If It Were Easy, We’d All Be Best Sellers
July 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Best Sellers, Bob Mayer, conferences, writers
From a Cabin in the Wood featured author is DT Krippene. DT is a contributing author in the recent BWG’s paranormal anthology, Untethered. A man buys a house for a price that is too good to be true, until he discovers the bizarre strings attached in “Hell of a Deal”. He’s also contributed articles for the Bethlehem Writers RoundTable with “Snowbelt Sanctuary”, and “In Simple Terms”.
A native of Wisconsin and Connecticut, DT deserted aspirations of being a biologist to live the corporate dream and raise a family. After six homes, a ten-year stint in Asia, and an imagination that never slept, his annoying muse refuses to be hobbled as a mere dream. DT writes dystopia, paranormal, and science fiction. His current project is about a young man struggling to understand why he was born in a time when humans are unable to procreate and knocking on extinction’s door.
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p style=”text-align: left”>You can find DT on his website and his social media links.
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If It Were Easy, We’d All Be Best Sellers
DT Krippene
Writers have an abnormal predilection for planting themselves in a chair like a lone desert cactus, surrounded by nothing but sand, and wait for the words to rain. How is that even remotely natural?
After a writer’s conference last year, I took some time to reflect on what I’d learned, what I’d heard before, and why the hell I was still writing.
Our keynote speaker was NYT Bestseller, Bob Mayer, a former Green Beret who wrote the Area 51 series, as well as 70 other titles in fiction and non-fiction. We listened to advice on the standard elements of plot, story structure, character, the importance of tight narrative, and dangers of going off on tangents that don’t move the story. Anyone who has read my article from last year, ‘The Perils of Captain Tangent – a Pantser’s Writing Journey‘, knows I have an issue with side stories that end nowhere.
Only Five Percent Even Finish a Book
Bob shared a harsh lesson given to soldiers wanting to be Army Rangers, one easily applied to writer success. “Everyone stand up, look at the person on the right, then look at the one on the left. Only one of you is going to make it.” He reminded us that only five-percent of all writers ever finish a book, that five-percent get to the point of publishing the book, and five percent of those people ever get anywhere with it. In simpler terms, earning enough to buy a case of Yuengling beer is like winning the lottery.
For writers who’d never heard it before, the eagerness visibly drain from their faces. Reality bites. For me, the message I took away had less to do with sobering statistics I already knew, or the writing process I’ve been refining for years.
Harness the Chaos
Growing up, I had an imagination fueled on nuclear ether. I tried to harness the chaos of that imagination by penning it on paper. A bit intense when gripping a pen, my fingers cramped within an hour. I got a D+ in high school typing class, unable to master a typewriter without buckets of whiteout and erasable bond paper. It would take access to a modern word processor and the ability to backspace and delete with impunity, before I struck up the nerve to start writing again many years later.
Thirty-plus years traveling for corporate America offered ample opportunities at boarding gates, on flights, and hotel rooms to write. While living overseas, I landed a non-paid gig writing articles for a local travel magazine. It was fun, and I acquired a small fan base.
Back to last year’s conference, they asked, “Why are you writing, and what’s your goal? How passionate are you about what you’re doing?”
Hell of a question. What do I want to be, besides thirty-years younger? I remembered a book I’d read about rebooting life when the distraction of a workaday world subsided. It asked similar, tough questions like, what gave me passion in my younger years. What was it I dreamt of as a kid?
The answer: I enjoyed times alone inside the chaotic ether of my imagination. After rendering to Caesar the things that are Caesar’s, I wanted to mine that creativity and put it in words.
Stories are easy, but . . .
The stories came easy, but understanding the mechanics of plotting and structure was a different breed of cat. I can quote the basic laws of chemistry, but dangling participles was something I learned on the fly. My first 300-page attempt was a laughable exercise that encouraged (I am a writer, I am, I am, I am), and depressed me (Dear Occupant, thank you for your submission, but …). Not having a pedigree that comes with a Fine Arts education, I had a steep hill to climb.
The journey took me on a rediscovery of subjects I’d glossed over in secondary school, like grammar. The proper use of commas was enough to send me to the nut house. Thankfully, Word spell check kept me from giving up entirely. I networked with authors and joined writer groups. Surviving a critique process from fellow writers is not for the weak-hearted.
I went to conferences to learn about the business of getting published. Rejection by the hundreds required the skin of a stegosaurus. With the prolificacy of traditional and indie publishing (an unending tsunami of content in Bob Mayer’s words), being published today is akin to the lone salmon swimming downstream against the horny hoards going the opposite direction during spawning season.
