Two-for-One Meal-Deal with Lisa Gardner

This year, PNWA managed to snag bestselling crime novelist Lisa Gardner as one of the dinner keynote speakers, for this year's summer conference.  Even better yet, they managed to convince her to hang around another day for the Lunch With Author session.

Between these gatherings, Ms. Gardner entertained attendees with stories of her less-than-smooth road to success.  She started off as a romance novelist while juggling a waitress job--and flaming saganaki (cheese).   Despite several fiery mishaps, Ms. Gardner managed to finish her first book, while avoiding visits to the burn treatment center and went on to become a managing consultant.  Thirteen romance novels later and loathing everything about the corporate grind, from commuting to pantyhose--especially the pantyhose--she sought a change and wrote her first suspense novel.

Her first thriller, The Perfect Husband, was the success she needed to quit her corporate job and throw out her pantyhose.  (I'm surprised she didn't ceremoniously douse her nylons with flaming saganaki).

Ms. Gardner is a funny and lively speaker, who engaged her audience with amusing anecdotes, like:

--Driving around Portland as a teenager with her best friend, interviewing prostitutes for her first novel.

--Dumping a carton of milk on her brother.  The same brother, later having to convince a date that all the romance novels in his place were written by his sister.

--Catching her husband watching porn.  But unlike most hapless husbands caught in such acts, the Luck O' the Irish was with him that day.  The movie turned out to be a German production of one of her books, where the heroine always ends up naked while fleeing the knife-wielding psychopath.

However, it wasn't all fun and games and German soft porn.  Ms. Gardner's keynote presentation focused on her top five reasons for being a writer.  Or, as she wrote me, "The top five reasons it is absolutely wonderful, amazing, rewarding, inspiring, exhilarating, and just plain fabulous to be a writer."

And they are:

1. It is okay to be cranky.

2. Anyone can do it.

3. It's a business that when one writer succeeds, all writers succeed.

4. Creativity is never wrong. 

5. And finally, one of the best reasons for being a writer is that you can come to conferences, such as this one, and finally meet people as neurotic as yourself.

(For us gamers and sci-fi fans, feel free to substitute "geeky" for "neurotic").

For more information on Lisa Gardner and her work, check out her website: 

http://lisagardner.com/ 

(This link can also be found under the Authors tab).

For aspiring authors, check out her Writer's Toolbox page.  It is packed with her how-to articles and lecture notes.

She can also be found on-line among "the usual suspects" of Facebook, Myspace and Twitter.

PNWA 2010 Conference Review: Crafting Fiction That Sells in Today's Market

While I don't have anything sell-able in a monetary sense, I think any writer that grabs a reader's attention has, in effect, "made a sale."  With this logic in mind, I attended the Crafting Fiction That Sells in Today's Market, hosted by Andrea Hurst.  A literary agent with over 25 years experience in the publishing business, Ms. Hurst is the president of Andrea Hurst & Associates Literary Management agency:

http://www.andreahurst.com/

This workshop was conducted from an agent's POV (point of view) in order to help clue-in writers on what the market is looking for:

Because of today's market trends, in both technological improvements coupled with the economic downturn, Marketing and Sales Departments within publishing houses are more heavily involved in deciding what books get published.

Editors are only looking for stories that "fit into a box."  That is, genre fiction that can easily be categorized and therefore put on a bookstore's shelf.

One of the first things a literary agent asks themselves is:  Can I work with this author?  In other words--it doesn't pay to be a diva.

Everyone inside and outside the publishing company is pressed for time.  So query letters are now mostly done by e-mail, while books are getting smaller, word-count wise.  So don't pitch your book if its over 100k words and keep your synopsis to 1 page.

A catchy title is important, because it is the first thing the reader sees.  Once the reader picks up the book to examine it, the first line and the first page become all-important, because it is here that you gain or lose the reader.  After the initial page, it is important to keep the reader hooked so he or she will read through the first chapter.

And speaking of Chapter 1, avoid backstories and data-dumps.  Something has to happen early in the story that's really amazing.  Unfortunately, many first-time authors start the book in the wrong place.  So if it takes a long time to develop the action, then this is a good indicator that you started in the wrong place.

