Tag Archive | workshops

The English Tradition of a “Cuppa”

Sep21

This October, I’m doing a workshop on Estate Workers for Regency Fiction Writers. One thing that turned up when researching the workshop was the growing importance of tea, sugar and milk in the diet of the average person in England during the long Regency era.

1780 teapot in Brown Betty style made in Staffordshire with Rockingham glaze

We tend to think of tea in Georgian England as a luxury item, but while it started off that way, prices were falling by the late 1700s. The teapot at left dates to 1780 and shows what would become the ‘Brown Betty’ style of Staffordshire pottery, with its dark Rockingham glaze. This is the sort of teapot that could be found in a middling class household, which would include some estate workers. It is far from the highly decorated tea and coffee sets created for the upper class by Wedgewood, Doulton, and others who sought royal patronage.

As noted, like coffee and chocolate, tea had started off an expensive luxury. Duties were put on it because of this, which meant in the 1600s on to the late 1700s it was a main good for smugglers. Random Bits of Fascination notes, “Smuggled tea often came from Holland where it might be purchased for as little as 7 pence per pound.” That means smuggled tea was already drifting down into the middling classes.

The Commutation Act in 1784—pushed forward on the advice of  Richard Twining of the Twinings Tea Company—reduced tea taxes from 119% to 12.5% of the price. It was no longer worth smuggling, and tea drinking spread to the growing middle class and into the working class. Tea became available in multiple prices with different grades available. Some household also provided a tea allowance for servants, and tea leaves would also go from the drawing room, to the housekeeper and on down the line of servants, with inside servants first, and then outside servants.

A New System for Domestic Economy, published in 1823, speaks to, “The universal use of tea, as an article of diet…” and devotes multiple pages to economical types of tea and efficient brewing. It notes, “…the best Green Hyson, at about fourteen shillings per pound…the best Black Souchong at about twelve shillings…the Souchong, since the common leaf at six shillings…” This shows the variety in prices. It also says that two ounces of tea per person per week is a way to economize, with sugar at three quarters of a pound over the week.

Tea shows up in the tightest of budgets at 7d and a ha’penny for 2 oz. (bought at 5s per pound) when the family income is only 24s a week. Lesser incomes than that do not include tea in the proposed budget. At an income of 30s a week, the budget allows a quarter pound of tea for 1s 3d, with sugar for the week also costing the same shilling and thuppence. Milk is only 7d and a ha’penny for the week This shows how tea could be affordable for anyone in the working class, including those on an estate with good wages.

As noted in the paper ‘Importing sobrie ‘tea’: Understanding the tea trade during the Industrial Revolution’ by Kabeer Bora, “Sugared tea and white bread became the nutritional mainstays, it supplanted the traditional produces of milk, cheese, ale, meat & oats.” Tea and sugar begin to be drunk by all but the poorest of the poor, with tea, milk and bread being seen as mainstays of the English diet. This is pushed even more so by factory work that showed up in the Regency era.

Bora goes on to write, “A report of the Factory Enquiries Commission in 1834 showed that many mill owners were allowing workers tea breaks of 15 and 30 minutes in Derbyshire and Lancashire. This break was given to them between lunch and closure (Factory Enquiries Commission, 1834).” Tea, with sugar and milk, is credited with increased calories in the average diet, and with improvements in health overall. The English habit of weak ale and small beer still would continue, but tea would go on in the Victorian era to even become the name for the working class evening meal.

To put all of this into a bit of context in the modern world, today we generally buy tea in bags (not invented until the 20th Century) with a box of tea bags being only around 1.4 ounces in total and holding 20 to 30 tea bags. If you are thrifty, you can get two or three cups from one bag, so 2 ounces of tea for about 7d could go a long way, and a pound of tea, or 16 ounces, is a considerable amount of tea.

Another good source of information is Empire of Tea: The Asian Leaf that Conquered the World by Markham Ellis, Richard Coulton, and Matthew Mauger.

If tea could not be bought, there was the ability to make a tea from the wild fruits, herbs and flowers from any estate garden (if you have horses, an alfalfa–more commonly called lucerne in England– while not the best for a tea, can be made up).

While the old standbys of ale and small beer as drinks for estate workers continued on through the Regency–particularly as the main drink in the fields during harvest time, the idea of a cuppa tea in the evening or early morning was growing. And more on Estate Workers of the Regency era will be in the workshop.

https://regencyfictionwriters.org/academe/

Is a Synopsis Too Old School?

Jun1

I’m teaching my synopsis workshop at CRW this month (June) and wondering if I’ll actually ever teach it again. Once upon a time, a synopsis was mandatory–you needed one to pitch editors and agents, and you needed one for just about any writing contest. Now the world is more about self publishing, and I’m there, too. But I still actually end up doing a synopsis.

Maybe it’s habit, maybe training, but I find a synopsis actually has a lot of use.