“Old dogs must learn new tricks”, Bob Mayer said. Exhuming a passion, buried for decades in a lead-lined box of adult obligations, can be one of the hardest things in a person’s life. It felt good to hear a professional corroborate what I had to learn on my own.
It takes Passion.
It takes Perseverance.
It takes Risks.
I’ve published a few short stories, but have yet to find a market for the five books I’d written. A wonderful agent tried to market two books I wrote a few years back, but no takers. It amazes me that she still answers my emails after those first attempts. Her advice to me – keep writing.
Don’t have to ask me twice. Hell, I can’t help myself. When I’m not writing, I’m thinking about writing. I lost count how many times my wife caught me pacing a room with a blank look, lost in a scene inside the kaleidoscopic pandemonium of my imagination, when I should be cutting the lawn.
I just finished my sixth novel. Given the commentary from trusted beta readers, I still have some work to do. It isn’t because the story sucks. It’s about making it as good as it needs to be. I’m getting closer.
I’ll end it here. I have a story to edit. Have to make my own rain.
Oh, and the hyperactive muse who won’t let me sleep at night, is egging me to start a new idea.
Hmmm – wonder if I can do both at the same time?
A native of Wisconsin and Connecticut, DT Krippene deserted aspirations of being a biologist to live the corporate dream and raise a family. After six homes, a ten-year stint in Asia, and an imagination that never slept, his annoying muse refuses to be hobbled as a mere dream. Dan writes dystopia, paranormal, and science fiction. His current project is about a young man struggling to understand why he was born in a time when humans are unable to procreate and knocking on extinction’s door.
You can find DT on his website and his social media links.
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Creating a Setting for Your Cozy Mystery by Carol L. Wright
June 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as BWG, Carol L Wright, cosy mysteries, cozy mysteries, Setting, writing
This month on From A Cabin in the Woods, we are featuring editor and author, Carol L. Wright.
Carol L. Wright escaped a career in law and academia for one in writing. She loves writing her Gracie McIntyre cozy mysteries where, unlike in life, justice always prevails. The first in the series, DEATH IN GLENVILLE FALLS, was a finalist for both the 2018 Killer Nashville Silver Falchion Award and the 2018 Next Generation Indie Book Award. She also writes short stories in many genres that have been published in a variety of literary journals and award-winning anthologies. She is married to her college sweetheart, and they live in the Lehigh Valley of Pennsylvania with their rescue dog and clowder of cats. Find out more on her website, and on Facebook at Carol L. Wright, Author.
Creating a Setting for Your Cozy Mystery
Carol L. Wright
When we think about the setting for a cozy mystery, Murder She Wrote’s Cabot Cove or Agatha Christie’s St. Mary’s Mead often come to mind. Indeed, the term “cosy,” as the Brits spell it, was coined to describe Dame Agatha’s mysteries. Following these examples, most cozy writers choose a closed community as the backdrop for their murder. But, there is much more to a memorable setting for a cozy than being located in a small town.
Once, only British settings were deemed appropriate for cozies. As recently as twenty years ago, some said cozies had to be set in England or in New England. But Jessica Fletcher travelled widely, and even Christie set some of her mysteries on an isolated Indian island (And Then There Were None) or at an exotic hotel (A Caribbean Mystery). Many readers, in fact, love to learn about new places while trying to solve a mystery—so long as those places aren’t too off-putting. Harsh settings are usually reserved for harder-edged fiction.
With the idyllic small-town disappearing in the modern world, it’s not necessary to recreate a Cabot Cove. Since part of a cozy setting is the feeling of comfort and normalcy, you can set your mystery any place you wish, so long as you give your readers a feeling of familiarity. Anything from an ancient castle to a city neighborhood, a ski lodge to a desert island, a vacation resort to an Amish community will work just as well. Almost any place will do where people are thrown together and know (or get to know) each other.
Real or Fictional
But, should your setting be real or fictional? Both have their challenges.
If you use a real place, you need to be familiar enough with it to be sure you don’t get it wrong. Residents of that place must be able to imagine your story on the familiar streets of their home. You can’t place an event at the intersection of 15th Avenue and 26th Street in Manhattan, for instance, since anyone familiar with New York would know that would put you somewhere in the Hudson River. Such errors take readers out of the story and cause them to question the rest of your “facts.” It might even cause them to give up on your book altogether or leave (yikes!) a bad review.
Besides accuracy, when using a real setting you need to beware of potential libel if you use real businesses or real people’s names—or even substitute fictional names but do not sufficiently conceal the real entity upon which it is based. You might think that a business owner would love to have the free publicity of being in your novel, but not all would—especially if they’re to be associated with a murder. If they believe your novel casts them in a false light, they can sue. Even if you won a lawsuit, it would cost you so much to defend it that you would regret using real names/businesses. If you must use real people or businesses, get a written release from them. For more on this, see: How to Use Real People in Your Writing.
