Writing in Scenes with Nancy Kress

(Image from:  Where's the Drama?, by Billy Marshall Stoneking)

For my "workshop finale" during this year's Summer Conference, I attended the Writing in Scenes, hosted by Nancy Kress.  I've read Nancy's how-to articles in Writers Digest and have some of her books from F+W Publications.  But was unfamiliar with her fictional work and was surprised to find out how much sci-fi material she's produced.

Nancy's workshop was actually a 3-part series, which lasted the rest of that Saturday afternoon. Despite such a lengthy seminar, Nancy is an excellent teacher and provided us with good insights into the techniques of scene writing.  Here are just some of my (legible) notes:

The advantage of writing in scenes, as opposed to starting from page 1 and plodding on until you type "The End" is that it frees the spontaneous, creative side of our brains and allows us to write while we're inspired.  The next step would be linking scenes into some form of logical sequence to produce a story.

Before writing a scene the following factors need to be taken into consideration:

1. Each scene must have a purpose in either advancing the plot or deepening characterization

2. Should have a "shape," that is, be part of the story flow.

3. Be dramatized.  ("Show" don't "Tell").

There are five Narrative Modes

1.Dialogue

2. Description

3. Action ("description in motion")

4. Character thoughts

5. Exposition

A scene becomes more vivid if it concentrates on dialogue.  Vivid scenes hold a readers attention.  The scenes readers often skim--or skip entirely--is description.  The trick, then, is to add rich details, without bogging down the story and boring the reader.  Some description is needed in order to move the story forward and avoid "White Room Syndrome"  (characters interacting, with no mention of their surroundings).

Characteristics of good descriptions are:

1. Specific

2. Slanted towards a character

3. Shows a relationship

4. Uses more senses than sight.

Nancy said, stories often aren't "smelly enough."

Additional advice on description--

--Chose the right details and you won't need too many of them.

--Tell the reader something about the character in what is being described.

--Give the reader a rich visualization.

--Give the reader clues abut the character(s).

--Illustrate relationships.

--Do as many things as you can in one sentence.

Scenes need to be orientated, that is, readers need to know where they are, when they are and in what point of view (POV).  The general rule of thumb is to have 1 POV/scene.

All scenes come to an end and there should be a little rise in tension.  Scenes shouldn't peter out.

There are three types of scenes.  These are:

1. Story time

2. Flashback

3. Expository

It is critical that the opening scene should be in story time, before turning to the other two scene-types.  Using the "Kress Swimming Pool Theory of Fiction," the first scene is the "kick-off" from the wall a swimmer does while doing laps.  Only with a good "kick" can the writer "glide" into a flashback or exposition.  However, the writer must keep these glides short and resume the pace (Pace = Events/Word Count).

On trick to maintain the story's pacing is to remove "locomotion writing," that is details on movement, unless it's important later on.

Expository scenes come in two flavors:  Summarizations and Data Dumps.  Both are less engaging and should be used judiciously.  Don't have two expository scenes in a row, or better yet, break up the info into small chunks and infuse them into the other scene-types.

How do you determine a scene's POV?

The POV Character should be the one who is most motivated and invested in the scene.  This character should also be someone who'll change by the end of the story.  

And speaking of endings, what type of outcomes are possible in a story?

Here are five examples:

1. The character gets what she wants.  The happy ending, or HEA (Happily Ever After).  How-ev-er, it should cost her something.

2. The Choice Story.  (Love or money?).  In this case, make sure both sides have some positive influences.

3. The main character doesn't get what she wants.  The unhappy ending.   But to keep this story from being a complete downer, have someone else get what they want.

4. Pyrrhic Victory.  The character gets what they want but at a higher cost than in #1.

5.  The character gets what she wants, but doesn't want it anymore and goes back to the way she was before.  (Example:  Dorothy's realization that "there's no place like home," in the Wizard of Oz).

Well folks, there you have it:  The last of my synopsis (synopsi?) for PNWA's 2011 Summer Conference.  I had an enjoyable time seeing old friends, making new ones and maybe even learning a thing or two.  Recounting what I've learned helps refresh my memory.

