Surrey International Writers' Conference - Day One

It's day -1 at the Surrey International Writers' Conference. The regular conference does not start until tomorrow (I still have 10 minutes until tommorrow!), but today was Master's Classes. Since I come so far, I always try to attend both Master Class sessions. This year, I chose Janet Reid's Query Roulette and Don Maass's The Tornado Effect. Both good picks this year!

A Master's Class is 3 hours long (as opposesd to the 90 minute sessions on Friday and Saturday, and 75 minutes (if I remember right) on Sunday.

Janet Reid's class was outstanding. There were 18 registered participants, and we all had to submit query letters in advance. She went through each query letter in detail, on an overhead, pointing out what worked and what didn't. We then spent the last hour trying to fix what we'd written. I think if she'd rated them best to worst, mine might have been on the bottom. She probably spent the shortest time of all on it, and had neither anything outstandingly wonderful or horribly awful to say. It was uncommentable. Ah well... I did learn a lot anyway.

Janet had 6 tips for "A Good Query Letter"
(1) Short - 1 page is best. 2 pages is okay, but probably means there's something you could cut out. 250 words maximum.
(2) Readable (lot of white space. Spaces between paragraphs)
(3) Don't forget to include your contact information
(4) Tells, in 5 sentences, what the book is about (no more than 50 words)
(5) Include the word count (not the page count)
(6) Surprise the agent in a good way

For #4, the exercise we did was to write 5 sentences (no more than 50 words). Introduce the main character and setting (if necessary). Explain the problem and the choice(s) the main character must make - what's at stake. (PERIOD)

No set up. No backstory.

It's harder than it seems!

Donald Maass - the Tornado Effect
Donald's workshops are always one huge, 3 hour, brainstorming session. You come out with a whole fresh perspective on your story, your writing, or a particular scene or character. Whatever it is, he really makes you think!

The Tornado Effect focuses on how to make one scene really shine. It's difficult to summarize his 3-hour sessions in a few paragraphs here. Don mostly asks open ended questions that set your brain on fire. But at one point, he summarized The Tornado Effect as a way to make a scene more dramatic by having the scene event impact more than one character. Whatever it is that is happening, show how or why it's important to multiple characters, and how each of those characters is changed in some way at the end of the scene. As a way to get to this, re-write the scene from several different points of view.

Well, it's officially "tomorrow" (12:01 am), and time for my head to hit the pillow. It was a great day! I'll post some about Surrey social life tomorrow, along with anything interesting I pick up at the workshops!

Surrey - Sitting in an Airport Terminal

Somehow, not quite the same ring as "the railway station". Or maybe I'm showing my age. Anyone else remember that song - "Sitting in the railway station, got a ticket for my destination, oh..." Who sang that anyway?

Somehow I ended up with a four hour layover in Salt Lake City. Well, I know how. I originally had an earlier departing flight, that allowed me to connect earlier in Salt Lake and arrive in Vancouver around noon, instead of 4:00. It was the old bait-and-switch. Almost as soon as I booked my flight, I got a notice of flight changes which meant I wouldn't make my connection and so here I sit.

On the upside, my first flight was upgraded to first class, my first time. On the downside, I had an annoying "roommate" in first class (and what else can you call the space in first class, having spent my life riding with the peasants in couch). She obviously decided that extra space required sprawl - like the suburbs surrounding a major city. No less than 7 magazines drapped out of the seat pocket in front of her, bottled water, power bars, packs of tissues, an assortment of medications, etc... littered the arm rests between us, her leg brace (which I can feel some sympathy for) lay on the floor between our two seats, and her backpack squeezed under the seat in front of me! (Those "under seat" spaces in first class being taken up by motors to control seat positions - including leg rests! - leaving too little space for my full-size backpack.) But this meant that every time she needed something from her backpack (what more could she need?), she had to climb over me. Then she went to sleep, leaving me no escape without climbing over her legs (and the leg brace) because the drapping magazines blocked the little existing space between footrest and seat back.

Not feeling sorry for me? Okay. First class was nice.

