him
hollering directions.

A similar battle occurred when his father suggested Spencer go to
Colorado for a month to a special summer camp for blind kids. That time
his mother threatened divorce, she cried, she broke a lamp, but his
father was firm. They drove for two days to get to the center, and then
his father hugged him, told him he loved him, and drove home. 

For nine days, Spencer spent almost every minute of every day with other
blind kids. Some had some sight, but that didn't matter. They accepted
him, laughed at his jokes, invited him to come swimming with them. They
made a bonfire, roasted marshmallows, and went for long hikes in the
woods.

On the ninth day, they were learning how to drill holes in wood shop
when Mrs. Garfield, the leader of the center, asked to talk with him.

"Spencer, there's no easy way to say this. This morning, your Dad was in
a car accident. The doctors did their best, but it was too late."

They put Spencer on a plane, and his sobbing mother met him at the
airport. She hadn't let go since.

Terry came at seven on Tuesday, and demonstrated promise by mastering
tuning and the C scale. Spencer had figured out how to play "Falling
Slowly," which was a relatively simple song. He demonstrated it so she
could hear just the music, but also to show off his playing.

Three times during the lesson, he'd heard his mother's footsteps in the
hallway by the door. She paused, listened for a few minutes, then went
away.

"Where did you get that guitar?" he asked, trying to keep Terry longer. 

"My roommate in college left it after she flunked out. I don't like the
sound of it though."

"No, you're right about that," he said. "Some new strings might help.
I've got some extras. Maybe next week I'll switch them for you."

"That would be great. Hey, here's an idea. How about I come an hour
early next week for my lesson, then we can have dinner? Make up for that
enchilada you missed out on last Saturday."

"Sure," he said. "That sounds great. We could go to Sorrento's, it's
just a few blocks from here and the food is very good."

The grumbling began on Monday, when Spencer informed his mother that
he'd be going out to dinner with Terry after their lesson. He figured
she would need time to get used to the idea, and to fix dinner for one.
Not surprisingly, she didn't embrace the plan.

"But I have pork chops already defrosted for tomorrow night. With
applesauce-your favorite. How do you know what kind of driver she is?
You don't actually know anything about her. She could be an escaped
psychopath, for all you know. Don't laugh-I saw a special on Dr.
Phil..."

Tuesday afternoon, she started in with how her angina was killing her,
and in case he was wondering, Terry wasn't in the least bit pretty,
downright homely, unless you liked women with fish faces. 

Terry arrived at six and talked about her day while Spencer restrung her
guitar. The new strings weren't a miracle, but they were a definite
improvement. After reviewing what they'd done last week, Spencer showed
her a G scale, and a simple version of Ode to Joy, which he did with
every new student so at least they could play one song. Then he showed
her the chords she'd need to master playing "Falling Slowly." She caught
on quickly, and had obviously been practicing.

After playing for nearly an hour, Terry held up her hands. "Okay, I
think my fingers are bleeding. Can we call it quits for today?"

As they packed up their guitars, Doris Sullivan poked her nervous head
into the practice room. "Honey, can you help me? I need some Tylenol for
my back. My legs hurt too much to climb the stairs."

Spencer exhaled, told Terry he'd be back in a minute and went upstairs
to the medicine chest for the pills. He found his mother in the kitchen,
sitting at the table, breath rasping more than normal. "You okay, Mom?"

"No, I don't think so," she said, gulping down the pills. "I feel
terrible. Everything is sore. I don't know how I'm going to clean up
this place without your help. Plus, it's trash night. God only knows how
I'll manage."

"Mom, I'll put the trash out in the morning. It's not a problem."

"Still, I need you here, honey. My angina, I'm really feeling it today."
She coughed like she'd suddenly developed tuberculosis. "Spency, I think
you should stay home tonight." 

Terry entered the kitchen from the hallway. "Hey-is everything okay?"

"Yes. My Mom, she's not feeling well."

Doris played a few more bars of the wheeze and cough ensemble. Spencer
asked Terry to wait in the front hall.

"Mom, listen. I'm only going to be gone for an hour, maybe an hour and a
half. You'll be fine." 

"Is this the thanks I get for sacrificing everything for twenty-six
years? The one night I need you, and you run off with a fish-faced
hussy?"

Spencer met terry in the hall. "Let's talk outside," he said, opening
the door for her.

"Aren't you going to get your coat?" she asked.

"I don't think so."

Once outside, she turned to face him. "You're not coming to dinner, are
you?"