Dinner (and Lunch) with the Stars

(Image:  Steve Berry)

PNWA does an excellent job of cramming as much activities as possible into three-and-a-half days.  Mealtimes are no exception.  During lunch breaks, attendees can join one of the keynote speakers, as they discuss their writing, publishing and book tour experiences.  Jeff Ayers emceed this year's luncheon banter between Steve Berry and his friend James Rollins.

(Image:  James Rollins)

Our Friday night keynote speaker was Jane Porter, hostess of the Alpha Males and Unforgettable Heroines workshops.

(Image:  Jane Porter)

Last but not least, Deb Caletti spoke to a packed audience on Saturday evening, prior to announcing the winners of this year's literary contest.

(Image:  Deb Caletti)

While I enjoyed listening to all our guest speakers, I enjoyed sitting with my Popular Fiction classmates even more.  So I didn't take any notes during any of their speeches.

Now I wasn't a total slacker during the conference.  The last workshop I attended was the three-part, Writing in Scenes, hosted by Nancy Kress.  There'll be plenty of notes in the upcoming post--I promise.

Jesse Joshua Watson on: Writing from the Drawing Board

In the on-line survey I received from PNWA, I voted Jesse Joshua Watson as the "Captain Jack Sparrow" of the conference.  Jesse's looks and mannerisms reminded me of Johnny Depp's famous character.

On a (somewhat) serious note, Jesse's workshop dealt with using an "illustrator's approach to narrative"  (PNWA Conference Booklet, pg 10). Jesse's utilized a slide-show featuring his artwork to illustrate how even a single picture can tell a story.

I wish I could say more on this subject, especially since I prefer working with visual media, such as graphic novels or YouTube movies.  Unfortunately, I enjoyed Jesse's presentation so much--that I forgot to take notes.

Despite my lack of material on this post, I recommend to anyone involved in art to attend any seminar hosted by Jack Jesse.

Kathryn Trueblood on: Setting Up an Author Blog Tour

As a blogger, I decided to attend the How To Set Up an Author Blog Tour workshop, for Saturday's second venue, hosted by Kathryn Trueblood.

The focus of this seminar was on generating buzz on the internet for one's book. Though I don't have a book ready for publication, I thought I'd get I'd be able to improve my knowledge about blogging in general. 

Despite technical difficulties, Kathryn is an engaging speaker and gave an informative workshop.

There are several reasons for doing a "blog tour."  One of them is, it extends the buzz-life of your book by about three months.

However, before composing a web release, keep in mind the following (gleaned from the class handout):

1. Figure out the relevance that your book offers.

2. Research blogs that cover themes similar to those in your book. 

The following are "must haves" on your blog:

1. Your book's cover image must be at the top.

2. The bottom of your web page should contain:  The book title, name & contact info of your publisher, publication date, number of pages, the ISBN, price and possibly a logo.

3. Prominently display your offer to give away a free copy, your booking date, live interview, along with your e-mail address and website address.

4. Your photo, preferably a head-shot, and a three-line bio should be at the very bottom of your page.

In addition, these "nice to haves," placed somewhere in the body of the text, will increase the effectiveness (and hopefully your sales) of your blog tour:

1. Excerpts from reviews.

2. Blurbs and testimonials.

3. Your pitch (what the book is about)

4. A self contained excerpt from your book.  And finally,

5. Information such as events, speaking engagements, or teaching related to your book.

After looking at my notes, I did a quick Google search and stumbled across two links to help you be a better "blog tour guide."  The first was by Dabbling Mum, while the second came from The Book Publicity Blog. 

Bill Kenower on: The 3 Narratives Arcs in Every Story

Wait a minute.  Three narrative arcs in a story?  I only see one here (pictured above). 

In the first Saturday workshop I attended,  Bill Kenower, editor of PNWA's Author Magazine, explained there are three arcs in every story. 

The image above, illustrates the overall plot, or the Physical Arc.  Here's a simple, but effective, example Bill used in this workshop to describe this arc:

--Boy meets girl.

