• Writing News for the Sunshine State & the Solar System * September 2009

• Editor: Howard Denson


and use the terms in the subject line.

In This Issue:

Hoosier Writer Wins 20th Annual Novel Prize

NFW will Critique Sept. 12

Just the Facts, Ma’am, that will Play in Peoria – Howard Denson

Florida Heritage Book Festival to Celebrate Literary Diversity
Sept. 11–12 at Flagler College

Prize-Winning Workshop to Start New Series of Classes

Flagler College to Host Other Words Conference Nov. 6-8

Quote from a Writer's Quill – Robert Frost

Writers Born This Month

The winning manuscripts of the 20th annual Bancroft Novel Contest have been announced by final-round judges David Poyer and Lenore Hart.
First Prize ($700 and recommendation to editors of a major publishing house):
IN THE WINK OF A STONE GOD'S EYE, by Mark Rigney of Evansville, Ind. Fantasy. An American garden gnome cast of hollow resin is taken to an English college by the daughter of his recently deceased maker. There he acts as detective to unravel and foil two thematically linked plots, one by Islamic terrorists, the other by one of the "stillforms" (statues) at the college.
A prize-winning playwright, Mr. Rigney may also now be referred to as a prize-winning novelist. He is the author of Deaf Side Story: Deaf Sharks, Hearing Jets and a Classic American Musical (Gallaudet University Press, 2003). His short fiction has been nominated for a Pushcart Prize and appears in The Best of Bellevue Literary Review, All Hallows, Lady Churchill's Rosebud Wristlet and such anthologies as Traps and Shadow Regions. Recent stage work includes Nightjars (world premiere at the 2009 Y.E.S. Festival) and "Gillian Amber Copes with Miracles" at the Audacity Theatre Lab in Austin, Tex. Acts of God, centering on a deadly tornado strike, is published by Playscripts, Inc., and has multiple productions scheduled across the U.S. and Canada. When not writing, he says he is proud to be an at-home father. His website:
Second Prize ($200):
THROWN FOR A LOSS, by Marianne Ashley Jerpbak of Eagan, Minn. Murder Mystery/Legal Thriller. A student who sells test answers to college jocks is murdered after a homosexual encounter in his dorm room. Many years later, Lydia Halverson, a Minnesota transplant to Florida, is working as a divorce lawyer to escape her past and her grasping, dysfunctional mother. The football-coach husband of her running partner and friend Liz commits suicide. Then Liz seemingly and unexpectedly does the same. Lydia is drawn into the old campus murder when she begins to suspect that all three deaths are related. But can she identify the killer in time to avoid becoming the next victim?

Ms. Jerpbak graduated from the University of Minnesota with degrees in journalism and law. She worked as a writer and editor for a major legal publisher. She writes, gardens, and plays tennis despite six children, thirteen grandchildren, and a husband.

Third Prize ($100):

DEFECTION, by Robert Samuel Cromartie III, MD of Ormond Beach, Fla. Mainstream fiction. Two friends grow up as young men in the USSR in the 1970's and 80's. One is a physicist, the other a KGB agent. They both seem disillusioned with Soviet Power (both political and nuclear) and become more so as the book goes on.

Dr. Cromartie earned degrees in chemistry and medicine from the University of North Carolina and served on the faculty of Indiana University School of Medicine. He has published ten articles in scientific journals and is co-author of a text on biological, chemical, and nuclear terror. He served as a captain in the U.S. Army in Vietnam and is retired from the private practice of thoracic and cardiovascular surgery.
The final-round judges were formerly residents of Jacksonville. Poyer’s recent books include The Weapon, Korea Strait, and The Threat. As he teaches in the MFA program of Wilkes University in Wilkes-Barrie, Penn., he adds to his many books in four series: Modern Navy and Dan Lenson, deep-sea diving with Tiller Galloway, general fiction in Hemlock County, and Civil War at Sea. His website:<>.

