Showing posts with label Conference Notes. Show all posts
Showing posts with label Conference Notes. Show all posts

Wednesday, July 27, 2016

More Notes from the All Write Now Conference: Tiffany Schofield and David Armand


Here's another installment of my notes from the All Write Now! Conference earlier this month.

During a morning session Five Star Publishing representative Tiffany Schofield gave a presentation on how writers can challenge their characters.

Her presentation included a discussion on some of her favorite recent reads and how the authors challenged their characters.

Here are some notes from her presentation:


* Readers get invested in characters.

* Read twice as much as you write.

* Step out of genre.

* Keep a journal/note what stood out as a reader and jot it down.

* For character development, describe setting.

* For pacing, balance dialogue and narrative.

* Writers can take some liberties in historical fiction, but history buffs will call you out if you make a mistake.

Challenge your characters' boundaries (physical, emotional, spiritual, societal, and literary).

* Push through; challenge the norm.

* Question the status quo.

* Without failure, there is no growth.


***


During lunch, keynote speaker David Armand spoke about his writing journey from an adopted son in Louisiana to a college professor at Southeastern Louisiana University.

His memoir, My Mother's House, opens with the image of rotten peaches, bruised fruits left on the floor to rot. He felt the peaches represented his life as being discarded and bruised, but still bearing fruit. 

His remarks were inspirational and focused on how books saved him and made a difference in his life. Through books and writing he was able to live his grand dreams.

He recommended the book On Writing by Stephen King as one of his favorites

He also suggested writers:
* Do the work.
* Believe in yourself.
* Take the seeds from an image to create a story.

He closed with a line from the Robert Frost poem, "The Road Less Traveled."

Although his remarks were brief, they demonstrated how reading and writing can change lives.


Friday, May 6, 2016

Notes from the Unbound Book Festival: Mark Doty Discusses Poetry and Memoir

Standing in the center of the chapel on the campus of Stephens College, Mark Doty read a selection of his award-winning poems. After his readings he shared his thoughts on poetry and memoir.
 
On poetry:

The best poems are purely personal, but they should not leave the reader saying, “So what?”

Reach toward bridges between the writer and reader.

"Create an opportunity for shared experiences in places that are unexpected and unlikely, where beauty and dignity reveal themselves."

Performance can lift one out of oneself.

Cultivate individual sensibilities.

On racial violence, he said that it’s not just the province of poets of color to write about it. “It’s everybody’s job to address it.”

Be part of change.
 
On memoir:

Writing his memoir was like watching a film of his childhood unfold.
 
Tap into memory in detail.

Memory and imagination become close together.

How the book felt was most important.

Art is a refuge.
 
After his first year of grief over the death of his partner, prose opened up more expansive ways to express himself.

“Joy resides in the present, in the now.”
 
 
Next week I'll share my notes on what the panel of professionals had to say about the five submissions selected for discussion during the Unbound Book Festival's First Page Rodeo .

Wednesday, October 28, 2015

Notes from OCW: Brett Cogburn, Western Writer, Philosopher, and Contrarian Grammarian


During Brett Cogburn’s informal discussion at the Ozark Creative Writers Conference earlier this month, I was expecting a rough-and-tumble cowboy with a thick drawl and wise-cracking attitude. I was pleased to find a western writer-philosopher who seemed genuinely interested in sharing what he’s learned about the craft of writing while hearing from other writers about their writing processes. 

Here are some of Brett’s suggestions and words of wisdom I jotted down:  

 Start with action.

Don’t dump background at the front end of your story.

Dialogue needs to sound natural and can be used to provide background of characters.

Give snippets of background.

Just write. Edit later.

His advice on editing: Cut, Rewrite, Tighten. Take out what readers skip.

TMI? Gut something out of your story.

Every good writer has to be an editor. You have to be your best editor.

 You must make decisions and question everything you write.

Where is my story going?

Does it work?

How will I tell this story?

What scenes will I show?

What can I do differently?

Hiring a copy editor or proofreader is necessary.

Write a series to hook readers.

Writing is a business of comparatives

You have limited space to tell your story.

Paint a portrait with words, keeping in mind you are limited by the canvas size.

You can’t take the writer out of the story.

Dialogue is the hardest part of the craft.

Observe how others talk.

People don’t talk in complete sentences.

Use vernacular but not to the point of distraction.

How do others react? They’re not just talking heads.

Challenge yourself to write as said.

At the end of his talk, he summed up his approach to writing by saying, “I’m an old contrarian.”

