I need the silence

Please allow me to expand.

I can't talk about what I am writing with my loved ones. I have a few friends that sort of know what is going on. My husband has a vague reckoning but hasn't heard any passages read out loud or anything. Every now and then, I'll let him know a bad guy has rolled into town.

My family knows something is up. After all, they drove me to the airport when I went to the SiWC. My aunt drove me to the building each morning and picked my up each afternoon. For her, I made up some poor excuse of a title I said I gave whenever someone asked if I was writing something: "Broken in Three Places: The Story of [My Aunt's Name]'s Leg." I'm still working on that one. A real tear-jerker.

They're not dummies.

I just can't talk about it.

Why is this?

I care about their opinions too much and if I let them tell me their opinions about this story, I may never finish this book. I'll finish a different book, but not this one.

So we don't talk about it. Sometimes, when I am typing at my computer, someone will ask what I am doing and I will respond, "Writing things down." That is enough for all of us.

For now, this book has to be for me. I can mess around with scenes, backstory, dialogue etc... and not worry about it being stupid. It can have stupid parts, because I am the only one reading it. Once I have most of the stupid parts out, they can go to a critique partner. Once they help me drag away most of the remaining stupid, perhaps I will be able to send it off to an agent, editor, publisher, etc...

Then, I may feel ready to show my loved ones. Then I will feel it is completely not-stupid and ready for someone else. Because although I completely respect critique partners, agents, editors, publishers, etc... (Believe me, I do), they aren't the ones who make me soup when I am sick or the ones who will be stuck paying off my student loans if I get hit by a bus.

That is why it shocks me most when I hear query letter advice about not telling a prospective agent that your family and friends love your book. I would have never crossed my mind.

Its my quiet little secret.

Jack Whyte at SiWC

Jack began his presentation as follows: "Dialogue with the master. Heh, I don't feel very magisterial at the moment." Good times ensued.

Workshop Description:

Dialogue with a Master. New York Times bestselling author Jack Whyte shares his secrets of believable communication on the page.

On one character talking over several paragraphs: put opening quotes on each paragraph. Don't put ending quotations until they are done speaking.

Don't over-explain.

Show physical body language. It carries the message. You don't need a bunch of said, answered, etc. A twitch of the eyebrow, a nod of the head registers engagement, conviction, confidence.

3-4 people in a conversation. There is a great example in Robert McCammon's The Queen of Bedlam. (Main character walks into a room of strangers. 6 or 7 people sitting around a table. They talk to each other, the main character, there is cross-talk in front of him).

Greetings - Have someone do a general greeting. You can say it happened without using dialogue.

THOU SHALT NOT COMMIT BOREDOM ON THY READER

You provide the blueprint - need to have worked out every idea in your head. Ex. If the character crosses the room, you had better give the reader warning this is happening. They can't just flash from point to point.

If there are several smells in a room, 1 will be a primary smell and the rest will be secondary, etc... 1 will overwhelm the other.

Accents - same language, same words, different way of holding mouth. Overtones are nuance.

Early, establish time introducing a character. Paint a picture of them. Put in standard english with the occasional vowel difference. You can use sentence structure as a tell.

Britain - dialogue changes from town to town.

It is not the way you speak, it is the words you use. Ex. trunk vs boot.

Maybe write an author's note or a simple glossary.

Historical writing - be aware of modernity. Ex. Measuring distance, time (moments, not minutes). Be constantly on guard!

Inside dialogue, use contractions. Outside of dialogue, DON'T.

If it is boring or doesn't move story forward, cut it. Throw it out.

What the story is doesn't matter. Your responsibility is to make it as absolutely limpidly clear as possible.

Dialogue is for character sharing, not information. Hear voice. That is when events begin taking place. Parts of character become etched into place. Good parts, flaws.

You don't have to say how many cavities the character has. Give a brief description and imagination does the rest.

Recommended Reading:

The Queen of Bedlam

Robert McCammon

The Religion

Tim Willocks (Harrowing siege and battle scenes)

John Irving and Pat Conroy

Great dialogue. Deal with strange family situations.

Dickens

You may learn more about Jack Whyte and his books on his website.

Anne Perry, Jack Whyte, Robert McCammon, Diana Gabaldon Moderator: Anthony Dalton at SiWC

All right, here is a new game for you. Take five amazing writers. Put them in a room and let them talk with one another. See what sort of notes you come up with.

Here are the results from the first time I played this game:

Making History. Non-fiction author Anthony Dalton moderates this panel of historical fiction superstars as they share their secrets of bringing real history to life in fiction. With authors Diana Gabaldon, Robert McCammon, Anne Perry, and Jack Whyte.