--Boy gets girl.

--Boy loses girl.

--Boy gets girl back.

This is the template for just about every romance novel in print, or romatic comedy on film.  And it's also the least important.

The second, or Emotional Arc, is of greater significance because it delves into the characters' emotions.  Examing the emotions of the boy and girl characters in the above example, we get:

--Boy feels inadequate.

--Boy misrepresents himself to gain girl's approval.

--Boy loses girl when she discovers his duplicity.

--Boy asks girl to accept him as he is and in the process, accepts himself.

The boy isn't the only one on this roller-coaster ride, though.  Taking a look at the girl's feelings, we discover:

--Girl feels inadequate.

--Girl believes whatever boy tells her, so she will feel impressive while dating him.

--Girl feels ashamed at appearing so desperate and dumps boy.

--Girl accepts boy as he is and in the process, accepts herself.

Stories are not about what happens, that's the domain of non-fiction, but what characters feel when things happen to them:  In getting back together the boy & girl accept themselves and each other.

So, if these two arcs create an emotionally satisfying ending, what does the third story arc do?

The third, or Intentional Arc, focuses on the one's motivation for writing this story and determine the whys and wherefores, we have to answer several questions:

--Why did you write this story?

--What is the story about and what is it to you emotionally?

--What drew you to write this story?

--What do you want the audience to feel when they read your book?

In the boy & girl example, the Intentional Arc can be boiled down to this:  Love. Thy. Self.

Notice there is nothing in the Intentional Arc about fame & fortune.  So this arc isn't about any of the following:

--Getting an agent.

--Getting published.

--Getting on the best seller-list.

--Winning the National Book Award.

A key point to remember is that following the mantra of "writing what you know," doesn't necessarily involve knowledge.  Instead write what you love.

Finally, the most important thing to remember is:  You are the author or your life.

Jane Porter on: Unforgettable Heroines

Jane Porter hosted this seminar as a follow-on to her Alpha Hero workshop.  (See previous post). 

Since women are still a mystery to me and I finished the alpha male class, I figured I'd follow-through and see what makes heroines so unforgettable, which are:

She's someone you'd want as a best friend.

She's someone you'd want to be like, or get to know.

She's not stagnant.

A heroine has to be better than good--she must be compelling.

In developing heroines, the key point to remember is--women readers are harder on women protagonists than they are on men.  So a writer must conjure-up a heroine that is interesting, real, complex and with a lot of depth.

Oh and give the readers a fantastic story.

Once again, Jane used scenes from several movies--some I've actually seen--to make the following points:

1. The Problem of Being a Girl (Princess Diaries)

Women often look for validation.  They're torn between being tough and tender.  Late-bloomers make popular characters.

2. The Historical Perspective (Mansfield Park)

Womens' choices were limited.  Women without means were powerless, but even well-established women were controlled by males.

3. The Modern Perspective (Erin Brockovich)

Women gain power through money or status, which even in today's times, can be difficult.

4. Sexism, Feminism & Prejudice (Legally Blonde)

Women often have a tough time challenging men.

Strong women are viewed as bitches.

5. How Tough? (Miss Congeniality)

Some women don't trust other women who are pretty.  "Pretty" is often viewed as weak, or worse--coniving, as opposed to being up-front and honest.

6. Getting Serious (We Were Soldiers)

Men feel safe when they're with their woman and their family in a stable condition.  However, women are often placed in the difficult role as the peacemaker.

Women don't want to receive bad news from strangers, in order to gain support from those they know.

7. The Magic Ingredient (Shrek)

Those intangible qualities that draw others, especially the hero, to her.

8. The Complete Package (Legally Blonde)

The climax, success gained by balancing the competing factors in a heroine's life, such as family and career.

Jane Porter on: Love, Sex & The Alpha Hero

There were several workshops scheduled after the big Agents & Editors Forums.  For me, deciding which one to attend during this time-frame was a no-brainer:  Love, Sex & The Alpha Hero, hosted by Jane Porter

Hey, any workshop containing the word "sex" "love" and I'm there!  The reason, of course, is to improve on what I know so little about--writing-wise, at least.  At this point, I'm still too worried writing anything steamy would sound like something I regularly read vaguely heard about in men's magazines.

