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December 2001 - Issue 32
Writing with Art in Mind With today's technology, things are changing in many of the magazines. The use of art, in its many different forms, is necessary. We attempt to show you some of the aspects. We even have a couple of recipes for you! ALSO... We have our guidelines available for your convenience and have posted our planned 2002 monthly themes so you can submit your writing to us. Sign up to receive the Emporium Gazette monthly.
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SUSPENDING DISBELIEF TUTORIALS... MARKETING - IT'S NOT JUST FOR HOW WRITERS WORK WITH COVER DESIGNERS FROM ANOTHER ANGLE PITCHING THE PROS IN PERSON CROATION DESSERTS FOR CHRISTMAS POETRY WORLD MESSAGE FROM A BOX
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Suspending
Disbelief Writers have only words to paint realistic backdrops for our stories and articles, but it's mandatory that we create a setting that casts shadows in our reader's minds. Whether your story is set in the back streets of ancient Babylon, or on the bridge of a space station with the same name, you must choose your spells from your grimoires with care, while making certain to pick the perfect words. Writing, done correctly, wields powerful magic. Like a time traveling wizard we must realize that our audience comes to us to be amazed, but not all our readers will be satisfied to ignore the end table at their elbow. We must call up enchantments with words that suck them into a vortex and drag them kicking into our chosen time and space. Not all your readers will go willingly, or relax their reassuring grip on the soft reality of their recliner. For those, we must force-feed them reasons to believe. Whether it is a novel about an aristocrat who missed his boat across the channel or an article about the French revolution, slip your readers into a character's shoes. Never, however, let them become too comfortable. Since there is no story without conflict, give them an itch or at least make sure those shoes pinch their toes. Plop your reader into the ox cart with a sullen soldier at each shoulder as the wagon rattles down the narrow cobbled streets of Paris. Conjure shop fronts that tower over him and have him duck one of the protruding signs. Force him to stare down into the detached stares of the crowd swarming around the towering guillotine. Make him fumble through his pocket to find the tip for the executioner, before the citizens strap him onto the splintered bench. Bring each of their senses into play and let them breathe the yeasty aroma of the fresh baguettes offered by baker down the rue before mixing that with the odor of wet straw. Our audience must hear the crowd's gasp as the blade falls and feel the sharp impact on the back of the neck. Take them a step farther and force them watch the world tumble past as the head rolls across the blood-splattered planking. Now, have the executioner lift the severed head and stare into its still blinking eyes. It is true that if we immerse our readers in action, they will usually grant us some leeway, but it is better to feed them that tasty reason to discard their lingering disbelief and follow us willingly into our world. For instance, most science fiction readers realize that faster than light travel is impossible according to our current knowledge of the laws of physics. Even hard science fiction fans will allow you some latitude since the operative word here is current. Knowledge flows with the river of time. So, if your story requires that your character hop around this universe, come up with believable reasons it might work. In DUNE the author folded space. In BLACK BREATH OF THE LUTRON, I discovered a uranium derivative metal that has a unique electromagnetic energy that shields ships from converting to energy at the speed of light and beyond. Then weave this item into your plot. Take a similar approach when inventing alien cultures. Editors might demand human protagonists that readers can feel comfortable inside, but that doesn't mean we can't create a cast of fascinating, life-sized aliens around them. Transfuse these creatures with unique thoughts. Let their hearts pump chromium-yellow blood. Don't make the old mistake of zipping human attitudes into an alien skin. Give your beings a culture and a way of talking that matches their off-world's surroundings. Make them unique in their thoughts as well as their physiques. Human nature may remain constant, but every element around us is shaped by time and by place. Take the few minutes necessary to consider the religion, the weather, the geography, even the sexual mores of your characters as shaped by their era, surroundings, and up-bringing. Give these settings a role in your next story or article and it will take on a new texture, color, and breathe life into your tale. Having done that, sharpen those similes and metaphors to a razor's edge, and get to the chopping. * * * * * Ronald Wayne Jones is the Managing Editor for Emporium Gazette and autor of "Black Breath of the Lutron" and "The Dwarf and the Demon Tongue" which are available through 23 House.
