Craft Capsule: Memory, With Soundtrack

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by Megan Stielstra

This is the thirteenth in a series of micro craft essays exploring the finer points of writing. Check back each Tuesday for a new Craft Capsule.

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I was at the Montrose Dog Beach in Chicago, throwing tennis balls into Lake Michigan for my pit bull. My son, then four, splashed next to us in knee-high water. It was summer, early morning, the sun beginning to rise, and behind us we heard singing. A group of people, all dressed in white, had gathered on the beach. Two of them waded into the lake, passing us to deeper water. The woman’s skirt streamed around her waist; then the man dunked her backwards and she sprang up dripping, joyful, her face turned towards the sun.

I didn’t have much of a religious upbringing. This was my first baptism.

Recently, trying to write about this moment and what it meant for me, I realized my memory was tangled with a scene from Joel and Ethan Coen’s O Brother Where Art Thou (2000). Have you seen that movie? It’s based on Homer’s Odyssey and is set in rural Mississippi during the Great Depression with a terrific bluegrass soundtrack. Three escaped convicts in the woods are engulfed in a wave of bodies dressed in white—what “appears to be a kind of congregation,” one convict says to the other two. Everyone is singing: Oh sisters let’s go down, come on down, down in the river to pray. It’s beautiful; magical, almost. They move as one towards the water in four-part harmony and yes, fine, of course the people on Montrose Beach that day weren’t really singing “Down in the River to Pray.”But still, that’s what I hear. I shut my eyes and I can see them, their clothes swirling white in the water, their voices in my bones.

I’m interested in how art and pop culture influence memory and, subsequently, the choices we make when crafting creative nonfiction. Do I include that song in my retelling? The white clothes, the magic? When I find myself searching for rules of how one can and cannot write, I go back to Francine Prose’s beautiful essay “Learning From Chekov.” “Admit that you understand nothing of life, nothing of what you see,” Prose writes. “Then go out and look at the world.”

The achingly personal connections we’ve built with books and movies and music is as true to our stories as standing in the sun.

 

Megan Stielstra is the author of three collections including The Wrong Way to Save Your Life, forthcoming this August from Harper Perennial. Her work appears in Best American Essays, the New York Times, Guernica, the Rumpus, and on National Public Radio.

Original Link https://www.pw.org/content/craft_capsule_memory_with_soundtrack

32 Great Writing Conferences in May 2017

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Source: 32 Great Writing Conferences in May 2017

Conferences are not only the best way to meet agents, get tips from other writers, and learn about the publishing industry, they make you …

13th annual PEN World Voices Festival of International Literature. May 1 – May 7, 2017 at various locations in New York City. readings, performances, and panel discussions for poets, fiction writers, and creative nonfiction writers. “The thirteenth annual PEN World Voices Festival will take on some of the vital issues of the Trump-era, with a special focus on today’s restive relationship between gender and power. Taking place in New York City, May 1-7, 2017, the weeklong festival will use the lens of literature and the arts to confront new challenges to free expression and human rights—issues that have been core to PEN America’s mission since its founding. At this historic moment of both unprecedented attacks on core freedoms and the emergence of new forms of resistance, the Festival will offer a platform for a global community of writers, artists and thinkers to connect with concerned citizens and the broader public to fight back against bigotry, hatred and isolationism.”

Romance Times BookLovers. May 2-7, 2017, Atlanta, GA.

ASJA (American Society of Journalists and Authors) Writers Conference, May 5 – 6, 2017. NYC, NY. Focus on Autobiography/Memoir, Business/Technical, Humor, Journalism, Marketing, Nature, Non-fiction, Publishing, Religion, Screenwriting, Travel. Attending: more than 100 editors, authors, literary agents, and publicists.

Northern Colorado Writers Conference. May 5 – 6, 2017, Fort Collins CO. The 2017 Northern Colorado Writers Conference will bring back some local favorites such as Laura Pritchett, Trai Cartwright, and Kerrie Flanagan, as well as welcome several new-to-NCW presenters such as Bob Mayer, Jessica Strawser, and Whitney Davis, and several new agents.

Idaho Writers Guild Conference. May 5 – 6, 2017, Boise, Idaho. Meet with agents, editors, and authors. Panel discussions, workshops, and a keynote speaker. Your registration – $195 for IWG members, $225 for non-members.

Gold Rush Writers Conference. May 5 – 7, 2017, Mokelumne Hill, CA. “Writing professionals will guide you to a publishing bonanza through a series of panels, specialty talks, workshops and celebrity lectures. Go one-on-one with successful poets, novelists, biographers, memoirists and short story writers.” Writing workshops in Autobiography/Memoir, Children’s, Fiction, Marketing, Non-fiction, Poetry, Publishing, Romance, Travel, Young Adult.