First off, it helps me when I get stuck or lost, which happens every book. I need to have something to remind me that ‘oh, yeah, that’s what I was thinking.’

I generally do the synopsis by hand, not computer. You just think differently with a pen and paper, and ideas can be a little more loose, and I can let my mind wander a bit. I don’t have to worry just yet about putting things together.

Then I need to to clarify my thoughts in general. Until it’s on a page, ideas are like vague mist–they dissolve way too easily. If I write it down, the ideas become solid, and the flaw also show up so I can fix them.

Which brings up the next thing–it is far easier to fix plot holes, and lack of character development, and an unclear theme, and weak motivations, and all the other structural issues in a synopsis. If I fix it there, I avoid massive rewrites. I may have to tweak the structure once I get writing, and it may drift a little, but I know the character arcs are solid, and so is the pacing.Davinia's Duke

I did this with Davina’s Duke, my most recent novella (which was awarded the Indie BRAG Gold Medallion for independently published books. I got stuck, remembered, oh, yeah, I don’t have a synopsis, and went back to figure out what the heck I was doing. Maybe some folks can keep that all in their heads…I certainly can’t. Once I knew where I was going again, I was able to pull the novella back on track and get it done.

And these days, if you are self publishing, you need marketing copy. Yes, you can hire this out, but that is one more expense. I’d rather develop, edit, revise and polish my own copy to make sure it is just what I want and need.

So maybe a synopsis is old school, but so am I. So I think I’ll keep doing them. Which reminds me, I’ve got to get one done for the novella I just started….

Writing Workshops 2020

Aug4

UPDATE–2020 is almost full!

February 3- 28, 2020 Wounds & Warriors, HHRW

March 16 – April 12, 2020 Show & Tell: An Interactive Workshop, OCCRWA

May 4- 29, 2020 Horse Sense For Your Characters, HHRW

June 1-26, 2020 The Sexy Synopsis, Contemporary Romance RWA

August POV: It’s More Than a Point of View, YRW

September 1-25, 2020 Dialogue: Don’t Let ‘Em Say What You Mean, Contemporary Romance RWA

October 5-30, 2020 THEME: A Vital Element of Fiction, HHRW – NEW WORKSHOP!

There also might be a workshop coming for November!

I’m starting to plan writing workshops for 2020. It was nice to take a year off in 2019, but I find I miss the interaction of the workshops–it’s enjoyable to help other writers find their path.

So far, I have scheduled:

  • February 3- 28, 2020 Wounds & Warriors, HHRW
  • May 4- 29, 2020 Horse Sense For Your Characters, HHRW
  • June 1-26, 2020 The Sexy Synopsis, Contemporary Romance RWA
  • September 1-25, 2020 Dialogue: Don’t Let ‘Em Say What You Mean, Contemporary Romance RWA
  • October 5-30, 2020 THEME: A Vital Element of Fiction, HHRW

I’ll be adding a few more, but in the meantime, for anyone interested in taking a workshop, here are a few tips to get the most from any workshop:

Interact. This may seem obvious-and I’ve lurked in a few workshops, too–but I find that those who ask questions and post exercises get the most from the workshop. You may have to clear the decks to participate. It is hard to juggle too many things all at once, but it can give you better value for your time.

Don’t worry about your ideas. I’ve known many people who are paranoid about ideas being stolen. What I’ve found is that if you give the same idea to two writers, you’re going to have two different books. Don’t sweat the ideas. It is your voice that matters. And if you are still worried, do the exercises with made up stories–it might even spark a new book.

Make mistakes. A workshop is a great place to experiment and learn. I find many people, however, come in with the idea of ‘doing everything right.’ That actually won’t help you learn anything. Use workshops as a place to try new things, to push beyond your comfort zones, and to make mistakes. You’ll get more from the workshop by doing so.

Have fun. Many folks come into workshops with grim determination (this goes along with not making mistakes). Again, workshops are a safe place to let loose, try new things, and be creative. They are places to reconnect with experimentation, which can often get the creative juices flowing.

Use what works for you. In any workshop, if you come out with one great thing learned, that’s a positive. You will find that every writer has a different process–including you. This means what works for one writer may not work for another. This is okay. If something doesn’t work for you, you don’t have to shoot down the idea–just don’t use it. Take what does work, and feel okay about abandoning the rest.

Try new things. If you’ve never written first person, try that. If you’ve never written third person, try that instead. Try out new techniques. This goes along with making mistakes. Yes, what you try may not work, but it may lead to new discoveries.

If you don’t post, do the exercises at home. I am a great believer in writing exercises. I’ve used them to discover my own comfort zone for what I want to write. I’ve used them to improve my viewpoint control, to work on dialogue, to do better narrative. Writing exercises to me are like warm-up for a dancer–they’re vital to improve technique. All my writing craft workshops include exercises–and the writers who get the most from the workshops do them and post them for feedback. However, even if you don’t post the exercises, you will learn a lot by doing them.