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Visit Cool Well! You'll find articles on writing, short stories, 3D art, and free web pages that you can use to build your own site. Go to: http://www.CoolWell.org to take part in the fun.
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A tutorial on how to write tutorials? I haven't even started and I'm repeating myself. While apologizing in advance for any future redundancy, how does one go about writing a tutorial? I'm not about to tell anyone how to write, but perhaps I can pass along a few tips that I've learned along the way while trying to help others. First, I'm a digital artist. I create all my images on the computer using various paint programs. I began writing tutorials when I got tired of answering all the mail I received asking "how did you do that?", and approached the writing from that perspective. I've received so much help from others, especially when I started, that I thought it would be nice to give back to the digital art community. Thus, the tutorials. Hey already, let's begin! For this short lesson, I'm going to go with what I'm familiar with (as we all should). We could go with any idea, from washing a car, to boiling an egg, or to teaching a teenager how to open up a dictionary every now and then. But for this lesson let's assume we're going to help someone learn something on the computer. How about teaching someone to manipulate that picture they just took with their new digital camera? You know, the picture of their son's first birthday party, where his red-eye needs fixing and there's icing-encrusted candles sticking out of both ears? Well, Grandma's waiting for her e-mail, so let's get busy. * * * * * First, let's talk about planning. Every tutorial has the potential to be different. It all depends on the subject matter and the audience. The subject matter, you know. However, the audience must be in your mind constantly during the writing process. Most people write for themselves (why else would you do it?), but in this case, you are definitely writing for others. Let's focus on one prospective member of your audience. Some questions to ask yourself before beginning and to keep in mind during the entire process:
To whom are you addressing your tutorial? Do they know anything, or just enough to get in trouble? You can write it for a beginner or the more advanced student. It's all up to you, but you must recognize your audience; we'll get back to them later. So are we ready to start writing? Not yet; we have to put our pants on before we click our heels together. * * * * * Next, perform the task yourself. Sure, I know you've done it, but not in the context of writing a tutorial about it. What you need now are pictures. Not every tutorial will require pictures (there are none in this one). However, in our example, they will be the added ingredient that allows our audience to visualize the process. So... you're going to need snapshots; pictures of your walk through the digital woods. Open your manipulation program (Photoshop, Photopaint, etc). Perform the task, taking screenshots of what you are doing (printscreen works well for this, and could be a tutorial in itself). Take more than enough snapshots as you go through the process. You can weed out the ones you don't need later. [A side note if your tutorial is about writing: Take snapshots of your writing. Copy and paste early versions. Copy and paste your documents, saving them with easy to remember names like messed_ver1.doc, or this_stinks2.doc. Don't worry... there's always ugly before pretty and showing these sores to our audience will give them hope, letting them know that we all stink it up now and then.] So now we've completed out task. We've got our snapshots, or screenshots. Go through the ten or fifty that you took and decide which ones are pertinent. Which sequence will tell the story best? Don't skimp on this. Create enough steps. Remember who you are writing for. They may not need to know where the "open file" icon is, but they may need to know about that little hidden tool that only you know about. What were the things you looked for when you learned how to do this? How hard was it to find? * * * * * Do you like drama? Because now you have to become an actor. Before we begin to write, again, remember your audience and their level of expertise. Remind yourself how it was when you first learned. What mistakes did you make? Did you work for an hour and then watch the program crash before you saved? Of course you did; we've all seen that happen. Something like saving often is just the kind of thing a lot of us do and take for granted. Things you've done a thousand times are items that are audience may not know about. You've come a long way, but we must remember what it was like the first time we fell down the learning curve. Tell your audience not only about the steps involved, but about any common pitfalls. As teachers, we will have to get comfortable switching back and forth between knowing what we know now, pretending we don't know diddley, and seeming like we have at least become familiar with squat. Write a paragraph, maybe two. Reread it while you pretend you're learning for the first time. Take your time. This is the toughest part of your tutorial writing experience. * * * * * Now we're done writing our tutorial, having all the associated pictures. We've reread, revised, and carved our language with more intricacy than that in Washington's teeth. Then test it. Find someone who is still in the learning stages. Can they get through it? If this is an online venture, set up a web page with your tutorial on it. Invite a few friends to check it out. Is it easily understood? I'm sure they will let you know. With your new suggestions, revise once again. When you've satisfied yourself and all your helpful friends, it's time to publish your tutorial. We're done! Who knows what will happen... you'll help a few people out... get some very encouraging mail... and you can feel great about helping people. Now that you've worked so hard on it, they'll read and understand it, possibly get better at it than you. Maybe they'll even want your job. Good luck! * * * * * Will Kramer has this to say about himself. "Although I've been employed as an air traffic controller for fifteen years, digital fantasy art has provided me with an escape of sorts. I've been an artist off and on through my life, and have had a blast trying to get the images in my head translated down to the computer screen. It's always a challenge, but one well worth the effort. As long as it's rewarding for me, that's enough."
