Category Archives: writing advice

The After-Conference Afterglow: Seven Ways to Keep the Creative Fires Burning

by
Rhonda Browning-White

You’ve put your life on hold for a weekend, a week, or even longer. You’ve attended a fabulous writers’ conference, and you’ve come home with a load of books, handouts, and scribbled notes. You’ve made dozens of new best friends who actually get you, who understand that it’s okay to have morning coffee with the voices in your head. You’ve found your tribe, and you’re inspired to write, write, write!

And then there’s the laundry. And the grocery shopping. And the kids and pets. And the day job.

How will you ever maintain the momentum and apply the advice you garnered at The World’s Greatest Writers’ Event, when you have to face the real world?

Here’s a list of sure-fire ways to keep that exciting energy flowing from your mind to your manuscript. Let me know how they work for you!

1. Sleep. Yes, this sounds counterproductive. However, chances are good that you rose early, stayed up late, and have jet lag or are road weary. You’ve also been away from your family and friends, and if you want their support throughout your writing career (you’ll need it!) then you must revive and reconnect. Twenty-four hours of R & R won’t sideline your journey to the bestseller list. In fact, once your brain is rested, you’ll be more productive, and since you’ve caught up with all that’s happened in your family’s life, you’ll feel good about shutting the door to your home office while you get some serious writing done.

2. Sort. All those notes, handouts, and manuscript suggestions need an organized home. If you don’t have a folder for handouts, make one now. If you have several handouts, consider sorting them by topic: characterization, plotting, publishing advice, and so on. Hopefully you thought ahead and took a notebook with you, so all your snippets of advice are in one handy place. If not, transcribe the best notes into a notebook or onto index cards, so you’ll have them at your fingertips when you revise your work. Then gather all the business cards and contact lists you’ve received, and set them aside. (We’ll get to those later.) Lastly, if you’ve been lucky enough to attend a conference with a workshop, sort all the critiqued copies of your manuscript by page number (all page ones in one stack, page twos in another stack, etc.). Then, when you revise your manuscript, you can work through one page at a time on your computer, applying what you wish to use in your story, then discard the rest.

3. Write. Yes, you have a stack of signed books you can’t wait to read. Yes, you still have laundry to do. But before you do any of those things, take fifteen minutes (or two hours, if you’ve got it) and write! Tell yourself that this is a requirement for your conference. Use a prompt from a class that you didn’t have time to work on during the event. Or go ahead and begin tackling those revisions to your story.

Sometimes we return home intimidated by the amount of work we think we need to do in order to make our manuscripts publishable. The truth is, however, that unless you start working on your writing, those manuscripts will remain unpublishable! Start where you are right now. Don’t worry: if you mess up, your computer has a delete key.

4. Say “Thank you!” That perfect snippet of advice you received about transitioning from one scene to another? The recommendation a published writer made to his editor? The handout that you plan to post on your bulletin board as a roadmap to finish your novel? Say thanks! Pull out those business cards you collected, and drop a handwritten thank-you note in the mail. Don’t have a street address? Send a thoughtful, personalized email thanking the presenter or mentor who shined a light on your writing path.

5. Connect. While you have those business cards, presenter list, and workshop critique schedule in hand, update your social media accounts. Add to your Facebook friends list, follow your new connections on Twitter, and update your Instagram. Be sure to follow the blogs of your favorite presenters, authors, and new friends. If you’ve become especially good friends with a few of your fellow attendees, ask them to return the favor and follow your blog, as well.

6. Read. Finally! You’ve caught up on the business end of writing, so before you nod off to sleep, grab a book from the stack you’ve brought home from your conference. When you’ve finished each novel or book, be sure to review it in at least two or three places, such as on Amazon, Goodreads, or Facebook. Better still, write a formal review and submit it to a literary magazine or newspaper. If it’s accepted for publication, you’ll have yet another byline for your bio!

7. Now, back to work! While we’d love to get lost in reading the great works of our peers and researching details for our stories, our job—first and foremost—is writing. Build off the momentum you gained at the conference. Remind yourself that another conference awaits you in a few months, or next year, and you’ll want to have a polished manuscript to present when that time arrives. If an agent or editor has asked to see your work, be sure to have it professionally proofread or edited (Inspiration For Writers, Inc. can help with that!), and send it out as soon as you can. Include a note reminding the agent that she requested your manuscript at XYZ Writers’ Conference. Then, once it’s out the door, get back to work! It’s time to start your next story!

10 Things I Learned at the WV Writers Conference

by
Jessica Nelson

I wanted to title this blog “10 Super-Cool-Awesome-Amazing Things I Learned at the WV Writers Conference,” but, alas, all that would not fit into the title bar on Blogger. But I digress.

So this past weekend was the annual West Virginia Writers Conference in Ripley, WV. This was my fifth year in attendance and my second year working it as an intern. As always it was a great time, but the thing I love most about it is that every year I learn something new. There is always an abundance of knowledgeable presenters to lead workshops and panels. Since many of you are non-West Virginia natives and may not ever make it to a WV Writers Conference, I’ve decided to share the top ten things I learned this year.

10. You have to be brutally honest with yourself. In particular, you need to be honest about your style and your work ethic. This came from Sheila Redling’s workshop. One example she gave was if you are the type of writer who only writes five words a day, you will not feasibly be able to put out two books a year. If you know you are easily distracted, take care of anything you know will be a distraction before you sit down to work. Hold yourself accountable for your work.

