Write Angles 6-09

8/9/2019 Write Angles 6-09

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W r i t e A n g l e s

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B e r k e l e y B r a N c h ,

c a l i f o r N i a

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2 0 0 9

AMBROSE BIERCE,American editorialist,

short story writer, journalistand satirist.


2/12June 2009 W rite A ngles 1

J une M eeting :Saturday, June 20, 2009.

Social Hour: 9:30 a.m. - 10:30 a.m.Meeting and Program: 10:30 a.m. - Noon Event Loft, Barnes & Noble Book Store

Jack London Square, Oakland.

tHe tOOLS OF WRiting CLARitYDr. Ransom W. Stephens will be our June

20 speaker, so engaging that he may provoke

enough laughter to drown out the whistles of trains passing through Jack London Square. Imet Ransom at my rst writing class at Book Passage ve years ago. Years later, we bothcontributed to Risa Nyes Writin on Empty and this past October read from the book atLitquake, the San Francisco Literary Festival.

Dr. Stephens is a Ph.D. physicist, but dont let that scare you.Author of the forthcoming memoir Fade to Pink , he has also written

essays for The East Bay Monthly as well as for several anthologies,including Writin on Empty and Building Bridges from Writers to

Readers: San Francisco Writers Conference Anthology, 2007 . See hisWeb site: ransomsnotes.com.

According to Ransom, clarity is the foundation of storytelling.He will talk about the tools writers can use to keep our stories clear while building plot and tone and developing compelling characters. Hewill bring to our attention how the sentence relates to the paragraph,

which we might take for granted but shouldnt, and hell strengthen our understanding of the role of metaphors and similes. In addition,Ransoms perspective will make our own vision clearer and more

powerful for dealing with the challenge of point of view and the point-of-view characters feelings.

Gather up your questions for this speaker, who can clarify,explain, and help us ponder the intricacies of our creative process.

- Laura Shumaker

Ta ble of C on t en t s

The Tools of Writing Clarity

Laura Shumaker 1

The View From the Helm AL Levenson 2

Guidelines for theJuly and AugustWrite Angles 2

Member News Anne Fox 3

A Conversation About Writing:Process and Possibility

Risa Nye and Tatjana Grenier 4-6

Fiction Faults (Continued) Ray Nelson 7-8

Tidbits 8

Call for Submissions:he 2009 WestSide Story Contest 9

Membership Info 10

Writer, Heal Thyself W.E. Reinka 11

Cover Photo Series :Distinguished Writers

of California

Ambrose Bierce



The View From the HelmSince the last view from the helm, the

club has taken more steps into the Age of Internet Networks. Thanks to member Deborah Hymes, wenow Twitter, (twitter.com/CWC_Berkeley), andthe Berkeley Branch has its own blog under construction. Also, the Branch has a page at

Facebook (CWC Berkeley) that already has over ahundred friends.

Browsing Twitter, we nd that the people who follow our twitter offer an interesting pool of offbeat commentators. Some are twits, but all of them tweet.

Blogging is already the province of great minds, e.g., ( huf ngton - post.com/theblog/), as well as medium, medium-rare, rare, and raw minds.One quite well done is Deborahs own blog (writervixen.typepad.com/writ-

er_vixen_explains_it_/). Irreverent, iconoclastic, ironic, and irrepressible, ascoop of the Writer Vixen on your morning oats will get your wild daygoing.

I tried my hand at a club Facebook page. Its hundred-plus friendsinclude over a dozen from the Berkeley Branch, an equal number from other

branches, with most of the rest writers and wannabes and a spritz of publishing-industry luminaries peeking in to keep up.

The ebb and ow of new tides of connectivity and outreach will promote the club and publicize our events and programs. Our greater Web presence will lead to more visitors at our meetings as well as to our Internetsites.

On our FB page Kemble Scott has already announced the releaseof his new book, Sower , as an e-Book at Scribd.com. He and two fellowauthors Tamimn Ansary and Joe Quirk, posted a brief video (youtube.com/watch?v=KN8C0LBtwUY) at Youtube about why they released their booksin an online digital version. I liked Scotts previous book, SoMa , and for only two dollars I could buy Sower . Scott tells me he will receive

$1.60/book, 80 percent of the cover price.Is Scribd.com a harbinger of things to come in the publishing

business? Is Scribd.com the canary tweeting the demise of the print-on-demand industry? Will Amazon drop the price of Kindle books to$1.99? (LOL, in fact ROFL). By next week, will all of this be so last week?For opinions but not answers to these and other burning questions of our time, check The View From the Helm in future issues of Write Angles .