Since there's more to a book than an opening chapter, a story must have a middle and end that are plausible and satisfying.  These must be plotted out in some way, shape or form.  (There's an on-going debate over whether it is best to outline a story or not).  Most problems with a novel occur at this point--the "sagging middle."  An ending can be fixed, but because of the lengthy nature of a book's middle, a sagging one can be a big problem.  This can be alleviated by maintaining a high quality of writing, in order to keep the reader hooked.

And speaking of hooked, once you finish your work and are getting ready to pitch to an agent, you still have some homework ahead of you:

Before attending a conference log onto the agent's website--and read it all the way through.

Agents are amazed at how many would-be authors fail to do this, especially when being asked to represent them in genres they don't deal with.

In other words:  When all else fails--read the instructions.

PNWA 2010 Conference Review: Jump-Starting a Short Story by Bharti Kirchner

Since all my work can be considered "short" by way of word count, I decided to attend the Jump-Start a Short Story With These Techniques workshop, hosted by Bharti Kirchner.  She is the author of four novels, four cookbooks and numerous articles, all of which can be found on her website:

http://www.bhartikirchner.com/

Ms. Kirchner is a pleasant and engaging speaker, who clearly understands the artistic differences between writing a short story and writing a novel, especially since she has experience in both forms.  One of the most discernible differences between these two from is in their word count.  Novels are tomes that can weigh-in anywhere from 25,000 to150,000 words. Translation:  That's about 100-600 pages for a hardcover.  Whereas the short story lightweights can range from 2.500 to 5,000 words, or 10-20 pages.

The common misconception is regarding the two is:  Writing less pages is easier.

Here are my notes from Ms. Kirchner's workshop explaining why "shorter" does not equate to "easier" and what you, the writer, can do to improve the effect of their short works.

First of all:  What is a short story?

Unlike a character sketch, it describes an incident that has a deep impact on a character.
Each sentence must have an impact and be economical--you don't have hundreds of pages to drone on and on about something.
You must create an emotional effect on the reader--and this is where most short story attempts fail.
Short stories are often described as "little earthquakes"--something small but intense.
The writer must create a sense of amazement.
Unlike all the plot twists in a novel, a short story's narrative goes in a straight line with a "little bump," or only one unexpected turn of events.
The short story starts near the end of an event and focuses on a character with a problem.
These problems can be:  A misunderstanding, a crime, some injustice or an accident.
Whatever it is that has happened, it must mean a lot to the character.

Despite the differences in word count, short stories and novels do share some commonalities.  These are:
There must be an internal change within the main character.
A change of awareness or mood is also necessary--from dark to light, or even from light to dark.
You want their readers to feel something emotionally.

What makes a short story work, that is, something emotionally satisfying for the reader, is that it is highly structured.
As mentioned previously, the story moves in a linear direction, but takes an unexpected turn towards the end.
The character realizes something and as a result changes, or at least looks at things different.
Limiting the story to one theme, or message works best for short stories.

With only 10-20 pages to describe the action, what is the best narrative time-span for a short story?  That is, how much time passes for the characters in the story?
Short stories don't have to have a limited time span.  The narrative can take place within an hour, a few hours, a day, a few days or even a week.
However, it is best if the subject matter is narrow and not discussing long-term issues like climate change.

With only 10-20 pages to work with, this doesn't leave a lot of room for multiple characters and their subplots.  For a short story, it is best to limit the number of characters to one main character and 1-2 secondary characters.

The basic elements of a short story are the same as with a novel, except--well--shorter:

Plot:  Events happen and the character takes action.  There must be a "cause & effect" element at work which carries the events forward.  These events cannot be random and must be connected.

Character:  The main character has something to gain or lose.  You must make readers care about the main character.  There must be conflict, or opposing forces, where the main character wants something, while someone/something else is trying to prevent it.  There must be a lot at stake:

• What does the character want?
• What motivates them?
• What are they afraid of?

Dialogue:  Is the most important element in a short story, if it doesn't work, the story won't work.  Fictional dialogue is not the same as real dialogue.  That is, unnecessary words must be removed.  Dialogue must make a point, but not in a direct manner.  Remember, the writer needs to have that "bump" at the end of the story.  Characters can say or do things that are unexpected.  One can also describe a character through dialogue.