"Umm," he kicked a toe into the frozen grass. "I can't tonight. My Mom,
she needs me."

She stood there, studying him, and he longed for her to say something.
To let him off the hook, say she understood. They'd do it next week, no
problem. Heck, her own Mom was often ill and in need of care. What a
warm, compassionate son he must be. Good qualities in a husband, as
well.

"My older brother Phil was blind," Terry said instead. "He died a year
ago, come June. He was my hero, because whatever he wanted, he went for
and eventually got. Two college degrees, a smart and beautiful wife, a
good teaching job. He loved to quote Roosevelt, telling me 'The only
thing we have to fear is fear itself'." She stepped forward and kissed
Spencer's cheek, the warmth of her lips like a brand on his skin.
"Thanks for the lessons-I think I can handle it from here." She walked
down the path, then turned and said, "Don't waste your life, Spence."

Spencer ate pork chops with applesauce that night. He washed the dishes
while Doris did the counters and the knives. They watched Jeopardy
together. Later, while he was on the computer, he heard a crash in the
kitchen. His mother was splayed out on the kitchen floor, broken glass
everywhere. She didn't respond to his commands to wake up, and it took
forever for the ambulance to arrive. 

For the second time in his life, Spencer was told that the doctors had
done all they could, but it was too late.

Too late. Alone. These words played over and over again as he sat in the
emergency room. 

Spencer fought the urge to call someone for help. The only thing we have
to fear is fear itself. He stood, took a deep breath, extended his cane,
and walked out the door.

After short-lived careers in arc welding, kick boxing, animal husbandry,
ophthalmology, septic evacuation, and clinical trial subject, Chris
Kuell turned his efforts to creative writing. His articles and fiction
have appeared in several literary and a few not-so-literary magazines.
He is currently polishing Rub It In, his second novel. He lives in
Connecticut with his wife, Christine, and the best kids in the world,
Grace and Nick.

 
The Fear of Writing: Learn to Pursue Your Writing Despite Your Fears
By Justin Oldham

I've wanted to quit writing more times than I can count. Circumstances
beyond my own sphere of influence have demoralized me just enough to
make the idea of quitting sound good. Various kinds of fear have also
tempted me to find some other avocation.

There are times when life gets in the way of the creative process. A lot
goes on around us that we don't have any control over. Loss of a job,
family matters taking up our free time, or medical concerns, are just a
few examples of unavoidable factors that can impact our writing.

We have a choice to make when we are handed these challenges. We can
take the time to overcome them, with the long-term goal of getting back
to writing. We can attempt to both write and meet our other obligations
at the same time. Or, we can give up writing as impractical and focus on
the other, "more important," things in our lives.

I've put writing on the back burner for months at a time in order to
deal with life's little dramas. We should never be ashamed of honoring
our obligations, fulfilling our responsibilities, or taking care of
ourselves and those we love. However, if writing is truly important to
us, we shouldn't use these stumbling blocks as excuses to give up on our
dreams.

Sometimes our heads cause us to stop following our hearts. Our fears
should be understood for what they are. In the conversations I've had
with other authors, I've noticed three common "fear factors" causing
writers to consider giving up:

.	The fear of not finishing.

.	The fear of being criticized.

.	The fear of not being published.

Many people have an idealistic view of what it is to be a writer. They
believe that a "real" author can sit down with a keyboard, typewriter,
or pen and paper nd make the words flow until the project is complete.
This unrealistic expectation denies the truth. 

All writers have false starts or periods during which they can't think
of anything to say, don't know exactly how to put forth their ideas, or
don't like what they're writing. Most also don't finish everything they
start. I've started thirteen manuscripts in thirteen years. I've only
finished nine.

My first novel took me three years and ten months to complete. The sheer
size and complexity of the thing scared me. I had nightmares about not
being able to complete the project. In hindsight, it seems laughable,
but the fear was quite real to me at the time.

One day, while busy feeling sorry for myself, I had an epiphany. I
realized that it would actually be okay if I didn't finish. My heart
wouldn't break. My head wouldn't explode. Nobody who mattered would hate
me. This revelation allowed me to move past my fears and complete the
book.

Writers who overcome their fear of not finishing may still be held back
by a desire to avoid criticism. Their dread can be strong enough to make
some writers hide their work. Writers will not fear criticism quite so
much, once they learn how to benefit from it. 

When we write, we display a part of ourselves that people we've never
met will use - for better or worse - to form an opinion of us. However
unpleasant they may find the experience, people who want to write
professionally must be aware that, at some point, they will have to face
criticism.