Ms. Hart is the Visiting Writer at Old Dominion University in Norfolk, Va., and also teaches in the graduate writing program at Wilkes University. Her latest novel, Becky: The Life and Loves of Becky Thatcher (St. Martin’s Press), follows the lives of Mark Twain's Tom Sawyer, Becky Thatcher, and Huck Finn -- as adults. In Becky, Tom Sawyer's first love finally gets to tell her side of the story of Tom and Huck and Sid and her as it really happened, and put back the parts Twain left out of his novel, such as how Injun Joe really died, and what actually happened when she and Tom were trapped in the cave, and why she finally rejected Tom and came to marry his cousin Sid. But can she ever really forget the sweet-talking, maddening, irresponsible Tom Sawyer? Ms. Hart’s website (<>) lists her other books.

Other commendable manuscripts:

First-round judges were often very enthusiastic about other manuscripts that they expected might find a publisher, perhaps after revisions. These are listed alphabetically by title:

Arrogance by Larry Trent of Salem, Va.
Band of Sisters by Rosalie T. Turner of Angel Fire, N.M.
The Flow of Love and Water by Susan MacLean of Monterey, Calif.
The Greek and Roman Promise by Rick Marshman of Jacksonville, Fla.
The Latin Teacher by Rodney Deaton of Indianapolis, N.C.
She Who is Hidden by Heather Howell (penname: Suza Kates) of Savannah, Ga.
Three Skips of a Stone by Wendy Sand Eckel of Millersville, Md.
Tommy of the Planet Earth by Glen Wood of Chattanooga, Tenn.
Trouble with Panthers by William Culyer Hall of Rockledge, Fla.
Ultimate Duty by Robert Samuel Cromartie III of Ormond Beach, Fla.
White Wings in Black Marble by Maynard Allington of Melbourne, Fla.

These first-round judges included Ellen Carson, Greg Dietrich, John Fields, Julie Giuliani, Mary Hand, Lynn Skapyak Harlin, David Houston, Suzanne Hughes, Susan Osment, Judy Stephenson, Barbara Summers, Dana Thomas, Ian van Hoof, Carrol Wolverton, and Howard Denson. The contest coordinators Houston and Denson gave thanks to the staff of Dean Dana Thomas for helping to process the manuscripts.
No college or taxpayer funds have gone toward the prizes or critiques in the contests since the entry fees pay the expenses. Over the 20 years of the contest, entrants have won $14,700 in prizes. The contest also paid an estimated $15,600 for critiques for the final winners. To receive a critique today from an independent editing service, an entrant might pay anywhere from $2,000 to $4,000.
The contest has helped many "graduates" to be published authors, with the most notable example being Steve Berry of St. Marys, Ga. Besides taking adult ed classes in creative writing from Florida Community College at Jacksonville, he kept entering this contest and going to meetings of Frank Green's Bard Society. After 85 rejections of his novel manuscripts, he finally got one accepted and has become a best-selling novelist, as can be seen at his website,<>.

Other "graduates" include the following:

Robert E. Bailey's Private Heat gave a realistic look at private eyes. His other books featuring P.I. Art Harden include Dying Embers and Dead Bang.
Donna‑Lane Nelson's 1995 entry Vegetable Lover (Not a Cookbook) was published as Chickpea Lover Not a Cookbook. In 2008, she published the novel Running from the Puppet-master (Five Star Expressions).
Brian Jay Corrigan's novel, The Poet of Loch Ness, was published by Thomas Dunne Books of St. Martin's Press.
Ruth Moon Kempher's revised manuscript later won a $1,000 prize in the Washington Fiction Award competition.
Yvonne West's Rosemary for Remembrance was published by Fithian Press.
Melody Bussey's Crazy Cat finished in the top 10 in 2000 and found a publisher within months.
Writing as "Lydia Hawke," Lydia Filzen saw Firetrail published by Wings e‑Press as an e‑book and trade paperback. It has also been made into a full-length motion picture. She has three other books to her credit.
Larry Baker similarly put his Festival entry in the closet but wound up with a hard‑back and a TV movie deal with A Rising Flamingo.
Sohrab Homi Fracis didn't find a publisher for his contest entry, but later won the prestigious Iowa Prize for Short Fiction with his collection entitled Ticket to Minto.
Gary Lawrence Edwards' Tropical Storm saw print in 1995 (Northwest).
B. Powell Clark’s entry in the early 1990s did not find a publisher, but she saw Forgiving Sam published by New South.