Point of View (POV):  Who's telling the story?  And where is the "camera?"  In order for the reader to answer these questions, it is best to stick to 1 POV--the person telling the story, by using simple 1st or 3rd Person POV.  One technique is to have a "narrator" introduce a story then "fade back" as one of the characters takes up the narrative.

Voice:  Use a style in which the narrator introduces himself and the story.  Use words like they're coming from a real person.

How to begin a short story:

As with a novel, the opening line and first few sentences are crucial.
Start the story as close to the major, transformative event as possible.
Establish a baseline on what the main character is like.  Choose the right and important details about the characters, but use only 1 or 2 facets.
The first paragraph tells the reader what kind of story this is going to be.

Methods of beginning a short story:

1. Give a context summary.  That is "tell," before you "show."
2. Set a scene.  Just the opposite of #1, that is "show," instead of "tell."
3. Start with a dialogue.  Although if not done correctly, the reader will be confused as to who's talking.
4. Start with an arrival.  Someone "comes to town."
5. Start with the weather.  But one of the characters must be introduced very quickly.
6. Show what the character desires.
7. Give a journalistic run-down of--who, what, when and where.
8. Start with an absent character.  And finally, you could--
9. Write a letter.

Even with a short story, it is easy to get writer's block.  What to do if you get stuck?  Ms. Kirchner suggested the following:

Explore and discover what the character wants and why he can't have it.
Introduce another character opposite the main character.
Or, introduce another character that wants the same thing.
Think of the ending--then work back from there.
Write a sentence or two every day.

Whether you're writing a novel or a short story, I hope with these notes, you'll never get stuck!

PNWA 2010 Conference: Practical Guide to Punctuality

I've been attending PNWA's Summer Conference for a few years now, so I thought it was high time to help out.  Prior to the conference, I examined the list of workshops and submitted my name as a volunteer to moderate the seminars I planned on attending.  The Volunteer Coordinator, Anne Belen, assigned me to moderate the Practical Guide to Screenwriting, hosted by Colleen Patrick.

For me the word "practical" should have started with reading the moderator instructions.  I ASS-umed the workshop started at 9 AM and I planned my morning to be there at 8:45--plenty of time to set up the Emerald E Conference Room. 

Or so I thought.

When I sauntered in at 8:45, I found Ms Patrick already in the midst of giving her lecture and about two dozen attendees--and all of them were scribbling furiously.  Frantically going through the moderator packet, I discovered the seminar started at 8:30!

Oh crap!  (Which isn't exactly what I thought).

So I spent the next hour and 15 minutes hastily distributing handouts, directing attendees to vacant seats, monitoring the time and conducting general housekeeping duties.  This left me too frazzled to take any useful notes other than:  Read the instructions CARE-FUL-LY. 

Another item I found out after the seminar, was Colleen Patrick's contributions to the film industry.  She's a screenwriter, director, acting coach and writing coach, to list a few of her accomplishments.

For a more detailed look at Colleen Patrick's talents and accomplishments, check out her website at:

http://colleenpatrick.com/ 

Hmm.  Maybe she can add "Punctuality Coach for Wayward Moderators" to her resume...

PNWA 2010 Conference: Drawn to Drawn Books

(Image:  Stinz Charger: The War Stories, by Donna Barr)

I was originally planning on attending a thriller/mystery panel hosted by several authors I’m acquainted with. However, the Eyes and Hands: An Introduction to Drawn Books workshop caught my eye.

Hmmm.

Since I’ve produced YouTube movies and posted my first graphic novel, The Bushwhackers of Kashyyyk, I thought this workshop would be right up my alley. So I walked into the assigned room and met Donna Barr, the speaker and her assistant, Hedwig Vinson.

Then two other guys walked in for the class.

That was it.

Uh-oh.

When so few people show up for something like this, it can either be very good—or very bad.

Fortunately, this turned out to be not just good, but a fantastic experience.

We pulled our chairs into a tight circle and discussed some of the aspects of what Donna calls “drawn books.” She coined this term because she’s observed that using the more traditional terms of; comic books, commix, or even graphic novels, was still dismissed as “just for kids.” In fact, it was this perception that led to comic-book publishers into accepting the maturity rating system. This in turn, led to a discussion about censorship within the comic book industry--which she vehemently opposes.