- AL Levenson, President

Guidelines for theJuly and August

Write Angles

Open to members of theBerkeley Branch only.

Short pieces of ction andnon ction, 350-1000 words.

Poetry to 175 words.Photographs and cartoons.

All topics. No porn or gratuitous

violence.Prior publication OK, with

citation.

Electronic submissions onlyto [email protected].

In the subject line, write StoryEnclosed. Deadline for July

issue is June 10; for Augustissue, July 10. Receipt of

stories will be acknowledged.


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September 2008

June 2009 W rite A ngles 3

Member News

Francine Howard s novel, The Sisterhood Hyphen , will be published in April 2010 by Parker Publishing, one of the two publishers who offered her contracts. Francine has been a long-time, persevering

participant in the 3rd Saturday support/critique writers group.

On April 25 Risa Nye s bylined essay, Put on a happy face thinking about Dad, appeared in the RealLife column, Home & Garden section, of Bay Area News Group newspapers. (Contact person for thereader-written Real Life submissions of 450 to 700 words is [email protected].)

Another byline for Risa : Her feature article on admission to selective colleges, What It Takes, was published in the May/June issue of Walnut Creek Magazine .

Alon Shalev will launch his novel, Oilspill dotcom , on Saturday, June 20, 7.30 p.m., at The BreadWorkshop, 1398 University Ave., Berkeley. This political courtroom drama closely parallels the 90sMcDonalds libel case in England, showing a multinational corporation confronting two young activists whouse the power of the newly emerging Internet. The story includes a self-absorbed computer yuppie who learnsa lesson along the way. Alon invites CWC members to participate in the festive launching of his new book.

Anne Fox copyedited Oakland writer Adina Saras newly published memoir, The Imperfect Garden , asshe did Saras rst book, One Hundred Words Per Minute: Tales From Behind Law Of ce Doors (2006).

Showing in May at Berkeleys Alta Galleria, College Avenue, were Gary McIntyre s photos of MalisDogon Tribe.

Laura Shumaker has released a digital edition of her book, A Regular Guy , on Scribd.com.

- Anne Fox

Attention, Members: Dont let that manuscript, article, wisdom on paper mope in the murky depths of a desk drawer. Who will publish you or give you a prize for your writing if you dont get your work out into the light of

day? Keep us posted on any morsel of writing youre doing or have done or contemplate doing. Whether youve

written a letter to the editor, a ller, a puzzle, ction, non ction, jokes ,a book review, greeting cards, screen

play, or been in a contest, in an interviewall is worthwhile and a source of inspiration for CWC members.

Please send the exciting news to Anne Fox, [email protected].



Risa Nye writes creative non ction. She is a co-editor of Writin on Empty: Parents Reveal the Upside, Downside and Everything in Between When Children Leave the Nest . Risa and her co-editors have readings planned for local libraries and schools. Risas essays and articles have been published in anthologies, magazines,and local newspapers. She is excited to leave her career as a college counselor in order to begin an MFA programin Creative Writing at Saint Marys College this fall. A Bay Area native, Risa lives in Oakland with her husband. Tatjana Greiner writes ction in her native German and in English. Her rst novel, Spring, Baby!, was

published by Rowohlt Verlag, Germany. Most recently, her story, Big in Hollywood, was included in ananthology published by Diana Verlag, Munich, of the Random House Group. Tatjana lives in Sausalito andfreelances as a professional editor, story consultant, translator, and tutor. She founded Youth of the Bay, a

playwriting contest for young Bay Area writers. Shes also the founder and editor of The WestSide StoryContest. Currently, shes working on several short stories in English as well as a draft for her next novel. Shesalso the Youth Program Director for this years San Francisco Theater Festival.

* * *

Risa : As a writer of non ction, I nd it dif cult to make things up as you have. Im much morecomfortable starting with a true story and making it as lively and rich with detail as I can. Have you tried towrite any non ction?

Tatjana : I started out as a journalist and have actually most recently conceived of a project that will takeme back to that form. I believe that life is just as, if not more, interesting thananything we can imagine, so, yes, non ction has always been appealing to me. Itook two non ction writing classes with Kenneth Turan.