The Sept. 12 meeting of the North Florida Writers will focus only on critiques. The meeting will begin at 2 p.m. Saturday at the Webb Wesconnett Branch Library (corner of 103rd Street and Harlow Boulevard).

The critique process has people other than the author of respective works read aloud the submissions (up to 10 double-spaced pages of prose, and reasonable amounts of poetry or lyrics). Authors may not defend their work, but they should listen to the words and rhythms of their creations.




A scriptwriter has a problem in tackling a historical film. Facts can be elusive, either because events are irrelevant to the “big story” or because there are so many historical characters to be nailed down that the viewers could be confused. A frequent problem is that the scriptwriter may rely on an unreliable source.

Shakespeare, for example, used a Tudor history to tell of the wicked deeds of Richard III, the last of the Plantagenets. He could have used other sources, but a Tudor queen was sitting on the throne and he had developed a fondness for having his head on his shoulders. As any playwright will have to do in covering complex material, he telescoped actions and combined characters to enable his history plays to work effectively on the stage.

The historical Macbeth was not the wicked individual in Shakespeare’s play, but “Richard III” and “Macbeth” ably depict how a natural villain works in the first play and how a good man can be tempted to cross over to the other side.

This line of thought about history and scripts came to mind when I read Caroline White’s column, “The 10 Most Historically Inaccurate Movies,” in London’s Online Times (

She was using Quentin Tarantino’s cartoon-like “Inglourious Basterds” as a springboard to listing her least accurate films.

At the top of her list is “U-571” (2000), whose writing was done by Jonathan Mostow, Sam Montgomery, and David Ayer. The director (Mostow) had Americans capturing the German sub and, more importantly, the Enigma machine. The Brits, of course, captured the sub months before the U.S. entered the war. If Enigma’s existence hadn’t been secret, Old Hollywood might have had the sub British, although the major parts might have been played by such Americans as Spencer Tracy, Clark Gable, and Cary Grant (he’s ours; Archibald Leach was the Brit).

“Braveheart” (1995) offends in many ways. Okay, the scriptwriter Randall Wallace got it right that William Wallace was sliced and diced as he was executed, but the script blew it when it depicted WW having a relationship with the young queen (who would have a toddler at the time). Wallace wasn’t a poor peasant, and the kilts and bare-bottom joke, notwithstanding, the kilt didn’t come in until centuries later, and the notion that each clan had its own tartan design only dates back to 1800 (practically yesterday).

No one really expected much from “10,000 BC” (2008). Director Roland Emmerich and Harald Kloser had a comic-book universe that asked the viewers to ignore anachronisms right and left. Even so, Archeology magazine pointed out that hunters back then certainly didn’t use nets to capture and kill wooly-mammoths. Archeologists also don’t sit around debating which tribes 12,000 years ago built better pyramids using mammoths. The film makes us yearn for the two versions of “One Million Years B.C.” (the second with the Raquel Welch poster . . . and dinosaurs) and “Clan of the Cavebear” with Darryl Hannah.

