I think there are two sources for this confusion. We often read that a writer needs to develop his or her own “Voice”. (I’ll capitalise this hereafter, to distinguish it from the other meaning of the word, which I’ll deal with farther down.)

“Voice” in this context really refers to those distinctive elements of a writer’s style that remind us of who is writing. If we look at authors of bygone days, Voice is not hard to see. Charles Dickens, for instance, had a distinctive Voice. So did Rudyard Kipling and DH Lawrence. In fact, pick up a work by any well-known author active before about 1980 and if you’ve read a few of that author’s books you will probably recognise the Voice straight away, because it did not vary much from book to book within that author’s oeuvre.

Few authors today have that kind of truly distinctive Voice. This is, I think, because of the popularity of the so-called “deep third” (AKA tight third or close third) Point-of-View (POV). It is currently fashionable for authors to hide behind their characters, giving the reader a seamless experience in which the author almost “channels” the POV character. In speculative fiction, two authors who demonstrate remarkable mastery of the deep third are Joe Abercrombie and Margo Lanagan. It is easy to lose oneself in their characters; to feel the character’s sensations and emotions and even to feel as if one is thinking that character’s thoughts. The author’s Voice and the voice of the POV character become one.

Some other authors use the close third only for moments of high tension and drama, retaining their own voice for narrative passages. Guy Gavriel Kay’s work is largely written in this style.

That more obvious, capital-V voice found in authors of past decades is easily confused with another sense of voice – passive writing. If a writer employs a lot of unnecessary auxiliary verbs (forms of “to be” and “to have” as part of an action, such as “He was running”) and constantly uses weak verbs such as walk and go (or went) people say the writing is passive. It’s only a short step from here to thinking that the writer has a “passive” Voice, and here’s where the trouble really starts, because the expression “passive voice” has a clearly defined grammatical meaning.

The “passive voice” as opposed to the “active voice” means using a verb without close reference to the doer of the action, as in, for example, “The ball was thrown by John” instead of “John threw the ball”. The giveaway is that little word “by”. A verb in the passive voice is followed by a preposition, most commonly “by” or “to” (as in “The award was given to Jenny”).

Let’s look at examples of the three matters under discussion here – authorial voice, passive writing and the passive voice:

1. An author’s voice (I’ll stop capitalising it now you ‘ve got the picture!)
Here is Dickens’s famous opening of A Tale of Two Cities:

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

The opening gives us an excellent feel for Dickens’s very distinctive (authorial) voice.

2. Passive writing
Here’s a passage I’ve just made up:

I was walking along the road, having just been to the dentist, when I was hit from behind by a cricket ball that had been thrown by a schoolboy. I had been intending to go to visit my mother, but the blow to my head gave me such a migraine that I found myself thinking that perhaps I should be going straight home to lie down.

That is passive writing. We don’t get any feel for the action or for the character’s feelings and sensations because we are separated from them by wases and –ing words – and one example of the passive voice! Can you see where it is?

3. The passive voice
Yup, that’s right: “I was hit from behind by a cricket ball” is in the passive voice, grammatically speaking. The passive voice is best avoided in fiction writing because it is frequently found as an element of passive writing.

But don’t get the terms mixed up. Passive writing is not always in the passive voice. Passive writing, as I’ve said above, is characterised by too many auxiliary verbs, weak verbs and probably weak nouns as well. It may or may not include use of the passive voice.

And not all writing that uses auxiliary verbs is passive, either. For instance “The pretty girl was dancing when I first saw her” uses the auxiliary “was” to indicate the past continuous tense. Some critiquers might try to persuade you to replace it with the simple past – “The pretty girl danced when I first saw her”. They would be wrong, because the simple past tense in that case would be incorrect and somewhat ambiguous. It might suggest, for example, that the pretty girl started to dance because I saw her!

What I’m trying to get across here is don’t confuse authorial voice with the passive voice and especially don’t confuse passive writing with the passive voice. “The pretty girl was dancing when I first saw her”, and, for instance, “The pretty girl will be dancing next time I see her” are certainly not in the passive voice, and, used correctly, are not necessarily examples of passive writing, either. They are perfectly legitimate uses of continuous forms of the verb “to dance”.

