“Some of the Best Stories Are Yours”

Some of the best stories are yours

A few posts ago, we covered how to mine family history for stories. Using similar techniques, you can mine your life for stories, too.

Reviewing your personal life for story ideas can be an emotional experience, but those very emotions can signal a story worth telling. In considering your options, ask yourself:

• What aspect of this event in my life would others find most interesting and instructive, and why?
• What turning point occurred as a result of this that forever changed my life?
• What pivotal incident led to the event — the one without which the turning point wouldn't have occurred?
• What was the main outcome?
• What were the secondary and tertiary outcomes?
• What were the most important consequences for me and those closest to me?

To fictionalize your story, ask yourself:

• What if the main person in the story was of a different race, ethnic background and/or gender?
• What if the turning point occurred at an earlier or a later stage of life?
• What if the pivotal incident occurred in a different setting?
• What if it was a different incident altogether?
• What if the event’s main outcome was the opposite or vastly different from what happened?

Taking these considerations into account and changing the story accordingly should alter the plot, characters and ending, maintaining the story’s integrity while taking it into the realm of fiction.

The key to this approach is having an affinity for and/or experience in how you make the changes. For example, if you alter the setting, do you know the new locale? After all, truth is still stranger than fiction.

Tip: To spice up your story, consider this adage from John Updike. There's the story you're afraid to tell others and the story you're afraid to tell yourself. That's the one to write.

What aspect of your story are you afraid to tell?

Happy writing!

Adele Annesi is an award-winning writer, editor and teacher. Her book is Now What? The Creative Writer's Guide to Success After the MFA.

For one of the most instructive workshop-based writers conferences, visit Ridgefield Writers Conference 2014.

For queries, contact Word for Words, or visit Word for Words. For in-depth tips, visit the Online Workshop.

The Rich and Royal Tapestry of Umberto Eco

Mysterious flame of memory

I’ve been reading The Mysterious Flame of Queen Loana by Umberto Eco for weeks now. Granted, I’m reading it as a book on tape while driving to and from teaching writing classes, but it’s a long book and Eco’s writing is notoriously dense, as is that of many Italian writers. In this novel, what’s most impressive are the connections he makes between memory and identity in this story of a brilliant amnesiac, Senior Bodoni, who can quote everything from Nabokov to Eliot all with enviable ease, yet in losing his sense memory as a result of an apparent stroke has lost himself.

In gradually gaining the sensory knowledge that memory supports, Eco brings to life such otherwise mundane objects as a jar of mustard and a clove of garlic using his own intricate intellect, as revealed through Bodoni, whose very name is a form of writing, the font known as Bodoni. Yet, not so mundane in the story is the recurring metaphor of fog, especially the gray fog for which the city of Milan is known and in which Senior Bodoni perpetually finds himself.

Amid the angst of a man who knows much except himself, the concepts of name and the process of naming go to identity and more, because what Bodoni is trying hardest to remember is his first love. Isn’t that what all of us, in one way or another, seek to do as we return over and over again to memory and to the meaning we long for in the elements of daily life?

What love are you trying to recapture, perhaps in your writing?

First-Ever "Now What? The Creative Writer’s Guide to Success After the MFA"

Now What? The Creative Writer’s Guide
to Success After the MFA 

Now What? The Creative Writer’s Guide to Success After the MFA 

Kudos to a great group of contributing writers, chapter editors, marketing folk and new publisher, Fairfield University Press.

Welcome to the first multi-genre writer’s guide authored, edited and published exclusively by writers for writers, including co-author and co-editor Adele Annesi.

Graduates of writing programs and all serious writers will find this blend of practical advice and creative inspiration a unique, comprehensive and indispensable resource filled with essays and editorials, articles, instruction, checklists and glossaries — all designed to help aspiring and established authors thrive as lifelong writers.

Based exclusively on real-world experience, Now What? The Creative Writer’s Guide to Success After the MFA shares wisdom, instruction and time-tested tips for making writing a permanent part of your life — whether as career, hobby or anything in between.