In a lot of ways, non ction seems more dif cult to write than ction. Inction, the story writes itself according to its own truth and that of the characters.

So, I wouldn't say that as a ction writer youre free to just make up whatever. Youstill have to be true to the world youre creating. But in non ction there seems to bemore issues in terms of protecting the people and events you write about. Can youtell a good non ction story without hurting or upsetting people or at least makingsomeone uncomfortable? Then there is the whole question of dramatic tension. Thegeneral suggestion seems to be that non ction stories, too, need a dramatic arc andrising action. But did the actual event really play out like that, 1:1? Or does the writer, in order to keep thenarrative owing, have to do some fudging, pull sequences together, have a character say something he or she

might not have said that way exactly? Seems like a walk on a tight rope to me. How do you address this in your work? Risa : I wouldnt say that I fudge or take liberties when I tell stories. If you pick good ones to tell, youdont really have tolife is actually stranger than ction! The real challenge lies in picking the right story. WhenI have written about my family for publication, I always let them see it rst. So far, no complaints (or requestsfor fees). There are some stories I write but wont try to get published because they would be hurtful to peopleclose to me. As an example, I wrote a story about resorting to bribery in order to get my young son to come and

A Conversation About Writing:Process and Possibility



have lunch with me and my mother. I would not have wanted her to see that one! Some writers alienate their families, but I am not comfortable with going that far.

Many of the things I am writing now are descriptive and evocative but without the arc and rising actionyou mention. They are like snapshots of things I want to remember, nothing hurtful or upsetting. Other pieceshave my observations with some personal history woven into them. Again, no one gets hurt, and I get to depictthe memory in my own way. You know, if you just write about yourself, you cant hurt anyones feelingsbutthat would get tiresome very quickly. On the other hand, I think I have lots of stories left to tell, so I am always

evaluating whether an experience has what it takes to make good reading. And if its too good to be truethatseven better.

Earlier you said that since your novel follows a character who comes to America from Germany, manyreaders assumed the whole story was true. How did you respond to that? Did you base some of your characterson real people? Tatjana : I thought it was very funny, actually. My father got upset because he felt that I had kept someimportantand not so pleasantinformation about my American life from him, and friends of my mother

bombarded her with questions about what it really is that Im doing over here. But mostly I took it as acompliment, because I felt their reactions were a testimony to the writing and thevoice of the character being believable.

The truth is that despite two main, but rather broad, aspects (me/main character moving to the U.S. and me/main character working at a newspaper in San Francisco)none of what happens in the story had anything to do with my actual life here. I

based the book on a very strong feeling and created situations out of that. It was thefeeling of being really lost for the rst two years and very unexpectedly so. If half of that stuff that happens to Hanne in the book had happened to me, I doubt Id still behere.

In terms of ction vs. non ction, my Act II is set in Las Vegas. At rst, this was thehardest part to write, because I knew little about Las Vegas. I did know enough to write about it, but I wasintimidated at rst. But once I took the leap and trusted my imagination, it really owed out of me. Now I think that its the best part of the book, because I wasnt trying to live up to anything that was vaguely related to myreal life. I did base aspects of characters on real people, but all of them took on a life of their own. That was a

beautiful process. I did have fun with the character of her ex-boyfriend, though. I guess he became a compositecharacter of some not so likeable traits that, at the time, were very real to me. But writing is catharsis, right?

What is your process, Risa? How often do you write? Do you have a certain time set aside for it? Andalong with that, you mentioned that youre going back to school to get an MFA. That seems curious to me sinceyou have already been published.

Risa : I write more in bursts these days usually, rst thing in the morning or late at night. I willsometimes wake up with an idea that nibbles at my attention all day. By the time I sit down to write, Ive already

been thinking about it for some time. My process is to write and leave it alone for a while, then come back andmake revisions. I have written several things impulsively and sent them off to the Chronicle or someplace beforethe paint has dried. Ive been lucky that many got publishedbut certainly not every piece. I get a greatfeeling when I hit Send, and try not to check my e-mail every two minutes looking for a reply!