One historian said the problem with film No. 4, “The Patriot” (2000), was that screenwriter Robert Rodat got as close “to history as Godzilla was to biology.” The Red Coats were depicted closer to Nazis, while Spike Lee said the film “dodged around, skirted about or completely ignored slavery.” Mel Gibson’s honest farmer was based on Francis Marion, who Ms. White said “was a slave-owning serial rapist who murdered Cherokee Indians for fun.” On the plus side, director Emmerich didn’t have saber-toothed tigers chasing the Swamp Fox. “The Patriot” reminds us to be grateful for the wooly-mammoths in Congress and the Supreme Court.
“Pearl Harbor” (2001) comes in No. 5 in the inaccuracy scale. It exaggerates the love lives of the two pilots who were the protagonists while treating the Japanese attackers as stereotypical villains, said Ms. White. The Japanese pilots, however, are treated more respectfully than, say, those war-time cartoons featuring Bugs Bunny or Popeye.
A Mel Gibson film, “Apocalypto” (2006), is offender No. 6 as it views Mayan life through Aztec lens. The script is done by Mel and Farhad Safinia. Blooper websites mainly complain about an eclipse being followed immediately by a full moon and about one scene having the skull of a horse, which hadn’t been introduced to the New World yet.
Not surprising, “Amadeus” (1984) is unlucky No. 7. It is a rousing film about Mozart, except 90 percent of the facts are wrong. Imagine a film about American classical music, in which Jerome Kern is trying to deepsix George Gershwin. On the plus side, the film sparked interest in the compositions of Antonio Salieri.
Rome had some whacko emperors, ranging from Caligula and Nero to Commodus, the villain who offed Russellus Croweus in “Gladiator” (2000). C’s father was one of the good emperors, who meditated about duty, truth, and the virtues, just the thing for a successor to rebel against. Even so, C lasted 12 years, unlike Caligula’s four years. The Praetorian Guards got C’s wrestling partner to strangle him in the bath or bed, when he was drunk, and poisoned. Driven by director Ridley Scott, the writers David Franzoni, John Logan, and William Nicholson were thrown to the lions.
Ms. White probably unjustly ranked “Young Victoria” (2009) as No. 9. Her main complaint was the film shows Prince Albert protecting Victoria during an assassination attempt. He would have absorbed a bullet aimed at her, except the gun missed or jammed. The very competent screenwriter Julian Fellowes, who won an Academy Award for “Gosford Park,” said the change was done to emphasize Albert’s bravery and selflessness. Even so, MovieMistakes.Com doesn’t list any mistakes on their website.
“Marie Antoinette” (2006) came in at No. 10, with most emphasis on what life would be like in a really glam high school if everyone hated the Austrian princess who had just transferred in. Director Sofia Coppola, who co-wrote the script with the biographer Antonia Fraser, said, "It is not a lesson of history. It is an interpretation documented, but carried by my desire for covering the subject differently." Early audiences at the Cannes Film Festival booed the film for missing the boat. Louie and Marie were married when they were 15 and 14 respectively, and it took some time for Marie to conceive. Was Louis XVI afraid of sex (as the film posits) or (as some other historians ask) did he suffer from phimosis, a condition where the foreskin cannot be fully retracted from the head of the glans? Poor Louie wasn’t a bad sort and tried to do right, but, like Herbert Hoover, was facing more than he could handle. In the spirit of an early Phyllis Diller, popular history says Marie had a bad habit of ripping off such one-liners as “let ‘em eat cake, but she really didn’t say that. She would have had to be about eleven when the line was uttered by a “Great Princess,” according to Rousseau. The film ends with the destruction of her residence and not with the guillotine scene. From the standpoint of history, going to the guillotine was a good career move for Marie. Need some proof? Name the spouse of Louie XIII, XIV, or XV.
For awful historical accuracy, I’d add Oliver Stone’s “JFK” (1991) to the list. First, he has Kevin Costner playing Jim Garrison, one of the loose-cannons of New Orleans politics. Then Stone goes straight ahead with the conspiracy theories as fact. If you look up James Garrison in a reference book, you may well see a picture of Daffy Duck.
Scriptwriters of bio-pics that focus on famous individuals often do well. For example, Francis Ford Coppola and Edmund H. North came up with an American classic with “Patton” (1970). Military buffs find much to quibble about in the film (see “Patton” bloopers at, where you will learn, “Patton arrives at Bradley's mobile HQ just after D-Day. As his jeep pulls up you can see the truck that pulls the HQ trailer. It appears to be a Mack Model ‘B,’ which did not enter production until 1953.” Using Ladislas Farago’s biography of Patton and Gen. Omar Bradley’s memoir, the scriptwriters depicted a grand image, warts and all, of the most interesting general in World War II.
Bio-pics about musicians and athletes lately have a high score regarding accuracy. “Ray” (2004) could have sugarcoated Ray Charles’ life and career, but Taylor Hackford and James L. White followed the singer’s request to be honest. The movie’s bloopers relate more to continuity and prop availability than gross distortion of historical fact: e.g., “There is a scene with his baby. Ray Jr. has a butterfly-shaped pacifier in his mouth. They didn't have butterfly pacifiers then - just plain old pacifiers were available.”
Similarly, Gill Dennis and James Mangold adhered to Johnny Cash’s counsel to make “Walk the Line” (2005) accurate.
One unfortunate aspect of celebrity bio-pics is that often they become drug- or drunk-ologs. With the music of Ray Charles and Johnny Cash, the viewer likely leaves the theater humming a tune. In contrast, with the nastiness of Jake LaMota in “Raging Bull” (1980) or Ty Cobb in “Cobb” (1994), the viewer may leave wanting to go to a 12-step meeting to focus more on recovery and healing.
MORAL OF THE STORY? Historical accuracy really matters, except when it doesn’t.


