How to Create Compelling Scenes in Fiction - Seminar

Scene by Scene: How to Create Compelling Scenes in Fiction
With Adele Annesi

Manhattanville College
March 12 — Via Zoom
From 10:00 a.m. to 12 noon
Registration $45

Scene by Scene: How to Create Compelling Scenes in Fiction with Adele Annesi 

Scenes are the building blocks of fiction, but what makes a scene strong, fully realized and effective, and why do some scenes fall short? This Manhattanville College seminar-workshop via Zoom explores all these aspects and more. We’ll consider such key elements as backstory, interior and exterior dialogue, the role of setting, and how to develop character and advance plot at the same time. We also examine how to structure scenes in a section or chapter to make the whole greater than the sum of the parts. The workshop is suitable for short and long-form fiction of all genres. We’ll also explore aspects of scene revision so writers should bring their current projects to share and for Q&A, examples and discussion.

The registration fee is $45. 

Scene by Scene: How to Create Compelling Scenes in Fiction with Adele Annesi 

UK-Based Author and Publisher Dawn Bauling Chats on Submissions and the Writing Journey

Author Dawn Bauling is editor of The Dawntreader quarterly, the highest circulation magazine of Indigo Dreams Publishing (IDP), based in the UK and formed by Dawn and her and her partner, Ronnie Goodyer, in 2009. Here, Dawn answers questions about what she looks for in submissions to The Dawntreader and about her own journey as a poet, writer, author and publisher.

What do you look for in submissions to The Dawntreader?
It’s quite an alchemy of things, really. Initially, I like the courtesy of someone emailing and contacting me by name, and getting it right! I’m enraged by being called Sir, Balding and/or Dennis! A brief covering letter is always good, too. You can tell a lot from that, even before you open the submission – arrogance is not winsome, and poems as attachments with no introduction makes a publisher think there’s no thought; overly long and detailed isn’t helpful to a busy publisher either. I need to know that the person sending knows what the magazine is all about and wants to be part of it.

The Dawntreader is themed to the spiritual, nature, myth and legend, love and the environment, so work must meet that [criterion] first and foremost. This all happens before I even read the work. I do read every submission, however, as I know how much effort and nerve may be needed to send work out. That’s important to us as IDP. I do, therefore, read a lot of poetry! When I read, I want to be surprised. I want fresh language, new insights, space to contemplate and walk with the writer. I need to know that the writer has taken care with their craft, spent time selecting words, like a painter chooses color. I want to be challenged, too, not to sit too comfortably. It’s disappointing to be led into a piece of writing and then to finish with a feeling of, “So what!” Equally, I don’t want to be berated, or given a lecture.

And … as a cheeky tip … I’m a pushover for a good title! It’s like an irresistible “come hither” to me. All that said, lots of people do get it absolutely right. I have so much good work on file, waiting to appear in The Dawntreader – prose and poetry – a lot have real fire attached, simmering, ready for publication. Who can refuse work like that!

What writing projects are you working on at the moment?
At IDP, we are taking a more bespoke approach to 2022, with mostly competitions and commissioned projects ahead: collaborations with Leeds Trinity University, an anthology aimed at supporting the work of The League Against Cruel Sports (my partner, Ronnie Goodyer, is their Poet in Residence), and those authors whose work we love and want to showcase. I won’t name them, as I’m bound to miss one off. Please visit Indigo Dreams Publishing to have a look.

2022 is the first year we haven’t had an open window for collection publications, so we are seeing where that leads us. We also wanted to make time for our own writing, which has been put on something of backburner over the last two years. Personally, as a poet, I have a several embryonic writing projects on the go. I have been asked by my Twitter followers to pull together some of my Twitter posts (@wavelace) into a pamphlet. Ronnie and I are joining forces again, after the success of our collaboration in Forest moor or less. We love France and Corfu, and have quite a few scribblings from our times there. We are told that our poetry voices make quite a nice harmony, so it’ll be nice to sing again along together. We’ve still not settled on a title so, or finished 50% of the work so, more on that story later.