About the MFA programit will give me something I have been craving for as long as I can remember: paying full attention to my writing with an advisor and mentor who is going to help me with process and polish.Its a somewhat clumsy analogy to carpentry, but I feel as though I have some tools and some sense of how to

build things, but I am eager to explore what else I might be able to produce with better tools and more advancednish-and-design skills. I have been in writing groups and nd that I am much more productive on a regular

basis when I know I will be in the group every week. So the MFA program will be an even more inspiringenvironment.

Its interesting to me that we both cite our fathers as inspiration for our writing. My father wrote booksfor young actors and yours wrote the story of his life. My father always told me I was a writer, and I wish hehad lived long enough to see more of my stuff. Does your father encourage you on your path as a writer? Tatjana : Yes, for a while my father was almost the only one who believed in me. Getting into writingand the arts in Germany is a lot harder, I think, because the environment is not too welcoming to the aspiringartist. There is a lot of elite thinking going on there. And, of course, once youve made it, everyone will wantyou at their dinner party, but up until then, the poor struggling artist is a sore sight in societys eyes. My friendsdidnt get it. They understood wanting to do journalism, but books?

They said: Why? Who reads books? Which is, of course, very funnywhen you look at how constant, if not increasing, book sales are over there.

I think my father may have thought of himself as a failed writer.His life demanded different things from him. He has written academic

books, but his dream was always ction. He did write and self-publishone sort-of-novel. Its 733 pages long. Its mostly about his life, just thatthe names of the people were changed. I call it his legacy, because he transferred the rights to my name,

believing that I will one day make something great out of it. It is a project that is waiting for me. There areaspects to it that are very intriguing to me, and its full of valuable research and facts, but the story itself ischallenging in some very personal ways. I could say a lot about this, but the bottom line is that Im only nowcoming to believe that I can tackle this project. I dont know how much friction it might cause, or how muchfriction Id want to cause for him or my family. But Ive started to work on it.

How about you? Did you nd it uplifting or daunting to have a father who was a writer?

Risa : It was both, really. He understood a lot about writing and was ahead of his time with some of histelevision screenplays, which I have copies of in my closet. After my mother died, I found some of his articlesand a few rejection letters led away in his desk. I never knew that he had been submitting things all along.

Perhaps that was why he was so encouraging to me, and also why he was such a careful critic. He would tell meif he thought things could be better, but he also helped me out of a few jams when I was writing papers incollege. All of my children are terri c writers, which makes me very proud and happy. It remains to be seen if my granddaughter will carry on the family tradition.

Its been fun talking to you. I hope the writers who read this will be inspired to have conversations witheach other in the future. We learned so much from one another.



THROUGHOUT I DO NOT LIKE

A passive protagonist who is, at best, a spectator and, at worst, a professional victim.

Suggestion: Select someone more suitable to be a protagonist, or give your present protagonist some spunk.

Characters who lack motivation.

Suggestion: Allow no major characters who don't want something, and struggle to get it.

Characters who all talk alike.

Suggestion: Let dialogue re ect differences in age, sex, social class, nationality, and background, plus specialindividual turns of speech. Let vocabulary re ect profession and educational level.

Scenes that are thin and unconvincing.

Suggestion: Make sure you are reporting most or all of the ve senses, even if you have to use a checklist.

Clichs.

Suggestion: Read aloud to one or more writers or critical readers and let them help you prune these away, but don't

forget that there are rare occasions when only a clich will do.Overuse of any form--too many adjectives, too many adverbs, too many metaphors or similes, too many

forms of the verb "be," too many phrases in the passive voice, too many proper names, too many repeated

words.

Suggestion: Set a norm of simple sentences--subject, verb and object--and use other grammatical forms and morecomplex constructions to produce calculated effects, not just for variety. Studygrammar and rhetoric from old Victorian schoolbooks and practice buildingsentences the way a musician practices scales and arpeggios.

A viewpoint that oats aimlessly through space from head to head.Suggestion: Normally, within a given scene, select one head and stay in it,telling us nothing that cannot be thought, seen or sensed by that person.

Too much unbroken narrative.

Suggestion: Write more dialogue with stage business and less telling. Regard with suspicion any page totallylacking in quotation marks.

Pointlessness.

Suggestion: Determine for yourself what central theme you will use, and write it out in a single sentence. Do not

include this sentence in your story, but use it as a guide in a comprehensive rewrite in which not one sentenceremains unchanged.

An antagonist who is a pushover.