The Massachusetts Poetry Festival. May 5 – May 7, 2017, Salem, Massachusetts. The Mass Poetry Festival offers nearly 100 poetry readings and workshops, a small press and literary fair, panels, poetry slams, and open-air readings. More than 150 poets will engage with thousands of New Englanders.

Grub Street Muse and the Marketplace Conference. May 5 – May 7, 2017. Boston, Massachusetts. The Muse and the Marketplace is a three-day literary conference designed to give aspiring writers a better understanding about the craft of writing fiction and non-fiction, to prepare them for the changing world of publishing and promotion, and to create opportunities for meaningful networking. On all three days, prominent and nationally-recognized established and emerging authors lead sessions on the craft of writing—the “muse” side of things—while editors, literary agents, publicists and other industry professionals lead sessions on the business side—the “marketplace.”

Hedgebrook VORTEXT Salon. May 5 – 7, 2017: Whidbey Institute on Whidbey Island, about 35 miles northwest of Seattle. Workshops, panel discussions, lectures, open mics, and time to write in poetry, fiction, and nonfiction for women writers.

Columbus State Community College Writers Conference. May 6, 2017, Columbus, Ohio. Workshops in Autobiography/Memoir, Business/Technical, Fiction, Journalism, Marketing, Non-fiction, Playwriting, Poetry, Publishing, Screenwriting. This one-day conference is free of charge.

DFW Writers Conference. May 6 – 7, 2017, Fort Worth TX. Featuring pitch sessions with literary agents, advanced classes, engaging panels, interactive workshops.

Writers Retreat Workshop. May 6 – 13, 2017, San Antonio, TX. Featuring Author and Instructor Lisa Cron (Wired for Story, Story Genuis), Thriller novelist Daniel Palmer (Delirious, Forgive Me, Mercy (with his late father Michael Palmer) ), Mystery and thriller author Reavis Wortham (Red River Mystery Series, and in 2017 Sonny Hawke series), Author and Instructor Les Edgerton (Bomb, Hooked (WD), The Bitch), Author, Instructor and Editor Carol Dougherty, Author, Instructor, Editor, and Program Director Jason Sitzes, and more agents, editors, and authors.

Mokulē‘ia Writers Retreat. May 7 – 12, 2017 in Waialua, Hawaii at Camp Mokulē‘ia, Oahu. Offers workshops in fiction and nonfiction, readings, one-on-one consultations, publishing panels, yoga sessions. The retreat is led by North Shore native Constance Hale, the author of Sin and Syntax, the editor of more than two dozen books, and a journalist whose stories about Hawai‘i appear on CD liner notes, as well as in publications like The Los Angeles Times and Smithsonian magazine. Hale invites a mix of writers, editors, and agents from both the islands and the mainland to lead various workshops and appear on panels.

Novel-In-Progress Bookcamp. May 7- 13, 2017: West Bend WI. 6-day, residential workshop-retreat for writers in all genres working on a novel or creative nonfiction book. Workshops in Autobiography/Memoir, Fiction, Horror, Humor, Mystery, Non-fiction, Publishing, Romance, Science Fiction/Fantasy, Young Adult. Registration is limited to 30 people.

Crafting Successful Author Visits. May 7 – 12, 2017, Honesdale, PA. Peter Jacobi, journalism professor and former newsman for NBC and ABC, will coach you in the fundamentals of public speaking. Peter will teach the seven essential parts of speech writing as well as tips for audience engagement. Carmen Oliver and Jan Cheripko will advise you in the creation or revision of your presentation intended for a school audience. In addition to one-to-one feedback on your presentation, Jan and Carmen will accompany you to an on-site school visit during the workshop.

Writing the Unreal: The Whole Novel Workshop in Fantasy & Speculative Fiction. May 7-14, 2017, Honesdale, PA. This unique workshop is designed for anyone with a complete or near-complete draft of a middle-grade or young adult novel in fantasy or speculative fiction who wants a thorough manuscript critique and help making plans for revision. WAITLISTED.

Lakefly Writers Conference. May 12 – 13, 2017: Premier Waterfront Hotel & Convention Center in Oshkosh, Wisconsin. Workshops, talks, and a bookfair for poets, fiction writers, and nonfiction writers. Keynote speaker is Nickolas Butler. Many speakers and presenters.

Atlanta Writers Conference. May 12-13, 2017, Atlanta, GA. Featured Writers Include: Six acquisition editors from top publishing houses and six well-regarded literary agents, plus a workshop presenter from the publishing industry and successful, experienced authors, many of whom received their first publishing and/or representation contracts via the Atlanta Writers Conference.

