Feeling A Story

By Linda Williams

May

17

Greetings;
The next time writers’ block descends, sit back in your chair, close your eyes, and let your arms hang . Wiggle your fingers, rotate your head all around, and then squeeze your upper arms. (Everyone needs a hug, especially when alone, and it’s good for circulation.) Then, when you feel more relaxed, think back to a summer morning when you were young and the day was brand new—an empty slate waiting for your own special story to appear. A clean scent wafts through the air from an early morning rain, and the sun has decided to shine its warmth on you all day as it ambles across a clear, cobalt sky. Whether you have woken to a country or a city morning presents a much different range of feelings, not only because of setting, but because the slate is filling with what you know and your feelings are unique. Now, remember what you liked best about such a morning and how it made you feel. When choosing to find a friend to play with, who would it be and why? Where might you go together in search of adventure? If no one is around, what might you do for fun on your own? As you remember, a new children’s story is germinating because the “Who, What, Where, When, and How” are basic elements of every good story, and most importantly, you will be writing about what you know.
Dialogue is another essential element for it makes a story come alive. Without conversation, what is written on the slate presents only a telling exercise. Dialogue can SHOW a whole range of feelings from anger and despair to excitement and hope. What is said to a friend differs from what is said to one, who instigates anger, cruelty, jealousy, and other negative feelings, which make up conflict. (One can’t write a convincing story without conflict.)
When we were young, there was always conflict, and whether it taught us inner strength or how to hate often depended on our role models. Those models were not only our parents, but the friends we chose. The “why” of a young child’s reasoning presents many avenues of thought. Without getting too involved with heredity or environment, the cause and effect consideration, one can still think about what it felt like to be a child. (Child psychology classes taught me that the child, who once was me, is still alive within and wants to help write my children’s stories.)
So, sit back, clear your mind, and remember the child, who was you. Then fill your slate with a new story. If the memory is sad, it will be a catharsis in itself. (An inexpensive way to unearth childhood sadness and release them.) If it’s a happy, fun memory, remembering will be a joyful experience, and one can’t have too many of those.
Until next time, allow the child in you to write a story. Be well. Linda

A Weekend with Creative WOmen

By Christina Laurie

May

7

Last weekend I spent in Washington, DC, with some 90 Pen Women from all over the country. The experience was most stimulating and exciting. In addition to being elected third national vice president of the National League of American Pen Women, I won three poetry prizes, a first, a third and an honorable mention. Consequently, I was invited to read at the Library of Congress on Thursday afternoon, April 19, with two state poet laureates (Delaware and Alabama) and two national book award nominees. I certainly felt humbled!
One of the things I love about Pen Women, of which I have been a member for 47 years, is the continual learning I am acquiring with each branch or national meeting or board meeting. A gathering of professional women artists, writers and musicians, the Pen Women is the oldest women’s professional organization in the world, being founded in 1897. Our headquarters is in the Dupont Circle area of DC in a four-story brownstone which is a museum in itself. It’s a mere four blocks from the White House!
I continually learn from the workshops, meetings, and casual conversations that I am privileged to experience both in our Cape Cod Branch and nationally. Women who may be younger than I but who have been professionals longer have advice from how to promote myself, to crafting my writing, to public speaking, to finding agents or venues for publication and so much more. The professional web site, www.AmericanPenWomen.org or www.NLAPW.org , is full of information on webinars, contests, poetry, news, reviews, and much more.
At the biennial, held in the very central L’Enfant Plaza Hotel, we experienced beautifully professional concerts, lectures, seminars, workshops, panels and videos. If you look at the web site and click on “biennial”, you will see a smattering of what we were treated to for four days.
Creatively,
Christina

