Leading a Fiction Writing Workshop by Marilyn Levinson

Last month I gave a fiction writing workshop at my library. I called it a workshop and not a class because I don't think you can teach someone to write fiction. What you can do is help a new writer develop his or her story.

Having written novels for many years, I was well aware of the numerous lessons I wanted to impart to my students. Among them: make every dialogue and scene reveal character and advance the plot; consider your pacing; include backstory only as needed. We factor in so many different elements as we write, but I didn't want to overwhelm these new writers with rules and regulations. I felt it best to dispense any "words of wisdom" as needed.

I was pleased that everyone was eager to start a project. "How do you start?" someone asked.Ah. Excellent question. I read them the opening lines of a few novels and pointed out how each author awakens the reader's interest. How jumping right into the story is the way to go. How we authors are like puppeteers as we introduce our characters, setting, time and a bit of conflict easily and simultaneously. 

I had them read aloud excerpts of what they'd written so the others could critique them. I talked about the importance of forming a critique group and learning how to critique--determining what kept their interest; what took the reader or listener out of the story. And how critiquing others teaches us how to critique ourselves.

We spent time on each student's project. We analyzed story lines and discussed how to move ahead. I read them a heartfelt blog by a multi-published author I know who wrote about the excitement of writing those first few chapters then not being sure how to move ahead and not giving up. I talked about the importance of having writer friends with whom you can discuss your plot. How sometimes by simply asking for help, the perfect idea comes to mind.

I loved their enthusiasm and their willingness to continue writing. I didn't hesitate to repeat what I considered of vital importance: become part of a critique group; join a writing organization; engage your reader's emotions. I had hoped I'd set them off on their own, but was touched when they asked me to hold another workshop.

 

Looking for Inspiration in All the Wrong Places by Connie Berry

 

 

“Where do you get your inspiration?” Authors get asked that question all the time, and we try to answer it honestly. Which is the problem, because there really isn’t an answer—not a truthful one anyway—because inspiration isn’t the same thing as ideas.

Writers get ideas from true crime and daily news reports. We mine history and family legends. We read books and articles that capture our interest. We observe people around us and eavesdrop on the conversations of strangers. We ask that all-important question—“What if?”

Getting ideas isn’t difficult. They're everywhere. But inspiration, that illusive spark of creativity, isn’t something we can summon at will.

Glen Hansard, the Irish musician and poet once said:

“The muse holds no appointments. You can never call on it. I don’t understand people who get up at 9 o’clock in the morning, put on the coffee, and sit down to write.”

Of course, you can get up, put on the coffee, and sit down to write. We all do it—the necessary work of transferring ideas into words, sentences, paragraphs, scenes, and chapters. But Hansard wasn’t talking about craft. He was talking about true inspiration. Plato called it a kind of madness.

That madness includes not only the creativity that informs original plots and generates unforgettable characters. It also includes language itself, that magical moment when ordinary words take on a rhythm and an unexpected beauty that surprises and delights the writer as well as the reader.

James Joyce once gave an example of the beauty of language in Jesus’ words when he stands before the tomb of Lazarus. In French, Joyce said, the words would be “Jeune homme, je te dit, lève-toi.” But in English, Joyce said, it would be, “Young man, I say unto thee, arise,” the sound carrying with it, he said, the image of rising. (Dinita Smith, “Writing and Madness”) https://centerforfiction.org/writing-tools/writing-and-madness/”

So where is true inspiration to be found? I don’t believe it is found. It finds us and is received with an appropriate sense of wonder and gratitude.

The goal is to create an atmosphere that invites inspiration.

For me, creating an atmosphere conducive to receiving the gift of inspiration means slowing down, daydreaming, allowing my thoughts to wander down paths that appear irrelevant—some would call it wasting time.

Where does the muse find you? How do you invite the gift of inspiration?

Is All Publicity Good Publicity? by Connie Berry

 

P.T. Barnum, nineteenth-century showman and co-founder of the Barnum and Bailey Circus, is reputed to have said, “All publicity is good publicity.” That’s never been confirmed, although he did say, “There’s no such thing as bad publicity,” which is pretty much the same thing. He also said, “Without publicity, a terrible thing happens—nothing.”

Was Barnum right? Is being recognized and talked about the key to success? Sometimes it seems so. In the world of books, celebrities can “write” a book, regardless of merit, and expect it to make the New York Times bestseller list. But back to Barnum. 

Phineas Taylor Barnum (1810 to 1891) was many things including a promoter, a philanthropist, and a passionate abolitionist. He was also the perpetrator of a series of sensational, unbelievable, and frankly cruel hoaxes.