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IS YOUR WRITING ILL? Would you like a second opinion about POV, dialogue, selling non-fiction, or submitting multiple submissions? For a mere $5 diagnosis fee... You can even pay by credit card at our secure server. Go to: http://www.23house.com to leave your questions. No ache or pain is too big or too small for this veteran freelance editor and author of numerous books and magazine articles. If you have more than one question, please check out her site: http://www.coolwell.org/robyn/index.html
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Marketing - It's Just Not
For Large Corporations In the past two articles of this series, I presented both conventional marketing methods (print advertising), and some not so conventional (radio and television). This month, I'm going to review what authors do best; tradeshows, seminars, books signings, and "peg-boarding." Let's begin with tradeshows. If you think getting a booth at a conference or tradeshow is a glamorous thought -- sitting next to a pile of your books with hundreds or thousands of people walking by -- think again. Tradeshows and conferences can be grueling, not to mention financially detrimental. To have a successful show, you first need to stop thinking like a writer. Put your Thesaurus away, and think like a shopper. Are there home and garden shows, spring shows, book shows, family shows, and so on? Search the Internet for sites that list places that host these types of shows (like convention centers). If you wanted to visit a show with your family, what would prompt you to go? Is there something specific you hope that you may see or be able to purchase? Okay, now put your writer's hat back on. Is your book fiction or non-fiction? This makes a big difference! If you have a non-fiction book that is "how-to," you need to find a "self-help," or "how to" show. If the show you're considering is all encompassing, are there other authors, or book dealers there? While considering these issues, take into account up front costs. You may be able to get a booth at a small conference or trade show for around $300.00. If you're looking at a larger show, booth space for the standard 10' X 10' size begins around $600.00! How many books do you need to sell just to break even? The booth cost alone may cause you to change your mind. If not, let's add some other expenses: For the booth rental fee, most shows only give you a space on the floor. If you want a nice table with a fancy covering, along with other small incidentals that are almost always packaged in the deal (such as a plant, sign, etc.), go ahead and add another $300.00. What about insurance? The majority of large tradeshows requires vendors to have (and provide proof) of a minimum of $250,000 liability insurance. If your table fell on a show-goers foot, you are liable. Are you willing to pay insurance premiums? Now add incidentals. If it's a two or three-day show, you may have to pony up parking fees. Unless you plan on taking your own breakfast, lunch and dinner, expect to pay a minimum of $3.00 for one hot dog. Now that I've pointed out all the reasons that would make you stay away from tradeshows, let's discuss some of the good points. If you have a book that fits a need, like something a family could use, or maybe a self-help book for senior citizens, look for specific shows. Many regional and national organizations have annual conferences that rent booths to vendors. Look at AARP for senior citizens, or if you want to hit the library market, the International Association of Librarians holds a national conference. Going this route does two things. First, you're targeting a specific market, as opposed to "throwing something up on the wall to see what sticks." Secondly, booth space for these types of conferences is much less - normally not more than $300 for the entire vendor package. Finally, if you do decide on a particular show, what are you going to display? You can't just have a stack of books on your table with your moneybox. You have to display a catchy, appealing, eye pleasing advertising piece. This is not something you should take lightly. Studies have shown that tradeshow vendors have no more than twenty-seconds to sell their product. Do you have your pitch polished? Can your advertising material make a passer-by want to stop and find out about your book? I recently designed and produced a tri-fold display board for a non-profit organization for use at tradeshows. It was nothing spectacular, but by the time I added up my thinking time, planning, printing, writing, production, etc., I had invested well over 70 hours. The positive is that once you've got