So, I'm sitting here with my 4-hour layover, and remembering a Muse Exercise we did in April over on the Compuserve Books and Writer's forum, here. The exercise was to find someplace different to write - someplace you do not normally write. Write by hand (no laptops). Observe your surroundings for 5 minutes. Write stream of conscious for 10 minutes - focusing on sensory observations (sights, smells, sounds, emotions). Then review your writing, looking for tidbits of excellent description. Use those gems and write a scene .

I'm obviously not in the mood to be creative. My observations this time were lackluster. But then, with four hours to spare, I should be working on my novel and here I am blogging!

So, as a warm-up to Surrey, want to try it? Go someplace different to write. It doesn't have to be an airport! Your living room. Outside (in the nice fall weather might be nice). A coffee shop. On a bench at the park. Just someplace different. What do you see? Smell? Hear? Write about it. Did it feel different from your normal writing sessions? Did you come up with anything good?

How do you respark your creativity after a long break? I'm hoping this weekend will do it for me!

Getting Ready for Surrey International Writers' Conference 08

So, exactly what does it take to leave one's family for 6 days? Well, if you're my husband, you pack your suitcase, give everyone a kiss, and off you go. (Okay, perhaps that is simplifying things. I'm sure there are things at work he must take care of too. )

I leave for Surrey International Writer's Conference in 5 days (if you count today. It's only a little past noon, so I guess that's fair).

1. Complete assignments for new job. I'm now working 10-20 hours a week (depending on demand) from home. It's a great job so far, working for a former boss, doing health care insurance claim data analysis. The people are nice, very flexible, and extremely appreciative of everything I've done so far. But I'm home to take care of sick kids, etc... which there seems to be a lot of lately. Given 4 days of kids home sick this week, I'm behind by about 3 hours and need to make that up this weekend, plus work 6 hours Monday and Tuesday.
   
   
2. Laundry. There's always laundry. I've already started 3 loads this morning. By my count, I've got 4 left.
   
   
3. Grocery Shopping: I tried to pull out of the kids what they'd be willing to help cook this week. My daughter - cheesy hamburger (like sloppy joes with cheese wiz, served on a bun with tator tots on the side. I know, no self-respecting mother would ever serve this. It's one of those holdovers from my own childhood. ) My son - breakfast for dinner.
   
   
4. Leave instructions for cooking meals (see above) and those Dear Husband agreed to cook. Heaven forbid anyone pay attention when I'm here, or open a cookbook!
   
   
5. Speaking of instructions, I'll need to write out everything about who needs to be where and when. Not that it's any different from any other week, but, you know.
   
   
6. Pack. Yeah! I've bought new outfits for Surrey. I don't know why I always feel the need to do this, but there's nothing to make one feel good and confident but something new and pretty to wear. I looked last night at a new blouse I bought and didn't notice until the tags were gone that it's dry clean only. Sigh. But it's pretty, so I'm keeping it! I also got a hair cut and color. Hair is too dark (didn't I say "my natural but currently faded strawberry? It's pretty much auburn.) And too short. Guess that's what I get for my moment of vanity.
   
   
7. Write?! I have that editor blue pencil appointment (with Lisa Rector-Maass). I plan to take the piece I wrote while in Colorado with Tricia. My beginning. I periodically love it and hate it. I know it needs more polish. I'm not sure that's going to happen before Surrey. I was going to cancel the appointment, but Tricia (thank you) reminded me the purpose of the blue pencil appointment is to get feedback and advice, not to present something perfect, so...
   
   
8. Finish bookmarks. I did these a few years ago to pass out at the conference and it was fun! ere are two of my favorites from this year:
   
   
   













9. Load Kodak software on my laptop. Laptop! Hurray! Dear Husband won a laptop in his company raffle to give away some of the old laptops they were replacing. So, it's not state-of-the-art or anything, but it is a laptop! I'm hoping to post pictures of Surrey along with my blog updates (again, all depending on web access from the hotel).

I'm sure I'll think of more, but actually, it doesn't look quite so overwhelming, now that I've written it all down. Anyway, hope to talk to you next week from Surrey!

Surrey International Writers' Conference

At this time next week, I'll be residing in Surrey (near Vancouver), BC, Canada - visiting with old friends and getting ready for the Surrey International Writers' Conference.

Thursday is Master Class day, and I'm attending two. Query Roulette - by Janet Reid, and The Tornado Effect, by Donald Maass. (Why is it whenever you leave one of Donald's classes, you feel like you've been run over by a tournado?!)