And that’s it–some tips on how to get more from an online workshop, particularly one that I might teach.

Show More, Tell Better

Jun17

“Writing well is the best revenge.” — Dorothy Parker

We’ve all heard “show, don’t tell” but I prefer to tell folks “show more, tell better.” This is something I use in every Show and Tell workshop I give (and I’m doing one for the RWA FF&P Chapter this July.) There’s a good reason for this. Narrative is actually vital in fiction—there are places where you need to smooth a transition or introduce a scene or a character and ‘telling’ or narrative works best. However, within a scene, it is vital to ‘show’ more of the character’s emotions through the character’s actions.

Like much of the craft of writing, you have to learn how to balance showing and telling by doing—meaning you have to write—and the amount of showing or telling you do varies by the story and the intent of the author.  This is part of your voice as a writer. However, there are some good guidelines that can help you with all of this:

– Where are we? A reader needs to be placed into the story and into every new scene. Do not throw your readers into the deep end without giving them some help, and that means use some narrative to set the story, and you can use narrative to set every scene. This is VERY important if you are writing a story that is set somewhere other than our own reality. The reality of your world must be woven into the story. Use vivid details, meaning weave in as many of the five senses as possible—smells, sounds, tastes, touch, and not just sights.

– When are we? This is just as important as where, and this does not mean not just the era. Think about the details of the time of the year. What’s the weather like? Is it day or night? Is it cold, warm, windy? What are the smells? All these details help the reader settle into the scene as if this moment in time really exists.

– Who is here? An introduction to the characters, particularly to the main characters for that scene and for the story, is important. I’m not talking a laundry list of descriptions, but the reader does need more than tall, dark and handsome. Think about what makes THAT character stand out. What is different about him or her? Is there a scar or a limp? How about height or weight? What about hair? What is the first thing that anyone would notice? Use unique features to start to make characters come to life for the reader. Think of your description as brush strokes of a watercolor that suggests images.

– Why are we here? This doesn’t have to be greatly detailed information, but you need enough background to make a reader care. It’s one of Kurt Vonnegut’s Eight Rules for Writers: “Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.”

As with all writing, you want to edit, polish, revise and make your narrative wonderful. Cut every extra word. Use active voice. Use the right words in the right way. Brilliant narrative is invisible—if a reader is noticing your writing, that reader has fallen out of the story.

Now all this needs to be woven together, stitched in with careful threads. Do not dump tons of narrative into the story—unless it really is brilliant. Narrative can also be woven in with a scene—in other words, it’s never show or tell. These two things can go together.

But what’s good ‘showing’ in a story?

– Punch your dialogue so it’s strong. Know that your dialogue is weak if you find yourself leaning on tags such as: he taunted, she exclaimed, he smirked, she pouted, he expounded, she tossed back, he leered, she sighed. All of these are TELLING the reader an emotion. You want to get your characters onto the page by showing how that person expresses emotion. That includes making the dialogue so good that the reader knows the emotion in the words without having to be told. Another way to think of this is to imagine you are writing a script for your favorite actors—give them great dialogue to speak.

– Eliminating every “feel” or “felt”. That is a spot where you flat out told the reader the emotion. Let your characters take actions that express their emotions, and trust the reader to figure things out. This goes along with those tags being used to prop up dialogue. When you say, “He felt angry.” That’s weak to the reader because the reader has nothing to visualize. Every person gets angry in different ways—some folks bottle it up, some turn red, some go pale, some folks yell, some start to cry, some shout. Get your characters onto the page by having them express emotions. It takes more time and more words, but it makes the characters come to life for the reader.

– Keep asking ‘what am I showing the reader about this character’? If you want the reader to believe your character is a kick-ass vampire slayer that character has to slay a vampire right off. It’s no good telling the reader this information, you must show the character being what that character is supposed to be. This is why Superman has to be super. Readers will believe what you show a character doing, not what you tell the reader.

– Watch those lovely “writerly” phrases. Maybe you’ve come up with a clever line. The trouble is, if you’re deep into a character’s viewpoint and emotion, that clever line could throw the reader out of the scene. You have to look at the overall effect of the line—and you may need to cut it if you’re jumping out of character just to fit in the clever phrase.

For example, maybe you’ve described a woman as: Her honey-blonde hair floated around her, a golden nimbus, a heavenly aura. That’s a fine description—lovely telling. But if you’re in the viewpoint of another woman who actually hates this honey-blonde, you’ve gone for the clever phrase instead of SHOWING the enmity between these women. That’s where you save this clever phrase for another time and go for showing these two women being bitchy with each other.

– Do remember to get emotions onto the page. This is where characters are doing a lot of things, but the reader has no idea what the character feels about events. Maybe you’ve got an exciting moment where the heroine of the story jumps in to save a boy from zombies. Awesome! She grabs the boy and chops up the zombie with an ax. Great stuff. But what is she feeling? Is she frightened? Is she angry, furious because this is her son and she’s told him five times not to go out on his own? Is she shaking? Is she covering up her feelings by acting tough because she’s a cop and she thinks cops shouldn’t show emotion?