Seaside Writers Conference. May 14 – 20, 2017: Seaside Assembly Hall in Seaside, Florida. “The Seaside Writers Conference is an annual gathering of creative writers from all over the nation, and features award-winning writers in poetry and fiction and screenwriting who will offer a full week of intensive writing workshops, one day seminars, school outreach programs, and social events.” Many authors, agents, editors.

Whole Novel Workshop: Historical Fiction. May 14 – 20, 2017, Honesdale, PA. This workshop provides novelists in middle grade or young adult historical fiction a complete review of their entire manuscript, along with tools for revision and practical tips from experts in the field. WAITLISTED.

Writing By Writers Methow Valley Workshop: May 17 – 21, 2017, Winthrop, WA. Faculty: faculty includes Ron Carlson, Ross Gay, Pam Houston and Lidia Yuknavitch. Tuition: $1,650 (before November 1) $1,750 (after November 1) includes one four-day workshop, admittance to all panels and readings, and all meals (dinner on Wednesday; three meals Thursday through Saturday; breakfast and lunch on Sunday) and lodging for four nights.  Alumni of the first Methow Valley Workshop in May 2016 will receive a $100 discount.

Nebula Conference and Awards Ceremony. May 18-21, 2017, Pittsburgh, PA.

Defining Your Voice. May 18-21, 2017, Honesdale, PA. As a reader, you know “voice” in an instant. It stands out. It rings true. It stays in your head. As a writer, you have a voice that is distinctively your own. It comes from within and without—inner conflicts, outside pressures, personal values, and your own particular views of the world infuse your work. You tell the stories that only you can tell. Join writer and editor Sharyn November to immerse yourself in rich examples of many writers’ voices as you work to develop your own.

Pennwriters Conference, May 19 – 21, 2017, Pittsburgh, PA. Friday evening keynote Jonathan Maberry; Saturday afternoon keynote Chuck Sambuchino; and 20+ authors, literary agents & editors, writing industry pros. Costs: $375 for 3-day registration. One-day registration available $185.

Austin SCBWI 2017 Writers & Illustrators Working Conference. May 20 – 21, 2017, Austin, TX. Conference on children’s books with keynotes; general sessions; breakout sessions for writing, professional development and illustration; intensives for novels, picture books and illustration; critiques; pitches and more. Faculty: Editors Kendra Levin (Penguin Random House), Melissa Manlove (Chronicle) Agents Linda Camacho (Prospect), Stefanie Von Borstel (Full Circle) Art Director Giuseppe Castellano (PRH). Authors Kathi Appelt, Coe Booth, more. Author/illustrator.

Boldface Conference for Emerging Writers. May 22 – 26, 2017, Houston, Texas. Featured Writers Include: Fiction: Bill Broun (Night of the Animals); Nonfiction: Lea Lax (Uncovered); Poetry: Hayan Charara (Something Sinister, The Sadness of Others, and The Alchemist’s Diary). Application deadline: MAY 1st.

Creative Nonfiction Writers’ Conference. May 26 – 27, 2017: Wyndham University Center in Pittsburgh. Master classes, craft discussions, publishing talks, pitch sessions, and readings for creative nonfiction writers. In just three days you can meet one-on-one with a literary agent or publishing consultant, get concrete advice from professional writers, hear what different kinds of editors are looking for, and hone your skills in an inspiring small-group session. You’ll also meet and mingle with writers from across the country who share your excitement about the writing process.

Connecting Writers with Hollywood. May 26 – 27, 2017, Spokane, WA. CWWH is a writers conference where writers and screenwriters can pitch their material directly to film agents and producers. It is a weekend of education, panels and pitch sessions. Faculty: Chuck Palahniuk (!), Brian Bird, Mel Eslyn, Mark Steilen, Mike Dill, Megan Griffiths, Kim Hornsby, Nikki Navarre, Heather Morado.

Balticon 51. May 26 – 29, 2017, Baltimore, MD. Balticon is sponsored by the Baltimore Science Fiction Society (BSFS). BSFS presents the Compton Crook Award, the Robert A. Heinlein Award, and the winner of the annual Jack L. Chalker Young Writer’s Contest annually at this event. Faculty: Eric Flint as Guest of Honor. Multiple tracks of Programming over the four day weekend, featuring authors, artists, scientists, musicians, podcasters, publishers, editors, costumers and other creative SF luminaries.