He observed that, while some more traditional western writers spin stories about good guys in white hats defeating villains before riding off into the sunset, he likes to take risks and try different approaches with his western writing.

His last few words of advice were to:

Get out. Talk to strangers.

Be an observer of life and people.

Have a vision! Find You!

Step out of your bubble and start writing!

(Note to self: Be sure to try this before riding off into the sunset.)

Wednesday, October 14, 2015

Notes from OCW: Tiffany Schofield from Five Star Publishing "We're Searching for Your Voice"


Last weekend I attended the 49th annual Ozark Creative Writers conference in historic Eureka Springs, Arkansas. I attended my first OCW conference about 20 years ago and attended faithfully for more than ten years, but due to family circumstances I've missed several of the annual conferences, but I was thrilled to make the trip this year!
 
If you've never been to OCW or visited Eureka Springs, you're missing a wonderful opportunity to hear from some amazing writers and publishers and see some eye-popping scenery.
 
After attending a writing conference like OCW I'm inspired and want to shout from the rooftops, so for my next series of blog posts I will share some of what I learned over the weekend. 
 
First up is keynote speaker Tiffany Schofield, from Five Star Publishing.
 
Tiffany is shown here wearing the sparkly red cowboy hat presented to her by Lou Turner, President of OCW.
 
In Tiffany's opening talk, she spoke with candor and enthusiasm about her love of writers and her joy in discovering new voices at Five Star Publishing. Her passion for books and writers was evident all weekend. She was approachable and knowledgeable -- and did I mention that she loves to talk to writers?
 
Here are some general comments I jotted down from Tiffany's opening presentation:
 
What you do matters
Literature has a way of finding us; story chooses its writer
Challenge the norms
Look for opportunity, not power
Be that rebel spirit
Put your own voice into the story
Write what you love and what that story is telling you
Writing is a solitary journey that can become part of something bigger
Don’t be afraid of the voice in your story
Listen to your characters
Pair the voice with the characters
Challenge the norms
Readers love to be challenged
Avoid head hopping
Don’t confuse your reader
 
Here are some of Tiffany's more specific remarks about Five Star:

Five Star is a niche market known for sales to libraries
Their books get reviewed in: Publishers Weekly, Library Journal, Kirkus, and Booklist
Their three genre lists are: Mystery, Western, and Frontier Fiction
Frontier Fiction is genre bending, combining elements of western and mystery, even paranormal and sci-fi. The setting is the American frontier, pre-1920
Frontier thriller is very popular in the library market
Fiction writers writing historical fiction do more research than nonfiction writers
Find an historical character and be sure to get historical details correct

** My favorite quote from Tiffany: “Books are better than chocolate, and I love chocolate.”
 
I'll post information about Five Star's submission process in a future post.    

Wednesday, July 15, 2015

Notes from Dr. Susan Swartwout on Writing Talismans

Last Saturday I attended the second annual All Write Now! Conference on the campus of Southeast Missouri State University in Cape Girardeau.

The opening keynote speaker was Dr. Susan Swartwout, whose gothic poetry book, Odd Beauty, Strange Fruit, will be available soon from Brick Mantel Books.

During her presentation, Dr. Swartwout spoke with wisdom, grace, and enthusiasm on the topic of writing talismans.

According to the dictionary, a talisman is "something producing apparently magical or miraculous effects."

Dr. Swartwout shared that during her career she was given the talismans of "persistence" and "crap shoot" by two writers, so she wanted to pass along a few talismans other writers can use.

* Write daily. "Don't ignore your muse." No matter if you journal, blog, or prefer another form of writing, find the will, desire, and drive to write every day.

* Write yourself. "Don't try to be your favorite writer." Write what you know, or what you can know, or what you want to learn more about.

* Never stop learning. Read! Reach outside your comfort zone and read works you wouldn't normally read. Enlarge your vocabulary. She quoted E.L. Doctorow, "Start from nothing and learn as you go."

* Spill it! Write as fast as you can. Let your ideas flow honestly. Don't listen to the voice of your internal editor, or your mother, or someone else trying to filter your words on the page. And keep in mind your first draft is your worst draft.

* Take risks. Don't take the easy way by avoiding uncomfortable topics, but also don't overshare. She gave an example of a man who wrote in too much detail about one of his body parts. She suggested keeping a dream journal to record your dreams as soon as you wake up so you can capture the "raw ghosts" wandering around trying to break through your subconscious.