something good, you're done. You can use the same thing for every show, with maybe just a little tweaking necessary depending on your audience. Remember, people want to feel good about spending their money. Let's next discuss seminars. Presenting a free seminar is something you can do to get people to come and see you, and hopefully buy your book. This marketing avenue is especially good for the author with a non-fiction book. Putting a seminar together is no small task either. First, realize that if you're going to get people out of their homes to come to your seminar, it better be free. This doesn't mean that you have to give away the farm. If you offer a free 30-minute seminar (or call it a workshop) with just enough information to wet your audience's appetite, you then have your book for sale at the back of the room - and you may just move a few. Again, you need to consider expenses. You can find hall space for rent, advertise your free seminar in the newspaper, and then hope enough people show up and buy your book just to break even. There is a way around this. Again, depending on your book's topic, it would probably appeal to specific organizations. If you wrote a health book, look for the local chapters of the arthritis foundation. If it's a mystery, look for the local chapter of Mystery Readers. Get in touch with the chairperson or president, tell them what you would like to do, and send them a copy of both your seminar's outline along with a complimentary copy of your book and press kit. It may take time to get on their calendar; most organizations bring in speakers once a month, and plan their events up to a year in advance. If you elect this route, the only expense you may have to bear is gas money. Many smaller bookstores and local libraries have authors come in every few weeks for a talk or "free" workshop also. Don't forget these venues. Since most of us have attended a "few" writer's conferences, we've all heard at least one person speak about book signings. I'll, therefore, only spend a minute on this topic. First, make sure you have your press kit completed and polished. Now you can go after the libraries and large bookstores. Libraries are easy to get into. Call the head librarian. Tell him or her that you've just come out with a new book that you would like to donate one to the library. During the donation, you would like to offer a book signing, and oh, by the way, you'd like to offer copies of the book in the back of the room. As far as bookstores go, you need to call each individual store and ask for the events manager or planner. Tell him or her about your book, and offer to send him a free copy along with a press kit. Talk for a minute about the "free" workshop and say that you would like to have a signing afterwards. Compared to other alternatives, signings are fairly inexpensive. Normally, all you need to come up with is one or two small marketing stand-up-boards to put on your table. Finally, let's discuss what I call "peg-boarding." Take a minute and think about the one constant that you notice when you visit your local coffee shop, grocery store, pharmacy, school, pre-school, car wash or doughnut shop - a peg board containing dozens of business cards and flyers. Look at your local Starbucks. Places like these lend themselves to loiterers. If there's nothing else to look at but a pegboard full of cards . . . Again, this is yet another alternative that will cost you nothing more than a business card, flyer or bookmark. In the next edition, and the final article in this series, I'll discuss the Internet. Many authors have web sites - other don't. For the ones that do, what got visitors to their site twelve-months ago, may not necessarily work today. For those that don't, should they? Until next time - good marketing! * * * * * Mark Vass, until last year, worked in marketing for multiple computer companies for over twenty years. Although he began his writing career on a part-time basis fifteen years ago, he now writes full time and has just published his first e-book (see ad elsewhere in this issue).
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TAX - FINANCIAL WOES? Have your income taxes given your checkbook the financial equivalent of writer's block? E-mail your tax questions to James G. Rogers, C.P.A., a 26-year veteran of the tax code and an author himself. Mr. Rogers knows the problems authors and others face dealing with this annual chore. For a $5.00 fee, all of which goes to support the Gazette, you can have your answers e-mailed back to you promptly so you can get back to writing. You can even pay by credit card at our secure server. Go to: http://www.23house.com to leave your question.