The Personal is Always Political with Melissa Febos. May 26 – 30, 2017, Austerlitz NY. What is the role of the personal writer in this new political landscape? It has always been the job of writers to engage in conversation with the world, but in times of national upheaval, this job is more urgent than ever. In this generative workshop, we will explore methods of bringing our personal stories more explicitly into a political context.

Capturing the Unexpected: Beginning Your Novel – Right. May 28 – June 3, 2017, Honesdale, PA. The experiences of National Book Award-winning editor Patricia Lee Gauch will drive this spirited workshop on getting your novel off to a great start. Through dialog and activities, writers will gain vivid strategies with which to build their middle-grade or young adult novels into truly original narratives with rich characterization, surprising depth, and real emotional power. Daily exercises, long and short, will focus on writers’ diction and style, character development, the driving force of attitude, and voice. During the five days, participants will develop a draft of two short stories or chapters with which they can begin a long work of fiction. Class is limited to eight participants. Applications for this workshop should include a two-page sample of writing. WAITLISTED.

North Words Writers Symposium: May 31 – June 3, 2017, Skagway, Alaska. Faculty: Keynote author Paul Theroux. Alaskan authors include: John Straley, Sherry Simpson, Tom Kizzia, Deb Vanesse, Andy Hall, Lenore Bell. Costs: $375 includes most meals. College credit extra for $90.

Source: 32 Great Writing Conferences in May 2017

Deep POV Part 2—How to Immerse the Reader in Story

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By Kristen Lamb

LINK: http://authorkristenlamb.com/2017/04/deep-pov-part-2-how-to-immerse-the-reader-in-story/

Image via Flickr Creative Commons courtesy of FromSandToGlass

So last time we introduced Deep POV. What is it and why do readers love it? Well, as I touched on last time, I think readers love it because it’s just clean, tight writing that pulls them into the story. I also think like all other POVs that have evolved in tandem with social changes, deep POV is a consequence of our world. We are a reality TV generation and we love that intimacy.

But after noodling it a couple days, I thought of yet another reason it behooves writers to learn deep POV. I think the reason readers love it is it hooks them. We live in a world chock full of millions of tiny distractions, which has made all of us more than a little ADD. A hundred years ago, readers weren’t distracted by emotionally distancing words.

They were an easier fish to catch, so to speak.

I think these days, writers really have a challenge. We are already competing with countless distractions, so why add more into our work? We need to hook early, hook hard and drag that reader under before he swims away.

Today is the HOW TO DO THIS.

To accomplish “deep POV” yes, there are style changes we can make, like removing as many tags as we can and ditching extraneous sensing and thinking words. But deep POV is more than just tight writing, it’s also strongly tethered to characterization. Good characterization.

It is essential to know our cast if we hope to successfully write “deep POV.”

KNOW Your Cast

There are all kinds of ways to get to know our characters. I often write detailed character backgrounds before starting a story so it doesn’t become a fish head.

Why we need to know our characters is that deep POV is a reflection of the inner self, how that character sees the world, responds, evades, processes, etc. It is also a reflection of personal history and relationship dynamics. It is his/her PARADIGM.

*cue brain cramp* *hands paper bag*

It’s okay. Breathe. We’re going to unpack this.

Reflection of the Character

Image via Flickr Creative Commons, courtesy of DualD Flip Flop

Back when I ran a weekly workshop, I had writers do a little exercise to help them learn POV and also strengthen character-building skills. I gave this scenario:

We have a family of four—Mom, Dad, a grandparent (either gender) and a teen (either gender) who has spent a year saving for a family vacation. On the way to their destination, the vehicle breaks down. What happens and tell it from the perspective of EACH family member.

Every week, writers showed with the perspective of one of the four. We had ASTONISHING creativity.

Who These Characters ARE Changes the Story AND Deep POV

When we layer in some background, the characters (and consequently the story, problems and conflict) all change drastically.

What if dad is finally home from his forth tour in Afghanistan and has terrible PTSD?

What if Mom is a closet alcoholic?

What if the teen is recently in remission from Leukemia?

What if Grandma is a tireless flirt who’s antics got her turned into a vampire and the family can’t understand why Granny wants to travel only at night?

What if the teen is an asthmatic and forgot his inhaler?

What if Granddad has early on-set Alzheimer’s?

What if the teen has been recruited for a mandatory deep space mission by the New Earth government and will never see the family again?

What if the teen was adopted and the purpose for the trip was to meet the child’s birth mother? How would this impact the emotions of those in the vehicle?

What if there used to be TWO children and one had died in an accident a year previously?

Do you see how by changing WHO these people are, this cannot HELP but affect everything else?