Visit the Now What MFA site for news and updates from this new paradigm in guidebook publishing.

For updates on what's next in writing, visit Adele's Amazon Author page.

To purchase, visit Now What? The Creative Writer’s Guide to Success After the MFA.

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International Best-Selling YA Author Cantrell on Writing a Sequel

Julie Cantrell

I met award-winning young adult author Julie Cantrell while writing for Southern Literary Review when she was managing editor. Since then, Cantrell has received two Christy Awards (Debut Novel of the Year and Book of the Year) for her novel Into the Free, as well as the Mississippi Library Association Fiction Award. The novel is also one of five finalists for the University of Mississippi community reads selection.

The story also became a New York Times and USA Today bestseller, and an international bestseller, thanks to its Dutch readers. After strong reader support, the sequel, When Mountains Move, has hit shelves. Here, Cantrell describes how she conceived of and developed the new novel.

How did the idea for the new novel arise?

When the debut novel, Into the Free, went through edits, we cut a lot from the ending. I always wanted to tell more of Millie’s story, and I’m grateful the publisher gave me an entire second book to explore the next phase of her life. I’ve enjoyed seeing what happened next for Millie, and I hope readers will, too.

In what ways did writing this latest novel differ from writing your first one?

When I wrote the first book, I never intended to show it to anyone. So I was completely free to write without any fears or limitations. It was a beautiful creative experience. Of course, we went through major edits with it, but the original draft was born without those concerns.

 

With the sequel, I had a tight deadline and the added pressure of following the debut novel without letting down those readers. When I found myself worrying about reader expectations, future reviews, marketing plans, etc., I would try to take a step back and remind myself to enter that artistic space again, as I had with the first one, and to leave the rest of the details out of my mind frame. It was easier some days than others, but I did try not to let any of those concerns affect the process of putting the story on the page.

 

What advice would you give to aspiring novelists?

Try to write without ever thinking about who might read it, how they might react, or whether the book will be successful in terms of sales figures, reviews, etc. Write as if no one will ever read it. I believe that may be the only way to dig down deep enough to write with raw honesty, and that applies to fiction, too. I mean, even if you aren’t writing about your life or the way you see the world, you still have to be able to write honestly about the character’s life (lives), without worrying that you might offend someone or break a conventional social rule, etc. That’s the beauty of any form of art … you can bypass all the norms we live by in the real world, and just let your brain have some fun.

 

For more on Julie and her work, visit Julie Cantrell, as well as Into the Free and When Mountains Move.

  

Better Never Than Late?

While some things are better never happening than late, writing isn't usually one of them. Even bad writing (though it doesn't need to see daylight), has a place, one called "practice."

For work you're planning to send, check out these markets for unusual stories:

Black Warrior Review: Poetry and nonfiction that is lyric and language-driven.

Blast Furnace: Poetry on the theme of the mysterious and the magical in the everyday.

Chagrin River Review: New fiction and poetry.

Cigale Literary Magazine: Flash fiction, short stories, literary criticism, book reviews, and artwork.

Gravel: Comics, graphics, art, photography, creative nonfiction, fiction and poetry.

Lunch Ticket: Creative nonfiction, writing for young people, fiction, poetry and art.

Tendril: Compelling poetry, prose and visual art that lean toward the experimental.

Vine Leaves Literary Journal: Vignettes on one element, such as mood, character, setting or object, in the form of prose, poetry, scripts and artwork/photography.

What writing  project are you working on today?
________________________

Get more from your writers conference at Ridgefield Writers Conference 2014.
For queries, contact Word for Words, or visit Word for Words.
For this month’s online workshop, visit Online Workshop.

When Stories Talk Back: How Flash Helps Writers Revise

Sometimes a story tells you what it’s about; you just have to be listening.

 

A few weeks ago, I wrote a piece of flash fiction. As I advise my students, I let the piece sit before revising it. Also, as I advise people, I went to a different venue to reread the work before tinkering with it. I suggest this because it’s surprising how much you’ll see in your writing when you read it somewhere else. It’s also surprising, especially in flash, how changing a word can change the story.