* Write with enthusiasm! She compared writing with enthusiasm to smiling when answering the phone. Write with zest and have fun. The first thing a writer should be is excited!

She wrapped up her talk by suggesting writers use their superpowers for good, because, she said, "Nobody else can do it but you!"

So, how about you? Do you have a writing talisman to share?

Thursday, November 6, 2014

More CCMWG Notes: What's So Funny? with Mary-Lane Kamberg -- and a Well Versed Winner

Mary Lane Kamberg at CCMWG
During an afternoon CCMWG breakout session, I sat in on award-winning Kansas writer Mary-Lane Kamberg's humor writing seminar. 

I can attest to Mary-Lane's writing skills -- and her sense of humor. About ten years ago we both served on the board of the Missouri Writers' Guild. Even when board discussions got heated, Mary-Lane could be relied on for solid advice and an upbeat personality. 

During the CCMWG breakout session, she interspersed some of her essays along with her lecture on humor writing. 

Her basic two-step process for writing humor is:

1. Think of something funny.
2. Write it down.

Beyond that, she gave examples of how humor can be expressed through: action, dialogue, and description.

She broke down humor writing into three basic parts:
* Topic – Can found in family life, politics, news stories, horrible experiences, phobias, etc.
* Format – Can use diary, how-to, advice Q&A, quiz, pretend interview, list, narrative form personal essay, etc.
* Individual jokes – Her opener was: “A horse walks into a bar and the bartender asks, ‘Why the long face?’”

The format she uses for the narrative form of personal essays is:
Character has a problem (wants to get or keep something)
Three escalating conflicts
Dark moment
Final tug
Punch line 

She emphasized that personal essays are basically true stories.

Some of her tools/observations in humor writing are:
Repetition - three times is usually enough
Build the joke then pause
Specifics are funnier than generalities
Surprise
Include an element of a universal truth
Piling on 
Use hostility
It’s okay to be mean. (Note: I don’t necessarily agree with this.)
Words with the letter “K” are funny (Hmm?)
Play with works, such as puns or mixed metaphors
Targets: public figures, politicians, family members, movement, yourself
Butt of jokes gives readers a sense of superiority
Use yourself as a target - she does this a lot in her essays
Exaggeration
Comparison, but make it BIG
It’s okay to make fun of famous people, but she warned against libel

Humor pieces tend to be short, between 500-800 words, and they’re getting shorter.

Her wrap-up quotes were:  “No laughter in the writer, no laughter in the reader,” and “Get them laughing then get them with the knife.”

***

And, now for the announcement of the winner of the copy of Well Versed 2009.

Drum roll, please . . . .

The winner is: Marcia


I will get the copy to you soon.

Monday, October 27, 2014

More Notes from CCMWG's Write Direction Conference: Writing Nonfiction with Mary Horner

Here is the second installment of my notes from the CCMWG's Write Direction conference earlier this month. 

Mary Horner  is a multi-published, award-winning writer and college teacher who gave a thoughtful and informative session on “Writing Nonfiction.”

Here are some of the notes I jotted down during Mary's presentation:

Nonfiction is based on someone's truth. It is factual but can also be emotional. Variety is what makes writing nonfiction wonderful.

According to Mary, the secret of selling nonfiction is:

* Give editors what they want
* Read the publication before submitting
* Approach editors with an idea (2 or 3 are better)
* If it's something you're interested in, that's even better
* Your passion will come through if you care about your topic
* Ask the editor for an idea if your suggested ideas fail
* Submit clean, well organized, and researched copy
* Stay focused; it's more than the writing itself, it's the framework

Possible topics: What do you love? What do you hate? What are your pet peeves?

Make connections to your feelings so your passion comes through.

What do you know?
What do you want to know?
Next comes research (to fill the gap between what you know and want to know)

Mary's three-step process:
Make an outline – gather lots of info
Visit the library – ask  research librarians for assistance; they have access to databases not available to writers
Ask experts -- they are usually flattered you ask!

Word of caution: Research can be a time waster so set limits.

Credibility is believability.
Make sure your sources, especially from the Internet, are reliable.
Be sure to cite your research and copy url onto the work-in-progress document for future reference.
Always verify. If in doubt, leave it out.

One of Mary's favorite humorous quotes from the Internet is:
"85% of the quotes on the Internet are made up." (Abe Lincoln)

The framework for your nonfiction should be logical and easy to follow.

The thesis statement basically asks the question: What do I believe to be true?

Don't be afraid to make changes if what you discover during research conflicts with what you think you know.