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As a freelance cover designer, (and a beginner at that), I'm asked this question quite often, primarily by my friends. "Do you have to read the whole book, or what?" Being an avid reader, there's nothing I like better than to sit down with a good book, and when I first started designing covers, that's exactly what I did. What I failed to remember was, I read for relaxation. After falling asleep numerous times while reading, I knew realistically, I'd have to develop some type of system. I'm sure this isn't a new or revolutionary idea. More than likely it's common sense. The first thing I do is check with the author of the book. Every author is an artist! I draw with a digital tablet and digital brushes, while an author draws with words. From my experience, every author that's put his/her heart and soul into a book generally has an idea what he/she would like to see on the cover. In most cases, they just can't draw it. More often than not, I'll get a rough idea of what he/she would like to see on the cover or in a few instances, a very specific cover concept. If they don't have any concrete ideas, I then ask them to summarize the book. The most important parts of the book to that author will be expressed in the summary. Who better, after all, to get the gist of the book from than the individual who wrote it? So how long does it take to design a cover and how much interaction should you have with your cover artist? It depends. The last thing you want to do is call your artist every day. Get an idea of how long it will be before they intend to start on the design, and how long it will take to complete. Firm up the details right away and get them in writing or by e-mail, so no one has unrealistic expectations. Many authors who contact me have their books in final edits and ask me to design all components, cover, back and spine. When I'm finishing the cover work they're waiting for the final page count for spine width estimation, and it's just a matter of then putting the three components of the book cover together. As a freelancer, I've found there are a variety of ways work has to be prepared, some need all components, some need the front cover only, and some are just looking for an eBook cover. And with Print On Demand becoming more popular, there are many printers, each having his requirements. I'd like to say in closing, that I think that having the cover reflect what's inside is very important. Nothing is more disappointing than buying a book because the cover made it look interesting, only to find out the book has nothing to do with the content. * * * * * Judith Ward is a freelance cover designer, site designer and part time student, in addition to working a full-time job. Her site can be found at http://judithsplace.net/
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THE KEY TO BETTER WRITING "There is something in that voice Anne Rivers Siddons is a writer who touches my inner self. I savor every word and turn the pages of her books long past time for lights out. Among her best sellers are "Outer Banks," "Hill Towns," and "Colony." It's no mystery why "Colony" stayed on the New York Times bestseller list for three months. I know her secret: IMAGERY. Talking about "Colony," a reviewer for "Rocky Mountain News" writes, Siddons has her readers feeling the salt spray, smelling low tide, hearing the applause after a successful regatta, and seeing the aging matriarchs on their chairs at the Colony's Yacht Club." Her writing sings with apt metaphors, similes, and words of imagery that come alive as the author shares the lives of her characters. The stories stick with you long after you close the book. In a short Prologue to "Colony," Siddons uses the sounds in half a dozen or so ways to launch the reader into the story: "I said the sound is queer here; by that I meant strange, with an otherness that can be quite disturbing until you get used to it. It bounces about so you can't tell where it's coming from, or how far or near it is, and it often mimics something else entirely. The rhythmic dripping of the downpour onto the porch shingles, for instance, and the wet riffles off in the birch grove opposite my cottage, when a little wind disturbs the branches, might well be the twanging-thud of tennis balls and the polite spatter of applause from our little August tournament." Note the way Anne Rivers Siddons adds "otherness" to Webster and uses it in such a picturesque way. In a short passage, she gives the reader a glimpse into the coming story. Few writers can get away with a sentence of fifty plus words, but it reads with a rhythmic beat and delivers a basket of information. I tried breaking it into three sentences, but the result was choppy and off key. Could it be that writers should pay more attention to the effect and less to sticking to the rules of writing? Thanks to Siddons, I intend to spend more revision time in trying to be a voice that reaches the innermost recesses of the reader's spirit. Thanks, Longfellow, for putting my new goal into words. * * * * * Susan Long Turner
is co-author with Russ Turner of "Wings Born Out of Dust" which is available
now from 23 House Publishing and
is also available in trade paperbacks and hardback at other major online
bookstores.