If Dad has PTSD, he might jump at every lump of roadkill because that’s how insurgents hide IEDs. If the family is stranded and Mom can’t get to a liquor stash, she might start getting belligerent or, left too long, start going through DTs. What would an addict notice? Likely nothing beyond how to get a fix.

While a kid in remission with a new lease on life might enjoy being broken down in the middle of nowhere (appreciating the little things in life) the addict would be hysterical.

All of this will impact Deep POV because we are in the HEAD and EMOTIONS of the character.

Let’s pick on Mom for an illustration. I’m riffing this, so the writing is just an illustration. Just roll with it.

Geiko Caveman.
Geiko Caveman.

Kidding! Lighten up. You seem tense.

Example One:

Fifi clutched the baby picture, the one she’d carried everywhere for fifteen years. She hated she was happy the old van had finally given out. Her husband stared, bewildered at the smoking engine. Other than car trouble, he seemed fine. Fine. How can he be fine?

She glanced back at her daughter, the living reflection her of all her dreams and failures. She’d wanted a baby more than life. Every night on a freezing floor. One miscarriage after another and then came a tiny bundle of everything she’d ever longed for.

That woman hadn’t wanted her. That woman had abandoned her. That woman was Gretchen’s real mother and now Gretchen wanted to meet her. Real mother, like hell. And I’m a real astronaut.

How had she failed? If she’d been a good mother, Gretchen would have forgotten that woman and they wouldn’t be here.

“You okay?” Her daughter bent between the seats and kissed her cheek. “You said this was okay, that we could do this. You’re sure, right?” A wary smile revealed new braces, the braces Fifi paid for with money she’d saved for a new van.

“I’m fine, Honey.” She crumpled the baby picture and opened the van door. She needed air.

***

Example Two:

Fifi clutched the baby picture, the one her daughter had given her a week ago for Mother’s Day when they picked her up from rehab. Ninety days clean. At least that was the lie she’d packed along with her swimsuit and the hairspray can with the secret compartment and the only pills they hadn’t found.

The pills that were now gone.

They should have already been at the resort, the one staffed with eager friends willing to help her out. Friends with first names only who took cash and asked no questions.

Fifi scratched at her arms. Millions of insects boiled beneath her skin, invaded her nerve endings and chewed them to bleeding bits. Pain like lightning struck her spine, the section crushed then reconstructed. Pain like lightning spidered her brain, frying her thoughts. She glanced again at the baby picture, then at the fine young woman in back. Her daughter Gretchen.

What am I doing?

Maybe she would be okay. Maybe she hadn’t had enough pills to completely undo her. Maybe she could ride this out. And maybe I’m the Queen of England.

Gretchen bent between the seats and kissed her on the cheek. “I love you, Mom. You okay?”

Tears clotted her throat. She nodded. “Yes, I’m fine, Honey.”

“You mean it?”

She hesitated then smiled. “Yes. Yes I do.”

She tucked the baby picture in her shirt pocket, close to her heart and opened the van door. She needed air. She also needed to change their plans. Visit somewhere with no friends. With no one who took cash.

Do you see how changing WHO Fifi is changes everything? Everything she is sensing, feeling, thinking. Being in the emotions of a heartbroken mother who feels betrayed is a very different experience from being in the head of a sympathetic addict who’s struggling to get clean and stay clean.

***

Both women are impacted by the daughter. One Fifi is hurt by the daughter, the other Fifi finds hope in the daughter. Both women are conflicted. One is tormented with feelings of failure and betrayal and the other is tormented by failure, but very real physical problems of addiction that impact the story.

Deep POV has thrust us into the head and emotions of both women. We feel what they feel. The author is invisible because there are no tags. The sensations are raw and visceral because we have gotten rid of the coaching words.

Instead of:

Fifi felt millions of insects boiling beneath her skin….

We get right to it.

Millions of insects boiled beneath her skin…

The sensation is CLOSER. There is no psychic distance. She isn’t thinking she is going to lose it. She isn’t wondering if she can keep it together. She is experiencing everything real-time and up-close.

Instead of:

Fifi thought, What am I doing?

She just does. We KNOW Fifi is thinking because we are camped in her head.

Deep POV is Akin To Method Acting

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Couldn’t resist. I LOVE “Tropic Thunder”!

When we know our characters, who they are, how they came to be, the formative experiences, what they want from life, etc. we can then crawl in that skin and become that person. By us becoming that character, we then have the power to transport our reader into the skins we have fashioned.

I hope this helps you guys understand the magical, mystical deep POV and now you’re all excited about writing stronger characters. What are your thoughts?