We are fortunate in having so many ways to express things in English, and the continuous tenses have their place. The skill lies in knowing when you can get away without using them, rather than making blanket statements about “passive writing” or worse, confusing them with the passive voice.

I have just added a post to the Egoboo blog on the topic of why a writer should engage an editor. Click your way across – and while you’re there, read some of the other recent excellent posts too, including Sarah Parker’s contribution on how to use Wordle to identify overused words in your writing.

This blog has somehow found its way into the Top Fifty Astrological Blogs as ascertained by the number of followers on Networked Blogs! This was a big surprise, because I had not thought of it as an astrology blog particularly, but as a writing and editing one. However, I guess at least some of you, dear followers, must be interested in astrology, and I know most of you are interested in writing. So let’s knock off two asteroids with one comet and have a look at how astrology can help writers.

Authors have often used astrology in their stories; it’s an important part, for instance, of Kim Falconer’s Quantum Enchantment science fantasy series. Kim, an astrologer herself, has devised an astrological system for her characters to use, and it certainly adds an interesting twist to both plot and characterisation. If you’re going to use astrology in your stories, you need to have more than a superficial knowledge of it. I was amused to read in one of my favourite historical novels set in medieval times that one of the characters had Venus and Neptune conjunct in her horoscope. Now this may well be true, but the character and her astrologer would not have been aware of the fact. Neptune was not discovered until 1846!

If you’re a writer, your own chart will undoubtedly show a bent towards verbal expression and some kind of artistic talent. Those among you who have horoscopes will know this already, and those of you who have not might enjoy a new voyage of self-discovery if you take the time to learn more about the subject. It might also show you the appropriate times to submit manuscripts to give yourself the best chance of success! Perhaps I’ll write a whole post on these topics sometime, but for today, let’s have a look at how astrology can help you develop and understand your characters.

I know some of you are cynics about astrology, and so you should be – there’s a lot of crap flying around out there on the subject. But even cynics can use this tool with useful results. There are lots of websites to help you and rather than reinvent the wheel I’ll provide links to a couple of good ones.

The Metaphysical Zone investigates various psychological and metaphysical tools for character development, including astrology, the Enneagram and the Myers-Briggs Type Indicator. In regard to astrology, it suggests going into considerable depth by ascertaining your character’s date, place and time of birth and setting up a complete horoscope. This is certainly the most thorough and legitimate way to use astrology – it’s what I do, and every time, I am amazed to find that by reading the chart in depth I can learn more about that character’s deep fears and desires, which add dimensions I was not aware of and explain why the character sometimes goes off on tangents that seem contrary to the way I want the story to go!

The problem with this method is that most writers are not astrologers, and while it’s easy enough to find sites that offer free charts and even free basic readings, to get to those depths in your characters, the bits that make them truly interesting, we need an in-depth reading. Here’s where the next website comes in. Over at Suite 101 Jo Lamb-White has written a series of articles on characterisation based on the Sun sign. That’s the bit of our horoscope that we all know – I’m a Pisces; she’s a Scorpio, he’s a Leo and so on. But the Sun sign is only a tiny part of the horoscope – a very important part, but pretty meaningless on its own, which is why the predictions you read in newspapers and magazines are so often way off the mark.

But once you’ve ascertained the main features of your character’s chart (they would include the positions of the Sun, Moon, Ascendant, Midheaven and ruling planet) you can use Lamb-White’s articles to learn more about the characteristics of the signs involved. It won’t give you an in-depth reading, but it will help you on the way. And who knows, you might become fascinated enough to learn more – and pretty soon, if you don’t watch out, you’ll be buying astrological software, casting charts for yourself and learning how to read them.

‘But,’ I hear you ask, ‘how do I find out my character’s place, date and time of birth?’

There are two ways. Both require that you first decide the year of birth, which should be easy because you probably already know how old your character is. You probably also know the place.

Having got at least the year of birth, do one of the following:

*Ask the character! Just sit quietly and imagine the character has come to join you, and simply ask him or her for the data you need. It will probably pop into your head immediately, but if it doesn’t, thank the character anyway and accept that the information will come to you later, perhaps in a dream. It nearly always does.