You have to know your characters to get this onto the page and to do so without resorting to telling the reader a flat “she felt angry that he hadn’t listened to her and had almost died.”

Above all else, if you show, you don’t need to tell. And if you tell, you don’t need to show. Repetition can be useful in places, but with showing and telling if you do both, it conveys to the reader that either you don’t really know what you are doing or you don’t think the reader is very smart. Readers do not like being hit over the head with endless repetition. You don’t have to show a guy slamming out the door and tell the reader in the next sentence: He was so angry he could spit nails. See—even me repeating just a little bit here starts to become boring. Trust your readers—they are actually very smart. And take to heart the phrase—show more, tell better.

What’s Not to Like?

May27

HHRW-slider11I’m doing a workshop this June on Creating Likeable Characters for Hearts Through History.

The workshop came about because I kept seeing a classic mistakes that is often made. The writer gets caught up in creating a character with problems—with challenges. Yes, you want there to be some conflict and you want a flawed character. But go too far with that and the character comes across on the page as someone that’s not likeable. End result is that the reader bails on the story because the reader doesn’t want to identify with that character.

Why does this happen?

Look, if you have a choice, are you going to spend the evening with folks you like or with people who make you grind your teeth? I’m going to bet on the former unless you are being forced to be there by blood ties or a job. This holds true in a book, too. Readers (all of us) want to spend time with folks we like.

The Cardros RubyThis is a huge issue in any book—it was one I faced in A Cardros Ruby. In an early draft, the heroine came off as too cranky and hard-edged. She was not likeable. Now, she had her reasons for being how she was, but she wasn’t someone you wanted to root for. That meant she needed major work to bring in some things to make her likeable. I had learned about this when I wrote the heroine of A Dangerous Compromise.  She’s a spoilt girl who eventually redeems herself—or at least shows a good side—but that came too late in the story for many readers who just didn’t warm to her. And I can understand that.

If I’m going to pay money and spend my hours with some folks—even fictional folk—I want to have fun. I want to be with people I like. If your characters aren’t likeable, you’re not going to sell that book. That’s the voice of experience talking.

As a reader, I want characters I can root for, characters I can laugh with and cry with, characters with whom I sympathize. I want to spend time with folks I like.

Which brings up the question—what is likeable?

This is where subjective opinion gets into it. Even the most beloved characters have their detractors. And good characters are like people, or they should be. This means not every character will be liked by every reader. However, there are some basic things you can do give a character a better chance of being someone that a reader wants to spend hours with, as in give your characters:

Mad Skills – We tend to like folks we admire. We like people who are good at what they do. This is why we like sports figures at the top of their game. We like to see folks doing amazing things. Think of Indiana Jones—we like him because right off, even if things don’t go his way, he’s shown to have extraordinary skills. This is something I use in The Cardros Ruby—the hero’s shown as being able to handle a tough situation right off.

Good Intentions/Actions – We tend to like folks who mean us (and the world in general) well. We like characters who have good reasons for what they’re doing—as in a mother who is out to protect her child. She may do bad things, but if she’s got really good reasons (as in Sarah Conner of The Terminator) we’re going to be on her side. We like folks even more when they do good thing. The guy who rescues a stray dog is likeable. The woman who goes without movies for a month to buy her niece the prom dress the poor girl has been longing for and can’t afford is likeable. Little acts of kindness can mean a lot to a reader—and will put the reader on the character’s side. This is another one I use in The Cardros Ruby—even though the heroine’s heard bad things about the hero (and some of the gossip is deserved), she stands up for him because she recognizes she owes him and that helps put the reader on her side.

Underdog Status – We like characters that don’t start out with everything going their way—folks who are behind the eight ball and have had nothing but bad luck tend to stir our sympathy. If the main character has everything else stacked in his or her favor, that’s not someone who is earning our praise and sympathy. This is another one I use (and notice that you can layer these on—just don’t go heavy handed with this). However, the important thing is we want to see a strong underdog. That means someone being strong against overwhelming odds. Make your underdog whiny or weak and you’ll lose the reader’s sympathy—most folks just don’t like weaklings.

Grit – This could be called strong moral fiber—or even just stubbornness. These are folks who don’t quit when things get tough—characters who preserver, because it’s nice to see that works (even if only if fiction at times). This is a trait most admire. Again, don’t take it too far. If this turns into someone being stupid, you can lose the reader.

Humor – Let’s face it, we like folks who make us laugh. This is what keeps comedians in business. These are the witty types, folks we admire for having a fast mind and a way with words.  I actually try to have all my characters be funny and quick because I love people who are sharp—so that’s a personal choice. A wry wit has turned many a bad guy into someone we love (as in Loki in the Avenger movies).