Criticism is a combination of observation and opinion.
.	Observation is the process of analysis. It's our ability to find
the good and the bad in something.
.	Opinion is the expression of what we like or don't like about
something based on our observations. Understanding the difference
between these elements allows the writer to put the fear of criticism
into perspective.

When someone you trust reviews your work, particularly if he's good at
spotting things you've missed, and is willing to offer suggestions for
ways to improve what you've written, he has offered you constructive
criticism. Whether it comes from an editor, a publisher, or an
experienced writer, constructive criticism is a valuable tool you can
use to improve the technical quality of your work.

If you're fortunate, you may know an experienced writer who's willing to
share the benefit of what he's learned. These individuals have already
made mistakes and learned the best ways to avoid or fix them. Many also
know certain tricks of the trade that aren't common knowledge.

Grammar, spelling, and punctuation are the most universal elements
subject to critical comment. While there may be room for disagreement,
particularly in the realm of grammar, there are generally accepted rules
that writers are expected to follow. Differences of opinion that occur
regarding these items should be thought of as constructive because they
are intended to make the work better, not cause the writer to feel
shame.

Suffering through negative or derogatory opinions are a different
matter. There will always be people who will nitpick just because they
can. They don't seem to like anything that anyone writes and rarely have
anything positive to say. Those people can be disregarded with reckless
impunity.

Everybody likes some things and dislikes others. Having a preference
isn't a crime, nor should it be thought of as an inherently bad thing.
It's the "why" behind a personal preference that can cause grief for
some writers.

Learning to differentiate between constructive criticism and negative
commentary is similar to learning how to identify and ignore prejudice. 

Humanity seems to have a built-in need to document facts or tell
stories, even if the possibility of publishing never materializes. Those
who want to be published can sometimes feel it's a need rather than a
desire. The goal becomes such an imperative that it turns into something
bitter, causing them to harshly judge themselves and others based on
whether or not their work is in print.

Whether on television, online, or in newspapers and magazines, the media
coverage of successful authors is quite impressive. These flashy forums
let us know what's possible, but they rarely tell you how that fame and
fortune came to be. In truth, "overnight success" usually takes years,
or even decades, of effort to achieve.

The cold, hard truth is that writing well is no guarantee of
publication. There are many things a person can do to improve the
chances for success, but there is no one "right" way to make it happen.
There isn't a combination of methods that are guaranteed to make that
dream come true.

The only things that will truly stop a writer from pursuing their goals
can be found lurking in their own heart and mind. I believe that the
recipe for professional advancement in any field can be summed up in one
word: persistence. Never stop learning, and always keep trying. Find out
what you don't know, learn it, then do it until you get it right.

Fear feeds on self-loathing. It starves on fulfillment.

JUSTIN OLDHAM is the founder of Shadow Fusion Books. He's the author of
Being Legally Blind and Tales from the Kodiak Starport. Justin and his
wife live in Anchorage, Alaska, where he hosts "The Politics and
Patriotism Show." Find him online at http://www.justin-oldham.com or
http://www.shadowfusionbooks.com.

 
Destiny on the Wind
By Donna W. Hill

Ash leaves, crisp and curled,

Whimsy borne on light breezes,

Fall's fortune cookies.

Donna W. Hill is a writer, speaker and avid knitter from Pennsylvania's
Endless Mountains. A Suite 101 journalist, her subjects range from
blindness and music to knitting and chocolate. A songwriter with three
recordings, she is finishing her first novel. Her book Unopened Gifts,
(1994) helps congregations integrate people with disabilities. 

Legally blind from Retinitis Pigmentosa, Hill is a volunteer publicist
for the NFB-Pennsylvania affiliate along with other NFB divisions. She
was recognized by Stanford University's Stanford Social Innovations
Review, "Third Sector Grit" (July 2010). She was interviewed for Dr.
Kent Gustavson's Blind, But Now I See (2010, Blooming Twig Press) the
biography of blind guitarist Doc Watson. Her essay "Satori Green"
appears in Rick Singer's Now: Embracing the Present Moment (July 2011,
O-Books Publishing).

For a free MP3 from Harvest, contact Hill at Suite 101
http://www.suite101.com/profile.cfm/donna_hill

The Last Straw CD
http://www.cdbaby.com/cd/donnahill


 
If All Your Friends Jumped off a Cliff, Would You?: 
Discovering Reasons Why The Twilight Series is Popular
By Bridgit Kuenning-Pollpeter

I don't usually jump on board pop-culture bandwagons until well after
the fact, but in light of the continuing, seemingly never-ending,
popularity of the Twilight series by Stephenie Meyer, I decided to read
through her series to see what the commotion is all about.