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The Images of Will Kramer
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Pitching the Pros in Person In this time of terrorist activities and anthrax by mail, it is harder and harder to get an editor or publisher to take a look at your manuscript. Many publishers are no longer accepting unsolicited or unagented material. Under these circumstances, the best way to get your manuscript read is to pitch it in person at a writers conference. Yes, I know - some of you are quaking in your boots just thinking about talking to an editor about your work. I won't tell you it is easy, but I will tell you how to make the pitch that brings you a contract. Listen up! Just follow the three B's. · Be professional · Be prepared · Be brief Be professional. If you are a writer who expects to sell your work, then you are in business as a product provider. If you have a product to sell, then you must advertise and that makes you a sales person. In order to sell your product, the first thing you must do is impress your prospective buyer with your knowledge of your industry (publishing/communications) and your product (your manuscript). Not only must you look professional (take those hand-painted sweat shirts and orange-flowered Bermuda shorts out of your conference wardrobe), but you must sound professional as well. In order to sound professional you must - be prepared. Being prepared means you not only know your product (your manuscript), but you know your market. Your market is the magazine lines or book imprints of the editors you will be pitching your work to at writers conferences. Now you've read this advice in a lot of places. It is usually followed with a brief explanation of picking up a copy or two of the magazines or looking up an editor's previously published book list to see what "sort of thing" the editor is looking for. Well pilgrim, here's where I part company with the crowd. Reading a "couple of copies" of a magazine or the titles on a publisher's book list isn't going to give you a clear picture of what an editor wants. The most successful sales people are those who know what their customers want. You can't get a feel for an editor's "special interests" after reading only two copies of the magazine or reading a list of book titles. You must dive deep into the back issues of a magazines or read a good number of the publishers books to "get a feel" for what the editor "looks for" in a manuscript. Reading a year's worth or more of the magazine you want to writer for will show you some interesting trends. Perhaps the magazine's listing in a market book indicates the editor is looking for more science articles. You have prepared a great article on submicroscopic robots that will help build a powerful computer small enough to fit in a pair of dark glasses. Reading twelve issues of the magazine reveals the "special interest" science of the magazine is "ecology" not "chemistry/physics." Your article would not be right for the magazine. Looking at a list of article titles will not reveal that "special interest." You must read the articles to find the trend. Once you know what an editor wants you are going to be in a better position to pitch your manuscript because you will know what "spin" to put on your pitch. When it's time to "pitch your product," be brief. This is a busy world and in the publishing business an editor's calendar is always overbooked. Don't waste her/his time with a long explanation of your product (manuscript). Know what the editor wants and pitch to that editor's "special interest." And do it in as few words as possible. Here's an example: Let's look back to the magazine wanting more science articles whose editor has a "special interest" in ecology and the environment. You also know the magazine serves the Gulf Coast states of the United States. You've got a story about submicroscopic biology based robots building computers. In your research on the subject you found these same robots are being used in hazardous waste site cleanups and oil spills polluting sand beaches. Here's your pitch. Your January 2001 issue had a story about hazardous dump cleanups in Georgia. It had some great stuff about the use of microbes to help reprocess lethal chemicals into harmless, natural substances. Did you know there are biology-based robots doing the same thing for the beaches along the Gulf Coast after the oil barge leak in Galveston? I've got a 1,200-word article on the subject, with a contact for photographs. Would you like to see the article? In the paragraph above you've told the editor you are familiar with her/his magazine, have an interest in environmental science, and you have a product she/he might be able to use. The pitch is five sentences long and can be delivered in sixty seconds. (Sometimes that's all the time you have. Think elevator ride.) Your entire pitch would take about three minutes. You begin by introducing yourself and make a contact point with the editor (i.e., I enjoyed your workshop session this morning). Make your product pitch. Then close with - "Here's my card. I've had two articles on biological science published in (name the publication)." (If you are not published but have some expertise in the field, provide that. No pub credits? No expertise? Then don't use the last line, simply hand the editor your card*.) If she/he is receptive, you will get the editor's card and the go ahead to submit. You now have an editor's name to put on your submission along with the right to write "Requested Material" on the front of the envelop when you send your manuscript. You might even hit pay dirt - a verbal contract to be followed by the paper work. Pitching the pros face to face isn't easy, but it is possible. Just remember to be professional, be prepared, and be brief. It could make your face time with an editor very lucrative. *You do have a business card--don't you? If not, get one. For a writer it is a simple thing to do. Get plain white business card stock and use the publishing package or office suite template for business cards. Be sure your name is large and has the word "Writer" underneath it. In smaller, but still readable letters list your address, phone number, fax number (if applicable), and your e-mail address. Much of the publishing industry is doing business via the Internet. If you don't have Internet service, get it - without it you might as well still be using a quill pen. * * * * * Lucile Davis is the author of 15 nonfiction books for children and several years worth of articles for magazines, newspapers, newsletters, web sites, and e-zines. All of her writing sales happened as a result of contacts made at writers conferences.