What are some writing challenges you've worked through, and how have you addressed them?
My main writing challenge is time. As well as being a publisher, I work part-time for the NHS [National Health Service], in our local surgeries. You can only begin to imagine what the last two years have been like, so juggling shifts and poetry, publishing and vaccination clinics has been a real challenge. I love both but knew that I had to make a change last year, to get a bit of balance back.

I broke my leg at Christmas 2020 and spent the first part of 2021 recovering and learning to walk again. It gave me time and perspective. So, thanks to my incredible NHS managers and colleagues, I am now only working two days a week as the local Primary Care Network media officer. I have more time, less stress and am just beginning to feel like a writer again, picking up my own pen, rather than helping everyone else sharpen theirs.

What one thing would you want writers to know that could make a difference in their writing and/or writing life?
I went on an Arvon Course about 20 years ago when I first started taking my writing seriously. My tutor was David Hart, who sadly has just passed away. He told me to take my work and cut it by 50%, read it again and then cut another 25%, if possible. That way you get parfum and not eau de toilette! He told me to dare to be dangerous that way. It’s not always easy, as I’m a naturally shy kind of person, but as a quiet person, he also gave me the confidence to dare to shout. I try to pass that on to lots of people – in my NHS work as well. It has certainly helped me. Don’t give the reader everything, let them walk with you, give them space to wander in your words and don’t ever be afraid.

What else would you like to add?
Without a shadow of a doubt, I have “met” some of the most wonderful people in my poetry life. I found Ronnie through poetry, by reading one of his collections and word-wooing him until he said yes! I have also found some of the closest kindred spirits through being an editor. It feels less of a job and more of a lifestyle, as necessary as a limb. We live in a beautiful forest in Devon, but when I open my laptop I find the world and its people and all the reasons I need!

Author Dawn Bauling and her partner, Ronnie Goodyer, formed Indigo Dreams Publishing in 2009. They offer a breadth of knowledge and understanding about what it means to be a published author today and how to enjoy it to the max. They live in a wooden house in the middle of Cookworthy Forest, Devon, with their rescue blue merle collie, Mist. The Dawntreader quarterly is IDP’s highest-circulation magazine, with an international readership that offers writers and readers a chance to let the imagination run free.

Award-Winning Author, Poet, Instructor Kalafus Talks of the Downs and Ups of Writing, Life and the Writing Life

Award-winning author, poet and Westport Writers’ Workshop instructor Christine Kalafus talks about the downs and ups of writing, life and the writing life, from an honest insider’s perspective.

What current or past writing project presented you with a new writing challenge, and what was the challenge?
I think every writing project is a writing challenge; it’s the challenge that draws me to it. In my previous career as a seamstress, I got to the point where I could look at anything sewn and mentally deconstruct it: window valances, wedding gowns—everything. When this happened, I knew the end was near. I wasn’t learning anything new, and I couldn’t imagine a work life without a bit of a razor’s edge.

With writing, I got my wish! Although I couldn’t have avoided writing if I tried. It was like a magnet. I closed my business, earned an MFA, wrote a memoir, and by a miracle of happenstance, landed an agent. I’d published a few essays and a poem and felt confident (too confident), that the memoir would be published. Beware easy success! I was, and still am, an unknown writer — I don’t have millions, or even a thousand, followers on any social platform, and I wasn’t an archetypal underdog, rising from the ashes. I was a forty-six-year-old woman who’d survived some bad shit and wrote about it. Even if the memoir was well-written, it soon became obvious that not one of the Big Five was interested.

What method(s) did you employ to work through the obstacle?
I am not too proud to say that I cried. More than once. But, really, who did I think I was? I’d been living in a bubble. As a seamstress, I was a big fish in a small pond. Now I was a minnow in the ocean. A few months later, I was in Manhattan and made an appointment to see my agent. I was raised to send thank-you notes. But even a note on vellum, hand-written in calligraphy and sealed with wax wouldn’t have been personal enough. No. I had to see her, shake her hand, and say something like, “It’s been nice knowing you.”