*The second method, which I use more than the first (because I’m the Author and therefore the Boss) demands some knowledge of astrology. I look at what I know about the character already and hazard a guess as to possible dominant signs. (Sometimes something else leaps out at me, too, such as a possible aspect between two planets.) I follow my intuition as to which is the Sun sign. That gives me the Zodiacal month. Then I pick what I think should be the Moon sign – that will narrow it down to about three days. Then I look up those days and again just following my nose, I pick one of them to be the birthdate. Then I pick the possible rising sign to get the time to within a couple of hours. A bit of fine tuning and I can sit down and learn my character’s innermost secrets at my leisure!

But of course, it doesn’t matter how well I think I know my characters – if I can’t write them well the knowledge does me no good. Blending characters and plot is the essence of fiction writing and in that regard, I still have along way to go, despite my Air (intellectual ability, verbal reasoning) grand trine (a generally fortunate combination) of Mercury (verbal skill) Neptune (creativity, imagination) and Saturn conjunct Uranus (hard work + sudden breakthroughs and changes).

Ah well, plod on! And that’s Saturn talking.

Do check it out: http://egoboo-wa.blogspot.com/2009/12/words-words-glorious-words.html

When I was a child, ethnicity was a relatively simple matter. England was full of English people, Chinese people lived in China and in the south sea islands there were people who wore grass skirts and possibly ate missionaries. Of course, it wasn’t really quite as simple as that, but that was how it appeared to me at three or four years of age.

I remember Mother calling me to the window one day, saying, “Look, there’s a Chinaman!” I leaned over the windowsill and gazed down at the street below, but all I could see was the back of the man’s head as he hurried along like everyone else in the bustling crowd, heading for a bus stop, his workplace or the shops. (I should explain that we were between houses and at this stage were living in a flat over a butcher’s shop. It was at 26 King St, Stretford, Manchester, if you’d care to consult Google Earth!)

My illusions were shattered!  The man wasn’t even wearing a long robe like the mandarins in my picture book.

The world was already changing. The end of World War II left millions of people displaced, and they often ended up somewhere far from their place of birth.  Other emigrations involved young women from Japan and Germany who had married soldiers from the UK, America, Australia and other countries. My own eldest sister married a refugee from Serbia and our house was often filled with his friends, many of whom spoke little or no English. And when we emigrated to Australia in 1952, we already found the beginnings of a multicultural society.

It was largely European multiculturalism, of course, for at that time the White Australia policy was in force. It suited the authorities to forget the Aboriginal people their ancestors had displaced, the Chinese adventurers who had settled here during the Gold Rush of the mid-C19, the Kanakas from the south seas islands who had been kidnapped and brought to Queensland as slave labour, the Afghan camel-drivers of Australia’s Red Heart and the Japanese divers who worked in Broome’s pearling industry. No, Australia was White, and White it was going to stay.

But Australia was flourishing and people all over the world were on the move. Laws had to change to bring in much-needed labour. Young people of the developed nations discovered the joys of travel, and many of them brought home foreign partners or settled in other countries. Students began to attend universities in lands other than their own, and by the 1960s countries that had been reasonably homogeneous, population-wise, found themselves turning into melting pots. Multiculturalism had arrived.

Now we have second and third generations of children whose parents or grandparents came from other lands. In some families, the immigration took place long ago, as in the the case of the Chinese gold-diggers’ descendants.  Some time ago, I met a girl from Broome whose four grandparents were Japanese, Aboriginal, Afghan and Irish. She was, I might add, extraordinarily attractive!

Two of my children descend from a part-African slave trader from Jamaica,  who brought his family to Australia in the mid C19 when that terrible trade failed. Two more of my children are part-German. I have  nieces and nephews of two generations who are part-Serbian, part-Greek or part-Polish, and step-grandchildren who are part-Italian.

All this has made for some interesting research in my family tree! I have not attempted to follow the Italian, Serbian, Greek and Polish laterals, leaving those for closer relatives to investigate, but I have found out a great deal about the ex-pat Jamaican line and  that of my German children. Family historians are incredibly generous in sharing their research, and in fact my German cousin-by-marriage, Elfriede, came to visit me with her husband, who is Indian, a few years ago and I was fortunate enough to visit their lovely home in the Rhine Valley in 2006.