The second annual Florida Heritage Book Festival Sept. 11-12 in St. Augustine will feature more than 25 Florida authors, with keynote speakers including retiring U.S. Senator Mel Martinez (A Sense of Belonging: One Man’s Pursuit of the American Dream) and Nancy Yi Fan (Swordbird and Sword Quest), according to Derek J. May, event honorary chairman.

Information about schedules, registration fees, authors’ websites is available at<>.

Featured authors will include the following:

Nonfiction – Shawn Bean (
The First Hollywood: Florida and the Golden Age of Silent Filmmaking; Sudye Cauthen (Southern Comforts: Rooted in a Florida Place); William G. Crawford (Florida's Big Dig: The Atlantic Intracoastal Waterway from Jacksonville to Miami, 1881 to 1935); Stetson Kennedy (Grits & Grunts, Folkloric Key West, Palmetto Country); Eliot Kleinberg (The Historical Traveler's Guide to Florida; Weird Florida; War in Paradise); William McKeen (Outlaw Journalist: The Life and Times of
Hunter S. Thompson); Gary Mormino (Land of Sunshine, State of Dreams: A Social History of Modern Florida); Lucy Beebe Tobias (50 Great Walks in Florida); Cynthia Barnett (Mirage: Florida and the Vanishing Water of the Eastern U.S.);

Fiction – Thomas B. Cavanagh (
Head Games; Prodigal Son); Tim Dorsey (Nuclear Jellyfish; Atomic Lobster); N. M. Kelby (The Constant Art of Being a Writer: The Life, the Work and the Business of Fiction); Rob MacGregor (The Adventures of Indiana Jones; Crystal Skull); T. J. MacGregor (Kill Time; Running Time); Randy Cribbs (Ancient City Treasures; Ghosts: Another Summer n
the Old Town; The Vessel Tinaja: An Ancient City Mystery);

Young Adults – Judy Lindquist (Saving Home); Rick Yancey (
Extraordinary Adventures of Alfred Kropp – Monstrumologist);

Children’s – Linda Brandt (Henry's Life as a Tulip Bulb, or Developing an Attitude of Gratitude); M. C. Finotti (The Treasure of Amelia Island); Laurie Allen Klein (Where Should Turtle Be? – If a Dolphin Were a Fish; Little Skink’s Tail ); Escape to the Everglades; Kidnapped in Key West); Edwina Raffa and Annelle Rigsby (Race to Kitty Hawk, Escape to the Everglades, and Kidnapped in Key West);