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Croatian Desserts
for Christmas! Somewhere in a land far away called Croatia, there
is a small village called Tinj. In the small village, there is a house,
a summer home owned and built by Martin and Marija (In English, Maria)
Erlic. They reside in Victoria, B.C. near their sons and grandchildren.
They immigrated to Canada in 1967, and with them came their language, culture,
Catholicism and Croatian food. Their ever-popular lamb and pork roasts
thrive even today. Marija also brought with her many delicious dessert
recipes, which she learned from her mother. The food and desserts she
has acquired over the years are firmly kept with the Croatian traditions.
Her recipes for Croatian Ustipke and Sweet Bread are the same as generations
past. Marija enjoys cooking for her family when they come
over on the weekends. Just last weekend we had eighteen people in her
home--they were all family! People who love her and her cooking always
surround her! Marija says that her mother taught her how to cook. When
she was growing up, her mom made the desserts for religious holidays. "These desserts are mainly for Easter and Christmas time when the family is together, but you can eat them anytime. You can serve them with sugar and cinnamon too! You can serve them with coffee or tea. You can have them for breakfast with milk as well." She also says that these desserts can keep for at least 2 months in the freezer. "They are good up to two days when left in the refrigerator but can keep in the freezer, thaw them when needed."
Ustipke (similar to donut holes)
Method: In a large bowl, place milk. Set aside. In another small bowl, place warm water, yeast and sugar. Let stand for 10 minutes until foamy. Place eggs into milk, beat well with a whisk. Add yeast mixture, stir well. Add flour 1 cup at a time until a thick batter forms. Add salt and zest, stir well. Add raisins if desired. Let rise for one hour. Place 1/2 inch of oil in the skillet. Heat vegetable oil (Canola or Sunflower) in an electric skillet. When heated, drop by tablespoonfuls into oil. When one side is golden, turn over to the other side to cook. Make certain, the oil is at a medium heat at all times while making the ustipke. Remove the "Ustipke" onto paper towels when golden. Marija's cooking tip: Place batter between thumb and forefinger, squeeze batter through the opening to form balls. Place in heated oil to cook. This makes each "Ustipka" a uniform size.
Marija's Sweet Bread
Method: Marija's serving suggestion: When the bread is cool, slice evenly, serve with coffee or milk. * * * * * Lily Erlic is a food and recipe writer. She has written for Veggie Life, Amateur Chef Magazine and more. Her book "Very Vegetarian-Thrifty Appetizers, Main Meals and Desserts in Minutes" is available at SynergEbooks.com
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So You've Written An Article...Submit It! We're always looking for uniquely written articles that help to define the process of writing in its many aspects. Submit to: the-emporium@rolian.com Be sure to check our guidelines
and monthly schedule
themes.
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Yes, you've read them. In fact, you probably read
at least one each week of the year: Quips. Phrases. Poems. How about a phrase: "May the season's blessings
follow you all the next year." * * * * * Robert Nailor is the Production Manager and Poetry Editor for The Emporium Gazette. The first chapter of his Celtic fantasy, Three Steps from Reality, is available on-line. Visit his webpages for more of his writings and graphics.