DG - Her favorite book is the one she is working on.

JW - History has unchanging elements. The writer must demystify it. They need to make it relevant to current readers.

Do you need to write a glossary?

JW - Have to do it for editor.

AP - Having a street map is useful.

JW - (On writing accents) Change as few vowels as possible to differentiate each accent for character. Write in normal, idiomatic english otherwise.

DG - Loch Ness smells like cold mud and dead fish.

Maps, small alleys, bylanes. (Not sure. Describe them? Get historical maps to be more accurate? I don't know.)

JW - Nelson's navy in the 16th and 17th century cut down (clearcut) the oak forests in the Highlands to build the navy. They never grew back.

On including real people in historical fiction

Allow real people to cross the street in front of fictional characters, etc. Otherwise, unless you know they do it (it is written down somewhere), don't make them do it.

And this is all I wrote down.

It would appear I ignored Robert McCammon. I didn't. The man was absolutely spell-binding. He spoke quietly and everyone leaned forward in their seats to catch every word. What I found most interesting is what he didn't say. He took a ten year break where he did no writing. Then he started again. What did he do during these ten years? He went for a lot of walks.

Then he wrote The Queen of Bedlam, a book Jack Whyte described in a later session as a book so beautiful (I'm paraphrasing here), it spurred him to invite Robert to the SiWC. A book with an amazing example of the use of dialogue in one of the opening scenes.

I know they discussed editors. I know they answered questions from the audience. I doubt I blinked more than once a minute through the entire sitting. Like all the other SiWC seminars, it was a truly amazing experience. Bravo to the SiWC planning committee and if anyone is still on the fence about whether or not to attend, I vote you do. You are taking votes, aren't you?

Websites

Anne Perry

Jack Whyte

Robert McCammon

Diana Gabaldon (Did I mention I love her podcasts?)

Bob Mayer at SiWC

Bob Mayer aka Robert Doherty is someone I would define as a writing machine. He has written over 40 bestsellers. He has written both fiction and nonfiction, including the Black Ops series and the Area 51 series. He has also written 2 books with coauthor Jennifer Cruise. His most recent book is Who Dares Wins: the Green Beret Way to Conquer Fear and Succeed.

Workshop Description:

Original Idea and Conflict - The Heart of Your Story and The Key to Selling Your Book: Can you say what your book is about in 25 words or less? This is essential to both writing and selling a tight book. Join bestselling author Bob Mayer to discuss ways to find and state your original idea so that you stay on course while writing the book and with which you can excite those you tell it to when trying to sell it.

Again, there was a handout provided and I am going to go by the Pirate's Code of Honor and only provide my own personal notes.

On social media, such as facebook, twitter, blogging, etc: Social media can be a time suck.

Content is critical.

Title must invite the reader into the book.

Put yourself out there. You are never going to see anyone reading your book.

At the beginning of the book, if the protagonist were to go through the climax, they would fail.

Keeping secrets from the reader does not create suspense.

Conflict should occur at two levels in each scene. Ex. Being chased and arguing with each other.

Tip: Put every scene up on a white board. Mark every one that has struggle between two characters. Every scene should have some character vs character.

The main character must have some sort of flaw to make them seem real. Something in the nature of the character must cause a problem.

Negative protagonists need a redeeming quality. Ex. Grumpy, but will go out in snow to save senile old lady.

No one thinks they are a sidekick or a minion. Remember this when writing your story.

Flamingoes can't be left alone. They will go crazy. (This isn't some trick to make sure you are paying attention. I actually wrote this down. I also felt I would understand this in the future, as there is no other explanation.)

If a thing is an antagonist, put in a person who represents the antagonist.

Reading a finished draft of a book

Time 1 - What happens.

Time 2 - Watch the characters. Watch the secondary characters. Ex. In Deadwood (season 2)- the antagonist becomes the protagonist. Have to spark a redemption here and there.

A 1 page synopsis should contain 3 names - the protagonist, the antagonist, the supporting character and a bit of story.

You may learn more about Bob Mayer on his website and his blog or about Bob Meyer and Jennifer Cruise at their website.

Bob's book The Novel Writer's Toolkit: A Guide to Writing Great Fiction and Getting it Published contains in greater detail the information presented in this blog post and much more.

Hallie Ephron at SiWC

Hallie Ephron spoke at the Surrey International Writers' Conference on how to write a great mystery. Hallie has cowritten 5 mystery novels and the psychological suspense, Never Tell a Lie. She is also author of Writing and Selling your Mystery Novel: How to Knock 'em Dead with Style.