The poem I’d had published had also won an award. I figured I’d focus on poetry and never make another dollar again. But then, I sat there, in [the agent's] bright white, cramped high-rise office, books and manuscripts everywhere, sweating through my lucky blouse, and told a lie as white as the room: I said I was working on a novel. From the dregs of memory, I pulled a paragraph of fiction I’d written years earlier in a Westport workshop and stretched it into a pitch as if I hadn’t published essays or won a poetry contest, but like I was auditioning to be a writer. I don’t know if she believed me, but she said to send some pages after New Year’s. I wrote like my life depended on it. I just sent the finished draft this year, a few days before Halloween, three years after that meeting.

What was the outcome?
I’ll find out this month!

What did you learn from the effort?
I learned I could write a novel. Whether it’s any good or not, remains to be seen. But I had a kick-ass time doing it.

If you could tell other writers one thing that you hope they'll pay attention to, what would it be?
Writing is an art. Publishing is a business.

Blueprint for Daylight, Christine’s award-winning manuscript, a memoir of infidelity, cancer, colicky twins, and the flood in her basement, was excerpted in Connecticut’s Emerging Writers. Essays have appeared in Longreads, PAGE, and the Woven Tale Press, among others. Her poem “Horses” was the recipient of The Knightville Poetry Award, featured in The New Guard, and nominated for a Pushcart Prize. “I Hear You Make Cakes,” recorded before a live audience at Laugh Boston, was chosen for The Moth. “Look Inside a Woman for the World” appeared in The Connecticut Literary Anthology, Vol. II in October 2021 Christine is also facilitator of the Quiet Corner chapter of the Connecticut Poetry Society.

For more about Christine, visit ChristineKalafus.com.

Winter Workshops and Programs for Writers

If you’re starting to plan for the holidays and/or the New Year, consider giving yourself the gift of writing. Enclosed below are upcoming workshops, classes and programs for writers offered through Westport Writers’ Workshop.

WRITE HISTORICAL FICTION
If you enjoy stories like Beneath a Scarlet Sky, Downton Abby, Medici or Street of a Thousand Blossoms, or have your own real or imagined tales to tell, this workshop is for you. In this workshop writers learn how to conduct focused research, create authentic characters, and immerse readers in detailed descriptions and settings. Subgenres include fantasy, hybrids, mystery, romance, saga, spiritual, thriller and traditional. Each writer can submit up to five pages weekly for group feedback and detailed instructor comments. Handouts are included. Suitable for writers seeking to fictionalize real life experiences.
For more, visit Westport Writers’ Workshop — Write Historical Fiction — Starts January 12.

NOVEL-WRITING MASTER CLASS
This master class offers detailed, constructive feedback for writers completing a novel or memoir. Each week two writers will submit up to 25 pages to the instructor and group who will read the submissions outside class and share insights in class on what works and what needs clarity. The class is suitable for current drafts and robust generative efforts, and to hone revision skills. A bibliography of resources and a detailed list of craft elements are included. Limited to six participants for writers to complete a substantive revision to finalize their manuscript.
For more, visit, Westport Writers’ Workshop — Novel-Writing Master Class — Starts January 13.

MENTORING PROGRAM FOR FICTION
This innovative, one-on-one program combines personalized instruction in the craft and art of fiction with inspiration toward your writing goals. Based on the mentoring segment of the MFA in creative writing, the program provides support for your project and you as a writer from a writing professional who understands publishing and the writing life.
For more, visit Westport Writers’ Workshop – Mentoring Program for Fiction – Ongoing.