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Be Sure To Visit Read some of the first chapters of novels
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Message From
A Box Milton Scranton scrambled into one of the foil-plastic boxes and jerked the flaps closed behind him. Three heartbeats later the running footfalls splattered down the alley and faded into the traffic noise from Fifth Street. An icy chill dribbled down Milton's neck. He glanced upward to see the neon blue of the bar sign flickering on the wall of his tiny cell. His miserable luck remained intact. There was a hole in his leaky box and he couldn't risk climbing out. For all he knew the teenagers were standing on Fifth, wondering how he'd vanished. "At least it isn't snow and I still have my five dollars," Milton mumbled and tugged the hood of his sweatshirt up over his long hair. He prayed he hadn't ripped his only warm shirt making his escape. "Was five dollars worth risking the beating they would have given you for running?" a muffled voice asked. Milton's fingers clutched tighter around his meager collection of dead presidents. He was certain it wasn't one of the thugs. The voice creaked like a rusty dumpster lid. No, the years of diesel fumes and smog had taken their toll on this guy's vocal cords. "Doesn't that depend on how long it's been since you've had a pair of eggs over easy and a stack of blueberry pancakes?" Milton asked. "That's the kind of breakfast that keeps a bum like me waking up each morning." "I see what you mean. Welcome to my back street confessional, my son." "Confessional?" Milton asked. "It sounds like something is troubling you, something bigger than those misguided boys," the voice said. "Most people, even the those who live up in the hover belt and commute to work, carry some burden. This isn't exactly the land of milk and honey it should be." "Isn't that the truth! I lived on the hover belt years ago." It seemed like another lifetime. In a way it was. "Why don't you go back?" "Get real," Milton whispered. "I haven't seen my wife and boys in five years. In their eyes, I'm dead. It's better for them if I stay that way." "Are you sure?" the voice asked. "What do you think made those hoodlums the way they are? Everyone needs a father, someone to pick them up and dust off their britches when they fall. I'll bet your boys need a man in their lives. A mother has enough work holding up her end. What harm would it do to see them?" Milton shifted his weight to the other haunch. "I don't think my wife would take me back." "Why did you leave?" the voice asked. "I caught her with another man." "Then it wasn't all your fault. Do you still love her?" "Yes," Milton admitted. "That's why I left instead of filing for divorce. My boys needed their mother more than me." "Did she marry this other man?" the voice asked. "That chump? He's not the kind who'd marry when he can get it for free and let the other guy pay the bills." "It sounds like you've both paid a heavy price for that mistake." Milton poked his head out of the box and peered down the alley. There was no sign of the thugs. "Maybe I could visit them." "It won't hurt," the voice said. "Take this," Milton said, shoving four wrinkled dollars through the flaps of the box beside him. "You've helped me more than you'll ever know. The least I can do is buy your breakfast." "Bless you," came the reply. Milton pulled his coat tighter as he shuffled up the alley toward the hover stop. It was cold down here, but up in the temperature-monitored hover belt, the weather was always like a Florida vacation. There he'd have little use for his insulated jacket. He removed it returned to the box. "Pardon me, but could you use a warm coat?" Milton waited but no one answered. Kneeling down on the wet pavement, he pulled back the foil lid. To his amazement, no one sat inside. The bottom of the box wasn't even wrinkled. On the floor lay four crisp hundred-dollar bills. - - - - - An elderly social worked shook his head as he watched the bum in the monitor grab the cash and race up the alley. "This new method of administering welfare payments will never last." "Nonsense," his supervisor said. "It does them far more good than an impersonal check." * * * * * Ronald Wayne Jones is the Managing Editor for Emporium Gazette and autor of "Black Breath of the Lutron" and "The Dwarf and the Demon Tongue" which are available through 23 House.
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Ron Jones-- Managing Editor Robert Nailor--Poetry Editor and Production Manager Elyse Salpeter--Fiction Editor Mitchel Whitington--Non-Fiction Editor James Rogers--Business Editor Terrie Murray--Travel Editor and Editorial Assistant Sue Long Turner--The Writing Answer Lady Mark Vass - Marketing Editor & Denise Vitola--Editor-in-Chief
© Copyright 2001 by the Emporium Gazette No portion of any article or other writing in this electronic publication may be copied, used or otherwise taken by any person or organization for any purpose or reason whatsoever without the express written permission of the Emporium Gazette.
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