The Twilight series by Meyer is made up of four books: Twilight, New
Moon, Eclipse and Breaking Dawn. The entire series revolves around the
teenage love-triangle between Bella Swan, Edward Cullen and Jacob Black.

Bella is a human girl who moves to Forks, Washington to live with her
bachelor father. She meets Edward, who, as it turns out, is a
ninety-year-old vampire who appears to be only seventeen.

Edward and his vampire "family" are non-human eating vampires,
vegetarians as they jokingly call themselves. The Cullen's choose to
live off of animal blood as opposed to human blood, and they practice
being "good," able to follow a morality not usually an option in most
vampire tales.

Jacob is the son of a chief to a local native-American tribe. Some tribe
members have the ability to shape-shift into over-sized wolves in order
to protect their land against the Cold Ones, or vampires, Jacob being
one who can shape-shift.

Edward and Jacob are both in love with Bella, but her choice is Edward,
though she does harbor feelings for best-friend Jacob.

The series plot foundation is built upon whether Bella will join
Edward's world, A. K. A., becoming a vampire, or if they can live
happily-ever-after until Bella grows old and dies while Edward remains
young and immortal. Or whether she will choose Jacob, who she loves too,
but not as intensely as Edward. Jacob is the "human" choice, though,
since, though he can shape-shift, he's completely human.

Upon cracking the first book open, I had to stick with it, though not
out of increasing interest, but an OCD habit of finishing things I
start. It had a very slow start that never seemed to pick up. I admit I
was bored within the first few pages, and for the life of me, I can't
figure out why Twilight has become a huge billion-dollar-industry
phenomenon.

Though popular in young adult literature, the first person narrative
bogs the story down a bit in my opinion. Except for the final book, when
the story switches briefly to Jacob's POV, we are only privy to Bella's,
the main character, side of the story. The entire series relies heavily
on Bella's inner thoughts meaning we end up with more of the proverbial
"tell" rather than an equal exchange of "show." Narration and reported
scenes can serve a purpose in literature if balanced, but in this
instance, I'd rather have engaged with scenic development instead of
Bella's never-ending, annoying, angsty thoughts.

When Meyer decides to actually use some senic development, she ends up
with descriptions and writing that isn't half bad, but before we can
revel in this new contribution to the plot, she places us back into
Bella's swirling, angsty thoughts. Actually, it's a bit like finding the
gate to the yard finally unlocked, and you step out into freedom, taking
a deep breath, enjoying the change of pace, but being violently yanked,
snapped back into the house by a jumbo rubber band.

For a story about vampires and werewolves, there's very little action.
I'm a girl, and even I want action. For anyone waiting for a showdown
with some ass kicking, you will only get a tiny helping in the third
book, Eclipse, and you will be totally let down at the end of the final
book, Breaking Dawn, which has a huge build-up with no release by the
conclusion.

Meyer does not stick to traditional concepts of vampires and werewolves,
and though theoretically the concept behind her inspiration seems like a
good one, it does not work out in the end. Virginal vampires, humans
tempting mythic logical creatures, the power of love, acceptance... It's
just too much and doesn't lend itself to creating great young adult
literature in Meyer's case.

Meyer does attempt to create characters with complexities. However,
unlike J. K. Rowling, who Meyer is often compared to, the complexities
of Twilight characters are too obvious, to distinct from one another
instead of a blurring of traits. Characters don't always feel organic
though they are chalk full of complexities, as though Meyer is trying to
make a point, which she is, but it's to obvious to endear these
characters to readers. Obviously not a view held by everyone though,
hence the immense popularity of the series.

It is like when artist skillfuly use shading to create dimensions with
pictures, which blend into one another, unable to separate from one
image to the next. Meyer does not create this allusion, however, with
attempting to layer complex emotions, thoughts and actions in her
characters.

The closest she comes to with accomplishing this feat is in her
character Carlisle Cullen, leader of the Cullen vampire clan, or family,
as they think of themselves.

Carlisle is a three-hundred-years-old vampire who has only sired other
vampires in order to save them from excruciating deaths. In order to
save a seventeen-year-old Edward from the Spanish flu during the early
nineteen-hundreds, he turns Edward into a vampire "saving" him. He
expects his family to drink only animal blood and not human blood, which
is apparently a hunger that can disipate after time. Carlisle is a
doctor who has learned to work with, and around, humans despite the draw
to their blood. Over time, he has learned to ignore his animal-like
vampire tendencies such as drinking human blood.