Autumn and More: Perfect to Explore Mood, Motif, Setting, Story, Theme

The hours of daylight decrease, the varicolored leaves fall and skitter in the autumn wind. What we might otherwise see as downsides of a different time of year mark this hauntingly lovely season as worthwhile for writers.

There is much about autumn to inspire. The changeable light and variable weather, along with the approaching holiday season, make fall the perfect time to explore the essential craft elements of mood, motif, setting, story and theme. Here are ways to make the most of these indispensable artistic writing tools.

Mood

One definition of mood is the story’s emotional setting or atmosphere. When considering mood, ask yourself these questions:

• How might the reader feel while reading the piece?
• Does the mood of the prose complement a particular scene, the chapter and the overall story?

Motif

Motif could be described as a concept or an idea, usually repeating, that conveys the story’s theme in a subtle way. When using motif, ask yourself these questions:

• Do my motifs deepen the story and its theme with each repeated mention?
• Do the repeats vary sufficiently in wording and/or subtlety so as not to be obvious to convey something more about the story with each mention?
• Do the types of motifs complement the story’s theme? For example, if your story is about a struggling musician, you might mention timing, the sound of the wind or scaling a mountainside while on a hike.

Setting

Setting is a broader category of craft element than writers may realize. Setting includes the story’s time or era, its place, and the conditions wherein the action takes place and establish the story’s context. When using setting, ask yourself:

• Is my setting sufficiently developed?
• Does it include the timeframe, location(s) and broader landscape of the story?
• How does the setting mirror and/or contrast with the plot and/or character(s) for which it forms the backdrop?

Story

The definition of story is actually simpler and more straightforward than most writers realize. It could be described as what happens in the story overall. When working out your story, consider these questions:

• Are the events presented in an original way?
• Do the events reflect the writer’s knowledge of the plot without overshadowing the story?

Theme

Theme is what the story is really about, not what it seems to be about on a surface level. Theme is all-important and should be conveyed upfront, in the first paragraph, if possible. When working with theme, ask yourself:

• What is my story really about?
• Does the subject have both universal and individual appeal?
• Is the theme conveyed in an original way that shows what’s at stake?
• What are the consequences of the characters’ choices, and how do they impact the story?

People often find that when the seasons change, their mood changes, too. And the decreasing daylight hours of autumn usually mean a period of adjustment, maybe a dip in energy levels, changes in routine and some missteps in modifying our lives to match the time of year. Given this reality, it can take a couple of weeks to move through the continual light of summer to the growing darkness of fall. Yet, throughout the transition, writers can embrace the changes and even use them in their writing while adjusting their lives accordingly.

The changes in weather, and even the increase in darkness, can serve to inspire writers — and not just those who write dark stories. It’s the mood. It’s the magic. It’s change itself, to cooler climes and pristine skies, and the shushing sounds of falling leaves.

Happy writing and happy and safe holidays!

Adele Annesi is an award-winning author, editor and teacher. For questions on writing, email Adele Annesi.

A Different Sort of Writer’s Conference - What's Right for You?

What do you look for in a writer’s conference? Workshops, feedback, panel discussions, agent-editor talks? That’s what I usually look for. But not this year. As a writing instructor, I wanted the immersive experience and sense of community I found while studying for an MFA at Fairfield University here in Connecticut. I’m pleased to say I found it.

As a writer, an educator and an advocate of lifelong learning for diverse writers, I found myself longing for a summer writing experience that included three key components: pedagogy, craft and community. And I wanted a certain level of experience in those elements. What I found was the Postgraduate Writers’ Conference (PWC) at Vermont College of Fine Arts (VCFA).

When you’re looking for a writer’s conference, you often get a lot of advance hype that isn’t fully realized in the actual event. That wasn’t true here. Described as a “haven for serious, emerging practitioners seeking to connect, recharge, and lift their process and craft to new levels,” the PWC at VCFA was exactly that.