When discussing the books themselves, Donna defined drawn books as “…being the perfect balance between writing and art” (from the workshop handout). At this point I became concerned because, when I think of "art," I tend to think of hand-drawn pictures or painting. So I asked about my work with photographing miniatures, in which I spent several minutes showing her and the rest of the class The Bushwhackers of Kashyyyk.

I was pleasantly surprised to learn that there’s an actual term for this form: It’s called Fumetti.  This is an Italian word meaning, literally, “little puffs of smoke,” referring to the speech balloons. In English this refers to what’s otherwise called photonovels or photographic comics:

http://en.wikipedia.org/wiki/Fumetti

Wow! Up until now I didn’t know there was an established art term for what I was tinkering around with. This was a revelation for me! I’ve spent the past several years trying to figure out what niche I fit into as a writer. Now I can say I'm a graphic novelist.

Donna Barr is best known for her two series: The Desert Peach and Stinz. The Desert Peach features the gay brother of Field Marshal Erwin Rommel; while Stinz is an historical fantasy about a centaur living in central Europe. Donna Barr’s website is:

http://www.donnabarr.blogspot.com/

Donna also suggested checking out the works of the following drawn book novelists:

Roberta Gregory:

http://robertagregory.com/

Colin Upton:

http://colinupton.com/

Carla Speed McNeil:

http://www.lightspeedpress.com/

Madison Clell:

http://madisonclell.net/

Kevin Bose and Stasio Kato (The Virgin Project):

http://www.artofkdboze.com/

Diana Sasse:

http://www.graphicsmash.com/comics/kt.php

PNWA 2010 Conference: Another Steamy Workshop

Well it's been a year since I attended the Writing Sex Scenes workshop and I still haven't done it yet.  By "it" I mean, actually write a sex scene, in case you're wondering. 

C.C. ("Chris") Humphreys gave a return performance for the Sex and Sensuality workshop, while his co star and leading lady for this show was Megan Chance.

http://www.cchumphreys.com/Site_2/Welcome.html

http://pages.prodigy.net/mchance/

Together, they provided a balanced "he said/she said" viewpoint to a subject most writers find difficult to wrap their arms around. 

Figuratively speaking, of course.

Here are some of their notes and comments:

Sex and sensuality are not necessarily one in the same.  Just because you have one, doesn't necessarily mean you have the other.

Sex can be:  Funny, routine; or even vengeful and violent.

Sex can be described in many ways:  Sensually, graphically, gynecologically or metaphorically.

The key question to ask is:  What is the purpose of a sex scene?  The answer should be to develop an understanding of a character and to move the plot forward.  Another point is, the focus should be on the characters' emotions and not the mechanics of the act--or in some books--acts.  Although some genres, like romance, require sex, or at least sensual scenes.

Megan commented that as a society we're often more comfortable with violence than sex. 

Romance writers are often plagued by a "what-will-my-mom-think?" inhibition when they try to write a sex scene.  But it is an author's job to entertain and one must accept the fact that not everyone will like your scenes--or your book, for that matter. 

One of the best ways to overcome such inhibition is to focus on the characters.  The best kind of sexy and sensual scenes should originate from the characters involved.  That is, ask yourself:  What would these characters do in this situation?  How do they feel about what's happening?  As opposed to asking yourself what you would do and how would you feel.

If you want to satisfy most of your readers, then it's best to build the sexual tension slowly in a step-by-step process.  Create an illusion for the reader and establish interesting characters that behave differently in different circumstances and make them relatable to the reader.

Or as Chris said:  Set up interesting characters and readers will be willing to follow them into battle and the boudoir.

An authentic narrative is a key ingredient in keeping your reader interested in your story.  Scenes should be viewed the way the character sees it and describe it in the language he or she would use.  But avoid cliches.  For example, don't use the term "soft as a baby's behind" if the guy has never raised children. 

Now comes the tough question:  How far do you go?  How much detail is too much?

Once again, go back and answer the question:  What is the purpose of this scene?

If a scene feels too graphic, try to write it out in it's entirety.  This doesn't mean it has to be included in the final version of your book.  It will come down to your personal choice and the purpose of the scene.  Consider though, who's POV (point of view) the story is being told from, which should be from the person with the most at stake. 

It may also help if you write a scene obliquely or vaguely.  By doing so, the reader will often go as far as his or her imagination will take them.