Anyway, in my new, new commitment to get back to posting regularly on my blog, I plan to post every day from Surrey (assuming my internet connection works!). So, stop back and check in for my tip of the day, and a report on the sessions attended and the fun goings on.

And to all my friends from year's past who won't be attending the conference this year (you know who you are...Tricia, Stephanie, Catherine, Linda, and anyone else I'm missing), you'll be missed -- LOOSERS!

Character Archetypes

As y'all know, I've been very intrigued with The Hero's Journey of late. Over on the Compuserve Books and Writer's forum, I've been running a Hero's Journey workshop for the past month. In July, we worked on Character Archetypes - looking at the roles your characters play in your story. Since it's been up for over a month there, I'm going to post it here (below) if anyone doesn't want to go over there to play.

Last week I posted a worksheet to help analyze movies, books and their structure. At many of the conferences I've attended, writer's a-many have said "deconstruct a book if you want to learn how to plot". Huh? says I. I tried this, several times, but ran out of steam. Part of the problem, I think, was I was trying to track too many different things at once - layers, character development, secondary story lines, etc... Starting with the Hero's Journey format has made it much easier for me to understand how many stories are put together. In a few weeks, I'll post the worksheet for story analysis that currently posted on the forum. Or you could hop over there and check it out under "Hero's Journey 2: Story Analysis" in the Writer's Exercises folder.

Character Archetypes:
(originally posted 7/2/2008 on Compuserve Books and Writer's Forum - Writer's Exercises)

Without the characters populating our stories, the stories themselves could not exist. Like the stages of The Hero’s Journey, archetypes do not define the characters who must appear in your story, but provide you with character masks or roles that appear repeatedly throughout world literature. Understanding these masks can help to strengthen your characters and give them additional purpose or attributes.

Some archetypes may be associated with a character throughout the story. Some characters may switch back and forth between different archetypes or roles as the story progresses. Christopher Vogler identified 7 archetypes common to The Hero’s Journey:
(1) Hero
(2) Herald
(3) Mentor
(4) Threshold Guardian
(5) Shadow
(6) Shapeshifter
(7) Trickster

Are these all the archetypes that exist? Certainly not! There are hundreds of different archetypes defined in an almost infinite number of books, websites and other sources. I’ve listed a few of these for your reference at the end of this message.

I'm going to use the archetypes described by Vogler to help you brainstorm some about the characters in your story. Remember, you don’t necessarily need to include all these archetypes, or include every aspect of every archetype described. Just use the descriptions and questions below to think about ways you might be able to make your characters stronger or more interesting.

Many of the brainstorming questions below may seem more plot than character related. They are there to help you determine which characters fit these roles through their action in the plot. Don’t get too hung up on answering all these questions today! You’ll see many of them again as we move through the stages of the journey.

You will be revisiting the characters, their roles, and the archetype characteristics they assume in various points of the story as we move through brainstorming story points using the stages of The Hero’s Journey. So don’t make yourself too crazy with this at this point. I guarantee you, it will change and change again over the next few weeks. However, it will be really helpful to begin to identify the role each of your main characters plays as you start to think about scenes and journey stages.

(1) Hero - Often (but not always) the protagonist of the story. Usually the most active person in the story, the Hero’s will and desire drives the story forward. The Hero is the one who learns or grows the most in the course of the story. The mark of a Hero is his or her willingness to sacrifice or give up something of value. During the course of the story, the Hero will (1) separate from the Ordinary World; (2) sacrifice himself for the service of the journey; (3) answer the challenge; (4) complete the quest; and (5) restore the Ordinary World’s balance.

• Who is the hero in your main storyline?
• How does this character change by the end of the story? What important lesson does the hero learn? What wisdom does she aquire?
• What actions does your hero take to move the story forward?
• What sacrifice does the hero make? What of value (including his/her life – real or symbolic) is the hero willing to give up in order to succeed on the journey?
• What universal drive is this character driven by: Desire to be loved? Understood? To succeed? Survive? Be free? Get revenge? Right wrongs? Seek self-expression?
• How are these drives expressed at the beginning of the story (Ordinary World)? How do they grow, change or get stronger as the story progresses?
• What does the Hero value most? What sacrifice would be most difficult for the Hero to make, but is most necessary for the success of the journey?
• What admirable qualities does the Hero have? What qualities will the reader identify with?
• How do conflicting traits help to define your hero (e.g., trust vs. suspicion, hope vs. despair, love vs. duty)?