At the start of the seminar, Jane admitted the "Love & Sex" part of the title were attention-getters.  (Well that certainly worked).  So the focus was on what makes Alpha Males tick. And since I seem to have misplaced my membership card to the local chapter of Alphas-R-Us, I decided to stay.

Jane used key scenes from several cool movies, to make the following points:

1. The Alpha Male, or "Mr. A," as I'll call him, is the Top Dog (Tarzan).

Every protagonist needs a coming-of-age moment.  They won't know if they have the strength until they're confronted.

Protagonists have to act.

An Alpha operates above the law and public opinion and operates under his own code of ethics.  However, he won't abuse his position and has a strong sense of justice.  They are in control of, and secure in themselves.

2. Mr. A Won't Run from a Fight (High Noon)

Courage is a key element to a hero.

The darkest moment is the hero's defining moment.

A hero can't walk away from conflict, unless under duress.

3. Mr. A Has Tremendous Emotional Appeal (Last of the Mohicans)

Women love a strong guy, which taps into their fantasy of being protected.

Women tend to be nurturers and will nurture a wounded hero.

The hero has a flaw that makes him week, such as stubborness, uncompromising, unwilling to accept help or the inability to accept love.

4. Mr. A is a Sophisticated Lover (Goldfinger)

Sex is not about domination, but a combination of wit and dialogue.

5. Mr. A Needs a Mission (Gladiator)

Men need conflict, but great men need a purpose and fight for a cause.

6. Mr. A Needs a Mrs. A (Last of the Mohicans)

In classic romance, heros will choose a heroine and not look at anyone else.

An alpha male will search for a woman that is his equal.

The key note on relationships is not to pair people who aren't evenly matched.  This creates constant tension between the would-be partners.

And this tension is what drives the story.

2011 PNWA Conference: Agents Forum

Agents preparing to enter the forum.

(Image from:  Get Smart)

This was Friday's Big Event, Part II.  Twenty-two agents formed this year's panel to lift "the cone of silence" off some of the publishing industry's deepest secrets.  Bob Dugoni, continued his hosting duties and established the same ROE (Rules of Engagement) as he did during the previous workshop.  (See the Editors Forum post, 4 Sep 11). 

The agents panel (with links included), consisted of:

Lauren E. Abramo, Loretta Barrett, Amy Boggs, Minju Chang, Ginger Clark, April Eberhardt, Lindsay Edgecombe, Kate Folkers, Sally Harding, Elizabeth Kracht, Michael Larsen, Kate McKean, Vickie Motter, Rubin Pfeffer, Elizabeth Pomada, Rita Rosenkranz, Rayhane Sanders, Ken Sherman, Christina Ward, Gordon Warnock and Cherry Weiner.

Agents deciding whether my work is best suited to line the litter box, or the bird cage.

(Image from:  Get Smart, the movie)

Since nearly every writer attending the conference had a WIP (Work In Progress), the first question posed to the panel was:

If submitted a partial, but have since revised it, should you submit the revised copy?

"No, don't change it"--Kate McKean

"Edit and workshop your book before you submit it"--Gordon Warnock.

Other questions soon followed...

If you pitched, then delayed, can you submit your work several months later?

"Yes."

"State where & when you met me"--Laretta Barett.

"Don't query agents until your material is ready to go"--Kate Folkers.

Michael Larson received a submission from someone he met at a conference 30 years ago.  While Cherry Weiner keeps a file on everyone she meets. 

Does motion-picture potential affect an agent's decision?

"Yes, although period pieces are expensive to shoot"--Ken Sherman.

"It's up to the agent"--Elizabeth Pomanda.

Can writers pitch to agents, who're already published under a small press?

"Yes, if you've retained the rights to your book"--April Eberhardt.

"It's the main way I scout new talent"--Rayhane Sanders.

"Don't make your decision [to go with a small press] in haste.  The 'any-contract-is-a-good-contract' is a false assumption"--Kate McKean.