I have to admit I hadn’t heard of the conference before this year. One reason is that over the past eight years I’ve been involved in planning the Ridgefield Writer’s Conference. Since the Ridgefield conference ended its run last year, this year I was free to find an event that offered the same core elements. I started the search in May.

While looking through the Poets & Writers Magazine classifieds, I found a listing for the PWC at VCFA. While the August 9 through 14 timeframe worked with my summer teaching schedule, what drew me most was the conference model description of small workshops of five or six writers led by a faculty member. I recognized the format because it was the same as the MFA at Fairfield and the Ridgefield conference. But the PWC didn’t stop there.

Besides five days of workshops, each writer had an individual instructor consult. And there were faculty and participant readings, craft talks, generative writing sessions and social events. The PWC was so community-oriented, the fact that it was held remotely didn’t detract from the event. For me, it was a plus because it enabled me to attend the conference while working on projects here at home. The other benefit of a virtual event was that the writers and instructors came from across the country.

The one aspect of most writing events that wasn’t part of the VT conference were agent, editor and publisher panels. Honestly, I didn’t miss them. I already keep up with this aspect of the writing life and cover it in my own instruction so it was a breath of fresh air not to have to focus on the industry side of writing for a change.

Another affirming differentiator of the PWC was its focus on writers with graduate degrees. It was a significant benefit to be in workshop with experienced writers who respect each other and offer high-level critique. A further positive was that the conference instructors are both gifted writers and compelling teachers. And teach they did.

As I searched all those online and print conference listings this spring, I was hoping for a safe place where I could improve my writing and connect with other writers. The Postgraduate Writers’ Conference at Vermont College of Fine Arts offered exactly that. While this type of conference may not be right for everyone, whatever your needs, it’s important to know what you want before you sign up. Of course, research helps clarify what you’re looking for and what's out there. Just make sure you don’t settle for less. With all the venues available, you shouldn’t have to.

For more on the conference I attended, visit Postgraduate Writers’ Conference at Vermont College of Fine Arts.

For more on events and conferences for writers, visit:

AWP Directory of Writers' Conferences & Centers

NewPages Big List of Writing Conferences and Events

Poets & Writers Conferences and Residencies Database

Wisdom of the Ages: Knowing and Growing Your Characters’ Knowledge

One of the joys of writing is when we become so immersed in creating the world of our story that we forget we’re working. But we can’t afford to check out on how much our characters know about themselves and the world around them.

Let’s consider the things characters know. To some extent, they know themselves and their motivations, what’s happening around them, and the other characters in the piece. One aspect of creating a believable character arc is paying attention to the person’s (usually) increasing awareness of these elements and their consequences. 

While characters may not know everything they should know about themselves, their world and the others in it, there’s a huge difference between intentionally keeping a character in the dark and not realizing that by now they should know more (or less) than they do.

So how does a writer manage a character’s awareness?

First, we have to pay attention to what our characters know at the start of the story, and whether and when they should know more or less. To check your characters’ knowledge at each stage of the piece, ask yourself these questions:

• What is this person’s age at the start of the narrative, and what age is the individual at each major turning point?
• What will this person’s main stages of development be over the course of the story? 
• What does the character not know now that they’ll need to know at each new stage?
• If the character doesn’t know something, such as why he betrays someone, is it due to a flaw that fits the character or because I’ve forgotten to develop the person’s awareness?

If you're wondering whether you’ve given a character more insight than is believable at a particular stage of life or point in the story, ask yourself these questions:

• Has enough happened in this person's life for them to know this, and have they paid sufficient attention to realize it?
• Does my prose accurately reflect the character’s personality, age and stage of life?

To add texture to both characters and story, consider charting what a character does and doesn’t know at key points in the story and the consequences of this knowledge or lack thereof. It can be daunting to do this for each person in your piece so start with your main character.

Two other points to consider in character development are how the person’s voice and wisdom mature (or devolve) as they move through the storyline. This can be trickier in middle grade and young adult fiction, where the characters usually start out young in age and/or maturity level.