Workshop Description:

Tips for Mystery Writers: Things I wish I'd Known. Hallie Ephron shares her epiphanies along the way to producing seven mystery / suspense novels - the mistakes, the trade-offs, the gotchas, and the expectations of the genre's readers.

During her presentation, Hallie gave a hand-out to everyone. These are my notes from the margins, not a re-typing of her handout (PIRATE VOICE: Aaaarrr. Because that be stealing, matey). Anywho:

• The sleuth should not be solving a crime because it is their job. Often, the sleuth is an amateur, not a professional. It has to be personal. Otherwise, they would leave it to the professionals.

• Story ideas - Suppose ___ happened ... and what if ... and what if ...

• People are interested in characters who are not perfect. They need to be put in a position to prove themselves. Ex. If they have a problem with drinking ... send them right into a bar.

• Mysteries are filled with secrets. Some characters have a secret that makes them guilty / innocent. Everyone lies. It is not always deliberate. Sometimes they don't know.

• Real people and events. Be careful about libeling someone. Do not defame or illustrate someone with malice. Disguise can be defamable. Truth is the defense for libel.

• The villain doesn't think they are evil. They could think they are righting a wrong, protecting a loved one / their reputation. They think they are doing the right thing.

• Sidekicks act as a foil. They ask the dumb questions, make wrong observations.

• Adversaries are good-guys who present obstacles to the sleuth.

• Stories set in the present may make a story seem dated.

• Pain makes the main character look heroic. Drama is directly proportional to the pain of the sleuth. Throw problems at them from the beginning. They come, get solved. More intense problems, get solved. If you plan to break their leg, wait until the end.

• A scene has to have a payoff. Something that moves the story forward. A secret is revealed or there is a change in emotion, situation, etc ... If the scene doesn't have a payoff, get rid of it.

• When using multiple view points, there should only be one narrator / scene. If there are two people in the scene, have the person who is least comfortable narrate.

• Withholding information from the reader doesn't create suspense. It makes the author's presence obvious.

• Be certain of what happens during a specific action. Ex. If you accelerate a car, you move back in the seat.

• Let the reader learn the back story through the character's actions.

• At the beginning (aka page 1), something should happen to throw the character off-balance.

• The end - mop up unresolved bits, rehash, etc... In a series, something is left unresolved (maybe the love interest).

You may find out more about Hallie and her books on her website.

Diana Gabaldon at SiWC

Diana Gabaldon, author of the Outlander series, the Lord John Grey series and numerous other novels, anthologies, non-fiction and other bits of writing presented on how to include research in writing at the SiWC.

Workshop Description:

I've Done My Research and Now You are Going to Pay. Join bestselling author Diana Gabaldon for a discussion on how best to do research and how not to dump it all over your story.

Here are my miscellaneous university student notes. She gave much more interesting information than this that I never wrote down, having heard similar tips on her podcasts, etc. I would highly recommend giving them a listen.

Historical fiction

• Details must have an emotional stake. You can include any interesting bit of information, as long as it moves the story forward. Don't just dump it in.

• Write not only for accuracy, but historical plausibility.

• Children's books are fact-checked much more thoroughly than books for adults - you can use them as a reference at times.

• Painters from the period can give you an idea of what people looked like.

• Visit museums.

• Diana has written with a goose quill pen / dip pen. Doing things like this can help you to "live" through a scene. Some artifacts will have a certain vibration when you pick them up - give you an idea what it would be like to hold it, use it.

• Diana collects old Southebys catalogues.

Period expressions will add to a story.

Recommended readings:

A Dictionary of Slang and Unconventional English

-Eric Partridge

The Dictionary of the Vulgar Tongue*

*This book gives examples of low slang expressions.

-Captain Francis Grose

Good Dialogue

• Consider details important to the character. The way they speak is most important to the character.

• Different people use language differently.

• Use short sentences.

• An old lady and a 12-year old shouldn't speak the same.

Background

• Info dumps vs atmosphere.

• It needs to be focused on (filtered through) the character.

• Experience as the character.

• Something should happen (you want to use action).

• When using description, have at least one sense of action per paragraph.

Randoms

• Trews, waistcoats (pronounced westkits).

• Regional tartan sets - 1 weaver / area (usually men). Waulking = to felt wool. Women used to sing waulking songs to pass the time.

You can find out more about Diana Gabaldon at her website, or on her blog. You can find links to her podcast series on her website, as well as on you can find on iTunes.

Eileen Cook and Annette Pollert at SiWC

Eileen Cook, author, and Annette Pollert, editor, had a frank discussion between themselves and with the audience members in October at the SiWC about what the author-agent-editor relationship is like and how an author can participate in the marketing of their book.