Quirks – Every character needs some flaws. No one likes perfection. A few quirks and a character is both more memorable as well as more likeable. An odd physical trait—a scar, or a handicap overcome such as being very, very short. Or a metal quirk, as in Monk, the OCD detective. Again, if you go too far, the character may come across as just crazy, and most folks shy away from that. Even Monk has mad skills to balance out his oddities.

Empathy – Characters don’t exist in isolation. They need to be aware of the world around them. Characters who demonstrate empathy for others earn our empathy—we are prone to like these folks. This means you do not want a character who is all about me…me…me.

Now this is not to say that all characters must display all these traits. That would be too much for any reader to believe. But pick three or four things. Or even a couple. Demonstrate that your main characters—your protagonists—are likeable. This means you do not tell the reader others like this person, you SHOW the character DOING things that make the reader think this character is likeable.

Keep in mind that if a character is going to have to do bad or stupid things in the story, that character needs the reader on his or her side early and to a great degree. Even give some of these likeable traits to your antagonists. They need to earn the reader’s sympathy, too, if the conflict is going to be strong. Even Hannibal Lecter has the admirable traits of being a cultured man—and mad skills (emphasis on the mad there).

Let your readers get to know and like your characters before you start having your characters do terrible things—and then think long and hard about if a reader can forgive that character.

Think about making sure your character demonstrates he or she is likeable—it’s not enough to tell the reader these things. The character has to be shown doing things that are worthy of the reader. (If you’re not sure about this, read Dick Francis, he’s a master at making you like a character in less than a page.)

Use viewpoint to your advantage—not to your character’s disadvantage. If a character thinks about her long, raven hair, she comes across as vain. If a guy is eyeing another guy and thinking about that other guy’s muscles, the character comes across as gay. Now all of that is fine if you want the reader to believe one character is vain and another is gay, but KNOW what you are conveying to the reader with those internal thoughts. Don’t just stuff description into thoughts because it’s easy—you may be sending the wrong signals to the reader.

Above all, remember you’re asking a reader to spend time in your world. Make sure readers want to stay, want to root for your characters, and start to like them. It all starts off with creating characters you really like—and making sure they show up right off doing some admirable things.

Horse Sense

Jun1

Horse Sense for Your Characters-OCCgraphic2I’m teaching a workshop for OCC RWA starting June 1 on Horse Sense, so it made sense to talk a little about my experiences with horses. This blog might also have been called ‘horse mad’ for as the family story goes, when I was two, and before I was doing much walking, I crawled over to my brother’s rocking horse, and Pony Gray instantly became my first horse.

Now, I’ve got the excuse it runs in the blood—my grandmother never forgave, or ever stopped talking about, my grandfather trading her good milk cow for a riding horse. Back then a plough horse was a different thing than a riding horse, so you had to make that distinction. Long after Grandpa Erickson was in his grave, grandma was still bemoaning this loss. It always seemed a good trade to me.

My first memory of being on a horse was somewhere around the age of four or five when we took a trip to visit relatives. My mother rode—she grew up in rural Utah—so she got on a half-broke young Appaloosa just in from winter pasture and we went for a gallop. I do remember loving it. Mother always said I kept saying to make it go faster—that part I don’t remember.

When I was seven, my parents deemed me old—and tall—enough to take riding lessons, so the weekly trips to the stables started up. I learned on a wonderful, patient old fellow named Sunny who had two speeds—stop and walk. I have vague memories of getting him up to a slow trot at one point, but I’ve always had a “slow” seat for horses, so Sunny mostly just helped me into the saddle.

drakeAll this means horses have always been part of my life. My aunt—also a horsewoman—taught me to ride side saddle. I went to England to get my riding instructor’s certificate and learned to drive carriage horses—and I got to hunt (meaning vast amounts of time standing about, then galloping to a new cover and more standing about, but it’s all on horseback, so not a bad time at all). I’ve shown hunters, jumpers, dressage, three-day, and did a year of western riding, and now only ride the trail for fun—my show days are behind me.

woodyI’ve also been bucked off, rubbed off on a tree, had a horse fall with me, dealt with barn sour, rearing horses, dirty stoppers, and a load of other problem horses. I’ve galloped race horses (and you really do have to get up all too early for that), and then I’ve had wonderful horses who would do anything for me–including the splendid Drake shown in the photo above (who hated to be left out and insisted on always having his stall door open so he could join in the fun), and the handsome Woody (the photo on the left) who was a perfect hunter, but never got the hang of fast turns in jumper classes.

But I finally have my ranch in New Mexico and horses in my backyard—my earliest dream come true. And I’m going to be teaching a workshop on horses for writers because these days most folks are more familiar with their automobile. The lack of a horse in your life to me is a terrible thing—I’ve always ridden, even if I had to beg or borrow the horse.