Before we go, check out the new classes below (including a two-week workshop on Deep POV by powerhouse editor Lisa Hall-Wilson). W.A.N.A. is also offering two NEW classes for romance authors, one on how to write shifters and the other on how to write great historical romance without needing a PhD in History.

I also have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes—6+ hours of instruction with MOI—for $99 & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (also 3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

Shift Your Shifter Romance into HIGH Gear $35 May 19th with powerhouse editor Cait Reynolds.

Researching for Historical Romance (How to NOT Lost 6 Hours of Your Life on Pinterest) $35 May 20th

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

COVER REVEAL!

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TA DA! Today is the cover reveal for my new book that will be out this summer. Thank you so much to Michelle Goodhew from Mundus Media Inc for the cover art and to Jeremy John Parker for the reference blurb.

The cover is below front and front and back and one small tease. This is being shown on several blogs today. Below that is my bio and social media links.

DP - Front

DP-06 copy

Dreampoemadv

BIO
K. D. Rose is a poet and author. K. D.’s book, Inside Sorrow, won Readers Favorite Silver Medal for Poetry. Her poetry, essays, and short stories have been published in Word Riot, Chicago Literati, Poetry Breakfast, BlazeVOX Journal, Ink in Thirds, The Nuclear Impact Anthology, Stray Branch Magazine, Literary Orphans, and others. Publication is forthcoming in Eastern Iowa Review, Lunch Ticket Arts and Literary Magazine, Santa Fe Literary Magazine, Northern Virginia Review, Hermes Poetry Magazine, Maintenant Contemporary Dada Magazine, Slipstream, Wild Women’s Medicine Circle Journal, and The 2016 Paragram Press Anthology. She also won an Honorable Mention in the 2016 New Millennium Writings Poetry Contest. Her last release was Brevity of Twit. Her new book DreamPoem will be out in summer 2017. She has a B.S. in Psychology and a Master’s Degree in Social Work. Member: Poetry Society of America. Member: Poets and Writers. Member: Academy of American Poets.

Accepted for Publication!

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One of my flash fiction pieces has been accepted by Lunch Ticket, an Arts and Literary magazine from the mfas at Antioch unversity!

“My poems “To Someone” and “O Aleppo” were accepted and will be in the next print and electronic edition of the Wild Women’s Medicine Circle Journal!

The Northern Virginia Literary Review Issue 31 will come out March 21 with my poem in it. My contributor copies are being sent to me.

My essay was just accepted for publication by Mothers Always Write-a literary magazine by mothers for mothers. It will be in an upcoming issue! And yes, it’s about my mom.

The cover of my new book DreamPoem is done and looks fantastic thanks to Michelle Goodhew from Mundus Media Inc. I won the book cover package for free and its really cool!

That’s about all the writing news for now!

Deep POV by Kristen Lamb

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DEEP POV—What is It? Why Do Readers LOVE It?

So maybe you’re bee-bopping along on the interwebs, clicking on blogs, checking out writing resources when you see it float across your tweet deck. Or perhaps you’re at a writing conference looking all intellectual and stuff, and in the conversations this phrase deep POV keeps floating past. Deep POV. Deep POV. You keep hearing it, seeing it…

And, if you are anything like me, you don’t want to look like an idiot so you don’t ask that question burning inside you.

Um, what the heck is deep POV?

***Note to self. Google Deep POV at home under cover of darkness.

So what the heck is it and why do we need some?

If you are a writer who has a goal of selling books it is wise to remember that audiences are not static. They change. Their tastes change with the times and we need to understand what is “trending” if we want to connect and entertain. Many new writers look to the classics for inspiration and there isn’t anything per se wrong with that, but we must reinvent the classics, not regurgitate them.

Even if you look at the fashion trends, sure some styles “come back around” but they are not exact replicas of the past. They are a modernized version. But keep in mind that some fashion styles never come back. They’ve outlived their usefulness and belong in the past. Same with fiction.

Story trends and fashions change along with the audience. For instance, Moby Dick spends an excruciatingly long time talking about whales, namely because the audience of the time probably had never seen one and never would. If we did this today? Sure, feel free to walk around in a literary gold-plated cod piece, but er…

Yes, awkward.

Epics were also very popular. Follow a character from the womb until death. FANTASTIC STUFF! Why? Because no one had HBO, Pinterest or Angry Birds. Books were a rare indulgence usually reserved for a handful of literate folks with the money or connections to get their hands on…a book.

Also, since writers were paid by the word, their works were padded more than a freshman term paper. Their motto? No modifier left behind. These days? We have to write leaner, meaner, faster and cleaner.