The ever-increasing mixture of nationalities must surely strengthen the gene pool, although it might create problems for genetically-based medicine in the future. Already we occasionally hear of someone who cannot find a tissue match because of their unusual bloodlines. But as genealogists, we face our own challenges. We are very lucky today in having access to so much information from all over the world. Not all of it is readily accessible, but even so, many of us can trace our ancestry back for at least a couple of centuries if we are determined enough. But who knows how long this happy state of affairs will continue? Borders alter, governments fall, mass migrations of people can happen almost overnight, especially in the event of war or natural disaster. All these things can mean gaps in the records.

Anyone with any sense of history, anyone with any feeling of family pride, anyone with any sense of curiousity and wonder, wants to know about their ancestry. It is of vital importance, therefore, that this lucky generation of family historians should collect and preserve all the records they can for their multicultural, multi-coloured descendants! Write down everything you can remember of the stories your parents and grandparents told you about life in the old country, and their difficulties in learning to live in a new culture. Don’t throw out those old photos, documents and letters Opa Jan, Aunt Mary, Uncle Ngobo or Cousin Takeko left in the garage. Rather, preserve them in archival quality folders and albums. Your great-grandchildren may well thank you for it.

But this post is not about cricketers, but editors. How does one become an editor?

I suppose it’s not unlike the way one becomes a cricketer or anything else: you watch other people doing it, then maybe you get someone to teach you a few things, and from then on its practice, practice, practice. That’s certainly the way I learnt, but that was twenty years ago. Things are a bit different now, in that there are tertiary courses devoted to editing and publishing and the Institute of Professional Editors has set up a qualifying examination. But a lot of people, even today, just fall into it, as I did.

I was at Edith Cowan University and had just started to write for Music Maker Magazine, in which I had my own column. Fellow students, therefore, thought I might be some kind of expert and they would often ask me to check their work for spelling and grammatical errors before they passed it in. I soon realised I was, in fact, not bad at copyediting. After all, I come from a generation that had the Rules drummed into them from an early age. It horrified me a bit to realise that in my French classes there were young people fresh out of school who literally did not know a noun from a verb. The lecturer was in despair. ‘How can I teach them French grammar,’ she asked, ‘when they don’t even know the rules in English?’ I sympathised completely, and I felt sorry for the students, who had never had chance to learn the beautiful intricacies of our language.

If our own young people cannot understand English grammar, what hope does a foreigner have? So when a few years later a student from Nepal asked me to help him learn to speak and write better English, I was happy to help. Jaganath (who has since become a friend) somehow persuaded his university that they should pay for his English lessons. The university responded by sending me more students, and it didn’t take me long to realise that they didn’t want conversation practice nearly as much as they wanted help with their assignments.

In some countries, styles of writing differ considerably from the linear point-to-point-to-conclusion logic that we are used to in English. Rather, scholars there prefer a rather more circuitous approach. This difference puzzles a lot of students for whom English is not their mother tongue.

What’s more, academic English, especially in the sciences, still prefers a formal style with a preponderance of Latinate words rather than plain Saxon-based ones. Formal written English is almost a different language. Naturally, lot of students, not all of them foreign, find this really confusing. Formal English uses Latinate words for historical reasons – after the Norman invasion of 1066, the ruling classes, who made and enforced the laws, for several centuries did not speak the same language as the predominately Anglo-Celtic people they had conquered. When I explain this to students it’s a joy to see comprehension dawn in their eyes, and some of them get the hang of the different “feel” of the two forms of English very quickly.

And so it was that I fell into editing quite by chance. As more and more students were awarded their degrees, so my confidence grew. By this time I had become interested in writing fiction, and other writers would ask me to critique their work. At first, I would only copyedit their offerings, but here, too, I gradually became bolder and more confident and as my expertise grew I took on more and more complex editing jobs and felt I could charge a reasonable fee for my work.

If you feel drawn to editing and would like to learn more, find your state’s society of editors (There’s a list on the Society of Editors WA website.) If you live outside Australia, try an internet search for society+editors+Antarctica, or whatever other country you live in. The internet is full of wonders and you’re sure to turn up something!

Of course, if you’re young enough to want to make this your career, you can enrol in a formal course either in journalism or editing and publishing. But a lot of freelance editors are older people like me, who learnt formal English in school and who may have some journalistic or teaching experience; who have read widely and taken appropriate workshops when they’ve had the opportunity, and who are willing to go on learning.