Now the subject of horses is a big one, going back thousands of years. But let’s hit a few highlights from the workshop:

Common Myths and Mistakes

  • Side saddles are uncomfortable and insecure so any woman would rather ride astride. Wrong. If you know how to ride aside, it’s comfortable and the preferred choice. I adore my grandmother’s western side saddle, and would rather have that for a day in the saddle any day.
  • It’s easy and safe ride double on a horse and the horse won’t care. Nope. Most horses have no ribs over the loins, meaning someone sitting there is not comfortable. The only way to really ride double is with two kids (or really skinny people), or on a really big horse.
  • A six foot tall man can ride an Arabian stallion. This one is a laughable mistake—picture his feet dragging the ground and you start to get the picture. This has ruined more stories for me.
  • A rider can grab an unsuspecting person on the ground and drag them up to be carried off. If you really, really practice this a lot, you can do this with someone who is ready and willing to be grabbed. Otherwise, you’re likely to end up on the ground yourself.
  • You can tie a horse by the reins to a stationary object. Some horses are taught to ground tie—you just drop the reins. Some horses will stand if you loop the reins over something—you’ll see this in Western movies all the time. However, most horses, if you give them the chance, will get themselves into trouble—meaning tug back on the reins, break them, get loose and wander off.
  • Stallions are the most dramatic and dangerous of all horses. Well, they are pretty, but you want tough and mean, pick a mare that has a bone to pick with you.
  • An experienced rider isn’t able to stop a runaway horse. Been there, done that. You put them in a circle and make them keep galloping. Do that once or twice and they stop running away with you. The only runaway that’s tough is the habitual one, who also will usually try to scrape you off under a tree.
  • You can kiss another rider while on horseback. There are a lot of You Tube videos of the ‘romantic’ wedding with the bride and groom on horseback—a sure recipe for trouble if these horses have not been through rehearsal about a thousand times. If the veil doesn’t spook the horse, something else will. And if that’s not enough, lean in for that kiss is an invitation for the horse to step the other way, leaving you dangling. Even Roy Rogers and Trigger didn’t go for this one—but Roy did let Trigger kiss him!
  • You can ride a horse and not come away smelling of eau de equine. If anyone’s ever managed this, I’d like to learn their secret.

And there is another of my favorite mistakes, the obvious one that horses aren’t cars. You can’t really park them and expect them to stay put—they tend to see grass and go for it. You can’t park them—again, they have their own mind about things and a bored horse is one looking for food. And you can’t drive them 24/7—they need food, water and rest, just like the rest of us.

For more horse tales, come and take the workshop. Or get yourself to a local stable and start having some horse fun for yourself.

What’s Showing and What’s Telling?

Dec4

cropped-top-bar.jpgI regularly teach Show and Tell: An Interactive Workshop and I’m about to start it again, and two things always come up:

1-Folks want just to learn to show more in their stories.

2-Folks don’t really know what is showing and what is telling.

Now both showing and telling have a place in any writer’s toolbox. However, what I’ve noticed is that writers just learning their craft haven’t figured out how to show more, and their telling is just awful–they haven’t learned that good narrative takes a lot of work.

I don’t think any writer is really lazy–the work is just to hard to attract someone who wants to take it easy. But writing is more than hard work. It also needs smart work.

So, quick tips here:

Showing means you SHOW the character in action. Action includes someone who is talking as well as doing things. Any actor knows this–an actor cannot just stand around spouting lines. An actor must express emotions by what they do–and that means they need bits of business. So the writer must become the actor for every character and think up how that character expresses emotion (and not just with cliches of shouting or thumping).

Telling means you TELL the reader what the character is feeling. This can be done with phrases like ‘he felt’ or ‘she was angry’. The trouble with telling the reader this information is the reader doesn’t get a chance to SEE the character–there is no reveal through actions. So the reader tends to feel cheated.

Now the confusion comes in that all of this showing and telling takes description–also, showing and telling are not absolutes. You can blend them. It’s a matter of balance. Too much telling will flatten a scene. Too much showing if you’re trying to do a transition (not a scene with emotion) makes the story drag. So you have to learn when you need to show more and when you need to tell better. And all this takes practice and awareness. It also take reading the work of others with awareness so you start to understand the techniques–if you don’t know your tools it’s hard to use them like a true master craftsman.

And a few acting classes can also help any writer better understand the need to get a character on the page by giving that character more bits of business to reveal the character’s inner nature and emotions.

Punching Dialogue

Oct30

bamI judge a fair number of writing contests–my way of giving back since I learned a lot both from entering and judging. One thing almost always pops out–experienced writers know how to punch dialogue. And nothing marks a writer as a “beginner” as much as flat dialogue.

This November, I’m teaching my dialogue workshop for YRW, but there are a few tips that can help punch dialogue to take it from flat to fab.

First off, get the technical stuff clean and perfect enought to show you’re a professional who knows the craft. Commas in the wrong place, periods used when you need a comma, or vice versa, and quote marks incorrectly used will stop a reader. This distraction throws the reader out of your story–so just get a copy of Strunk & White’s Elements of Style, keep it by your computer and master you techniques.

