Below are the online workshops being offered in November by RWA’s Fantasy, Futuristic, and Paranormal Chapter. If you are a writing instructor and are interested in teaching a workshop, please contact me for available dates, rates, and proposal submission guidelines.
I’m including a picture of flowers this time instead of animals… There’s also a brief bit from me at the end about a scene I’m struggling with and what I intend to do about it. For those of you who are in a hurry, here are the take aways from this post:
- Register for workshops
- Keep writing!
- Carve Pumpkins
- Eat Candy
- Happy Halloween!! :-D
11/02/2015 – 11/16/2015
If a book is a movie in your head, a book cover is the poster to entice the crowds. Whether you’re doing your cover yourself or working with a designer, same principles can be applied to ensure a marketable poster for your book to attract a reader’s eye.
Join award-winning cover artist Fiona Jayde in a two-week course covering the joys of trends, the fun of fonts, common misconceptions, false starts, and Fiona’s driving philosophy on book covers: go big or go home.
About the Presenter, Fiona Jayde
Fiona Jayde is a space pilot, a ninth degree black belt in three styles of martial arts, a computer hacker, a mountain climber, a jazz singer, a weight lifter, a superspy with a talent for languages, and an evil genius. All in her own head.
In life, she is tinkers with images to create cover art for amazing books, possesses a brown belt in Tae Kwon Do and blue belt in Aikido, used to be a hot-shot web developer, scared to death of snakes, loves jazz piano, and can bench-press 20 pounds — with effort. She learned English reading Nora Roberts and watching Growing Pains, and when pried away from her computer, enjoys movies where things frequently blow up.
Cost: FFP Members:$10.00/Non-Members: $15.00
11/02/2015 – 11/29/2015
Though Joss Whedon’s television show FIREFLY only aired through the fall months of 2002, it has continued to generate followers through word of mouth, DVD sales and an exhaustible amount of followers known as “Browncoats”. The Romance Writers of America has many “Browncoasts” in their midst as Jacqui Jacoby learned though discussions with members at the RWA National Conference in both Atlanta and Dallas. Many of these followers love to listen and talk about what they learned from watching the series. Discussing dialogue is a favorite pastime, both at the conferences and online in writing loops.
FIREFLY, created by the Rod Serling of our generation, was a masterpiece of writing. Each of its thirteen episodes taught character development, dialogue and plotting techniques. Its motion picture sequel, SERENITY, not only touched on these subjects but added relationships, loyalties and loss to its repertoire.
In this workshop, Ms. Jacoby will reveal the lessons of FIREFLY. By using class participation and examples from the episodes, she will translate with words what Mr. Whedon was teaching us on screen.
About the Presenter, Jacqui Jacoby
As a die-hard Firefly fan who can quote dialogue and scenes from both the series and the movie, Jacqui Jacoby knows how to get a crowd excited about the Lessons of Firefly.
She is a workshop teacher who has appeared both live and online to give such classes as “From Austin to Aliens: How to Create Classic Tough Chicks” and “Behind the Scenes: The Research Before the Book.”
Winner of the Daphne du Maurier Award in Excellence, as well as the Suzannah and the Dixie for her books, Ms. Jacoby’s articles have appeared worldwide. Lessons From The Giants ran in publications in the United States, Canada and Australia. Her article, Tough Chicks: Heroines in Today’s Market ran in the June 2006 RWR Magazine.
A graduate of UCLA, Ms. Jacoby lives in the Arizona mountains with her husband of twenty-four years and their three children. Besides studying martial arts and sword fighting, Ms, Jacoby has recently returned to school to achieve her second Bachelor of Arts, this one in Modern Languages.
Cost: FFP Members:$15.00/Non-Members: $25.00
What to do if the scene you’re writing sucks :-D
So Noon #4 is going well. I recently finished a big, emotional scene and I love how it turned out. It made me smile and laugh and, you know, feel stuff. But then I got to the next scene and everything started C-R-A-W-L-I-N-G… like Glacial Pace City. At first, I thought it was bc I’d just come from a big scene and, in comparison, this scene felt small and slow. Not every scene can be a Big Scene, right? Well, sorta but also sorta not.
Every scene doesn’t have to be BIG, but every scene has to have meaning and move the story forward. Every scene can’t be full of non-stop action (at least not in my books), BUT it has to be full of tension. I want readers engaged in the experience of each and every scene. I want them to want to turn the page. So when *I* start to feel kind of blah about a scene, I know readers probably will too.
So what to do about this little bit of blah in my manuscript?
1. “Houston, we have a problem.” The first step in fixing a problem, is knowing you have a problem. If you find your attention drifting when writing, editing, or reviewing your work, it might be a sign that the scene lacks tension, which is a problem that needs to be fixed. How?
2. Make a list of the things that you know are wrong with the scene: When your problem is lack of tension, it’s hard to know how to fix it without digging deeper. One of the things I hate about the scene I’m working on is the dialog. It meanders. I think it’s because I need to better understand exactly what I want the scene to do. The scene also features a secondary character I haven’t 100% figured out yet.
3. Make a list of things that might fix the scene. I’m a big fan of brainstorming lists. Someone once gave me this advice: when you’re stuck, make a List of 20. Twenty things that might work. The trick is to not hold back. Put crazy ideas on that list. The first five will be crap so the more ideas you put on your list, the better. For my current scene, I could: (a) make the secondary character scarier, meaner, nastier; (b) add other characters (sometimes just adding another person to a two person scene changes the dynamic and makes it more interesting); (c) build a more suspenseful set (the place where the scene takes place); (d) fix a possible timing issue (maybe the scene needs a ticking clock… or more room to breathe?); (e) change what the characters are doing (add more action and/or give them something else to do while talking that serves a purpose or has greater meaning). (See? I told you the first five are always crap. ;-) )
4. DON’T PANIC. Don’t let one scene undermine your confidence or give you temporary writer’s block. If you need to, step away from your keyboard for a moment. (That works wonders for me). Know, deep in your heart (because it’s true!), that this scene will get fixed eventually.
5. Do your best and move on.
6. Rip it out and start it over (just that scene though!!) If you find yourself endlessly repeating step #6, go back to #5. I’ll admit that #5 is probably the most efficient way of writing a first draft. And for fast first draft fans, the only way. For me, it’s hard though. I tend to build each scene from the scenes that have come before. So if I have a scene I know is weak, it’s hard to move on. To me, it feels like I’m building a house of cards without one of the bottom cards — or a beach house without one of the stilts.
In the end, the advice is always the same: Keep Writing! Only by continuously writing will you be able to know your writing style and what works for you.
BEST WISHES, EVERYONE!!!
TO ANYONE STARTING NANO ON SUNDAY — GOOD LUCK!!!