Suggestion: Make your protagonist's opposition seem, at rst, overwhelming. Even at the end, I want to feel I'vewatched a fair ght.

Obtrusive substitutes for "said."

Suggestion: Often it can be made obvious from context who is speaking, particularly where only two characters are

Fiction Faults (continued)



on a stage. Then no "said" forms are needed. In other cases "said" can be baldly repeated a lot before it becomesobnoxious.

An unconvincing setting.

Suggestion: Through research or invention, create a "backdrop" that is detailed, authentic, consistent and clearlyvisualized, even if you must draw a lot of maps, charts, oor plans, costume sketches, family trees, etc. and writeseveral long essays for your own eyes only.

An unconvincing chronology.

Suggestion: Plan your action in a diary, datebook or calendar, or in a dated card le. (Card les are more easilychanged in the plotting process).

Aimless digressions.

Suggestion : Make a detailed plot synopsis before you write page one. Work out most of the "bugs" in the planning stage, but leave yourself a little room for improvisation.

Datedness.

Suggestion: Read what others are writing in your genre and outside it. Steal their tricks shamelessly, and don'tworry about ruining your originality. No writer can write exactly like another writer.

General amateurishness.

Suggestion: Join a group of writers who meet regularly to read aloud and discuss works in progress. Write for nonpaying markets, listening to what feedback you get. Imitate the work of some famous writer you admire.Practice, practice, practice!

- Ray Nelson Ray Nelson is a Life Member of the Berkeley and served as its president for many years.

Tidbits

The Members-Only Workshop

On the last Saturday in April, Charlotte Cook treated a dozen club members to an acquisition editors perspective. All who attended the three-hour workshop received Cooks honest and candid professional

impression of the opening pages of their book. The collective experience was far more valuable than anyonesindividual critique. The session closed to the applause of the appreciative members and with the promise to

repeat the event next year.

Blogs for Writers (from Guide to Literary Agents) pubrants.blogspot.com

nathanbransford.blogspot.comcba-ramblings.blogspot.com jetreidliterary.blogspot.com

queryshark.blogspot.com



Berkeley Branch of the California Writers ClubCall for Submissions

The 2009 WestSide Story Contest

Grand prize . . . . . . $2502nd prize . . . . . . $100

3rd prize . . . . . . $50Contest Editor-in-Chief: Tatjana Greiner

Contest Final Judge: Lucille Bellucci

Winning stories as well as semi nalists and honorable mentions, if any, will be published in a chapbook inDecember 2009.

ALL ENTRIES WILL RECEIVE A CHAPBOOK.

Winning stories and honorable mentions will be published at westsidestorycontest.com.

Prize winners will be invited to read their story at the December luncheon meeting of the Berkeley Branch of the California Writers Club.

Contest Guidelines:

The WestSide Story Contest is open to writers of all genres of literary ction. All submissions must be in English, previously unpublished, 2200 words or fewer, submitted between June 1, 2009 and September 1, 2009.

Winners will be noti ed by November 1. The three winning stories as well as semi nalistsand honorary mentions, if any, will be posted on this Web site.

Submission Guidelines:

Electronic and paper submissions welcome. Professional format: double-space, 1 margins, 12pt serif type(Times or similar). On the cover page, write your name and address, e-mail address, story title and word count.

In the manuscript write the story title and page number only. Do not include your name on the manuscript pages.Entrants retain rights to their stories and are responsible for all copyright issues related to their work.

Multiple entries and entries from outside the U.S. are welcome.

Entry Fee: $11 per story, U.S. dollars only, payable to CWC Berkeley.Send to The WestSide Story Contest 2009, PO Box 15939, San Francisco, CA 94115.

Questions? [email protected] Westside Story Contest Question in the subject line.



Who Are the Members of the Berkeley Branch?

As Write Angles goes to press, there are 84 of us. The Branch has ve life members. Ray Faraday Nelson, OttoSmith, Phyllis Smith, Caryl Hansen, and Willie Rosepeople who have paid a one-time life-membership fee. The feeapproximates ten years of dues. Young members will enjoy a savings over time. Fewer young members choose life

membership as a statement of nancial support for the club.

The Branch has three emeritus members: Dorothy Benson, Frances Spencer, NatashaBorovskypeople who have made signi cant contributions in the eld.

