This week, Kristen Overman shows us what active dialogue is all about while Anne Hawley analyzes how our brains process exposition.
Over at BookBub, Diana Urban offers ideas for unusual book marketing, promoting sequels, and using social media effectively while avoiding burnout. At Writer Unboxed, Donald Maass has seen the gods, monsters, and murderbots and they are us!
Clayton Noblit and Lauren McLean prognosticate on what’s ahead in publishing this year and Michael Ventrella provides an astonishing example of how NOT to handle a story rejection.
After a two-month hiatus, About This Writing Stuff is back. What was once a bi-weekly blog post became monthly and now it happens whenever I can get to it. As I’m working on a new novel, blogging has fallen off the radar… mostly. Onward!
This week, the folks at MasterClass provide tips and examples for writing an effective novel synopsis while over at Screencraft, Ken Miyamoto warns against embellishing your screenwriting creds until you have legitimate screenwriting creds.
Speaking of creds, Liza Nash Taylor and Patricia Bradley offer advice on getting your work out there whether submitting or promoting. Hank Phillippi Ryan discusses proper etiquette when requesting a book blurb, Chris Winkle teaches best practices when using foreshadowing, and Joslyn Chase reviews writing techniques in the mystery, suspense, and thriller genres.
This week’s lineup bring us several “how-to” articles including writing diverse and developed characters, marketing your book without social media, and outlining your novel (or not).
Is writing for TV better than writing feature films? Ken Miyamoto discusses. Confused about when and how to use a Framing Device in your story? Britton Perelman explains.
Jennie Nash explores the importance of asking yourself why you feel compelled to write that story that’s been bouncing around in your head. Over at Sidebar Saturdays, Matt Knight delves into estate planning for writers while at the Kill Zone, James Scott Bell argues on behalf of going exclusive with KDP and Kindle Unlimited.
A busy week resulted in a delayed after-action report of my first experience with Creatures, Crimes, and Creativity (C3). While this annual writers conference in Columbia, MD is geared toward crime fiction, mystery, paranormal, fantasy, and science fiction, all genres are welcome. This year’s keynote speakers were Hank Phillippi Ryan, NYT bestselling author and 37-time Emmy-award winning journalist andSherrilyn Kenyon, NYT bestselling author of over 80 novels. Sherrilyn’s inspiring, poignant speech damn near brought many of us to tears.
With Vaughn Jackson and Sherrilyn Kenyon at Creatures, Crimes, and Creativity Con (C3).
Special guests included Kathleen Barber, whose novel Are You Sleeping was the basis for Apple TV’s Truth Be Told, and James Grady, author of Six Days of the Condor, which was made into the classic 1975 Robert Redford film, Three Days of the Condor. I suspect the other three days were victims of Hollywood budget cuts, but I digress.
With James Grady at Creatures, Crimes, and Creativity Con (C3).
The conference delivered a fun and edifying variety of discussion panels and presentations on various aspects of writing and publishing, ranging from creating captivating characters and writing believable fight scenes to the value of deep listening and the elements of world building. I participated in the latter panel as well as another on writing in the paranormal and speculative fiction genres.
Friday night’s Noir at the Bar treated us to eight talented storytellers who read samples of their work from a breadth of genres including crime fiction, fantasy, steampunk, and paranormal.
It was a joy to meet and chat with several amazing writers throughout the weekend including Lanny Larcinese, Ef Deal, Glenn Parris, Vaughn Jackson, F.J. Talley, Frank Hopkins, Sharon Buchbinder, and former MMA fighter, J.R. White. A special shout-out to Weldon Burge on the debut of his first novel, Harvester of Sorrow. Weldon is also the owner of Smart Rhino Publications and had published my ghost story, “Bottom of the Hour,” in his anthology A Plague of Shadows in 2018. He and I have stories in about four different anthologies, each from different presses.
Speaking of anthologies, C3 produces a limited edition anthology available only to attendees of the conference each year. Although the book is not available to the public, it was no less exciting to see my Sherlock Holmes and Johnny Watson tale, “The Five-Day Killer,” in print for the first time since I wrote it six years ago. Perhaps it’ll become a valuable collector’s item if I ever hit the big time.
I carpooled to the con with fellow speculative fiction writer, Chris Ochs, who also happens to be the president of the Greater Lehigh Valley Writers Group. After the con ended on Sunday, Chris and I drove to the Common Kitchen in Clarksville where we met several local friends for lunch before heading home.
My deepest gratitude and admiration to redoubtable C3 organizers Austin Camacho, Denise Camacho, Cynthia Lauth, Susan Henry McBride, and Jodi Schwartz for their Herculean efforts to make the conference a success!
The C3 Team! (L to R): Jodi Schwartz, Cynthia Lauth, Austin Camacho, Susan Henry McBride, Denise Camacho
This week, Ruth Harris offers sage advice on writing that ever daunting blurb. Over at the Kill Zone, James Scott Bell carves out a middle ground for plotters and pantsers while PJ Parrish ponders what comes first, plot or character.
Speaking of characters, Donald Maass encourages us to create fully realized characters by first being real with ourselves. Rebecca D’Harlingue offers advice on dual-timeline plots, Steve Myers argues that our protagonist’s outer journey is fundamentally an inner journey, and Barnes and Noble’s restructuring might be the comeback story of the year.
This week, Shanee Edwards offers advice on creating a powerful antagonist while James Scott Bell teaches us practical thaumaturgy for conjuring short stories.
Brian Andrews explains the importance of self-editing and developmental editing, while mythcreant Chris Winkle delves into crafting effective descriptions.
Joslyn Chase steps us through ten ways to add foreshadowing, and Porter Anderson discusses the dangers of self-censorship.