I found myself more intrigued by this character and wanting more, but we
learn little about Carlisle other than what I have already mentioned
here.

Meyer's depictions of her other characters fall short of the mark in
terms of three-dimensional characters though.

Meyer credits such books as Wuthering Heights, Romeo and Juliet and Anne
of Green Gables as being her inspirations, and she attempts to employ
each as literary references to create metaphors, but it's blatant,
poorly done and usually there's a weak thread connecting her Twilight
series to these literary giants.

Controversy has plagued Meyer's series. Some of the topics pin-pointed
include teenage abuse, manipulative relationships and anti-Feminist
ideas. I will not go into debating this, though to be fair, some critics
take elements of the plot out of context making, in my opinion, a weak
argument associating certain behavior and ideas to such things. That
being said, contrary to what Meyer has said during interviews, Bella
Swan comes across as a weak person, not even female, but just person,
who is easily manipulated by others.

Meyer tries crafting moments to enlighten the reader to Bella's alleged
independent nature and unwillingness to follow anyone other than
herself, but these moments are eclipsed (ha-ha) by her actions that
suggest a nature more inclined to following and participating in
one-sided relationships. And this is not playing to heavily on Feminist
ideals, though I don't necessarily think there's anything wrong with
that, but Bella is not a great role model for young girls, or any age of
girls for that matter. In my opinion, I see no redeeming qualities in
most the characters but Bella in particular.

Meyer wants us to believe that Bella is a vibrant, independent young
woman who actively makes her own choices, but this is not how it
translates onto the page. She is overly concerned with aging, a main
priority for becoming a vampire, though Edward makes it clear he will
love her no matter what. She allows others to exert certain ideals onto
her and she often comes across as the submissive, weak one in each of
her relationships.

And while Meyer's characters exhibit moral qualities such as abstaining
from sex and drugs or vampires who don't want to hurt humans, Bella
comes across as a weak character unable to make good, independent
decisions, and she is so single-mindedly focused on being with Edward,
she thinks of nothing else, has no other goals, and even Edward tries to
get her to have more than one goal to work towards.

Review after review criticizes the series for this very reason-not
displaying the equality in a partnership, but depicting a young woman
whose only goal in life is to be with her boyfriend at any cost to
herself or others, and she sees no other ambition in life.

She refuses to consider university, though even Edward pushes this idea;
she has no sense of priorities; she is ready and willing to give up her
human family, never to see them again, in order to become a part of
Edwards vampire family. She even stops cultivating any relationships
with other human people her age including Jacob and focuses solely on
Edward.

Not traits I wish my daughter to pick up, and yet millions of teenage
girls pour over the pages of these books romanticizing the characters
and their situations.

Over-all, I found the Twilight series to be to big of a literary concept
and it just can't live up to it's own expectations. And quite frankly, I
found it boring. Grant it, this is geared towards young adults, but
anyone seeking an Anne Rice vampire will be sorely disappointed. And
there are plenty of young adult novels that are fascinating, interesting
and well-written. Donna Jo Napoli is one such author, and for current
pop-culture crazes, The Hunger Games series is a fantastic young adult
series.

Though it has its moments, the writing is poor, the characters aren't
three-dimensional enough and the plot over-extends itself leaving
readers wanting at the end. I don't recommend this to anyone, young or
not so young.

 
Records
By Ken Volonte

They sit in a steel box,
in a public storage locker,
nestled between a box of land titles and a Mixmaster.

They are a mixed bag these records;
some of them vinyl lps,
but most are 78s,
all of them are Serbian songs,
sung in automatic harmonies,
so that the enemy couldn't tell for sure how many were over the hill.

All of them the same,
songs of girls saying goodbye to their men,
songs of men going off to fight,
songs of joy or grief at their return.

The thing is the weather in Montana.
It's not stable.
With each passing of the seasons,
the Bakelite clicks and cracks.
The lacquer breaks down,
and the pummice is exposed.

Eventually,
the oldest record breaks like a thrown dish.
As the years stretch on,
all of the records will break,
and the music will be rendered silent,
useless as the wars.

The collector is looking for just the right repository,
but he's not getting any younger,
and his wife just died last year.
Tic-Toc, Tic-toc,
like the needle going round at the end of the record
passive and useless.