(2) Herald – Heralds issue challenges and announce the coming of significant change. They get the story rolling. The Herald doesn’t necessarily need to be a person – it could be a dream, a book, a new idea, a storm, a telegram, a phone call, the start of a war, a drought or famine, an ad in the newspaper, the character’s inner voice.

• Who is the Herald in your story?
• How does your Hero become aware of the need for a journey? How does your Hero receive the Call to Adventure?
• What change does the Herald announce? What message starts the Hero on the journey?
• How does this message upset the equilibrium of the Ordinary World? How does this message make the Hero unable to return to his “old” life?
• How does your Hero react to the Herald’s message? How does the message transform the Hero?
• What is the Heralds motivation for calling the Hero to an adventure? What does the Herald get out of it?
• Does your Herald appear once in the story or at several points, each time announcing an upcoming change?
• Is the Herald a friend, foe, or neutral character? Villian or emissary?

(3) Mentor – Mentors have two main functions (1) training or teaching the Hero; and (2) giving gifts key to success in the journey. Gifts may include weapons, medicine, food, magic, important piece of information, or other items. The gifts may sometimes seem insignificant until later in the story. The Mentor’s goal is to get the hero past the stage of doubt and fear, and committed to the journey. The role or mask of the mentor may be worn by different characters at different points in the story, and may even be represented by the Hero’s personal code or a prop (e.g., book or other artifact) that guides the Hero.

• Who is the Mentor or Mentors in your story?
• What important lessons does the Mentor teach in order to prepare the Hero for the journey?
• Does your Mentor’s teaching style match any of these? Drill instructor? Squad leader? Sergeant? Old police officer? Aged warrier? Trail boss? Parent? Grandparent? Wise old man or woman? A fool? (or some other style?)
• What gifts does the Mentor give to the Hero to help him/her be successful? In what way are these gifts critical to the Hero’s success?
• If you have multiple Mentors, what unique skill, piece of wisdom or gift does each give?
• What does the Hero do to earn the gifts and wisdom from the Mentor? What sacrifice or commitment does the Hero give? What tests must be passed?
• How does the Mentor help motivate the Hero to commit to the journey?
• How does the Mentor test the Hero’s worthiness?
• How does the Mentor impart the Hero with courage?
• How does the Mentor motivate the Hero when he/she is refusing the Call to Adventure? How does the Mentor give the Hero a push?
• Is your Mentor genuinely interested in helping the Hero, or is the mask of the Mentor being used to hid an enemy?
• Does your mentor disappoint the Hero in any way?
• Why does the Mentor help your Hero? What does he or she hope to gain? What is their motivation?

(4) Threshold Guardian – The Threshold Guardian generally appears as the Hero attempts to Cross the First Threshold into the Special World of the journey. The Threshold Guardian protects the Special World and its secrets from the hero, and provides tests to prove the Hero’s commitment and worth. The Threshold Guardian is typically not the antagonist or enemy in the story, but may be a henchman, a neutral character or even a secret helper. May even be an ordinary obstacle – bad weather, bad luck, prejudice, oppression, or hostile people.

• Who is the Threshold Guardian in your story?
• How does the Threshold Guardian test the Hero’s resolve to continue on the journey? How many tests must the Hero pass?
• How do the Threshold Guardian’s test foreshadow difficulties the Hero will encounter in the Special World.
• How do the tests thrown at the Hero represent the Hero’s own internal demons? (neuroses, emotional scares, vices, dependencies, self-limitations)
• Why does the Threshold Guardian want to block the Hero? What do they hope to gain?
• What does your Hero do to overcome the Threshold Guardian? How is this determination tested?
• When faced with a Threshold Guardian, heroes may run, attack, craft a deceit, bribe or appease, make an ally, disguise themselves as the enemy, etc… What does your hero do?
• How does the Threshold Guardian respond?

