The Buffy script cover is leading my running right now. Between that and some sourdough - a good dual prezzie?

Nice.

That sounds verra pleasing, deb. NTM, delicious.

May need to fire up my bread machine. Of course, first I'll have to create some sourdough starter, but hey, I got nothin' but time, right?

Damn. I've forgotten my ebay id and password.

Hopefully they'll get it to me in time to bid.

I'm reading "Weaver" right now and it's FG. It makes me think about style and voice...like what makes one. Cause I would know Deb wrote it if she put Bozo the Clown's name on it, but yet I couldn't explain why...I realize we are are in artificial situation being exposed to each other's voice so often...but I ask cause I feel like I'm trying to find mine.

erika, the thing about voice is, there are so many damned definitions of the thing that I expect it's impossible to define.

I can speak about mine, because my editor already did; in the 1993 edition of Writing Mysteries: A Handbook by the Mystery Writers of America (Genre Writing Series) by Sue Grafton (Editor), she cited me as an example of it.

Ruth's take is that voice is a mystical thing that can't be taught, is either there or isn't (and she has to be the world's biggest pragmatist, so that's really extreme, coming from her), and is the one thing every editor falls to their knees and prays to walk in their office. That's the basic quote from her essay in Writing Mysteries.

I also think voice is there, inborn to the writer in the same way it's likely to be inborn to a singer. But I also think a lot more people have that particular quality than are aware of even its existence.

At the editors and agents panel at the writers conference in October, all five panelists emphatically agreed that when they open a new manuscript, what they're dreaming of discovering is a strong, sure, unique voice, because above all else that's what makes or breaks a book, and shows if the author has the talent to sustain a career.

Susan, exactly.

The thing about the "Writing Mysteries" deal is that I didn't know Ruth had done that until eight or so years later.

But the voice - what she remembered from "Plainsong" and "Eyes in the Fire" - was apparently still there in the first draft of "Weaver" I sent her.

Lucky for me...

I like Deena's idea of a plant set up. Editors and agents get lots of signed stuff. Not tha Joss's autograph is something to cough at, but a plant, yeh. An amyrillis. Yum.

mart, she may well be like me, and glare at anything resembling a potted plant in complete dismay. And since she lives in the wilds of the east Coast, no idea what would grow out of doors.