Ken Volonte has been a member of the Writers' division since its
founding. He lives in Stockton, California along with his wife Velvet,
his guidedog and his tyrannical cat Peaches.

Volonte's work has appeared in the Western Ohio Journal, Wormwood Review
and other publications.


 
My Talking Crotch Watch
By Janet Di Nola-Parmerter

Since the age of nine, I've had to deal with Macular Degeneration.
Technology wasn't always as accessible as it is today, but I'm glad
technology is beginning to keep up so visually impaired people are not
left in the dark.

For example, in my home, there are talking clocks and watches in
different rooms, different handbags, and some have alarms set for
different times of the day and night. There are talking desk clocks,
talking alarm clocks, talking kitchen clocks, talking travel clocks,
talking stopwatches and talking wristwatches, placed in various parts of
the house. 

When the hour strikes and all the clocks speak in this synchronized
cacophony, disturbing the normally quiet atmosphere, my husband hopes to
see time fly right out the window. 

I attempt to turn off each clock when having overnight guest, but
inevitably I miss one. My daughter now warns guests about the clocks
after two friends from Italy were frightened when "'Earing dee' leetle,
teeny voices," all night long.

This story, and believe me, there are many clock stories, is about my
tiniest clock that I carry almost everywhere including my travel tours.
My clocks are all shapes and sizes, but the mini one is one of my
favorites, or it use to be a favorite. It all begins in Europe, and
unfortunately for this clock, it also ENDS there. This infuriating clock
would never travel with me again. Its next trip was a non-stop, solitary
direct flight to the garbage pail. 

In its defense, it had one redeeming feature.its size. It was the
tiniest little thing, the size of a credit card, with a small square
raised button. When the button was pushed, it announced the time in a
female voice.

The problem was, the small square button was just high enough, so when
anything inside my purse touched it, the irritating clock would start
announcing the time. Often, the button would stick in a pushed position,
repeating the numbers of the time like a rap song. If the time was 5:36
pm, it would rap, "Ffifififififive ththithithithirtysix."

This tiny ticker began a downward plunge to the old clock graveyard.
Compounding its annoyance, right before its demise, it plagued me with a
new dysfunction. Whenever it became cold it started making strange high
pitched screeching electronic sounds, and stopped only after warming up.

Let's move counterclockwise to this crazy clock's last tour with me. To
begin, I will set the scene:

For years I've worked in travel, escorting groups of American tourists
all over the world. My goal is to help their International vacation be
as fun and problem free as possible. Europe is my main destination, but
I also travel along with my groups to places like China, Russia, and the
Middle East. I lead tourists around tiny quaint villages, to bustling
world capitals. Since I love to ski, my favorite tours have been my ski
tours to the western states, and the majestic Alps of Italy,
Switzerland, France and Austria. 

My tour group was departing from a one week ski trip in the Jung Frau
region of Switzerland. After the ski trip, the tour included three days
in Belgium. We woke early, at 4:00 am, to catch an early flight from
Zurich to Brussels.

With little sleep, everyone seemed comfortable on the plane except me; I
was freezing. There was an open spot to the unheated cargo area below
underneath my seat. The constant bitter, ice-cold breeze on my feet and
legs made me miserable, and the liquid contents inside my purse nearly
froze solid.

As if things weren't bad enough, a continuous, high pitched, piercing
sound, exploded from my purse. It was my tiny, temperamental timepiece
reacting to its intense dislike of the cold. Quickly, I took the credit
card-sized clock in my hand, trying to warm it up and curtail the
irritating electronic shrieks. It only screamed louder. I tucked it next
to my belly under the waist band of my pants in an attempt to warm it up
and stifle the sound. Little by little the sound lessened, and
thoroughly exhausted, I drifted away into a deep sleep.

The rough landing didn't even wake me. All of a sudden, someone shook me
while laughing. "Get up."

Startled, I woke in a daze, hearing others shout, "Hey, you have to get
up, we've landed."

Jumping to my feet, I grabbed my purse and coat, stumbling into the
aisle. Simultaneously, the tiny clock in my waistband slid down my panty
hose, and stopped at my crotch. Now, every time I put my right leg
forward to take a step, my thigh pushed on the raised button and in a
muffled voice, my crotch proudly announced the time. 

With each agonizing step, my crotch broadcasted the time. "It's 8:30 am,
it's 8:30 am, it's 8:30 am." 

One of my friends, who booked the tour, knew it was my clock, and burst
into fits of laughter. Looking confused and embarrassed, I noticed
people turned around in their seats, staring at my crotch, and wondering
where this muffled time proclaimation was coming from.