Workshop Description:

Triple Threat - The Art of Working Collaboratively from Idea to Book Shelf. See how this writer (Eileen Cook), agent (Rachel Vater) and editor (Annette Pollert) have forged a strong collaborative working environment. Learn how a book can move from idea to bookshelf, how each defines and fulfils their role and what makes for a good working relationship.

*Note: Rachel Vater was sick and unable to attend the conference.

Here are some of the things I managed to jot down:

Writing is solo.

Publishing is colaborative.

Finish writing your book, THEN look for an agent.

• Having an agent, you will be able to target one of the larger publishing houses.
• Target a new agent at an established agency. Eileen had a few agents in mind when she was writing her book, sent query letters to them once she had finished.
• Subscribe to Writer's Digest.

Publishing has three seasons: spring, summer and fall.

January is a spring title.

Pulse, Eileen's publishing company asked her what she wanted to be on the cover. They were very good about involving her in the process.

Some of Eileen's book marketing strategies (after a book is published):

• Email book review websites offering to do interviews
• Print out postcards for her book and gives them out. At the book store, put these postcards in the covers of other books.
• She mentions it doesn't hurt to have a quote from another author on the book cover (hers is from Meg Cabot).
• Make up teaching guides or a list of questions to be asked at a reading group. Eileen offers a teaching guide for one of her books, What Would Emma do? under the resources button on her website.
• When visiting another city, contact one or two book stores in the area and offer to do a book signing. Eileen did her own book tour (she said it works better if people know about you).
• Friends can request their libraries order in books.
• Visit local book stores. If the people working there know you, they might recommend you. You can also offer to sign the copies they have.
• With the use of internet and radio, there are a lot of possibilities to reach out to people
• The education and library marketing department of the publishing company will submit books for prizes in contests, etc...

Eileen Cook has written the books Unpredictable, What Would Emma do?, and Getting Revenge on Lauren Wood. You may find out more about her (and read her awesome blog) on her website.

Annette Pollert is an editor at Simon Pulse.

Richelle Mead at SiWC

Richelle Mead gave a very enlightening presentation at the Surrey International Writers' Conference in October, 2009. I found her to be as excellent a speaker as she is a writer and very open about the profession.

Here are the notes I scribbled down during her talk, for the most part resembling their point form counterparts in my notebook. This definitely does not encompass all of her presentation and I would definitely recommend anyone going to see her present if she returns to SiWC or any other writing conference.

Workshop Description:

The Undead Can be Sexy Too! Author Richelle Mead discusses the genres of Urban Fantasy and paranormal romance - the similarities, differences and overlaps, the trends in publishing and how to do your research.

Urban Fantasy (UF) - "Real world" with fantastic elements

Paranormal Romance (PR) - Similar to UF, but the primary plot is the difference

UF - May not end with a happy ending

PR - Will end with a happy ending

UF can be known to have darker elements whereas PR can be expected to have more light / funny elements, although these are extreme ends of the spectrum and many books are somewhere in between (she drew a diagram, which I copied, but don't know how to duplicate via typing).

Romance readers are the biggest piece of the fiction market. They give the writer a marketing edge, as romance readers are most likely to cross-read between genres. Often, UF crosses genres and can be shelved in a number of places in a book store. YA is generally shelved in YA, but can have PR or UF elements.

Examples of authors and the genres they write in:

• Charlaine Harris PR/UF
• Jim Butcher UF
• Jim Harrison UF
• Kelley Armstrong UF
• Patricia Briggs UF
• Laurell Hamilton UF
• Mary Janice Davidson UF
• Sherrilyn Kenyon PR
• Karen Marie Moning PR/UF
• Stephenie Meyer YA
• Cassandra Clare YA
• PC Cast YA/PR/UF
• Holly Black YA
• LJ Smith YA

Different beings / creatures that are used:

• Vampires
• Shape-shifters
• Fairies / faeries ...
• Witches
• Demons / angels
• Werewolves
• Mages / wizards
• Zombies - Mark Henry, Carrie Ryan
• Myth (gods, unicorns) - Neil Gamon, Diana Peterfreund
• Ghost, mystery - Kat Richardson

The biggest part of writing in either of these genres, no matter what is KNOW YOUR RULES! (because your readers will know them and they will point it out to you when you slip up)

Richelle discussed agents in the genre and recommended Preditors and Editors as a good place to go for information on agents and agencies.

You may learn more about Richelle on her website or her blog.

Did anyone else see her present at SiWC? Do you have anything to add that I missed?