There’s room for all kinds of editors. Few freelancers make a full living from their editing activities, but that’s not a bad thing. Many people today depend on a portfolio of skills for their livelihood . If you love language and enjoy helping people, why not make editing one of yours?

As usual, there’s lots to crow about. First the excellent Editorial on the current Hot Topic – Parallel Importation – by Astrid Cooper. Under Features there’s a super piece on Zombies by our worthy Editor-in-Chief, Stephen Thompson, and a most scholarly article in our Medical Bag series by Brendan Carson. Stephen Turner continues his series on aspects of the genre with Mentors and the Hero’s Journey, while Benjamin Solah contributes a report on the Melbourne Writers Festival. About People there’s a tryptich of articles by Up-and-Coming editor Astrid Cooper, featuring interviews with K.J. Taylor and Stephen M. Irwin and a piece on Astrid’s own work as a writer of spec-fic erotica.

Under Writing and Publishing we have contributions on writing a novel by Damien Kane, writing a novella by Benjamin Solah and a further argument against Parallel Importation by Paul Collins of Ford St Publishing.

And then there are all those lovely Book Reviews. Twenty-five of them! And we have a world exclusive – we’re sure we are the only webzine to feature a review of an Iain Banks book – by Ian Banks! Here’s the run-down:
Arrows of Time by Kim Falconer, reviewed by Satima Flavell
Book of Secrets by Chris Roberson, reviewed by Ian Banks
Deadly Desire by Keri Arthur, reviewed by Bobbi Sinha-Morey
Diamond Dogs, Turquoise Days by Alistair Reynolds, reviewed by Simon Petrie
Dying Inside by Robert Silverberg, reviewed by Maurie Breust
Every Last Drop by Charlie Huston, reviewed by Maurie Breust
Hand of Isis by Jo Graham, reviewed by Satima Flavell
Horn by Peter M Ball, reviewed by Felicity Dowker
Lavinia by Ursula Le Guin, reviewed by Satima Flavell
Nekropolis by Tim Waggoner, reviewed by Ross Murray
New Ceres Nights edited by Alisa Krasnostein and Tehani Wessely, reviewed by Simon Petrie
Night Sessions by Ken MacLeod, reviewed by Maurie Breust
Orphan’s Triumph by Robert Buettner, reviewed by Maurie Breust
Outlaw by Angus Donald, reviewed by Joan Malpass and “Hypatia”
Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith, reviewed by Jennifer Kremmer
Shiny No. 5, edited by Alisa Krasnostein, Ben Payne and Tehani Wessely, reviewed by Ian Banks
Silver Dolphins Series Books 1 & 2 by Summer Waters, reviewed by Ian Banks
The Destroyer of Worlds by Mark Chadbourn, reviewed by John Paul Fitch
The Dragon Keeper by Robin Hobb, reviewed by Satima Flavell
The Fire King by Marjorie Liu, reviewed by Bobbi Sinha-Morey
The Last Stormlord by Glenda Larke, reviewed by Carol Neist
The Spy Who Haunted Me by Simon Green, reviewed by Simon Petrie
Transition by Iain Banks, reviewed by Ian Banks
White Star by Beth Vaughan, reviewed by Satima Flavell

Up and Coming features new books from Ford Street Publishers, Hachette Australia and Harper Collins, while under the Fiction banner we have stories from Martin Rusis and Greg Bishop.

Go on, get yourself over to The Specusphere and have yourself a darned good read!

Most publishers, writers and booksellers are opposed to Parallel Importation, which would see all import restrictions on books lifted. It could have dire ramifications for all branches of the industry, resulting in job losses and fewer books with Australian content on the shelves of the shops that survive. Instead, we could find ourselves restricted to American books, with American spelling and idioms. The only businesses that stand to benefit are the big chains such as Coles, K-Mart and Target. They already discount their books to prices that the “real” bookshops cannot hope to match, and if they are allowed to import more mass-produced and remaindered books Aussie authors will be hard pressed to earn a living. As it is, the average Australian author pays little or no tax, because the average Australian author does not earn enough. If a book sells at its Recommended Retail Price (RRP) the author might get 10% of that, at best. If the book is sold for less, the author will get proportionately less. There are, friends, too many $1.50s in a week’s wages.