"I would rather publish the next book than the one that's already published"--Lauren Abramo.

Should writers send out multiple or single queries?

"Multiple"--just about everyone on the panel.

Is there a way to speed up the publication process--especially if the author is elderly?

"You can't think like that!  I represent authors in their 70s & 80s"--Cherry Weiner.

"Mulitple submissions help"--(I can't remember who said this one).

Is there a best time during the year to submit?

"January--New Year Resolutionists"--April Eberhardt.

"Your timetable is ours"--Christina Ward.

"Check tye agent's site and activity calendar"--Gordon Warnock.

"A bad time to submit is when you're ready to go on vacation"--(can't remember who said this either).

If you establish a relationship with an agent on a book in one genre, then write a book in another genre, would you submit to another agent?

"Check with your current agent, because they're trying to build your career"--Rubin Pfeffer.

How has the collapse of Borders affected publishing?

"Penguin cut back 1/3 of it's first-print runs"--Kate McKean.

"I lost 600 outlets for my books"--Bob Dugoni.  (Hey!  He's not an agent!  But his point was well taken).

What's hot?

"Historical fiction, steam punk, cozy mystery, contemporary romance and paranormal"--just about everyone on the panel.

Is it a good idea to pitch an unfinished book?

"Don't do it!  But it's okay [here] at a conference, because it's a learning process"--Amy Boggs.

"Give your work to trusted writer friends to critique"--Rayhane Sanders.

And finally...

What is the impact of digitilization of books?

"We're all learning"--just about everyone.

"This may be a 'Plan-B' for writers, which may become 'Plan-A' in the intdeterminant future"--April Eberhardt.

Agents bidding a fond farewell to this year's PNWA Conference.

(Image from:  Get Smart, the movie)

The key point to remember is:  Once you sign-on with an agent, they'll work on your behalf to open all the doors necessary to get your work published. 

Just like Maxwell Smart.

2011 PNWA Conference: Editors Forum

Editors reading my prose.

(Image from: e-reads)

This was Friday's big event.  Ten editors gave an overview of the books they are looking for and the best way to submit your work.  Bob Dugoni, hosted the forum and moderated the Q&A session.  I liked how Bob established an ROE (military-ese for "Rules of Engagement") for attendees to refrain from asking questions specific to their WIP (writer-ese for "Work in Progress").

The panel of editors, (company links included), consisted of:

Anne Bensson, Brian Hades, Peter Lynch, Julie Matysik, Aubrey Poole, Lynn Price, Michelle Richter, Chuck Sambuchino, J. Ellen Smith and Shane Thomson 

One of the first questions of the day was:  What, exactly, do editors do?

"Their goal is to make a better book"--Michelle Richter.

"Coordinate with all the other departments [in the publishing company]"--Anne Bensson.

"Act as your clone to help coordinate efforts"--Peter Lynch.

What is the most important Point in the Pitch?

"A good, marketable, readable product"--Brian Hades.

"Voice"--Peter Lynch, "especially for YA (Young Adult)"--Aubrey Poole.

"A platform for non-fiction"--Chuck Sambuchino.

"A unique spin"--J.Ellen Smith.

"For memoirs, understand the market and the competition"--Lynn Price.

"Research the publishing company"--Julie Matysik.

Does self-publishing hurt an author's chance with publishing companies?

"No"--just about everyone on the panel. 

However, they commented that mainstream publishing helps gain exposure that self-publishing can't.

Do you take un-agented manuscripts?

"Yes"--Aubrey Poole

Do you work with a cadre of agents?

"Yes"--Michelle Richter answered on behalf of the entire panel.  However, "we're willing to work with new ones, but it's like going on a blind date."

Should an author acquire an agent after the book has been acquired?

"No"--Aubrey Poole.

However, Lynn Price said yes and "... appreciates it when an author does so in order to navigate the maze of the publication process."

This difference exemplifies the most important thing writers should do when querying publishing houses--read their guidelines.

And there you have it, some words of wisdom in today's publishing industry.