Ask yourself:
What is true?
Why do I believe it?
What do I believe about it?

Mary shared this quote, “If there is no discovery for the writer, there is also no discovery for the reader.”

Narrow focus makes the difference.

Mary uses symbols in the margins of her paragraphs to help organize her works in progress.

Editors appreciate it when writers add a little something extra (a sidebar, thoughtful quotes, photographs, or illustrations).

If you would like to learn more about Mary’s thoughts on writing nonfiction, I recommend reading her book, “Strengthen your Nonfiction Writing.


Tuesday, October 21, 2014

Notes from CCMWG Keynote Address by Terry Allen on Film Noir

During the keynote presentation, Terry Allen showed film clips to demonstrate the points he made and to complement his lecture on film noir.

Here are a few things I learned:

Film Noir is French for black film.

Hollywood’s classical film noir period was in the 1940s-1950s, notably when G.I.s returned home from World War II.

Before that period, in the 1920s and 1930s, German film makers created German Expressionism films, which combined elements of film noir with horror.

The neo-noir period is the 1970s, with films such as “Chinatown” and “Blade Runner”

This year’s “True Detective”was also mentioned as an example of the genre.

Film Noir movies have a range of plots from the P.I to the fall guy.

Hard-boiled pulp novels like The Big Sleep by Raymond Chandler, with first person narrative, were mentioned as books that were made into film noir movies.

The real star of film noir is Fate.

The message is: There’s something dark out there.

The question is: Why me?

And there’s no good answer at all.

FN relies on the importance of dialogue and style. Everything has a purpose.

Key elements are: mood, tone, style, and moral ambiguity.

Text and subtext contribute to the total package, as does the music and background.

Another element is the Femme Fatale – the fatal woman or black widow who lures the good guy out of the sunshine into the shadows and causes him to do something he might not otherwise do.

One example given was how Barbara Stanwyck manipulated Fred McMurray to murder her husband in “Double Indemnity.”

This element of femme fatale in movies (and novels and short stories) brought back something my dad used to say when he read or heard about a decent guy who acted out of character and did something stupid or wrong. Dad would shake his head and say, “Cherchez la femme,” which he told me meant, “Find the woman.”

As a writer, my take-away from the film noir session is the need for consistency in dialogue, tone, mood, and style.

This session also brought to mind what Edgar Allen Poe wrote about the importance of the “unity of effect” in short stories. Everything in a story, from the title to the character name, the mood, the tone, and the individual words should combine to create a consistent effect of the piece.

Are you a fan of film noir? Do you have any favorite movies or novels to recommend?

Friday, October 11, 2013

An Overdue Post: Notes from Dianna Graveman's Presentation on “Using a Travel Journal as Inspiration for Writing Short Fiction"

This post is overdue. In late August I took notes during Dianna Graveman's presentation during the Saturday Writers monthly meeting.

Dianna's slideshow presentation on “From Open Road to Manuscript: Using a Travel Journal as Inspiration for Writing Short Fiction” was informative and inspiring.

During her presentation Dianna spoke about how she uses her travels throughout the American West as inspiration for her writing. In particular she mentioned how the landscape and the spirit of the American West “make for great conflict in stories.”

It’s been more than a month since I jotted down notes during Dianna’s talk, but here are some bullet point tips I jotted down:

* Listen for regional expressions. Ask what they mean and there they came from.

* Ask and listen for people’s stories.

* Take a lot of photos, including plants and animals.

* Use your senses: touch, feel, smell.

* Research after you see something unusual (e.g. boots on fence posts. What do they mean?)

* Watch for town names. Ask locals where the town name originated.

* Avoid tourist attractions. Take the back roads to add flavor to the story.

* Use history to spin fiction.

* Look for controversy. Talk to people. What are they worrying about; what divides them?

* Watch for historical markers.

* Be aware of connections to develop a theme: We are connected to other people through our experiences and similarities. It’s not about the place as much as interactions and connections.

To learn more about Dianna, her writing, and her business ventures, stop by her website: http://2riverscommunications.com/

After re-reading my notes from Dianna’s presentation, I’m ready to grab my camera and pen, crack open a fresh notebook, pack up the car, and hit the road.
 
How about you? How does traveling inspire you to write?
 
 Do you have any tips to share for capturing the essence of your travels?

Friday, May 11, 2012

Erma Bombeck 2012: Dinner with Adriana Trigiani, author of THE SHOEMAKER'S WIFE


Friday night dinner at the Erma Bombeck 2012 Workshop was an unforgetable experience. The reading by Andy Bombeck before dinner of his mother's column about his marching to a different drummer was a bittersweet moment that brought tears to the eyes of just about everyone in the banquet room.