Cape Cod Writers Annual Conference

By Linda Williams

May

4

Greetings;
The Cape Cod Writers Center will celebrate fifty years of a literary tradition at the annual writers’ conference beginning on Sunday afternoon, August 5, with a welcoming reception from 4-5:30. It will be held in their new location, the Resort and Conference Center of Hyannis, located at 35 Scudder Avenue. For directions or to make hotel reservations at a special conference rate, call 1-800-828-8259.
On Sunday evening from 6-7:30 attending members will be introduced to the faculty and guest of honor, the Honorable Theresa Murray, President of the Massachusetts Senate. The conference officially opens on Monday morning with classes beginning at 8:30 and running until 5:30 followed by a dinner. Programs are scheduled each evening from 7-9. The conference will run through Friday, August 10.
Monday night’s speaker, Joseph Finder, is a New York Times bestselling author of ten novels whom the Boston Globe has called a “master of the modern thriller.”
Tuesday night’s speaker, Amy Caldwell, is an Executive Editor of Beacon Press, who works on literary non-fiction in a variety of forms and subjects to scholarly cross-over. She has edited such notable authors as E.J.Graff, Stephen Puelo, Marty Moran, and Eboo Patel, whose memoir ACTS OF FAITH won the Grawemeyer Award in religion.
Wednesday night’s speaker, Andre Dubois III , is a New York Times bestselling author of five books, who won the “Editors Choice” for his memoir, TOWNIE, which is listed as one of the “Top Non-fiction books for 2011.”
This year’s conference faculty includes a screenwriter, poet, humorist, book doctors, fiction and non-fiction authors, including crime and dark literary fiction authors. Also offered are courses in how to overcome procrastination, how to understand the e-book explosion, creating networks and websites, and writing for film and theatre. No educational stone has been left unturned for this special, fiftieth year celebration.
There will be seven agents available for critiquing manuscripts—first ten pages. They are listed in the program booklet for availability. The cost is $150 for an hour session.
Each year, the conference also features a Young Writers Workshop for poetry and prose, with its own specialized faculty, which takes place during the week of the conference. The event is held at the Barnstable Intermediate School for approximately 45 young people, ages 12-17. Entrants are selected through submissions judged by a committee of writers
To obtain a conference booklet and/or registration form, contact the Cape Cod Writers Center at www.capecodwriterscenter.org. The center is located in Osterville, MA 02655. (P.O.Box 408)
Whether you are a new or seasoned writer, this conference is one not-to-be-missed.
Until next time, be well. Linda

The Breakout Novel – Part 2 – April 20, 2012

By Christina Laurie

Apr

24

Donald Maas continued talking about the three kinds of protagonists in a novel during his all-day workshop in Dedham.
First, the Everyman/Everywoman: what are their characteristics: are they good, strong, admirable, fun, notable? What is active or noble, positive about this character? Then give them a fatal flaw, something that trips them up on their way to their goal. This adds interest and conflict to the story.
Second, is the Hero/ine: put them in the way of danger, Maas encourages. Give them high authority, a problem or job with action and possible danger (like police, seals, high government position, etc). Give them a characteristic, something that makes them a ‘regular” type folk (like a tick, puts glasses in a strange place, can jump out of an airplane but never learned to Parallel Park). Then build the character into a bigger than life person to attack a problem.
The third type of protagonist in a novel is the dark protagonist, the anti-hero. He’s dark, haunted, wounded, self-loathing, or actually inhuman (shape-shifter, fallen angel, werewolf).
Finally, Maas encourages the writer to illustrate one important characteristic of the protagonist in the first five pages by SHOWING how he responds in one particular situation. This sets in our mind the type of person the protagonist is. How do we see the longing, desire, and need of this character? Is there something symbolic that the writer can show us to illustrate what this character hopes for, needs, wants? “Make the reader FEEL the longing for change, or normalcy,” Mass said.
Now write it!
Creatively,
christina

The Breakout Novel – April 15, 2012

By Christina Laurie

Apr

24

Last weekend I attended an intensive, all-day workshop with Donald Maas, author of The Breakout Novel and head of his publishing firm. After 24 pages of notes, my head was swimming, but here are some of the best points.
He opened by asking us: how do you experience fear, shame, anger, embarrassment, brokenness, loss, war, abuse, and what is unacceptable in life for you. Then he said, what is it like to feel these emotions? Put them into your protagonist.
Most characters, he continued, don’t feel strong/passionate enough. Many writers have resistance to writing the fearful emotions, but “GET OVER IT! IT’S ONLY A NOVEL”. What would happiness, anguish, fear look like for the character? What would s/he be able to do that s/he can’t do now? What is currently blocked that could unravel for him/her? What would make him/her more human? These are some of the questions he posed to deepen a character.
Create tension through conflicting ideals or values in the protagonist and antagonist or even in a minor character. This causes a problem, a dilemma for the character to solve, making a more interesting plot. Create full minor characters to make a deeper novel.
Next look for the irony in the scene. If emotions are high/strong, contrast them with normal or even dull spots. High action – low emotion, low action – high emotion. He encouraged us to pick eight scenes in our book and go bigger or smaller in the action, details, movement of scenes; find a new depth and work it out. “Too many MS are too dull and familiar – go deeper,” he said.
Creatively,
Christina

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