(And as Han Solo said in Star Wars:  I can imagine a lot!).

Writing good sex scenes requires you to conduct research as you would with any other topic.

(At least the subject won't be dull).

This can be done by:

Reading novels of the period you're writing about.  Keep in mind, for historical fiction what's more important than the truth is what's perceived to be true.

Ask a person of the opposite gender what they like.  Men and women view sex differently.  For a woman, sex has a more emotional connection.  Her first sexual experience is a transformative event, which sadly, is not always a positive one.

So even after reading all these helpful hints and you're still stumped on how to write a sex scene, you can follow Megan's last bit of advice:  Read or watch pornography.

(Well okay then, she doesn't have to tell me twice). 

However, I can imagine the likely outcome of a writer's wife walking in on him watching porn.  Somehow I don't think saying, "But honey, Megan said..." would help diffuse the situation.

In fact, later during this conference, another author entertained her audience with a story about such an incident with her husband.  But that's  a subject for another blogpost.

In the meantime, I have some research to...um...ah...watch, for next year's workshop.

PNWA 2010 Conference: Lunch With Bob Dugoni

Contrary to popular belief, writers don't subsist entirely on chocolate, coffee and alcohol.  While this might be true for some--okay, most of us--writers need normal, almost-healthy food.  So we can't go all day without a food break.  (See my first conference post about the dangers of that).

But since this was a gathering of writers from all over the world, what better way to become acquainted with your fellow authors and getting some great advice than over a meal?

So to maximize the exchanging-of-ideas experience, by noon each day, PNWA (Pacific Northwest Writers Association) would sponsor a couple of "Lunch With (Insert Name of Famous Author Here)" gatherings.  During these sessions, moderated by Jeff Ayers, the author would discuss various aspects of his or her writing career, from the ups, downs and in-betweens.

The first lunch session of this year's conference was with none other than PNWA's own Robert Dugoni:

http://www.robertdugoni.com/index.html 

Despite his busy schedule of writing, promoting his 4th novel, Bodily Harm, along with practicing law part-time; Bob remains heavily committed to PNWA.  It's rather moving to hear him attribute his success to the association and see him unselfishly give back to the writing community.  Bob can be found at the forefront of any PNWA activity, whether it's leading a panel or coordinating an event.  As a speaker he brings an "I-was-sitting-where-you're-at" perspective that always resonates with his audience.

And that's because us aspiring writers can't wait to be sitting where Bob is at now!

PNWA 2010 Conference: Agents and Editors Forum

 

Literary agents aren't involved in international intrigue.  (Although, wouldn't that be cool if they were?).  Instead, theyr'e embedded in the publishing industry.  They form a partnership with authors; much like John Steed and Emma Peel (played by Patrick Macnee and Diana Rigg), of the Avengers, pictured above.  They provide the left-brain business savy to the author's right-brain creativity.

This year, PNWA did away with the agent and editor workshop and dove right into the forum.  Both forums, conducted back-to-back, were hosted by PNWA's perennial MC, Robert Dugoni, who has a talent for keeing this lively and on track. After each agent/editor introduced themselves and discussed what genres they dealt with, Rob would open things up to extensive Q&A sessions.

As in years past, I still don't have a book in the making.  However, I always enjoy attending these forums in order to see the friends I made the previous year and meet new people.  (I avoid using the term "networking" as much as possible).   Sitting in on these forums also keeps me informed of the latest trends in the publishing industry.

Agents present this year were:

John Baker, Barbara Braun, April Eberhardt, Amberly Finarelli, Sally Harding, Esmond Harmsworth, Christina Hogrebe, Andrea Hurst, Laurie McLean, Joe Monti, Laura Rennert, Jennifer Rofe, Rita Rosenkranz, Melissa Sarver, Erika Storella, Carolyn Swayze, Elizabeth Wales, Christina Ward and Cherry Weiner.

While the following editors were also present:

Paul Dinas, E. Kieth Howick, Monica Howick, Peter Lynch, Paula Munier, Lynn Price, Michelle Richter, Shane Thomson, Michelle Vega and Adam Wilson.