After dinner, listening to Adriana Trigiani felt like sitting around the kitchen table with my sisters after a holiday meal talking about family, friends and  Hollywood celebrities. Adriana was open and funny and wise.

She spoke about her fondness for the Bombeck family, about leaving her shoes in Nashville, growing up in Virginia, her aunt's special holiday appetizer (cream cheese and crackers), going to school across town from Notre Dame, writing scripts for Hollywood celebrities, and lots more.

She joked with the audience--the "late responders" who were seated in the back--and with a few women who married into large Italian families. She answered questions from the audience, even the ones who crossed the line.  

Sadly, a couple attendees took the opportunity of being in the presence of a bestselling author and screenwriter to ask inappropriate questions. One guy asked her to dish out gossip on celebrities she'd worked with in Hollywood. She didn't rise to the bait; instead she deflected the question by sharing a humorous incident she had with Dolly Parton.

Another man asked Adriana to take a look at his manuscript and send it to her agent. Her response was graceful, yet pointed. She explained that legally she couldn't read his manuscript, but she promised to let her agent know the man would be sending his manuscript. She told us she liked to make her agent work hard and earn her money. Boy, would I love to read what Adriana wrote to her agent about the man's out-of-line request to fast-track his manuscript.

After her talk, a circle formed of people asking more questions. I didn't want to slow her down from getting to her book signing, so I missed my opportunity to meet her personally and tell her how much I enjoyed her latest novel, THE SHOEMAKER'S WIFE. I had brought my review copy with me and planned to ask her to sign it, then I decided it would be tacky asking her to sign a book I got for free--so, another missed opportunity.

The Friday night banquet was the last workshop event my sister Kathleen and I attended. I was worn out and having shoulder pain, so we left early Saturday morning to drive back to Missouri.

Of all the workshops and conferences I've gone to over the years, the Erma Bombeck Workshop in Dayton has been the most memorable, and the banuet dinner with Adriani Trigiani the most fun. 

Don't you love the gorgeous cover of her latest novel, THE SHOEMAKER'S WIFE? 


If you would like to read my review of THE SHOEMAKER'S WIFE, you can find it on the Bookreporter website. In essence, THE SHOEMAKER'S WIFE is a heart-warming tale about two young peasants who meet briefly before leave their separate villages in the Italian Alps at different times and are brought together in America through fate and faith. It's an epic family saga and a love story, which is based on the history of Adriana's family, and the book "she was meant to write."

If you visit the Bookreporter site you can also find an interview of Adriana. The book trailer will give you chills. No wonder THE SHOEMAKER'S WIFE has been on the New York Times bestseller list for several weeks. I'm hoping there will be a sequel!

Oh, and to show you how gracious Adriana is, here's some feedback I received from my editor after I returned from Dayton. Adriana's expresses her thoughts on my review which appeared on the Bookreporter's newly re-designed website: "How beautiful- the review! the new site design! the layout! it's totally gorgeous and energized and easy to navigate. The review of The Shoemaker's Wife is absolutely lovely!"

Even though I didn't get to meet Adriana personally, her comments about my review helped me get over it. 

That's all for the workshop, except for some photos I received the other day from Debe Dockins of the Erma Event at the Centerville Library; I'll post most them most likely next week. 

Hope you all have a great weekend.   Ciao!

Monday, May 7, 2012

Notes from the Erma Bombeck Workshop - Plot, Character, and Self-Hypnosis

 Anyone who knows me knows what a note taker I am. Maybe it's because my first full-time job out of high school was as a clerk-stenographer for the Army then later as a secretary-steno for the Air Force, where I was a transcribing fool. Or maybe it's because I retain more when I write it down.

Any rate I have pages of notes from last month's EB Workshop, and going over them is like reliving my experience.

The first session I attended on Friday was Katrina Kittle's "Which Comes First: Plot or Character?"

Here's some of what I jotted down:

Get to know your character by asking relevant questions (not ones like what's her favorite color)
The point is to get to the character's motivation (her yearning, need, what is she fighting for?)

Understand character's motivation by asking questions:
Name of character?
What does she want?
If she doesn't get what she wants what will happen?
Make it matter more
Make it matter more

Create conflict to prevent her from getting what she wants
Example of Story versus not a Story:
The cat sat on the mat (not a story)
The cat sat on the other cat's mat (Story because of conflict)

Avoid predictability.
Life is never either/or; it's and, and, and, and, and/but, and/ or . . .
Avoid relentless pace. Give the reader time to breathe.