The Branch has two dual members, David George and Sasha Futran. A dual members primarymembership is with another Branch but supports our Branch as well.

The Branch has three members who live out of state: ex-prez Bill Reinka, in Eugene, OR; Dirk Wales, of Chicago; and Randy Garrett, aboard his circumnavigating sailing vessel.

All other members are regular members.

Time to Renew Your MembershipEvery year all memberships in the California Writers Club expire on June 30. Please renew your commitment

to the club at your earliest convenience. Annual dues remain unchanged for another year. Regular members are askedto remit $45 for the next full year of club privileges and support.

We appreciate the few extra dollars some members include to support club activities,particularly the 5th Grade Writing Contest and our newest project, the WestSide Writing Contest andChapbook.

Please make out your checks to CWC/BB, and mail them to our new mailing address: CWC/BB, P.O. Box6447, Alameda, Ca. 94501.

Wed love a personal note from you with your check. What writing achievement in the last twelve months areyou most proud of? What is your goal for the next year? What club activities have you enjoyed most in the last year?Would you like to be more active in service to club members in the next year? Hospitality? Newsletter? Writingcontest? Or some one-time project as needed?

Do you have a suggestionone that you can help implementthat will enhance the club?

Centennial Lifetime Membership Offer

The Berkeley Branch has ve lifetime members. Ordinarily, qualifying members of the CWC may purchasea lifetime membership for a one-time dues payment of $675. During this centennial year, the Central Board hasdecided to offer lifetime memberships for the special price of $599.

Life members will receive a newly designed CWC Centennial pin and a rocker tab that hangs below itannouncing the Lifetime membership. Whether or not you plan to be a member for the next thirteen years, this is anifty opportunity to show your support and commitment to your writers club.

Send your check for $599, payable to the Berkeley Branch, to CWC Berkeley Branch, P.O. Box 6447,Alameda, CA 94501.

Questions? Contact AL Levenson, [email protected].

M eMbeRSHip i nFO


12/12

President: AL Leve nson

Vice Pre sident: Dave Sawle

Secretar y: Ken F razer

Treasurer: Carle ne Cole

Progr am: Laura Shumak er

Mem bership: OPEN

Childrens C ontest: Lu cille Bellucci

Ne wsletter Editor: A L Levens on

Copyedito r: Anne Fox

Publicity: Linda B rown

Webmaster: Stan Sciortino

Delega te to Central Board : Linda B rown

Co-Pu blishing Committee: Anjuel le Floyd

Be r kel ey B ra nch O f cer s

The CALIFORNIA WRITERS CLUB is dedicated to educating members and the public-at-large in the craft of writing and in themarketing of their work. For more information, visit our Web site at berkeleywritersclub.org .

Copyright 2009 by the California Writers Club, Berkeley Branch. All rights reserved. Write Angles is published 10 times a year (September - June) by the California Writers Club, Berkeley Branch on behalf of its members. CWC assumes no legal liability or responsibility for the accuracy, completeness, or usefulness of any information, process, product, method or policy described in thisnewsletter.

W RiteR , H eAL t HYSeLF

Some 25 years ago when I was marching lockstep in thecorporate world, I ran across some extremely helpful advice: Ifyou were to replace yourself in your own job effectivetomorrow, what would you do differently from your

predecessor?I asked myself that recently when I

noticed a dip in my writing income. Myconclusion? If I replaced myself on the jobtomorrow, Id be more focused on

completing projects than my predecessor.Im lucky. As a writer, I never lack for ideas. But before

I replaced myself, I was itting from idea to idea like ahummingbird darting around a fuchsia garden. Since replacingmyself, Im writing one novel instead of three. Ive prioritizedarticles by deadlines. Some of the ideas I had simmering on the

back burner Ive taken off my crowded mental stove, knowing Ican always put them back later.

So, if your career seems stuck in low gear, maybe youshould hire a new you, one who doesnt come with yeah buts.Perhaps you need to replace yourself with a new you whomakes time instead of nds time to write. Maybe you shouldseek someone for whom fear of rejection doesnt get in the wayof submissions. Or maybe you should advertise for someonewho can let go of dead projects and move on.

Regardless, the greatest career boost you may ever giveyourself could be recognizing and eliminating the bad habits of your predecessor.

- W.E. Reinka

Documents

Write Angles 6-09