Should I stop and try to dig it out, I thought. DUH, NO. Weighing the
matter in a split second, I decided I'd much rather SOUND really, really
strange, than LOOK really, really strange. 

The aisle seemed endless on the large plane, leaving me in discomfort
and embarrassment. Making things worse, my crotch watch changed into
that funky-stuck-rap-singer mode as I strutted down the aisle. "It's ehh
ehh ehhehh ehh ate tthethetthethe thithihihi thihi ur ur urririrty two,"
The people in my tour group were laughing hysterically. 

Humiliated, I tried to shut the thing up. So my thigh would stop
applying pressure to the button, I began walking down the aisle,
dragging one leg behind me, looking like Quasimodo doing a STEP / DRAG,
STEP / DRAG, STEP / DRAG. 

I wondered which was more humiliating-the talking crotch or the
Quasimodo drag. What a choice. It seemed I did a little combo of the
two, then finally saw the end of the plane.

My quiet hysterics turning into tears of laughter, and makeup running
down my face, I prepared to exit the plane.

My friend, Silvia, couldn't hold her laughter back either. "Get this
Janet, the whole crew is lined up, shaking hands, and saying good-bye to
every passenger leaving the plane."

The pilot, co-pilot and flight attendants were lined up like soldiers at
attention. I couldn't believe this; why now? This was the first time I'd
seen nine people from a flight crew in a happy-handshake line. I had
never seen this on the "Friendly Skies" United Airlines.

My first thought was this is a bit too intimate of a moment for me; my
second thought was to hide in the cockpit until everyone had exited the
plane, sneaking out after the cleaning crew entered. I actually
contemplated this bazaar idea for a split second. Could this work? I
dismissed the delusional thought, shaking my head as if to rid the tired
giddiness from my brain.

I wondered if I could possibly make it past the jolly line-up without
being noticed. one thing I was sure of, though, was that I DEFINITELY
was not going past this group looking like the Hunchback of Notre Dame. 

Silvia and I made a desperate attempt to stop laughing. Preparing for
the inevitable, we tried regaining our composure. Taking a deep breath,
trying to appear poised and confident, I straightened my posture and
lifted my head up high. I hoped I was ready to greet our friendly,
well-mannered crew.

Taking one last deep breath, I wiped tears from my face. Pulling my
shoulders back, I walked towards the airline cheerleading squad with a
bold stride. With a stern expression masking my features, I extended my
hand forward, shaking hands with each one, thanked them for a safe
flight and listened as my crotch publicized, "It's 8:38, it's 8:38, it's
8:38."

Silvia giggled as she whispered, "The crew is looking all around with
puzzled, confused faces. They are looking at the floor and their legs
then uncomfortably at your crotch, wondering where this strange muffled
time announcement is coming from."

My face still expressionless, I politely said good-bye to all nine crew
members, pretending I heard ABSOLUTELY NOTHING from my impertinent,
impolite, infuriating talking crotch watch.

Janet Di Nola-Parmerter's essay My Talking Crotch Watch is the
second-place winner in the adult nonfiction category for the 2011
Writers' Division writing contest.

Di Nola-Parmerter has been an international travel escort for several
decades. She leads tour groups all around the world.

After years of tour groups telling her to write about her experiences as
a travel guide, Di Nola-Parmerter finally took their advice. She says,
"Daily events in my life prove the accuracy of the expression 'true life
is often funnier than fiction.'" She hopes you laugh along with her
passengers.

Di Nola-Parmerter lives in Georgia when not jet-setting around the
world.
 
>From the Desk of the Editor
Embracing Change in the New Year
By Bridgit Kuenning-Pollpeter

We are two months into a new year. I hope all our readers celebrated
2012 with style, fun and joy. As the New Year eases along, I encourage
all of us to seek new and fresh opportunities.

Each New Year brings changes, and we must look to these changes with
excitement and determination. Change can be good; looking for new ideas
and opportunities is what helps us evolve as writers, parents, friends,
employees, people.

The New Year quite literally brought a new change to my life; on January
second, my husband and I discovered we are expecting our first child.
Those of you who are parents can appreciate how this change affects all
the aspects of your life. I find myself exploring new topics in my
writing, learning what this joyous news means to my life, how my past
and future work together. It is, at the very least, providing food for
thought in my writing.

Whether you write fiction, poetry, nonfiction, journalism,
songwriting-find the aspects of your life that bring inspiration and
fodder to be considered in the creative process. Harness this so it
seeps into your writing and your daily life; you may be surprised with
what you glean.