(5) Shadow – Often times the shadow mask is worn by antagonists, villains and enemies, but it may also be worn by other characters. The character who wears this mast most often, and whose motivations are in direct conflict with the Hero’s is the villain. Shadows represent things the Hero dislikes and would like to eliminate – the dark side or suppressed monsters.

• Who are the characters in the story most set on blocking the Hero’s chosen course of action? (May be antagonists who disagree with the Hero’s path.)
• Which characters are determined to destroy the Hero and his or her cause? (Most likely the villain and his/her henchmen.)
• What dark characteristics do the shadow figures possess?
• How do the Shadow figures represent aspects the Hero dislikes about his/herself? The Hero’s dark secrets? Qualities the Hero has tried to eliminate in him/herself?
• Does the Shadow possess any positive qualities that the hero, for whatever reason, has rejected in him/herself?
• What redeeming qualities does the Shadow have?
• How does the Shadow challenge the hero?
• What makes this Shadow a worthy opponent? What unique qualities does the Shadow possess?
• How does the Shadow symbolize the Hero’s greatest fears and phobias?

(6) Shapeshifters - A character whose loyalty or sincerity, their role or personality, seem to change in significant ways throughout the story. Misleads the hero or keeps him/her guessing. Often represented by the opposite sex, a love interest. May be femme fatale/homes fatales. May also be a buddy or a magical figure.

• What character in your story is not always who they appear to be?
• How does this character’s loyalty or sincerity seem to change over time? How does this impact on the course of the Hero’s journey?
• How does the Shapeshifter add doubt and suspense to the story?
• How does the Shapeshifter keep the Hero off guard?
• Does the Hero ever wear this mask to confuse the antagonists or to get past an obstacle?
• How does the mentor’s use of this mask influence the story?
• Does the Shapeshifter’s changing nature serve as a catalyst for change in the hero?
• How does the Shapeshifter challenge the Hero (and the reader) to question their own beliefs and assumptions?
• In the end, how does the shapeshifter either lure the Hero to his doom or to ultimate success in the journey

(7) Trickster – Tricksters are agents of change. They point out both common bonds, and folly and hypocrisy by drawing attention to imbalance and absurdity. Often mischievous – clowns, comical sidekicks.

• Are there any characters in your story that create change by challenging the status quo?
• How does the Trickster create chaos in the Ordinary World?
• How does the Trickster call attention to the absurdity of the situation? Does your Trickster use word games, turns of phrase, humor, ridicule, or physical action to draw attention to the need for change?
• Does your Trickster provide any comic relief within your story? Does this humor keep things in proportion?
• Does your Trickster display cunning when facing a stronger or more powerful opponent?
  

(Note: although the research for the information above came from several sources including Christopher Vogler's The Writer's Journey, Christopher Vogler and Michael Hauge The Hero's 2 Journeys, and Joseph Campbell The Hero With 1,000 Faces, the question format is my own. Please credit me and link back to this blog - or the original Compuserve Post, if you care to use it - Jenny Graman Meyer (c) 2008.)

If you’re interested in learning more about various archetypes, here are some places to check:

Situational, Character and Symbolic Archetypes: http://taliessin.org/Archetypes.doc
Carol S. Pearson’s 12 Archetypes: http://www.herowithin.com/arch101.html
Dramatica Archetypes: http://www.dramatica.com/theory/theory_book/dtb_ch_6.html
Tarot Card Archetypes: www.juno-lucina.com/majorarcana.html

In Elizabeth Lyon’s “A Writer’s Guide to Fiction”, she suggests the following books:

• The Complete Writer’s Guide to Heroes and Heroines: Sixteen Master Archetypes, by Tami D. Dowden, Caro LaFever, and Sue Viders
• The Hero Within: Six Archetypes We Live By, by Carol S. Pearson
• Awakening the Heroes Within: Twelve Archetypes to Help Us Find Ourselves and Transform Our World, by Carol S. Pearson
• 45 Master Characters: Mythic Models for Creating Original Characters, by Victoria Lynn Schmidt
  

EXERCISE: After reading the description of the archetypes common in The Hero’s Journey, analyze the characters in your own story. Start with a list of your main characters.

• What roles do each of the main characters play?
• Can you add the characteristics of any of the archetypes to strengthen characters?
• Can any of the characters play multiple roles?
• Do you need to add any characters to provide critical functions within your story?
  