Even if you're not writing for younger readers, your story may include a younger character who matures over the course of the piece. While maturity results from the passing of time, the gaining of experience or both, we need to make sure that what the character realizes about their life and how they express that knowledge match who they are at each main point in the story.

Last, sometimes we don’t realize that we've expressed a character’s thoughts, emotions or dialogue more eloquently than the character would at that point. So when we read a particularly well-expressed insight, we need to make sure we haven't given the character more wisdom than they would have at that age or stage of life. While this is a common problem with main characters who are young, some protagonists are wise beyond their years. That’s fine, as long as we give the person room to grow and develop their insights at a believable rate.

There's nothing wrong with having smart characters who read that way at any age. But we can’t go on autopilot about how much our characters know about themselves and the world around them. Instead, we need to make sure that the wisdom we’ve put on the page matches the person's age, maturity level and stage of life.

For questions on writing, email Adele Annesi.

Take the Goldilocks Approach to Effectively Parse and Use Feedback

At some point in our writing life, we’ll likely seek out other writers and organizations for support, networking, learning, resources and perspectives on our work. Many entities combine some or all of these elements. As to feedback, one of the nattiest aspects of critique when we’re asked to provide criticism is striking a balance between encouragement and analysis. When we’re receiving comments, the challenge is parsing and implementing what we hear or read in response to our work.

You may remember the children’s fable The Story of Goldilocks and the Three Bears, a tale with several iterations and outcomes. Here, we’ll consider the version where young Goldilocks enters the home of three bears and starts sampling what she finds. A fine example of the literary rule of three, the story shows Goldilocks learning that much of what she tries is either one extreme or the other and that only one element in each category is just right. Effectively parsing and using feedback is like that.

If you’re fortunate enough to have a group or workshop where your writing is supported and so are you, you’re off to a great start. Even then, many observations may be overly solicitous on the one hand or too severe on the other. Comparatively little is “just right”.

In reality, even scathing criticism can include a usable point. After that sort of critique, warm and fuzzy feedback feels like balm, making us reluctant to examine it lest it evaporate. Yet, the usable content of a harsher response can have as much merit, or more, than what we derive from a warmer reaction. Either way, it’s wise to note what we hear or read in response to our work and save the comments for future consideration. Time not only heals most wounds, it provides prospective.

Then there’s the critique that’s just right. How do we know when we hear it? What do we do with it afterward? And what do we do with those other notes?

Usually, the critique that’s just right expresses what’s working in a piece and why. It’s the “why” part that differentiates a valid viewpoint, and the maturity of the writer offering it, from other perspectives. The just right critique also points out aspects of a piece raise questions or confusion and why. Again, the why is critical.

The other element of just right feedback is that it fits your vision for your work. In this case, an insight’s validity isn’t determined by the writer so much as by the work. So ask yourself these questions as you sort through what you hear, whether scathing, sentimental or sensible:

• Is there any part of this feedback I can use now or later?
• When in doubt, create a list to revisit later. Is the warmer feedback overcompensating for a real problem? If so, add the underlying point to the list.
• Did I not figure this insight into my work because it occurred to me but I didn’t think it would fit my vision?
• Did I not figure this idea into my project because I wasn’t sure it was valid or how to implement it?
• Did I not figure this insight into my work because it didn’t come to mind?

Once you’ve answered the questions answer this: What is true now?

The questions are valid for any project at any stage of a writer’s life. But they’re especially important for large-scale work and/or work the writer started a while ago. Larger projects require a meticulous approach to drafting and revision because of their many elements. Works that began a while ago change over time, as do writers and writing styles, so it’s important to be realistic about where things stand today.

When parsing critique, keep this in mind—CReDIt: Consider the whole, retain what works, discard what doesn’t, implement according to your parameters and unique style.

When in doubt, remember, you’re the writer and the decision maker. Don’t decide for or against an idea based on anything other than the best interests of your work and you, the writer.