In 1835 he claimed Joice Heth, an elderly Black woman and ex-slave, was the 161-year-old nursemaid of President George Washington. In spite of being blind and half-paralyzed, the woman worked 12 hours a day, singing hymns and telling amusing stories about “little George.” When she died, leaving Barnum without the income she brought in, he charged people 50 cents to watch her autopsy. When the doctor performing the autopsy said she was no more than 80 years old, Barnum claimed Heth was still alive and on tour in Europe. He later admitted the hoax.

Undeterred, in 1842 he introduced the “Feejee Mermaid,” a creature that proved (according to Barnum) the mermaid legends were right. What people marvelled at was a fish’s tail sewn onto the head and torso of a baby monkey and covered with papier mâché. This little mermaid was destroyed in a fire.

The next year, 1843, Barnum claimed he’d imported a herd of wild buffalo from the West, along with real-life cowboys who would hunt them for the delight of the audience. A whopping 24,000 people paid money to see this great event. What they saw was a handful of malnourished animals who became so frightened by the crowds they broke through the flimsy barriers he’d erected.

Then there was the Cardiff Giant. In 1869 well diggers in Wales claimed to have dug up the body of a 10-foot tall, 3,000-pound, petrified giant—actually a statue carved out of gypsum. Intrigued at the money-making possibilities, Barnum tried to purchase the giant from another showman for $23,000. When he was turned down, he constructed his own giant, claiming his was real and the other a fake. The first case of a hoax perpetrated on a hoax. 

There were others. Barnum justified his hoaxes by calling them “advertisements,” designed to get people to pay his entrance fees. He said, “I don’t believe in duping the public, but I believe in first attracting and then pleasing them.” In other words, the end justifies the means. 

So what does this have to do with the business of writing? Authors today are required to do a lot of publicity. Unless you’re the next Michael Connelly or Louise Penny, publishers expect their authors to do everything in their power to promote their books. I understand that. It’s part of the deal. After all, how will readers buy your book if they don’t know it and you exist? That’s where publicity comes in—getting your name and the name of your book out there. But is all publicity good? What are you prepared to do to become known? You wouldn’t perpetrate a hoax, but you just might fall for one. 

There are plenty of ethical publicists and marketing experts out there who are worth every penny they earn. But there are also fraudsters who claim things that aren’t possible, like getting your book into millions of hotel rooms, libraries, and bookstores—if you pay them, of course. They will include your title in mailings to their many thousands of followers. They will pitch your book to important movie executives. They will even impersonate a legitimate publisher or marketing professional to fool you. They just want your money. 

Writer beware! In fact, that’s the first place you should go: http://www.writerbeware.com. And remember, if something is too good to be true, it usually is. 

Have you ever been tempted by (or fallen for) a publicity hoax? 

So You Call Yourself a Fiction Writer by Marilyn Levinson

I write mystery novels and novels for kids. However, in the service of writing my books I find I write more non-fiction than fiction. I will enumerate the ways and share some of my thoughts.

1. My group blog: I write a short essay once a month, usually something that has to do with writing. Or it might be a thought piece. I never fail to come up with a topic, probably because I'm in the midst of friendly, like-minded authors.

2. Guest blogs. These are most difficult for me to write. Though their purpose is to draw attention to my latest book, I need to write about a subject that appears in my book like art forgery or weddings.

3. Interviews: I like interviews because once I have to answer a question, I'm off and running. However, there are always one or two questions I have trouble responding to. Such as, I don't know which author, dead or alive, I'd like to have dinner with.

4. Articles for mystery magazines: These are even longer and more researched essays that deal with subjects or situations that I've written about in my most recent mystery. Or they deal with some aspect of writing mysteries.

5. Newsletters: I must admit I enjoy writing my monthly newsletter, which includes aspects of my personal life and a good deal about my writing life.

6 . Blurbs I've been requested to write:  I do my best to come up with a one-liner that captivates the essence of the book I've just read in a fresh and complimentary way. I sometimes feel I've stepped into the advertising world and wonder how I would have done working there.

7. Blurbs for my own books: I need to incorporate the most appealing aspects of my novel without giving away too much of the plot. I admit to often copying what's on my Amazon page.

8. Book Reviews: I often post reviews of books that I've enjoyed reading on Goodreads, BookBub and Amazon. These always take more time than I expect. Most of the time they aren't mysteries.

9. Query letters: Thankfully, I haven't needed to write any official query letters in some time. But I do query podcasters and other hosts to ask if they'd be interested in having me as their guest.

10. Author Takeovers (When a cozy author "takes over" a cozy Facebook group and chats with cozy readers for an hour or two ): I love them because I get to interact with readers. I try to ask thoughtful questions and I receive many responses, all of which I do my best to answer.

