Making the Most of a Writing Event

Attending a writers’ conference requires time and energy. These tips for before, during and after attending a conference or other writing-related event, especially those that include workshops, can help you make the most of the time and create a foundation for what comes after.

Before the conference:

• Faculty: Research your faculty workshop leaders, and prepare a list of questions about your work and the craft of writing in advance. Also research other faculty, in case you want to talk with them.
• Panels and keynote: Research the panelists and keynote speaker, and bring your questions to the Q&A sessions. If time runs out, you may be able ask questions afterward.
• Website: Study the conference website, especially the resources sections, for helpful information. Keep checking the site for updates.
• Workshops: Carefully review all the information from your workshop leader, to learn as much as possible about the art and craft of your chosen genre.
• Registration: Arrive early to get a feel for the event and to meet your fellow writers, the faculty and the coordinators. Also carefully review the information in your registration packet.

During the conference:

• Networking: Get to know your fellow writers, the workshop faculty and conference coordinators. Exchange business cards, promotional materials and contact information with others so that you can keep in touch. Compare notes with other writers about what you’re learning.
• Book and resource tables: Visit the faculty and other book tables for examples of work by the experienced writers at the event. Also visit the resource table to collect as much information as you can.
• Readings: Attend the readings of other writers. You'll be surprised at what you learn. And if the conference offers an applicant open-mic session, consider signing up to read your work. This will give you practice reading before what is, hopefully, a mostly friendly audience.
• Panels and keynote: Meet the panelists and keynote speaker, and don’t be afraid to ask questions.
• Workshops: Keep any reading lists your workshop leader provides. Read and retain all the workshop handouts. Where you need clarity about feedback or other workshop information, be sure to ask questions. Before you leave the conference, aim to have some idea of the next steps to take in your writing life.

After the conference:

• Collaboration: Consider collaborating with a trusted fellow writer. Also consider working with a faculty workshop leader (yours or someone else) after the conference.
• Networking: Keep in touch with your fellow writers and others you meet during the conference.
• Feedback: Give the workshop feedback you receive from your faculty leader and fellow writers time to gel. Your workshop leader provides a worthwhile overview and details on how to improve your work, as do your compatriots, especially if a particular critique arises more than once. You fellow writers also bring another key perspective to the table — that of your prospective audience.
• Next steps: Consider making a list of next steps for after the conference, and ask your faculty workshop leader for guidance on this. Ask the conference coordinators about the best resources to meet your writing needs. Considering creating your own writing community, and seek opportunities to stay involved and active in your writing life. Check the conference website for final information.

If making the most of a writers’ conference sounds like it involves more than just inspiration, it does. But consider this: “Creativity has much to do with experience, observation and imagination, and if any one of those key elements is missing, it doesn’t work.” Bob Dylan, Chronicles Volume One

Happy writing!

Reveal Your Characters Through Their Dilemmas

A great way to capture reader interest is to give the main characters of your short story or novel a dilemma that forces them to discover who they really are.

To make the most of this technique, consider these key elements:

• Creating effective scenes
• Depicting characters who are unaware of something critical 
• Developing a character who has died

It has been said that first we make our choices then our choices make us. This is no less true of fictional characters. There’s nothing like being faced with a problem with far-reaching consequences to find out what you’re made of. When you give the people in your stories a life-altering problem to solve, you give them an opportunity to explore and discover who they are, warts and all.

To do this effectively, consider which major problem your main character must solve. Which problem will best drive plot, affect the other characters and serve the story?

To make this technique effective, each scene in your story must reveal more about the characters and advance the plot. In short, what do readers know after having read a scene that they didn’t know before? If the scene doesn’t build on the one before, to expand the reader’s knowledge, then it isn’t a real scene but needless repetition.

Another consideration is the paradox of depicting a character who's unaware of something crucial, for example, a wife and mother who’s always on the road for work and is unaware that her marriage and family are in shambles. The paradox for the writer is that although the character is unaware, the writer must be intimately familiar with these realities and depict them in a way that deepens the characters and propels the story with each new portrayal. In short, the character can be clueless in certain situations but she’s clueless for a reason, and it’s the writer’s job to artfully show why that is.

One major problem a character may face is one we face, too. What happens when someone important to us dies? One way to depict a key character who has died is through self-expression, for example, though letters or journals the person has left behind. In the tech age, cellphones can act as sound and/or video recording devices. However, in each of these techniques, the character is doing the telling or showing. And they may or may not be a reliable source.

A more powerful method is the recollections of others who knew the person. How do they remember her? What do they think of her now that she’s gone? What kind of legacy has she left behind? What were her secrets? Why did she keep them? What feelings does her memory evoke in others? To learn a masterful treatment of these questions, read Daphne du Maurier’s Rebecca, either again or for the first time, to study how the author used other people’s memories, which varied from lionization to loathing, to reveal who Rebecca was.

Like a series of witnesses called to testify to the person’s true character and motives, this treatment allows readers to draw their own conclusions. Of course, the selective memories of others and their responses to those say as much or more about them as about the character, but that’s the point. The testimony of others is an effective way to depict a character who has left this mortal coil, with the added benefit that the portrayal is even stronger because the character is a haunting presence perpetually waiting in the wings.

Whether you’re writing flash or family saga, your characters aren’t who they are based solely how they grew up or where they live. They’re also who they are based on their choices, and that’s usually how they’ll be remembered.

For questions on depicting characters and other elements of craft in fiction writing, contact Word for Words.