Almost all other countries protect their authors and publishers and have no intention of changing. New Zealand is one that no longer does, and apparently book prices have not come down there by more than a few cents, if at all. Our British and American colleagues think we are mad for even considering it – but they will profit if we do, for it will then be worth their while to print huge numbers of books and sell them cheaply to the Aussie market.

Anyway, don’t just listen to me. Check out some of these websites for better explanations -

First, there is Richard Flanagan’s excellent piece in the SMH, to which many other commentators refer: http://www.smh.com.au/news/entertainment/books/losing-our-voice/2009/05/29/1243456730637.html
Clear and helpful commentary can be found at:
http://savingaussiebooks.wordpress.com/
http://girliejones.livejournal.com/1415806.html
http://simongroth.com/2009/07/30/parallel-export/
http://stephen-dedman.livejournal.com/224986.html gives a slightly different slant to the argument.

So, having done my bit for the Down with Parallel Importation campaign, I turn to my own involvement in the industry; learning the craft of writing -

We’ve all been to a class or a workshop in which the leader gave us first line for a story and asked us to continue, haven’t we? Well, Heidi Kneale came up with a novel way of kick starting a story: last lines! She got some beauties, too, by asking for suggestions! http://hkneale.livejournal.com/168081.html
Patty Jansen blogged on the value of social networking to an author:
http://pattyjansen.wordpress.com/2009/07/24/its-only-useless-banter/
and then on how annoying unfamiliar references can be:
http://pattyjansen.wordpress.com/2009/07/31/do-you-want-your-reader-to-feel-like-this/
which was coincidentally followed up with this post on brand names from Rowena Cory Daniells: http://madgeniusclub.blogspot.com/2009/08/brand-names-and-world-building.html.

BookEnds, LLC – A Literary Agency blog gives tips on the submission process:
http://bookendslitagency.blogspot.com/2009/07/submissions-101.html

Lee Harris of Angry Robot (the newest imprint of Harper Collins) tells the serendipitous tale of how Aliette de Bodard got her big break!
http://angryrobotbooks.com/2009/08/angry-robot-signs-aliette-de-bodard-lavie-tidhar/

Over at Ripping Ozzie Reads, Rowena Cory Daniells has written about Point-of-View, with particular reference to “deep third”. (It is also called “tight 3rd” and “close 3rd”.) “Deep third” is closely related to the technique known in literary circles as “Free Indirect Discourse” (FID). Check out Rowena’s post here.
And quite co-incidentally, Edittorrent (Alicia Rasley) has written a guest blog on when not to use “deep” POV at
http://jordanmccollum.com/2009/08/not-use-deep-pov/

Also at ROR, Rowena has posted on how to structure your work.

Juliet Marillier writes on inspiration through pictures, music, poetry and more here.

On the Borders Blog, Karen Miller discusses a number of topics as guest blogger. She kicked off with this one in which she cogitates on the sanity – or otherwise – of writers in general.

On research:
Gillian Polack’s Food History Blog is always good value and she has recently had some fascinating input from guest bloggers, Simon Brown, Mary Fortune and Lucy Sussex, Laura Goodin, and Alma Alexander.

Lisa Gold, Research Maven, gives tips on attaining accuracy in your work.

On Cabbages and Kings:
Patty Jansen took part in a forum with the PM on climate change. She blogs it here.

And Glenda Larke has the last word – on the trials and tribulations of travel!

This is Fiona’s first novel and there are three good reasons why you should buy it:
1. It’s a bloody good read
2. You choose the price you want to pay – as much or as little as you like.
3. My name turns up (in good company) in the dedication

And, of course, if we don’t all buy the book Fiona and her family may have to swim back to Oz from America.

You can find Dancing with Zebras over at Smashwords. Check out Fiona’s Smashwords profile and read more about Dancing with Zebras.

And to find out what Fiona, her husband, daughter and dog are doing in America, check out their blog at http://www.yearinamerica.net

Next week I hope to have a really special blog post and if I am to meet the deadline it will go up a day early. So come back on Saturday for a Carnival!!