Spring approaches, and I urge all of us to find a new perspective, to
embrace change. As the frost-hardened ground slowly thaws, allowing the
world to grow again, I encourage us all to find the growth in our own
lives. Dust off those goals, flex the creative muscles and find the
change in your life to incorporate into your writing projects as well as
all other aspects of life.


 
Slate & Style Submission Guidelines

The next Slate & Style issue will release this spring. All submissions
must be turned in by Sunday, April 29, 2012 for consideration in the
spring issue. Submissions are welcomed at all times however. Please read
through the guidelines carefully. Submissions that don't follow these
guidelines will not be considered for Slate & Style. 

Submission guidelines are as follows:

.	Length requirements are: articles, 1500 words or less, fiction
and memoir/personal essay, 3000 words or less, poetry, 36 lines or less.

.	Include a title page along with your submission with author
name, title of piece and contact info-phone, email and address.

.	Please include a brief bio of yourself-no more than 150 words.
Do not send an entire history, just include key items you feel are
important for readers to know.

.	Book reviews should be favorable reviews, but if you craft an
intelligent negative review potentially helpful to readers, it will be
considered. The length for book reviews is 500 words. You don't need to
send a bio for book reviews.

.	All email submissions must be attachments and sent to
bpollpeter at hotmail.com. Do not paste entries into the body of an email.
Entries simply pasted into an email will not be read.

.	In the subject line of your email, write: Slate & Style
submission, name, title.

.	Use Microsoft Word or create an RTF document for all
submissions. No other formats are accepted, and therefore will not be
considered.

.	Proofread and check your grammar and formatting before
submitting. Submissions with too many errors will either be returned
with corrections to be made if you wish to resubmit, or it won't be
considered at all.

.	Slate & Style will consider all submissions for publication.
However, please be careful with graphic sexual and violent content as
well as language and anti-religious, anti-gender, anti-racial and
anti-homosexual orientation content. Characterization and plot often
require this type of material, but it must serve a purpose. Gratuitous
material with no purpose, such as characterization, or meant only for
derogatory reasons, will not be considered, however, material will be
published according to the discretion of the editor though.

Please direct questions and comments to Bridgit KuenningPollpeter at
bpollpeter at hotmail.com.

  
NFB WRITERS' DIVISION MEMBERSHIP

If you'd like to join NFB-Writers' Division, please choose one of the
following payment methods:

.	Access our PayPal button from the Writers' Division's Website
http://www.nfb-writers-division.net.

.	Fill out and send in a print copy membership form, listed below.


Dues help finance division activities, including the publication of
Slate & Style, and our division's annual writing contest. 


NFB WRITERS' DIVISION MEMBERSHIP APPLICATION

NAME:	

ADDRESS:	

CITY:	STATE:	ZIP CODE:	

PHONE NUMBER (Include area code):	

EMAIL:	

Which format do you prefer for Slate & Style:

	BRAILLE		PRINT		EMAIL

Total enclosed:		Dues		Donation

Send $10 membership fee in a check or money order, made out to: 

NFB Writers' Division
2704 Beach Drive
Merrick NY 11566

Do not send cash. Do not make your check out to an individual. Thank
you.

 
2012 NFB-Writers' Division Writing Contest

The annual youth and adult writing contests sponsored by the
NFB-Writers' Division, will open January 1, 2012 and will close April 1,
2012. 

Adult contestants must be at least eighteen years of age. We accept
poetry, short fiction and nonfiction entries that are memoirs or
personal essays. For length and format requirements, visit the Writers'
Division website.

The youth writing contest promotes Braille, and all youth entries must
be submitted in Braille either using a Perkins Braille writer, or slate
& stylus; no embossed Braille will be accepted. Youth contestants are
divided into the following categories: Elementary, Middle school and
High School. Entries will be judged on creativity as well as the quality
of Braille.

.	Prizes range from $25 to $100 for adult categories, and up to
$30 for youth categories.

.	Contest winners will be announced during the Writers' Division
business meeting at the NFB convention, to be held in Dallas, Texas, the
first week of July, 2012. In addition, a list of winners will appear on
the Writers' Division Website, www.nfb-writers-division.net.

.	First, second and third-place winners in each category, adult
and youth, will be considered for publication in the Writers' Division
magazine, Slate & Style.

For additional contest details and submission guidelines, visit the
Writers' Division Website, www.nfb-writers-division.net.
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