9. Sometimes when you’re stuck, it’s because you’re out of sync with your characters. Also from Sheila Redling, this advice resonated with me. On a fundamental level, it makes sense. How can you tell your character’s story when you and your character are not on the same page? So sometimes you need to take a step back from the story and focus on the character. When you and your character have reached a new understanding, go back to the story and try again.

8. Monsters are metaphors. Now, I know that not everyone writes fantasy, sci-fi, or horror, but this advice applies to almost any antagonist. Monsters in particular are metaphors, or embodiments, of our worst fears. A couple of classic examples instructor Frank Larnerd gave were Frankenstein’s Monster (fear of science) and Freddie Kruger (fear of being punished for our sins). And your monster metaphor should match your hero’s fear/weakness/past. That is how you “build a better monster.”

7. When making a “monster” (or villain, or antagonist), do a “monster sketch” that addresses the following: what makes him/her/it a monster? Why is he/she/it like this? What is one noble/good thing this monster does? This came from Marie Manilla’s workshop “Monster Theory…” and forces us as authors to create a fully formed, three dimensional, realistic antagonist. Seriously, try to answer these questions with your antagonist in mind. You will have no choice but to explore all the facets of your character.

6. For anyone writing in verse: the first word and last word of a line hold the most power, so choose your line breaks carefully. This can also apply to prose. The first and last phrases are the “power words” in a paragraph. I participated in a workshop by Kate Fox where we took a handful of lines, written out like prose, from famous poems and each re-wrote them into verse the way we thought they should go. Even though we were all using the same words, our choices in line breaks gave each version a different meaning and different effect on the reader. Even the length of the lines impacted the tone and message of the poem. So make sure your line breaks contribute to the intended effect of your verse. 

5. Start with a believable context. This applies mostly to fiction writers, especially those writing fiction with outrageous or paranormal or fantastical elements. This advice came from storyteller and champion liar Bil Lepp, who made us all believe he’d been smashed into the ceiling by a dentist’s chair. You want to know how he did it? He eased us into it. He started out telling us about a toothache he got, the subsequent trip to the dentist’s office, and getting bored sitting in the dentist’s chair while waiting for the dentist himself to come into the room. So he started playing with the pedals that made the chair change position. The story started so normal and familiar that when odd things started happening, we all subconsciously suspended our disbelief. We trusted what was happening in the story, because he made it fit and work within the context. This is great advice to fiction writers, because if you get too crazy, too quick, you lose your reader’s trust. And even if the point is to be fantastical and out-there, the use of real, normal, and familiar details helps to ground the reader and allow them to connect the story to their own lives.

4. Writing without “emotional language” (“I love this” or “she hates that”) allows the details to “show” your feelings without being sappy or overly sentimental. This nugget of wisdom comes from Jon Van Kirk. He discovered the truth of this statement when he did an assignment with his students at a university. He told his classes to describe a lost-to-them but still familiar location. In the first class, he told them not to use “emotional language” and the students produced vivid descriptions that evoked a range a heartfelt emotions—without ever once naming those emotions. The second class did not produce the same results. Because he forgot to tell them not to use emotional language.

3. In the first few pages of a novel, set up the character, conflict, setting, and voice. This advice came from Edie Hemingway’s “Strong Beginnings” workshop. It applies to any genre of writing and can even be adapted for short stories and other styles of writing. Basically, you want to set up everything the reader needs to know in the first couple of pages. Who is the story about? What are his/her age, race, education, and (to a lesser extent) appearance? What is the conflict of the story? You don’t have to spell it out, but you can start to hint at it or get the ball rolling. Where is the story taking place? And—this is very important—you need to establish the voice, which, ideally, is a combination of your voice as a writer and your character’s voice. Most importantly, establishing all that in the first couple of pages not only grabs the reader’s attention, but it will also hopefully grab a publisher’s attention and keep your manuscript off the slush pile.

2. Don’t get stuck on the first page. Chances are your original first page will change or the story will ultimately start somewhere else. This also came from Jon Van Kirk and his workshop “The First Fifty Pages.” Basically, you don’t have to write your draft in chronological order. You can write any scene from any point in the novel at any time you want. Then, when everything is written, you can figure out the order. For someone like me who gets stuck on the first few pages (every single time), this came as quite a relief. It was like I had been granted a stay of execution. Now if only I can get myself to walk away from the chopping block.

1. Writers are amazing people. Technically, I am re-learning this, as I do every year at the conference. And it’s something you learn from the conference as a whole. Writers are big-hearted, friendly, encouraging, and just all-around-awesome people. Not to mention talented. I’m always thankful that there are writers willing to share their talent and knowledge—not just in the form of presenters, but the attendees as well. And writers are just nice. I had nearly half a dozen people or more come up to me at some point over the weekend to tell me I was doing a good job, or thank me for my hard work, or tell me that they liked my writing. I’m not sure there is anything that makes a writer glow more than another writer complimenting her work. I also had one woman call me over in the parking lot on the very last day. She handed me a copy of her poetry book with the handwritten inscription “Thanks for all you do,” which left me a sentimental puddle all over the asphalt. And, of course, every year I make new friends and reacquaint myself with old friends. Let’s be honest, a conference is only as good as the people who are there. And if you are at a conference that’s filled to bursting with writers, it’s guaranteed to be amazing.