And for a closing note, here's the Avengers theme song:

http://www.youtube.com/watch?v=tvmgrnsaE1U&feature=related 

PNWA 2010 Writers Conference: Conducting Investigative Research Workshop

(Image:  James Stewart as P.J. McNeal in Call Northside 777) 

Research is a key element in historical wargaming.  Whether you're developing a tactical scenario or designing an entire set of wargame rules; details about weapons, uniforms, vehicles (or horses), tactics and the generals that led armies into battle, are just a few elements that must be correctly integrated into the game to make it feel authentic.

With this in mind, it seemed natural for me to attend Bruce A. Smith's workshop on Conducting Investigative Research.   As an investigative reporter with the The Dispatch, a weekly paper focusing on south Pierce County, WA; his workshop was geared for newspaper reporting:

http://www.dispatchnews.com/index.asp 

However, his investigative techniques could apply to historical research, especially in the case of recent history, where it is possible--not to mention advantageous--to conduct live interviews with people who were directly involved in newsworthy events.

First of all, how do you start out as an investigative reporter?

--Ask the local newspaper to take you on as a freelancer and even offer to submit a couple of free articles.
--Call the editor, introduce yourself, but be brief and concise.
--Try to get a press pass.  This will grant you access to organizations and individuals who'll treat you like a professional.

Notes on conducting "research beyond Google:"

It's best to go directly to sources.  That is, individuals who were involved in the event you wish to report about.  However, finding people can be difficult--especially if they don't want to be found.

Bruce mentioned two websites that can be helpful in tracking down such elusive folks--legally.

1. White Pages:

http://www.whitepages.com/

2. Name From Phone:

http://www.namefromphone.com/

For events long past, but still within one's lifetime; retiree associations are a good place to start inquiring about anyone you may need to talk to.

If your investigating a crime, then county law enforcement agencies are the best place to start, since most non-federal crimes are handled at this level.  Jail rosters can also be examined, since they are considered public records.

Face-to-face interviews can be difficult to conduct, especially if you're dealing with someone who's traumatized by an event.  In this case, be sensitive and offer condolences, if appropriate.  Identify who you work for.  If someone is reluctant to speak, don't press the issue--you can still write the story and note that your subject didn't want to talk about it.  Keep in mind though, even if someone does want to talk, the conversation may go dry. 

Don't burn your sources and avoid libelling anyone. 

Near the end of the workshop, Bruce discussed some of the realities of investigative research:

A lot of people lie, or at least have a hidden agenda.  They do so for various reasons, but this is especially true if money and power is involved.

Public information Officers (PIOs) are spokespeople for the agencies they represent.  So any statements from these folks or the Public Relations (PR) Department will, most likely, contain an element of "spin."  Unattributed stories, that is, one without an author's name attached to it, is often an agency's veiled press release.  In order to weed out the wheat from such chaff, newspapers often use 3 or more, reporters to cover the same story.

Finally Bruce gave the class some tips on staying alive.

Yes, he meant staying alive--literally.

As an investigative reporter you might be confronted by well-connected and potentially dangerous people.  People who don't want their soiled undergarments exposed to the public.

What to do when you find yourself outside the realm of polite society?

--Expect some form of harassment.  This can be minor, such as in the form of sudden financial audits or frequent traffic tickets.
--If the story is important to you, convince yourself not to run scared. 
--And finally, if you get thwarted, or the fear factor is too much to bear, then back off.

Yes, back away from the story.

Why?

Because there's always another story to be investigated...

One Day Novel Writing Seminar with Bob Mayer

This was a first for PNWA (Pacific Northwest Writers Association).  Normally, the first day of their annual writers conference is primarily for member registration with a few afternoon seminars thrown in.  This year, the association sponsored a day-long, novel writing seminar taught by Bob Mayer.

Bob is a best selling author, former US Army Special Forces officer, resident of the Pacific Northwest and is a regular host to PNWA events.  For this special edition, condensed version of his novel writing seminar, Bob discussed the following topics in rapid-fire style:

The Original Idea:  The Heart of Your Story and Key to Selling Your Book

Plot and Outline: The Events of Your Story

Point of View:  The Voice of Your Story

Characters:  The People of Your Story

Selling and Marketing Your Book, and finally,

The Current State and Future of the Publishing Business for the Writer

I managed to scribble down 27 pages of barely legible notes, so I won't go into exhaustive detail about this excellent workshop. Instead, I'll jot down a key point, or three,  in each topic.