11. Emails: I write many daily exchanges with my small group of writers. These concern writerly topics as well as other subjects. We are a garrulous group.

12. Emails again: I exchange daily reports with two writer friends— about our writing output, how else we've spent the day, and what's on our minds. Food features largely, for some reason.

13. Outlines and synopses: As everyone knows, these require great organizational skill. I manage to write a partial outline at the start of a novel, knowing there will be many additions and changes.

14. Bios: Authors need bios of various lengths. They all need to be constantly updated.

15. A visual promoting a sale or an new book: Great images and design are a must, but there's still the need to use the right words to grab readers' attention. Again I'm feeling like an ad person, this time a foot in the art department.

 If you are an author, in what additional situations do you find yourself writing about your fictional projects?

 

How Time Does Fly by Connie Berry

 

Today is my wedding anniversary. My husband, Bob, and I were married at Bethesda Covenant Church in Rockford, Illinois, on this very day many years ago. My parents gave us a lovely reception, after which Bob and I took off for a three-month honeymoon in Europe. He had to report to the Air Force in September, and instead of doing something silly like getting jobs and saving money, we blew every cent we had on travel. Neither of us would change a thing.

Remembering those days, and especially looking back at the old photos, reminds me of all the years that have passed. Bob and I have two grown sons. For some reason, our hair has changed color, and our faces have, ahem, matured. Bob is still working full-time in our family business. I’ve retired from one job to take up novel-writing. The world has changed as well. Time does fly.

As I’m finishing up the manuscript for A Collection of Lies, the fifth book in the Kate Hamilton Mysteries, it occurs to me that authors must deal with the issue of time—especially those fortunate enough to write long-running series. Sue Grafton allowed Kinsey Milhone, her private investigator, to age by one year every two-and-a-half books. In A is for Alibi, Kinsey was 32. In her final book, Y is for Yesterday, Kinsey is 39. Man, she packed a lot into those seven years.

Ian Rankin’s DI John Rebus of Edinburgh, Scotland, has been allowed to age pretty much in real-time. He wasn’t young when Rankin began the series with Knots and Crosses. Now, twenty-two books later, Rebus is somewhere in his seventies. He’s retired from the police, struggles with COPD, and spends a lot of time walking his dog, Brillo.

Are there book series where the protagonist doesn’t age at all? I can’t think of one, but I can think of plenty of TV series that would fall into that category—M*A*S*H, for example. The series, set in a field hospital during the Korean War, ran from 1972 to 1983—eleven years. And yet the war lasted only three years, which meant not only that the main characters couldn’t really age but also that they couldn’t ever rise in the ranks or be reassigned. The make-up budget for that show must have been massive.

My own series covers a short period of time so far, from October of an unspecified year to January, fifteen months later. Kate, who was 45 when the series began, has finally turned 46.

Here’s the point: however you decide as a writer to handle the passage of time, you will have to deal with it in some way. On a personal level, time marches on whether we “handle” it or not. 

I say, let’s make the most of it!

For authors, how do you deal with the passage of time in your books?

For readers, is a protagonist’s age important to you? 

What Do You Write? by Marilyn Levinson

Yesterday I started writing a short story. Not a momentous event for many novelists, but it was for me. The last short story I wrote, "I'm Getting Married," was published eleven years ago and wasn't a mystery. And yet, writing short stories was my first venture into fiction writing. I moved on to writing novels for kids and eventually to writing mysteries for adults.

While many of my fellow mystery authors manage to write both novels and short stories, I seemed to have forgotten how to write short stories. My interest got piqued while chatting with Barb Goffman and a few other authors at Malice some years ago. Recently, I nudged my friend Kaye George for some advice and listened carefully to a few of Art Taylor's webinars, hoping to catch that magical je ne sais quoi that would let me once again write a complete story in twenty or fewer pages.

I'd been invited to write stories for mystery anthologies before and always said no. But when a friend asked me to do this, I immediately said yes. I loved the topic, and I was determined to create a story that was appropriate and satisfying. Various ideas ran through my mind. I settled on the one I thought the most fun and began.

It occurs to me that we writers often write in various genres. My first published books were for children, and I still consider myself a children's book author, though most of my energies go into writing adult mysteries. Many though not all of my books include a paranormal element. So many of my mystery-writing friends are trying their hand at writing suspense novels. We are creative people and constantly come up with new ideas and situations. That might also include writing in another format or genre, just as so many actors move on to directing movies and becoming producers of their television shows. We are inspired by the never-ending need to come up with the new, the different, the exciting.

What genres do you write in and why?