The Details
The other option, of course, is to use a completely fictional setting. If you do, you will need to provide all the details of the terrain, climate, and culture of the place to allow your readers to become immersed in your fictional universe. Think about Carolyn Hart’s Broward’s Rock Island, SC, or my own Glenville Falls—a college town nestled in Western Massachusetts. While each is within a known region, the towns, their businesses, modes of transportation, and traditions are creations of the authors.
Even fictional settings can reference real places in a general way. In my Gracie McIntyre mysteries, I mention UMass-Amherst, Springfield, and Boston, MA, but the action of the story occurs in my fictional town of Glenville Falls. In Sherry Harris’s Sarah Winston Garage Sale Mysteries, that happen to be set in the area where I grew up, her town and the name of the nearby Air Force Base are fictional, but she mentions surrounding towns, roads, and landmarks. Reading them gives me a feeling of being back home. Done well, incorporating real places can help sales to the area’s current and former residents—especially if you do book signings there.
Back Ground Characters
Another part of the setting is your background characters. These are definitely NOT the folks who will drive your plot, kill your victim, or solve the crime. They’re the person who takes orders in the coffee shop, the mail carrier who delivers the threatening letter, or the security guard who lets people into the gated community. If the location of your story were a room, these characters would be the furniture.
As with any room, you want your furniture to add color, interest, and comfort to the setting. One character might have a colorful accent (pillow?) or mode of speech. Another could give the sleuth a place to rest and think a bit. Another could shed some light on the story. While these characters might serve a small role in the plot, they then go on about their fictional lives, unconcerned with what is happening in the rest of the novel. Still, they leave behind their imprint on your readers’ sense of place.
Once you have your setting—both the room and the furniture—you have the cozy world in which to spin your tale or your series. And, if, like me, you’re a “pantser”—one who writes by the seat of your pants rather than plotting everything out in advance—you might well be surprised to find that some of the lovely setting you’ve created ends up changing your story in ways you never anticipated.
What do you look for in a cozy setting? What are some of your favorite cozy settings?
Books by Carol L. Wright
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Conference Conundrums by Diane Sismour
May 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Bethlehem Writers Group, conferences, Diane Sismour
Diane Sismour has written poetry and fiction for over 35 years in multiple genres. She lives with her husband in eastern Pennsylvania at the foothills of the Blue Mountains. Diane is a member of Romance Writers of America, Bethlehem Writer’s Group LLC, Horror Writers Association, and Liberty States Fiction Writers. She enjoys interviewing other authors and leading writer’s workshops.
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Conference Conundrums
Diane Sismour
There are hundreds of writing conferences across the country every year, all vying for our attention. The promise of intriguing workshops and spellbinding keynote speakers up the ante, agents and editors add promise, and do not forget the networking opportunities. Although good writing is the objective, in an era when “who you know,” is as important as “what you know,” need I say more. So how do you choose which events are best for you?
Small Conferences Can Be Cost Effective
To get the most for your money, there are small conferences providing an array of workshops on craft and the business of writing, without the expensive speakers, or sit down dinners. The incidentals of a nomad on the road are costly. Find a venue within driving distance to avoid hotel stays, and remember to pack plenty of snacks and beverages. Your local writing group or library can help guide you to the events in your area. The Shaw Guide to Writer’s Conferences and Workshops has wonderful information on a huge variety of conferences, workshops, retreats and events all around the world. Another is fabulous source is the Romance Writers of America website. For non-romance writers, RWA members are inclusive and the conference workshops are more about craft and business than romance.
Workshops by outstanding speakers can make a difference in how the information translates to your writing needs. These sessions are usually not part of the general registration and are often times pre-conference workshops, requiring additional fees. However, some people are just better teachers and are worth the charge. They communicate concepts in interesting ways that translate to the “ah ha” moments we all love feeling when a connection is grasped.
Save for One Big Conference
I do recommend saving for one big conference to enjoy all the pomp and glitter. Ogle at the incredible authors at the literary signings and go to every extra activity you can find. Not only is this an amazing way to make your muse sit up and take notice of what fun can be had, but after falling asleep from exhaustion every night, you’re too tired for nerves to interfere at the agent/editor appointments. Okay, maybe a little anxious, but remember that they are the same people who passed you the sugar that morning, and you had no problem chatting to them about everyday life.
