I'm back from Eckerd College's Writer's in Paradise Conference and thought I'd share some of my notes, mostly the gems I hope to remember. Some of what I heard was a repeat of material I heard at the conference two years ago. But I realized while I was there that I learn in layers. Maybe we all do. Each lesson learned opens the door for deeper understanding of old lessons. The faculty and staff at Eckerd are fanatstic. They offer a packed week of energetic learning and motivation. I was honored to share my writing with the talented writers in my workshop. There's a sense that everyone there cares about growing your writing. 

Ann Patchett was the keynote speaker so I'll start with my notes from her speech:

Ann Patchett: She spends a long time building a story in her head before she writes the first word. The book is the dead thing she creates from the beautiful story in her head. She's says we need to forgive ourselves for our inferior efforts to transfer that story to written word. Do the best you can and accept it. Every time she writes, she’s confronted by her lack of talent.
 
Learn to write a short story and you’ve learned to write a chapter. If you aren’t sure of a chapter’s thrill, make it short. If the chapter has material that readers can’t stop reading, make it long.
 
She writes the first draft chronologically so she discovers what the characters discover when they discover it.
 
Research either in the middle of the book or the end. Then forget it so you don’t have the urge to show readers all you know on the subject.
 
She uses the Visual Dictionary. 
 
Daniel Woodrell: He studied Hemingway to learn to take readers inside the story in succinct sentences and paragraphs. He doesn’t know the heart of his story until he’s made two or three attempts. After fifty pages, he hits a groove and the chapter he’s writing feels like it’s connecting with the beginning; the story makes sense.

Don’t hype your characters or force plot on them. And don’t protect them. He fights an urge to defend his characters, to save their reputation, make them look good.

Each day, he reads all he's written of the draft before he types new words. Asked if he had 250 words written, did that mean he read all 250 words? His answer . . . yes. Mind blowing, isn't it?

 Notes from Michael Koryta's Narrative Lecture:

Any word next to a period plays jazz.
 
Place shorter words and paragraphs at the points of greatest complexity.
 
For clarity, slow the pace. Short sentences make the reader read slowly.
 
Control the pace of the story with sentences. Long sentences create a flow that carries the reader down a stream of understanding.
 
Establish the conflict first; then paint the world.
 
If a character points out the shotgun on the mantle, that gun needs to play a key role later in the book.
 
Character’s emotion should change from scene to scene,  arc from one emotion to another. It’s imperative that we see how events change the character. It’s not how the character works on the plot, it’s how plot works on the character.
 
Always increase obstacles and challenges, never decrease.
 
Look for scenes that can tie into the story as subplot. Subplots drive toward the main story.
 
Suggested exercises: 

Mark manuscript with Ds (dramatic/in-the-moment narrative) and Ss (summary) to measure the balance of show and tell. 
 
To play with stretching and condensing time, write one to two pages about a small event (like eating an ice-cream cone); then condense a long chunk of time in one or two paragraphs.


 
 
 
 
 
 
 

I'm feeling pretty positive about this new year. Good things are afoot, starting this weekend with my second Writer's in Paradise conference at Eckerd College. The campus is nestled at the southern tip of Pinellas County, surrounded by beautiful, gulf waters. My best friend from high school is attending from New Mexico and we hope to channel some energy from our past.  Novelist, David Yoo is leading the young adult workshops  which will take up my mornings for the next eight days. During lunch breaks, my friend (who is doing the nonfiction track) and I plan to  find a sunny spot near the water, picnic and compare notes. In the afternoons, we'll attend presentations by the illustrious: Dennis Lehanne, Ann Patchett, Andre Dubus and more.  I can't wait!

In the fall, I was thrilled to be accepted into a fantatsic, critique group of middle grade and young adult novelists. At first, I fretted over the drive and time commitment. The group is based in the county south of mine with two members living in the county south of that. They alternate meetings between the two counties, one every other week.  Critique days, I'm on the road for almost three hours. Add that to four hours of critique and the day is almost gone. But after two meetings, I knew the time and drive were justified by the rewards. These talented authors have encouraged my efforts and offered superior, critical feedback. On top of that, I get to read and learn from their stellar chapters! I'm still pinching myself. For the last three years, I've hoped to find a group of this caliber and had almost given up. When I did find it, I worried about fitting in. I'm the least experienced writer by far. They not only make me feel welcome but have graciously shown respect for my feedback and work.

Three of my new critique partners are attending the SCBWI conference in Miami this weekend. I'm looking forward to hearing about their experience and sharing my notes from Eckerd at our next meeting. If you aren't a member of a critique group, the new year is a good time to look for one. Writers need support and agents and editors will thank you for work screened by your peers. If you've been searching for a group and haven't found the right fit, don't give up! Keep perfecting your craft and gather where other writers gather. Speaking of gathering, January is  a good time to check out  the year's writers' conferences and workshops. Our skills are never too sharp and they're great places to network. Many critique groups started from conference friendships.