How to Survive a Pitch Session by Chuck Sambuchino

Prior to the big editors and agents forum, this year's PNWA conference held an introductory workshop focusing on key elements of book pitches.  Chuck Sambuchino, author of How To Survive a Garden Gnome Attack, hosted this seminar.

In this hour-long workshop, Chuck touched on some dos and don'ts to keep in mind during a pitch session with an agent or editor:

DONT'S

--Don't send agents any more material than what they ask for.

--Don't give them hardcopies, because they don't want to lug around paper from 50 or more writers.

--Don't pass them your business card, but ask them for theirs.

--And most importantly, don't give away the ending.

DOS

--The pitch should be 3-10 sentences long.  The narrative should be similar to "the back of the DVD box."

--After introductions, talk about the details and the logline of the book.

--Details consist of:  Title, word count, genre and whether the book is finished or not.

--Logline:  A one-sentence summary of the book.

--Start with the main characters.

--Include the inciting incident.  What propels the story into motion?  What is the conflict?

--Optional:  Discuss the character arc.  Does the protagonist change?

Some cautionary notes include:

--Avoid general terms.  Be specific.

--Caveat for sci-fi novels:  Avoid using proper names for worlds an races.

--Avoid delving into subplots.

The advice given above, was primarily geared for fiction.  Pitching non-fiction books has some different elements:

--Pitches tend to be dry and factual.  Have a good book idea and discuss your credentials with the agent.

--Have a platform.  Who is your target audience?

--The exception:  Memoirs are treated like fiction.

Finally, the #1 reason why agents & editors refuse to publish someone's work:  It was turned in too early, often after writing the first draft.  It would be best to submit your book after finishing the 2nd or even 3rd draft.

Extrovertness 101 and Two New Authors

Writers tend to be introverts and often thrive in creative solitude.  However, publishing is a business requiring direct human contact.  And in business, extroverts are the dominant life-form. 

Gone are the days when writers can live the life of a J.D. Salinger, venturing outside only to buy groceries and get their royalty checks out of the mailbox.  To get published and promote their books, writers need to be more like extroverts, or at least act like them.

The PNWA conference organizers recognized this dilemma and held a workshop to discuss extrovert tactics for a room full of introvert attendees.

I'd love to tell you about this workshop, but--I didn't attend.

Not because I was too shy to go.  Instead, my popular fiction classmates and I had dinner reservations at the time this workshop was being held.  Even though I enjoyed a night out with my friends, I wanted to attend this seminar, especially since it was hosted by these two dynamic women:

Lorraine Wilde is a freelance journalist and environmental scientist with numerous articles to her credit.  Even though I didn't make the class, Lorraine posted the slide show and handout on her blog, under the "Introverts" tab.  (I'll read them as soon as I complete this post).  She is currently working on her memoir, Egg Mama: An Egg Donor and Her Extraordinary Family. 

Kim Kircher is the author of the upcoming book, The Next Fifteen Minutes: Strength from the Top of the Mountain.  (Fortunately for us conference attendees, advance copies were available).

I've been acquainted with Kim through a mutual friend and PNWA for the past three years.  My writer friends come in two flavors:  Unpublished and published.  In the time I've known Kim, she's the first one among us unpublished-types to step into the published winner's circle. 

For you extrovert, skier-types:  Kim and her husband manage Crystal Mountain.

Creating Page Turners with Robert Dugoni

Fortunately for us attendees, the second workshop of this year's PNWA conference, Creating Page Tuners with Robert Dugoni wasn't the contact sport pictured above.  Instead, it was an informative and lively seminar on how to create a "missed my stop" book.

We didn't have time to go through the 13-page handout Bob provided, but we managed to touch on some key elements--

The primary function of a novelist is to ENTERTAIN.

Writers stop entertaining their readers when they:

1. Preach

2. Put too much research material into the narrative

3. Use overblown prose

4. Have same-sounding characters

5. Use too much backstory

6. Use too much flashback

These are called "author intrusions" and should be eliminated.  It is the characters who should tell the story.

And what exactly, is a story? 