Plan Your Conference
A few important facts to remember: Figure out your objectives and stick to them; go to workshops targeted to move your writing forward, or inform on a subject you’re curious about pursuing. Bring business cards; you’ll make lots of contacts and a few new friends. Realize many of the people you meet may sit across from you at the pitch table; edit your verbal thoughts everywhere. Most of all have fun and relax; you are paying to attend.
Good luck and Happy Writing
~Diane
You Can Find Some of Diane’s Short Stories in the Following Anthologies and Books
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Out of Thin Air by Dianna Sinovic
April 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as Dianna Sinovic, imagination, Untethered, What ifs
This month we are please to have Dianna Sinovic as our BWG featured author.
Dianna is a contributing author in the recent Bethlehem Writers Group anthology, Untethered. A man buys a painting of a jungle scene that is so realistic it seems to change in “Point of View.” She has also contributed stories for the Bethlehem Writers Roundtable magazine, including “In the Delivery.”
Born and raised in the Midwest, Dianna has also lived in three other quadrants of the U.S. She writes short stories and poetry, and is working on a full-length novel about a young woman in search of her long-lost brother.
Out of Thin Air
I listened to an oldie album by CCR last week that included a favorite: Lookin’ Out My Back Door. If you don’t know the tune, songwriter John Fogerty describes a fantastical scene he imagines in his backyard—elephants, dinosaurs, a flying spoon. You might laugh about what John was imbibing at that moment, but the lyrics made me think about the concept of imagination.
It’s what we as fiction writers do every day we sit down at our keyboard or put a pen to a notepad. We imagine. We pose what ifs, and then we run with them. It’s the core of our craft. We write about things that never really happened while trying to persuade the reader that they really did.
Hats off to those who write fantasy, because they create worlds whole cloth, weaving in just enough detail that we accept those worlds and embrace them. Harry Potter, anyone? But even the most true-to-life fiction demands imagination in order to engage the reader. The precise description of a character that make him/her jump off the page and into our lives. The carefully scripted, rising tension that has us looking over our shoulder at that odd noise from downstairs…
I recently finished reading The Sparrow by Mary Doria Russell. In 1996, Russell imagined a future that’s pretty damn believable. (OK, the future is already here, with the second chapter set in February 2019, but I was slow to pick up this classic.) She dreamt up a crew that travels across the cosmos using an asteroid as their vehicle. Why didn’t I think of that?
And that’s the marvel of imagination: We each have our own mental stewpot where new ideas are always bubbling. I’ve participated in a number of writing-prompt sessions led by author Kathryn Craft, in her living room, and each time we share what we’ve written from exactly the same prompt, I am amazed, astonished by the breadth of variations on a theme.
Beyond fiction, it’s imagination that fuels new inventions and creative ways to rethink old problems in order to solve them. “Imagination is everything,” said Albert Einstein. “It is the preview for life’s coming attractions.”
Read Dianna’s short story “Point of View” in BWG’s latest anthology.
The Deadline for Bethlehem Writers Roundtable 2019 Short Story Award IS April 15, 2019
Just two days to get your story polished and submitted.
The winner will receive $200 and may be offered publication in BWG’s upcoming anthology, Fur, Feather, & Scales: Sweet, Funny, and Strange Animal Tales. Here’s the LINK for more information or to enter.
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Pantser in Need of a Serious Intervention by DT Krippene
March 13, 2019 by Bethlehem Writers Group in category From a Cabin in the Woods by Members of Bethlehem Writers Group tagged as DT Krippene, pantser, writing
From a Cabin in the Wood featured author is DT Krippene. DT is a contributing author in the recent BWG’s paranormal anthology, Untethered. A man buys a house for a price that is too good to be true, until he discovers the bizarre strings attached in “Hell of a Deal”. He’s also contributed articles for the Bethlehem Round Table Magazine with “Snowbelt Sanctuary”, and “In Simple Terms”.
A native of Wisconsin and Connecticut, DT deserted aspirations of being a biologist to live the corporate dream and raise a family. After six homes, a ten-year stint in Asia, and an imagination that never slept, his annoying muse refuses to be hobbled as a mere dream. DT writes dystopia, paranormal, and science fiction. His current project is about a young man struggling to understand why he was born in a time when humans are unable to procreate and knocking on extinction’s door.
You can find DT on his website and his social media links.
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Pantser in Need of a Serious Intervention
by DT Krippene
If you’re a writer, you’ll recognize the term pantser, defined as writing by the seat of your pants, or someone who writes without an outline, without plotting, and without a clue. Smart writers are plotters. I’m a hardcore pantser, which suggests I’m not very smart. It’s that irking process of plotting chapters that eludes me.