Note that you likely won’t be able to answer every question in the archetype descriptions above, nor should you try. And you may find that the answers to many of these questions are not immediately apparent, or that your answers evolve as you work through the stages of your story. That’s great. Our work over the next few months should be fluid, causing you to think, re-think, and revise your story as we go.

A Writer's Retreat

3 Days of no obligations. Nothing to do but relax, enjoy the scenery, and write. Nothing to feel guilty over not doing (i.e., there's laundry to be folded, dishes to be washed, children to spend time with, a husband not to ignore).

Tricia and I spent 3 nights at the Lakeside Cottages in Green Mountain Falls, CO. (http://www.lakesidecottages-co.com/). It felt like being a guest in Kim and Lon's home, such is the care they show to their cottages, landscaping and guests. I can't remember the last time I've felt so relaxed. And having a good friend there with me was wonderful. Our days went something like this:

(1) Get up whenever and eat something (we had some groceries and a kitchen in our cottage). Maybe read for a few minutes.

(2) Settle in to write.

(3) Stop to ask questions: Does this sound all right? Can you read this when you get a chance? Can we brainstorm about this character for a moment?

(4) Write some more.

(5) Eventually need a break. Shop in the quaint town of Manitou, visit the Cliff Dwellings, take a walk around the lake.

(6) Pick up lunch or dinner while out.

(7) Write some more

(8) Stay up late talking

(9) Sigh over a satisfying day

(10) Sleep

(11) Repeat

In terms of word count, Tricia did better than I did. But I feel good about finally getting an opening scene nailed down that I feel good about. Maybe, in the end, it won't stand, but for now it's like having the foundation built - something that I can build upon, weaving in all those pieces of the story I've already written, and those that I need to fit in now that I've got a better idea of my structure (having gone through the Hero's Journey process).

I just wish I could recapture that feeling of utter peace and joy in sitting down to write that I had while in Colorado. Splended place.

Back to Writing (Fingers Crossed)

Writers should never take breaks. That old axim - write every day. Listen to it!

Two months ago (or was it more???) I intentially took two weeks off my writing to focus on some other projects. I haven't been back to it since. That is, until now (or, well, tomorrow).

Today I arrived in beautiful Denver, Colorado to meet my friend Tricia for a mountain writing retreat. Tomorrow we head up to Green Mountain Falls, Colorado (doesn't that sound pictureque) and for the next 3 days, we write.

So far it's been a fun trip. Poor Tricia's flight doesn't get in until late. But tonight my dear friend Stephanie and I met for dinner (thanks for picking me up at the hotel!) and we had such a wonderful time that it makes me sad we don't live closer. That's the problem with on-line friends who become Surrey friends who just become friends. They invariable live too far away!

So, back to the writing part of this adventure. When last we saw our bold writing hero, I was working on my outline. I have to admit that I never quite finished, although I feel I have a solid structure that will take me through.

You know, it's interesting to observe that my last post on this blog related to The Hero's Journey was "Crossing the First Threshold". I wonder how much of my diversion from writing was due to that same hesitancy that many hero's face as they enter that Special World. One last (we hope) Refusal of the Call!

So, how do you pick back up after being away from writing for so long. That's the trick, isn't it? Characters and storylines fade from your mind - replaced with more urgent issues. When I'm working consistently, daily, on my story, my muse is always there in the background, thrashing things around and popping up throughout the day - at odd moments (like traffic lights, and while I'm folding laundry) to say "hey! What about this...?"

When you put the book away for a few days, the muse gets tired of being ignored, or at best humored, and eventually packs a bag and heads off to the beach (or wherever muses go when they get indignant over being ignored). Bringing them back from their vacation with tanned hunky men of their own creation can be tricky.

Today on the plane I went through my notes, trying to re-establish the framework of my story in my head. Tomorrow on the drive to Green Mountain Falls, I hope to brainstorm with Tricia (over both stories - hers and mine), so that by the time we arrive at our cottage, I've got a scene in mind and I'm ready to go. I'm almost looking forward to someone on-hand to brainstorm with as much as I am to having the focused time to write.

What about you? Do you have trouble getting back into your writing after taking a break? What do you do to entice your muse to come back and play?