Poetry – Carolee Bertisch (Who Waves the Baton? ); Lynn Skapyak Harlin (Real Women Drive Trucks; Push One for More Options); Sharon Scholl (Death in the Humanities; Music and the Culture of Man, with Sylvia White; All Points Bulletin; Unauthorized Biographies); Mary Baron (Letters for the New England Dead; Wheat Among Bones; Storyknife); Teri Youmans Grimm (Dirt Eaters)

Attendees will be able to meet and mingle with authors, illustrators and publishers; attend poetry readings, author presentations, panel discussions, writing workshops and signings by local and nationally acclaimed authors and poets. There will be fun programs for the children as well.

All events on Sept. 11 and 12 will be held at Flagler College and the Casa Monica Hotel in downtown St. Augustine.

The mailing address of the event is Florida Heritage Book Festival, P.O. Box 660, St. Augustine, FL 32085; phone number: 904-940-0194.

A writing workshop on a shanty boat docked on the Trout River is beginning a new series of classes in September, according to freelance writer and editor of Closet Books, Lynn Skapyak Harlin, leader of the workshop.
Shanty boat Writers Workshop is designed for beginning writers who would like to learn new techniques, or seasoned writers who would like to refresh these skills to improve their writing. Fiction and nonfiction writers are welcome. Topics include Creating believable characters, Tips for Improving Dialogue, Elements of Plot, How 'Show rather than Tell' works toward clarity in all forms of writing and many other writing tips.
Members of recent classes have won awards in the contests of the Florida First Coast Writers' Festival and have been published in numerous venues.
The evening workshop starts Sept. 16 and meets every Wednesday from 6 to 9 p.m. The day session starts on Sept. 15 and meets every Tuesday from noon to 3 p.m.
The cost of either workshop (each limited to 8 writers) will be $125 for six weeks.
For more information or to reserve a space, call Ms. Harlin at 778-8000 or e-mail her at<>.


The fifth annual OTHER WORDS: A Conference of Literary Magazines,
Independent Publishers, and Writers, and the Other Words Writers Workshop will be sponsored by the Florida Literary Arts Coalition, Flagler College, and Jane’s Stories Press at Flagler College in St. Augustine, Florida, Nov. 6-8, 2009. Featured writers include Diana Abu-Jaber, Judson Mitcham, and Michael Waters.

This year the conference is offering a number of new features aimed at writers and their careers. On Friday, Nov. 7, The Other Words Writers' Workshop will offer master workshops where writers can hone their work with published writers and editors, craft workshops, an introduction to small presses panel, a panel on building your publishing credits through publishing in literary magazines and journals, a panel on promoting your work and yourself, and a panel on how to pitch a manuscript. These panels and workshops will be run by published writers, editors, and publishers.

Cost for the Friday session is $40. Registration begins at 9 a.m. Only a limited number of participants will be admitted, so interested persons should contact the conference early.

On Friday evening, the OTHER WORDS Conference of Literary Magazines, Independent Publishers, and Writers begins. The Conference will be kicked off by a reading by Michael Waters. The conference continues all day Saturday and Sunday until noon with panels, readings, workshops and a book fair. Saturday's night's reading features Diana Abu-Jaber and Judson Mitcham. Registration for the literary conference begins at 5 p.m. on Friday, Nov. 6.

Panel proposals relating to writing, publishing, and literary arts are being accepted now and should be sent to Jim Wilson at Individuals interested in being on a panel should notify Wilson by Aug. 15. Other information may be obtained from Rick Campbell at or from the Florida Literary Arts Coalition website at<> .

Registration for the literary conference only is $40 for FLAC members and $80 for nonmembers. Book fair table reservations are $50 for FLAC members and $75 for nonmembers. Institutional members of FLAC can register up to five members of an institution for $50. Registration for students from nonmember institutions is $25.


You can be a little ungrammatical if you come from
the right part of the country.