Have you ever tried to organize one those squirrel folks who is easily diverted by the slightest interruption? Yeah, I’m one of those. Hell, I can’t fart and not get sidelined.
Trust me, I’ve tried to plot. I possess a veritable library of files for the books I write. Even downloaded one of those cheat-sheets to systemize the chaotic asylum of my story-writing brain. So, what the heck is my problem? I’m a meticulous note-taker by habit, but that voluminous archive is a realm I rarely ever revisit. I often forget I made notes. Too busy writing.
We have a real nice office on the first floor, with great views of the garden. I let my wife use it. Last thing I need is to settle into a hypnotic stare at house wrens warbling for a mate. I can ponder a barren tree in winter for no reason at all. Why? Because it’s there. My office is in a windowless basement room painted grade school green; just me and the radon (I didn’t choose the color).
And music? Forget it. Writers love to share what music feeds the muse when writing. Stephen King claimed in his early years, he wrote best when listening to ear-blistering rock tunes. I’d never been one of those kids who did homework with an album playing and the TV on. Who can concentrate with all that racket? Don’t get me started on the internet, and that infernal necessity for all budding authors, Social Media.
Many of my author buddies advocate programs like Scrivener. I gave it a shot and found myself managing the program rather than actual writing. Ever see the movie A Beautiful Mind, and the scene where concerned friends stumbled upon a place wallpapered with Dr. John Nash’s schizophrenic notes? I don’t claim to have a beautiful mind, but my desk looks a lot like that setting.
Write a synopsis first, experts say. Been there, done that. I’ve spent hours, days, crafting the perfect outline for a story. For ease of reference, let’s say the original premise was to create a bird. By the time I finish–behold–I have a monkey.
For me, I have it all in my head, and what a meandering gauntlet it is. I always know how a story starts and how it ends. Tying the two together is where the real work is. Think of it like planting a tree many miles away, then planning the shortest distance between two points to get home. I’m a curious Bill Nye trapped in the Mad Hatter’s head. I don’t take the simplest route. It’s like taking a trip to visit relatives in Philadelphia–via Canada.
When I begin a new scene, I read the previous chapters to get in the groove, jot-down a few notes, then start ‘dem engines. Four to six hours later, I’ve got a mishmash of narrative, dialogue, and action that bears no resemblance to the original idea.
How did the train end up at a different station? I fall deep into a scene, fully embody the character, and speak aloud the dialogue. You talkin’ to me? I go one way, maybe say “Nah”, do a heel-spin and meander in an alternate direction. I experiment and sift through what fits best. Next day, I re-read the new material, and either modify it, or toss it completely. I swear, some days, I read the result of a prior session and wonder if I’d forgotten to take my meds before I wrote it. Believe me when I say that I can write 10K words, and trash seven. It’s not very productive. My process is like rinsing chia seeds in a colander and losing half the seeds.
It’s not like I can’t reach the goal line. I work at it like a job and write almost every day. I’ve finished several books. Believe it or not, I completed one in less than six months (boy, did that one suck). Good thing I don’t get job reviews.
What I needed was an intervention. It came in the most unexpected way.
My wife visiting relatives, the house to myself, I took a yellow pad, handwrote chapter bullet points of what I’d already created. Then I entangled the knotted string of scenes (actually, it was more like taking a scissors to it). Suddenly, it made sense.
How could such a simple exercise work when it hadn’t before? When handwriting, I grip the pen with the force of a hydraulic car crusher, and Sumerian cuneiform is easier to read than my handwriting. Therefore, I type everything to prevent creating blisters. I have the ability to type as fast as I think, generating all my notes and storyboards on the word processor. The V8 clue–type as fast as I think, where all I’m doing is transcribing the spaghetti grid of my creative mind that has worse synaptic traffic than Atlanta’s notorious Tom Moreland Interchange.
Writing legibly switched off the lottery ball spin of disordered thoughts. It wasn’t easy at first. The creative muse was halfway to Alaska on the first page and I had to yank it back to the here and now.
Bullet points–slow–maybe an occasional note in the margins, decelerated brainwaves to a lower frequency and presented a visual handwritten storyboard. It revealed stray tangents which act like background noise. Tuning out useless plot chatter, a path forward magically appeared.
Lesson learned? It took a physical blackboard to see the flaws by forcing my thoughts to slow down.
The story I’m now writing has a clear horizon ahead. The muse may still want to go by way of Sweden, but it’s up to me to revoke the passport and keep its feet firmly on the ground where it belongs.
Author’s Note: If you wish to visually experience what it’s like to be an easily distracted pantser, check out the article: The Perils of Captain Tangent, a Pantser’s Writing Journey with Pictures.
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