We’ve talked about POV before, and which one might be the best for your story. I can’t choose for any of you, but before we talk about deep POV, I want to mention that POV is also affected by audience and I believe is a direct reflection of how connected we are as a society.

You guys may or may not know that POV has changed along with communication and connectedness. Waaaaay back in the day, omniscient with a god-like narrator was all the rage. But people didn’t travel at all. Most humans lived and died in the place they were born and in isolation from other communities.

With the early epics, we often had a narrator who was separate from the events.

Dear Reader, come with me for a tale of AWESOME…

Later, after the Dark Ages, people got out more, traveled more, etc. We see the narrator merging into just general god-like presence. Then, after the printing press was invented, more and more people were reading and a lot of monks were out of a job and went off to start the first microbreweries.

Don’t argue. It’s history 😛 .

Screen Shot 2016-03-09 at 6.44.15 AM
Image via kcxd courtesy of Flickr Creative Commons.

With pamphlets and papers, people became more engaged and journalism eventually gives birth to this new-fangled invention…first-person. Third person and third-person shifting only became popular after audiences grew accustomed to radio programs (and later television) and could mentally process the idea of a cut-to scene.

As people became networked closer and closer, we see the psychic distance closing. Now that we are a culture of reality TV and social media? Omniscient is a tough sell. I am not telling any of you what POV to choose, but I will say that modern readers will shy away from these older forms of POV because they “feel cold.” Modern readers LOVE being as close as possible, ergo my little side-trip through history.

And this is where we get *drum roll* deep POV.

You hear this word flung around the writing world. Oooh, deep POV. That is deep POV. Deep, Man.

Everyone wants it. Readers love it. Uh, but what IS it? How do I do it? Can I order some off Amazon?

Deep POV is simply a technique that strips the author voice completely out of the prose. There is no author intrusion so we are left only with the characters. The reader is nice and snuggly in the “head” of the character.

Okay, clear as mud. Right? Right.

As an editor, I see the intrusion much more than authors. It is actually shocking how much you guys interrupt. In fact, you are like my mother chaperoning my first date who would swear she was quiet as a mouse.

NOT.

I actually like deep POV because I love tight prose. I loathe unnecessary words. Deep POV not only leans up the writing, it digs deeper into the mental state of the character. We probably aren’t going to stay completely in deep POV, but it’s a nice place to call “home.”

How do we do it? Today, for the sake of brevity, we are just going to talk about simple stylistic changes, not the actual writing. We will do that next time 😉 .

First, Ditch the Tags

Just using the word “said” tells the reader we (the author) are there.

Kristen’s Made-Up Example (don’t judge me, just roll with it)

“No, I always love it when you drop by,” she said. Fifi felt her hands start to shake. She glanced over Tom’s shoulder and saw that the street was deserted. She knew all of her neighbors had already gone out of town for Christmas and no one would hear her scream. She thought, He is going to kill me.

Okay, so we get that Fifi is in a bad spot. But just that little word said tells us the author is present. So in the next layer we are going to remove the said.

While We Are Here? Thought and Sense Words—Ditch Those, Too

If we really pause and think about it, thought and sense words are frequently redundant. If we are IN the character’s head? We KNOW she is thinking. Who else would be thinking?

We aren’t dumb. Yes, it is my personal opinion, but I feel sensing and thinking words often qualify as holding the reader’s brain. We don’t need to. Readers are pretty smart.

Let’s look at my made-up example.

“No, I always love it when you drop by.” Fifi felt her hands start to shake. She glanced over Tom’s shoulder and saw that the street was deserted. She knew all of her neighbors had already gone out of town for Christmas and no one would hear her scream. She thought, He is going to kill me.

So we ditched the said and that tightened it up. Did you notice how losing the tag tightened the psychic distance? Now let’s remove these stubborn stains  unnecessary sensing and thinking words.

***Also, try to ditch any “starting to”.  Do or do not, there is no try starting to.

“No, I always love it when you drop by.” Fifi’s hands shook. She glanced over Tom’s shoulder. The street was deserted. All of her neighbors had already gone out of town for Christmas and no one would hear her scream. He is going to kill me.

Do you see how just getting rid of those excess words upped the tension of this piece? We (the reader) go from being a distant observer to being in the potentially deadly situation. We don’t need to tell the reader Fifi is thinking or feeling or about to do something. The reader gets that and us putting in glowing directional arrows is a distraction.

Screen Shot 2015-06-09 at 5.19.06 PM

Fifi felt Tom’s hands clamp around her throat.

Just get to it already!

Tom’s hands clamped around her throat.

So I hope this helps clear up some of your “deep POV” questions. Remember that we live in a culture that is spoiled with intimacy and we can give them what they love. Next time, we will discuss characterization and how to write in deep POV beyond the stylistic choices.