It's a journey, which can be physical, or emotional.  In either case, the journey yanks the character out of his ordinary world and "puts him in motion." 

There's a method of telling a story that resonates with people:  The mythic journey.  Our earliest myths and fables use this template--and as a result, these stories continue to entertain.  One of the best sources that examines this template is Christopher Vogler's The Writer's Journey: Mythic Structure For Writers. 

Another way to grab and maintain a reader's attention is by using High Concept ideas.  This doesn't necessarily mean an apocalyptic menace threatens the character's civilization, but it does mean the stakes are high for the character.  A policewoman trying to solve a murder case is merely a professional doing her job.  Whereas, a mother trying to find her abducted daughter is high concept.

Employing high concept ideas will torture the protagonist throughout the story.  If things appear to be going well, then pull the rug out from under the hero.  During this journey, the character will learn new skills in order to overcome the obstacles set before him--he'll change.  Conflict and change are the heart of every story. 

And without a heart, a story remains lifeless.

In addition to being a best-selling author, Robert Dugoni is available for speaking engagements, seminars and workshops like this one.

Words, Words, Words with Chris Humphreys

(Image:  Sir Laurence Olivier in Hamlet)

 PNWA kicked-off this year's conference with a "pregame" seminar, starring Chris Humphreys, author of his latest historical novel, A Place Called Armageddon.

Chris's topic was "words, words, words," lifted from a line in Shakespeare's Hamlet.  The main thrust of this workshop was, as writers, to find words to fit our specific purpose.  Combining words is akin to alchemy, not science, and certainly not magic, but an unquantifiable combination of both.

Take the word "passion," for instance.  According to the synonym function in a Word document, the following words are considered similar to passion:  Fervor, ardor, obsession, infatuation, excitement, enthusiasm, zeal and craze.

When Chris conducted a short exercise in word-association using the same term, the audience came up with the following:  Lover(s), spouse/significant other, desire, lust, profession and cause.

Each word has a different connotation, doesn't it?  So word-choice is critical in order to convey an intended meaning, or mood to the reader.

In addition to word choice, Chris made the following suggestions to improve our writing:

--Read the poetry of the era you're writing about, it gives you the flavor of the language.

--Make good use of dramatic pauses.

--Keep in mind readers will not read exactly what you wrote and will make their own interpretations about your narrative.

--Use the Rule of Three.

--Make use of double entendres and onomatopoeias.

--Channel personal experiences into your writing and most importantly, if possible, visit the location you are writing about.

An actor by trade, Chris finished the workshop with the rousing Saint Crispin's Day Speech from Shakespeare's Henry V. 

Note:

Unfortunately for us Yanks, A Place Called Armageddon, is only available in the UK, Canada and the Commonwealth.  (Except, of course to "we happy few" who attended this conference).  However, Chris's previous book, Vlad--The Last Confession is finally available in the US.

PNWA's 2011 Summer Conference--My Break from the Movin' Blues

(Image:  PNWA's bookmark with this year's theme)

When the movers deposited the last box, just over a week ago, the inside of my new home looked like it barely survived Sherman's march to the sea.  My days "off" from work were spent clearing the wreckage (and piling the packing material into the garage), until August 4th, when I took a break from the cardboard carnage and attended PNWA's 2011 Summer Conference.

While I haven't written anything book-length, I've been able to accomplish something of literary-ish merit I could brag to discuss with my writer friends.  This year--the square root of zip. 

So, my feelings the first day bordered on the "WTF-am-I-doing-here?" variety.  My mood didn't improve until I had dinner with my classmates from Pam Binder's Popular Fiction course.  It wasn't anything my friends said or did, nor was there a "cinematic epiphany," just a slow & steady rise of my spirits as I sat in the presence of good company.

Thanks to my popfiction comrades, my frame of mind was reset, I enjoyed the rest of the conference.  Not only did I hang out with old friends, but I made new ones and maybe even learned a thing, or two, about writing. 

I'll be posting recaps of the various workshops I attended in the upcoming weeks.

Unfortunately I didn't take any pictures because I unpacked my camera the day AFTER the conference...