 

Before I changed any words, I opened a new Word document. With a hardcopy of the original story on the table, I retyped each word into the blank document, thinking as I wrote how the meaning of the piece might change if I selected a different word instead of what I had. In taking each word slowly and making the revision mentally before making it on the page, I could hear internally how the piece changed along with the word change. This worked especially well with flash because of the compact nature of the genre.

 

Word by word, or bird by bird, I revised the piece. Although it was one of those stories that was largely intact when I first conceptualized it, taking it a word at a time and letting the story tell itself made a tighter, more precise piece than I started with. Even more important, the meaning was richer for the careful word choices.

 

If you’re interested in honing your precision with prose, take this lesson to heart, learn your story by ear and practice your art with flash.

Ridgefield Writers Conference a Success, Thanks to All

Ridgefield's historic fountain

Thanks to great coordinators, a wonderful workshop faculty and keynote speaker, industry-leading panelists and dedicated attendees, the inaugural Ridgefield Writers Conference on September 28 in historic Ridgefield, Connecticut, was a resounding success, with plans under consideration for a 2014 conference.

The Ridgefield Writers Conference, based on the Master of Fine Arts workshop format, surpassed its attendee goal, with participants coming from as far as North Carolina and northern New England. Due to the positive response to the event, a fiction and creative nonfiction workshop was added, as well as two literary agents to the morning and afternoon media and publishing panels.

The conference was kicked off by keynote speaker and award-winning author Dr. Michael White, founder and director of the low-residency MFA program in creative writing at Fairfield University. The workshops featured fiction with acclaimed author Chris Belden, winner of Fairfield University’s 2013 book award, nonfiction with author and novelist Pete Nelson, whose novel I Thought You Were Dead has been optioned for film, creative nonfiction with award-winning novelist Rachel Basch, young adult fiction with multi-published author Steve Otfinoski and poetry with poetry professor and former Crazyhorse editor-in-chief Carol Ann Davis.

The media and publishing panels featured editors from The Newtowner, Alimentum and Connecticut Muse. Electronic and print publishers included BookTV Girl, Defying Gravity and Globe Pequot Press, and agents included Allen O’Shea, L. Perkins, Rita Rosenkranz and Talcott Notch.

he conference concluded with a wine and cheese reception sponsored by the Ridgefield Library for An Evening With the Authors, featuring Linda Merlino, Chris Belden, Nalini Jones and Pete Nelson. Books on the Common provided a venue for faculty-penned works on-site, and the Chamber of Commerce provided information on local venues.

The Stiles on Which the Story Turns: Using Multiple Viewpoints in Fiction

Multiple viewpoints can enrich fiction

If you’re considering using multiple points of view for your novel or short fiction, take a page or two from bestselling mystery and suspense author Anne Perry.

Don’t let the “bestselling” label fool you. Perry’s stories provide some fine examples of literary writing, because despite being mystery and suspense, her fiction emulates that of the character-driven mystery greats, such as Dorothy Sayers. Dorchester Terrace, for example, provides a good example of which characters’ perspectives Perry will feature in the novel. If you’re having trouble deciding which viewpoints to feature, consider this: Select the characters on whom the story turns.

You only need to consider Chapter 1 of Perry’s 2012 Charlotte and Thomas Pitt mystery to see that although there’s a trace of omniscient third person throughout the work, Inspector Thomas Pitt, his wife, Charlotte, and the recently promoted Victor Narraway will figure prominently in the novel, because they are the characters on whom it turns.

Imagine a painting of a drawing room in Victorian England. More than one person is present in the work, but the light falls a bit more on some, and the rest are in shadows. This isn’t to say that the shadowy figures, the secondary characters in fiction, don’t have value. They’re simply not the main characters, and their stories, while supporting the main plot, don’t outshine it. Rather, they feature prominently within the subplots Perry is adept at weaving throughout the whole.

So, if you’re considering a story with multiple viewpoints, consider which characters are central to the story, and without whose personal insights the piece would be impoverished.

For more on writing, visit Word for Words.

Happy writing!