Do you have an original idea?  Think again.  Most story ideas are based on previous tales, some reaching far back into early mythology.  The trick is to tell your story from a unique perspective, with a unique voice, or with a twist, like Gregory Maguire's Wicked.

While "stuff" happens to us in real life, with no apparent rhyme or reason, your story must move in a specific direction.  The story's plot is about a protagonist trying to solve a problem and a series of events that outline the action.  This action consists of five narrative elements:  The Initiating Event, (the catalyst for adventure); Rising Action (the stakes get higher); Crisis (the do or die moment); Climax (the final showdown) and Resolution (not necessarily "happily ever after").

Who's telling your story?  The point of view (POV) must be consistent throughout the narrative.  For instance, all the Sherlock Holmes tales are told from Dr. Watson's perspective.  While you're not limited to writing from a faithful companion's standpoint, you should avoid "head hopping," that is, switching the viewpoint in the middle of a scene.  Also, most readers can't handle 3 POVs, so keep the POV changes between the Protagonist and Antagonist.

And speaking of characters, your story should focus on the main two:  The Protagonist and the Antagonist.  But unless these two opponents are cage fighters, they should have a supporting cast, like a side kick, love interest, allies and minions, etc., to help them achieve their competing goals.  This shows your characters are interconnected as real people would be.

Once you've typed "The End," getting your manuscript published becomes your next full-time occupation.  Keep in mind though, traditional publishing industry moves at glacial speed, so in the 3 years it may take for your book to hit the shelves, you need to be your own PR rep.  That is, take advantage of today's technology by blogging, establishing a website and getting involved in social networking.  Doing this will generate enough buzz and create a fan base, that publishing companies will view as profitable--and therefore,  keep you gainfully employed as a successful writer.

Okay, this post is a mere snowflake on the tip of the Novel Writing Workshop Iceburg.  For more information on Bob Mayer's books and seminars, check out his website:

http://www.bobmayer.org/

Bob is also the co-creator of Who Dares Wins Publishing:
http://whodareswinspublishing.com/

Inspired by the Classics

Last week I attended PNWA's (Pacific Northwest Writers Association) 55th Annual Summer Conference, this year themed as, "Inspired by the Classics."

To be honest, I can't remember when I last read anything from the classics.  In fact, my personal theme turned out to be: "When all else fails, read the instructions."  During the conference I had a bad habit of not thoroughly reading the conference's schedule book--like the note about lunch stands would not be open on the first day (Thursday, 22 July).

In previous years, the first day focused on registration with a few afternoon classes as appetizers.  This year the conference opened with Bob Mayer's One Day Novel Writing Seminar.  Unfortunately, it wasn't until our lunch break that I realized I had to fend for myself to get food.  The hotel's coffee shop and restaurant were quickly overrun by hungry, aspiring writers.  Instead of fighting my way through crowds I decided to grab a snack at the Airport Hilton's gift shop. 

Normally, I'll eat a nutrition bar prior to working out, but this was a case of desperate times calling for desperate measures.  I found a bunch of them on a shelf weighing from 1.25 up to super-sized 3.25 ounces, like the Met-Rx "Mud Pie Fusion," pictured above--all for $3.99.  For this price, I figured "bigger is better" and I would burn off the 410 calories in the form of nervous energy during the afternoon sessions.  Despite the high caloric intake of this super-sized protein bar, I felt I needed one more snack to hold me over until dinner.  So I added a bag of Planter's Honey Roasted Peanuts to my food-group.  I was initially going to buy a bag of plain peanuts, but they were both on sale for the not-so low-low price of $3.99.  So I applied the same logic as I did with my nutrition bar choice.

This certainly wasn't the "lunch of champions," writers, or any other normal human being for that matter.  While I didn't have to worry about hunger pangs for the rest of the day, I did go home feeling ill at the conclusion of the afternoon sessions.  In doing so, I missed the first keynote speaker Andre G. Dubus III, best known for his novel House of Sand and Fog. 

PNWA's 2011 conference will be moved to the Hyatt Regency in Bellvue, which our president Pam Binder, promises will be within easy walking distance of local restaurants.  Hopefully, by that time, I'll have read all the details regarding next year's event.

In the coming weeks I'll post recaps of the workshops I attended and any other noteworthy anectdotes that occurred during the conference.