Next, are you propping up the dialogue with tags? Does your heroine sigh words, does the hero say things angrily? If you’re putting in descriptive phrase  like that odds are the dialogue itself is weak. Instead of going for a crutch, tear out every description for the dialogue and look at the words coming out of the characters’ mouths.

Pretend you are writing a script for our favorite actors–and you want those actors to come to you and praise you for giving them wonderful words to say. Make the dialogue itself the star, not the descriptors.

When you do describe how someone is talking, make it vivid and detailed. Don’t settle for one word. If  the character trails off with a weak, squeaky gasp, be specific about what that really sounds like. If a character has a charming Scottish lilt and burr, describe that early on but don’t try to recreated it unless you have a really good ear for how to work this in.

Do an edit JUST on each major character’s voice. Does this person have a unique voice? Pet phrases? A regional shading to the words? Words that reveal the character’s education, experience and intelligence? Now look at the other major characters–are they all sounding alike?  Can the reader tell who is talking just by the words spoken? If not, it’s time to revise and give each character his or her own voice.

Read  your work aloud. There is no habit that will help you more. Do you stumble? If so, the reader will as well. Are there awkward sentences? Unclear thoughts? Yes, in ordinary life people cross-talk and talk nonsense, but this is fiction–the dialogue has to be better than real life.

Are the words right for the character and the era? If you’re writing a historical set in the 1940’s different words will be in use than a historical set in 1840, or 1640. Now, too much accuracy can throw a modern reader, but too much inaccuracy will also jar the reader from the story. Think, too, about not just how different a world would be in the past, but also the differences between classes, genders, and countries. These are subtle differences that can make your characters come to life–or leave them flat cardboard stereotypes.

Be picky–about the words chosen, about the tone in the words, about the voices your charcters have. Don’t settle for okay dialouge–give every character great words to say. Use dialogue to let your characters express emotion, negotiate for what they want, to lie and to try and get out of tight spots. Don’t just stuff plot explotion into a character’s mouth and call it good enough. It’s not.

Sometimes less is more–learn to edit and revise your work. Do multiple drafts. Do an edit just on dialouge. Do an edit just on action tags. Use actions to reaveal the truth and dialogue to hide the truth. Remember–we don’t just talk to tell someone something, we try to convince, to hide, persuade, passively get our own way, punish, lie, cover up, hide, and a million other things. Words aren’t just a writer’s tool, we all use them. So know what your charcters want in each scene and have them trying to get it–all within character. But what a character doesn’t say is often more important than anything else.

Let your characers be funny, witty–let them say the things you always wanted to say, or thought up an hour later. Again, fictional dialouge needs to be better than how we talk in reality. Punching means punching up to make words stronger and dialouge sharper.

There are some other tricks, but these  will get you going to make your dialouge stand out–and often it’s the dialogue that really sells a story.

 

 

Is the Narrative Voice Dying Out?

Sep29

title1I’m teaching my Show and Tell workshop in October and that got me thinking about the narrative voice. The two things that always happen with this workshop is that everyone comes in wanting to know more about “showing”–as in they’ve been beaten over the head in various critique comments to show more. The other thing is that I try to convince folks that good narrative is as important as good showing–each has it’s place in fiction, but I do worry that writers are being pushed into too much showing. What–is such a thing possible?

My answer is yes, and here’s why showing can be a bad thing at times.

1-Narrative can set a reader into the world. Too often I’m reading manuscripts and the description is more than sparse–it’s nonexistent. As a reader I want to know where I am, when I am and I want to experience the world. This means weaving in details to make the world vivid–sights, sounds, textures, tastes, smells. This can be done through a character’s viewpoint to show the world, but sometimes narrative can be a lot more effective to set your scene and put a reader into the story.

2-Narrative can weave in backstory. Yes, you can clog the opening of any story with too much–but too little can be just as bad. It’s like throwing someone into the deep end of the pool–the reader is left struggling. Too little information and the story becomes confusing and right after that the reader is going to check out of the fiction. Telling the reader a few things can keep the reader interested, particularly if you bait the hook with interesting bits of background so the reader wants to know more. And narrative can keep the backstory clean and crisp, so there’s no clunky exposition in dialogue.

3-Narrative can help introduce new characters. Again, this can be overdone, but a few bits of telling can help a reader “see” a person and helps keep the cast of characters sorted out. This can be done in a character’s viewpoint, but a lot of times a little bit of telling the reader something important or “telling” about the character is a better way to keep the pace moving and keep the reader involved.

4-Narrative can help the writer’s voice stand out. This is perhaps the most important part of the narrative voice–of telling. Beautiful writing is a wonderful thing. Again, this can be overdone and the writing becomes “writerly” or so self-conscious it throws the reader out of the story. You don’t want to step all over the story–and your characters–to leave thumbprints, but a lovely turn of phrase here and there is not a bad thing. It adds to the overall experience.