-- Robert Frost



1--Edgar Rice Burroughs (1875) and Blaise Cendrars (1887); 2--Paul Bourget (1852) and Allen Drury (1918); 3--Karl von Bonstetten (1745), Edwin Honig (1919), and Alison Luurie (1926); 4--Phoebe Cary (1824), Antonin Artaud (1896), Mary Renault (1905), Richard Wright (1908), Paul Harvey (1918);

5--H. D. (Hilda Doolittle) (1886) and Frank Yerby (1916); 6--Robert Pirsig (1928); 7--Willem Bilderdijk (1756), Tristan Bernard (1866), Edith Sitwell (1887), and Taylor Caldwell (1900); 8--Ludovico Ariosto (1474), Siegfried Sassoon (1886), and Ann Beattie (1947); 9--Clemens Brentano (1778), Leo Tolstoy (1828), and Mary Austin (1868);

10--Giuseppe Gioacchino Belli (1791), Ian Fleming (1888), Georges Bataille (1897), Cyril Connolly (1903), and Brother Antonius (William Everson) (1912); 11--Joanna Baillie (1762), O. Henry (1862) and D. H. Lawrence (1885); 12--Julien Auguste Pélage Brizeux (1803), H. L. Mencken (1880), Louis MacNeice (1907), and Michael Ondaatje (1943); 13--Nicholaas Beets (1814), Otakar Brezina (Vaclav I. Jebavy) (1868), Sherwood Anderson (1876), John Malcolm Brinnin (1916), and Roald Dahl (1916); 14--Heinrich Cornelius Agrippa (1486) and Ivan Klima (1931);

15--James Fenimore Cooper (1789), Petr Bezruc (Vladimir Vasek) (1867), Robert Benchley (1889), Agatha Christie (1890), and Claude McKay (1890); 16--Thomas Barnes (1785), Orestes Augustus Brownson (1803), Gwen Bristow (1893), and Henry Louis Gates Jr. (1950); 17--Émile Augier (1820), William Carlos Williams (1883), and Ken Kesey (1935); 19--William Golding (1911);

20--Upton Sinclair (1878), Maxwell Perkins (1884), Stevie Smith (1902); 21--H. G. Wells (1866), Leonard Cohen (1934), Stephen King (1947); 22--B. H. Brockes (1680), Ferenc Herczeg (1863), Irving Feldman (1928); 23--William Archer (1856); 24--William Evans Burton (1804), Ramón de Campoamor y Campoosorio (1817), and F. Scott Fitzgerald (1896);

25--William Lisle Bowles (1762), Felicia Dorothea Hemans (1793), and William Faulkner (1897); 26--Irving Addison Bacheller (1859), T. S. Eliot (1888), Martin Heidegger (1889), and Jane Smiley (1949); 27--Henri Frédéric Amiel (1821), William Empson (1906) and Jim Thompson (1906); 28--Rudolf Baumbach (1840) and Ellis Peters (1913);

30--Truman Capote (1924) and W.S. Merwin (1927).



Every Wednesday: 7 p.m.; BARD SOCIETY; Frank Green 234-8383; Email<>

Every Thursday, 6:45 p.m.; FIRST COAST CHRISTIAN WRITERS GROUP; Christ's Church, 6045 Greenland Rd., Room 204, near I-95 & 9A; Email:<>

Second Saturday: 2 p.m.; NORTH FLORIDA WRITERS; Webb Wesconnett Library;<>

Second and fourth Wednesdays: 6:30 p.m.; MANDARIN WRITERS WORKSHOP; S. Mandarin Library (corner of San Jose and Orange Picker Rd.). Larry Barnes at<>.


President: Margie Sauls (<>)

Vice President: Richard Levine (<>)

Secretary: Kathy Marsh (<>)

Treasurer: Howard Denson (<>)



Membership is $15 for students, $25 for individuals, and $40 for a family. (Make out checks to WRITERS.) Mail your check to WRITERS, c/o Howard Denson, 1511 Pershing Rd., Jacksonville, FL 32205.

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