Before we go, I have a SUPER AWESOME DEAL to help you whip that WIP into fighting form! I put together a Book Bootcamp (3 craft classes for the price of two & RECORDINGS included in the purchase price) as well at a Book Bootcamp GOLD (3 craft classes for the price of two PLUS three hours with ME one-on-one plotting your novel OR repairing the plot for your novel). So make sure to check those out below along with all kinds of new classes!

Make sure you check out the newsletter class with Jack Patterson. He’s sold almost a quarter million books, so probably someone to listen to. Just sayin’…

What are your thoughts?

I LOVE hearing from you guys!

****The site is new, and I am sorry you have to enter your information all over again to comment, but I am still working out the kinks. Also your comment won’t appear until I approve it, so don’t fret if it doesn’t appear right away.

Also know I love suggestions! After almost 1,100 blog posts? I dig inspiration. So what would you like me to blog about?

Talk to me!

And to prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

SIGN UP NOW FOR UPCOMING CLASSES!!! 

Remember that ALL CLASSES come with a FREE RECORDING so you can listen over and over. So even if you can’t make it in person? No excuses! All you need is an internet connection!

Be a Better Hooker (How to Write a Compelling Newsletter)

April 29th $45

In this class, learn how to compose a newsletter that is entertaining and compelling—and all without stealing most of your writing time. Learn how to get your hooks in your readers and keep them until the end.

With a mailing list of over 15K subscribers, mystery/thriller author Jack Patterson will share some of his tips that will spice up your newsletter and get your subscribers opening it up every time you send one out.

BUNDLE DEALS!!! 

Book Bootcamp  $99 ($130 VALUE)

Book Bootcamp GOLD $269 ($430 VALUE) This includes the log-line class, antagonist class, the character class AND a three-hour time slot working personally with ME. We will either plot your idea or, if your novel isn’t working? Fix it! Appointments are scheduled by email. Consults done by phone or in virtual classroom.

Individual Classes with MOI!!! 

Pitch Perfect—How to Write a Query Letter and Synopsis that SELLS! $45 April 13th, 2017

Blogging for Authors $50 April 27th, 2017

Your Story in a Sentence—Crafting Your Log-line $35 May 4th, 2017

Bullies & Baddies—Understanding the Antagonist $50/$200 (Gold) May11th, 2017

The Art of Character $45 May 18th, 2017

NEW CLASSES/INSTRUCTORS!!! 

Growing an Organic Platform on Facebook $40 May 6th, 2017 Lisa Hall-Wilson is BACK! She is an expert on Facebook so check out her class!

Method Acting for Writers: How to Write in Deep POV $85 for this TWO WEEK intensive workshop with editor and writing instructor Lisa Hall Wilson.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

Find Kristen’s Blog Here! http://authorkristenlamb.com/2017/04/deep-pov-what-is-it-why-do-readers-love-it/#respond

March/April 2017 Writing Contests

Rachel Poli

march-april-2017-writing-contestsMarch 2017

Genre: Poetry
Theme: Food
Website: Literal Latte
Deadline: March 15, 2017
Entry Fee: $10 for up 6 poems or $15 for up to 12 poems
Prize: First place – $500

Genre: Fiction and Nonfiction
Theme: None
Website: Narrative Magazine
Deadline: March 31, 2017
Entry Fee: $25
Prize: First place – $2,500

Genre: Fiction
Theme: None
Website: Colorado Review
Deadline: March 14, 2017
Entry Fee: $15 – snail mail, $17 – online submission
Prize: First – $2,000

Genre: Fiction
Theme: None
Website: Fabula Press
Deadline: March 31, 2017
Entry Fee: $10
Prize: First – $250

Genre: Nonfiction
Theme: My Kind of America
Website: Chicken Soup for the Soul
Deadline: March 31, 2017
Entry Fee: None
Prize: $200

Genre: Nonfiction
Theme: Step Outside Your Comfort Zone
Website: Chicken Soup for the Soul
Deadline: March 31, 2017
Entry Fee: None
Prize: $200

April 2017

Genre: Fiction or poetry
Theme: None
Website:

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New Poem Now Published

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WWW.LITERARYORPHANS.ORG
TESLA: Issue #28, Published 2-28-2017

http://www.literaryorphans.org/playdb/literary-orphans-issue-28-tesla/
—is now live on Literary Orphans! Please go check it out!

The new issue of Literary Orphans is now out. Literary Orphans is a digital magazine and free so you can click the link and go to the magazine which has lots of good stuff, including my poem published in it!