Make the ending inevitible, but take the reader by surprise

Show motivation right away, but don't state it. Make it clear by actions.
Don't overexplain.

Start with Change
Don't include a lot of back story up front.
Ask yourself: Does the reader need to know this? Does the reader need to know this right now?

Knowing your character means knowing your structure; therefore, Plot is Character.

Kittle recommended the book The Heroe's Journey to learn more about structure.

The next session I attended was "Hypnotic Recall fills the Creative Well" with Suzette Martinez Standring (on left).

Martinez Standring is the award-winning author of The Art of Column Writing and the TV host of "It's All Write with Suzette." She also is a formerly certified hypnotherapist who applies guided imagery techniques to writing.
At the beginning of the session she explained that because the conscious mind gets in the way of our creativity, by delving into the subsconcious, writers can be more honest, brave, and authentic in their writing.  Then she took us through a self-hypnosis exercise to tap into our creativity and emerge with vivid, five sensory details to use in our writing.

Some ways she suggested to unleash (no pun intended) creativity are taking the dog on a walk, meditating, daydreaming, listening to music.

Here are some notes I jotted down:
Don't own any negativity that surfaces
Gain from your memories
We remember what we know best
Mine your subconscious
The subconscious won't take you to a place if it's too painful
Surrender and let go; be open and be present in the moment
When an image or thought comes to the surface, ask, Why are you telling me this?
Writing has a healing ability.
Humor has a powerful healing ability (Tragedy over time can lead to humor)
Savor "Holy Ghost" moments when inspiration hits

Suzette's workshop was a powerful experience. While I don't know if I was hypnotized, I felt extremely relaxed. At one point I felt my head droop, but I became alert when someone behind started to cry and the back door in the room opened and closed a few times.

By the end of the session, my sister Kathleen discovered her shoes had fallen off, but she didn't feel them fall. The relexation exercise did work because afterwards I wrote down some vivid images that came to mind.

Question: Have you ever been hypnotized? If so, how was the experience for you?

P.S. In future posts I'll share more of my workshop notes and experiences. Because, note taker that I am, I need to type out my notes somewhere, so it might as well be on my blog.

Saturday, July 9, 2011

Notes from Nancy Pickard's MWG Session on Rewriting

It’s hard to believe it’s been three months since I attended the MWG conference last April. After attending a conference or workshop I review my notes right away then a few months later look at them again with a fresh eye. After looking over my notes from last April, I came upon a gem.


During the conference, I attended a session given by award-winning author Nancy Pickard (The Scent of Rain and Lightning and The Virgin of Small Plains). As part of her talk on “Rewriting to Make Every Scene Come Alive,” she shared a template called CASTS which she uses during her rewriting process.


Here’s a brief synopsis of her advice for rewriting scenes using her CASTS method:




  • Conflict. Take each chapter and mark where you detect conflict. Conflict may be inward or subtle as well as external or overt.


  • Action. Movement stems from emotion. Emotion moves action and thoughts. Let the character feel.


  • Surprise. Readers love surprises. Surprise the Protagonist.


  • Turn. Something needs to happen to cause a shift—it can be small. If no change, nothing happened.


  • Senses. Put the five senses into your scenes. When reviewing your scenes, she suggested using a different colored pencil for each sense (scent, touch, hearing, smell, taste). Lots of stories and books open with food or the characters in the kitchen for a reason. And don’t forget to add color.

Nancy added a last letter --- P for Peak. Every scene needs one, although not the same degree in every one or it gets boring. The peak comes at the moment of turn.


She suggests using the CASTS (plus P) to look at each scene and ask yourself these questions:


Do I have these elements?


Are they good enough?


Do they seem genuine?


Nancy believes that scenes need to breathe. When you walk in you need to feel different when you leave. My favorite quote from her session was: “If you ever run into anyone who makes you feel like not writing, run in the opposite direction.”



After listening to Nancy, I wanted to run home--and start rewriting my scenes. Her talk was educational and encouraging. She breathed life into her talk and inspired me to “cast” a critical eye when looking at my scenes.

Mysteries of the Ozarks, Volume V - Interviews with Lonnie Whitaker and Dr. Barri Bumgarner

Here is the second installment of interviews with contributors who have stories in Mysteries of the Ozarks, Volume V , from Ozark Writers, I...