Notice with all of this, the important elements of telling are to not overdo it, and to use the narrative voice to help the reader into the story. I like to say it’s about showing more in scenes that need emotion, and telling better between scenes. The narrative voice has it’s place in fiction–I just hope writers will continue to learn how to use it better.

 

Workshops to Learn

Sep10

wpaI’ve been teaching various writing workshops–and taking them, too–for a number of years online, and I’ll be starting a new workshop on Writing Women’s Fiction next week. Over that time, I’ve found a number of things help some folks learn more than others–and I’ve experienced that as a student. So how can you get the most from any workshop? Here are some tips.

1-Make time to participate. This is so important. Yes, life can get in the way–and I’ve lurked my way through a few workshops. The workshops where I’ve been passive, I’ve never really absorbed the lessons–they didn’t stick. Or I filed the lessons and never really got to them. When I’ve taught, the writers who do the assignments do learn–I can see it in the work.

2-Stay on topic. There are so many things to learn about the craft of writing–viewpoint control, pacing, dialogue, when to use narrative, punctuation, and more. If you try to tackle everything at once, you end up with scattered efforts and not really getting a firm control of one specific thing. Focus also help you refine your skills–you may have some skills, but really working on a technique will improve anyone’s writing. I often see writers who get distracted–by ideas and by other topics. Resist this urge and start developing the discipline that will also help you focus on your stories.

3-Ask questions. This is another way to participate. Try and give some thought to your questions so they are clearly framed–it can be difficult to make yourself understood in just text, but you may spark a discussion that leads to new ideas for you.

4-Respect the teacher and the class. I’ve taught workshops where it seems like one person is ready to dive in and take over the class. This is frustrating to me. I want to encourage interaction, but if someone is hijacking the workshop and taking it off topic it means I have to spend more time pulling the workshop back on track instead of teaching and working with others. Think about what you post before you post. It’s fine to give a few comments, but do not treat the workshop as if it’s Facebook where any comment can be posted.

5-Respect your work. You want to develop the habit of always reading your work aloud before you share it with anyone else. This is particularly important if you are writing new work for specific assignments. Proof your work, then proof it again. A few typos is not bad, but a lot of them makes it seem as if you don’t really care about your own work–and as if you don’t respect your writing. Make every piece of writing as good as you can–work hard to master all the basic techniques such as verb tense, commas, dialogue punctuation, and capitalization.

6-Write specifically for the workshop. This goes back to the participation issue. Yes, you can copy and paste parts of any manuscript for any workshop assignment, but you’ll probably learn more by doing work specifically for the workshop. This also has the benefit of getting you writing. To do this, look carefully at your schedule when you plan to take a workshop. If you sign up for any workshop, clear a few other things off your calendar and set aside specific time to both read lessons and do assignments.

7-Schedule your workshop time. I’ve always gotten more by setting aside specific time for workshops–this is both for teaching them and taking them. For me, it’s best to do this in the morning when I’m fresh. I can sit down with my coffee, review notes, read and do some work. At the end of the day, it can be tough for me to focus and sometimes I’m tired enough I just want to sit and read–or stare at a movie if I’m really brain dead from a tough day. That’s when I’ll push things off. So get your workshop time allotted and set in stone. Workshops usually only last a few weeks–Writing for Women’s Fiction is only six weeks, and that’s a huge topic to cover in that short time, so you want to carve out time for getting the maximum learning.

8-Have fun–and try new things. You learn more when you’re relaxed and willing to experiment. Workshops are a safe place to try out new things. Never written first person–give it a go. Want to try present tense verbs. Okay. I generally end up reassuring everyone at some point there are no grades–there’s no right or wrong. There’s writing that works, and stuff that doesn’t work so well–and workshops are a place to go splat because you’ll learn more from stretching your writing muscles.

9-Discard what doesn’t work. In any workshop, if you come out with one or two new tools, you’ve gotten great value from that workshop. But remember–in every workshop, the teacher is sharing what works for her. This tool may not fit your hand. Maybe it’s too advanced a technique and you’re not ready for it–or maybe it’s not the way you work. That’s okay. Just trying something different will improve your skills. Never, ever feel it’s your fault if something isn’t really clicking for you–it’s not the teacher’s fault either. There’s no one right way to write.

10-Be open to new things. While we all have our writing habits, go into any workshop willing to learn. Yes, be critical. But also try even the things where you’re not sure if they’ll work for you. Maybe a workshop about plotting puts down guidelines for so much structure it kills your impulse to write. That’s okay. Look at the guidelines you can use and take them into your tool box. Maybe a workshop about dialogue gives you one great idea, but the rest of it is stuff you already know. Cool! Celebrate that one great idea–that’s the value you got from the workshop.

The great thing about writing is that there is always something new to learn. That’s why I teach–I get as much from the workshops I teach as any student. And I’m really looking forward to this new workshop on Writing Women’s Fiction. It should be fun!