TOTM September A Story in Three Words 1

The elephant lowered

Get-togethers Galore!

2013

This has been a good year for CWOSA get-togethers. Apart from some individuals spending time together, we also had three official times of fellowship.

WRITERS UNCAGED - Gauteng

In May a few of us were blessed to attend the Writers Uncaged mini-conference run by Aldyth Thomson and her helpers. This conference came about as a result of talks Aldyth, Linda and I had way back when in Cape Town. Having experienced American writers' conferences, Linda and I longed to see a similar event taking place in South Africa. At the time it didn't work out. A few years later, Aldyth and I again met up--this time in Johannesburg and again talked around the topic. It was just such an expensive proposition with so many challenges. Once again, nothing happened.

This year, 2013, it finally came together! It was nothing like the American conferences. After all, that's why we have CWOSA, right? Our requirements are different. However, Aldyth and team put together a top-rate teaching mini-seminar, lasting from 8 am to 3 pm (I think!).



Mary de Muth, who had been flown out as one of the two speakers for the Beauty for Ashes conference commencing that evening, presented an outstanding day of teaching, and a wonderful time was had by all.



CWOSA SUPPER

After the writers mini-conference, we went off to a local Mugg 'n Bean for supper where we met up with Clinton.

BEAUTY FOR ASHES



Then it was off to Beauty for Ashes Women's Conference for the evening and the whole of the next day. There we enjoyed excellent inspirational speaking from both Mary de Muth and Sue Keddy.

CWOSA COFFEE DATE

A few weeks later, in June, my husband Rob and I drove to Cape Town where once again I was able to meet up with some of our CWOSA members.

It was so good to meet up again with some of our earliest members plus one newbie, Retha. We talked writing and shared experiences for several hours whilst Ross's wife and my daughter plus another friend, who were all roommates and friends in college years ago, caught up on news at a nearby table.

I hope you've enjoyed this glimpse at some of our members enjoying each others company. Make a decision now to try and join us next time. Better still, why not find out which members live close to you, and have your own get-together. Writing is a lonely business, and it's great to have fellowship with one another whenever possible.

OVER TO YOU: 

Did you enjoy seeing these photos? Do any of us look like you pictured? Click on "Comment" below and let us know. Also click on the block closest to your reaction.

Travels in Turkey

After the rapid growth of the first church in Jerusalem there was soon persecution, which scattered the new Christians into ‘all the world’. Modern-day Turkey was one of the major areas to which Christianity spread, with Paul as the trail blazer, and others of the early church figures playing a prominent role.

Turkey is an amazing country – full of interesting features of geography, of history and of religion. It reminded me often of the Western Cape, particularly on the west coast, and in Bergama (Pergamum) we saw a bank of vygies and sour figs, which made us feel at home.

Turkey has been inhabited for thousands of years, with culture succeeding culture. This was the land of the Hittites; it was later conquered by the Persians, then by the Macedonian Alexander the Great. Then came the Romans, who made Constantinople (previously known as Byzantium, now Istanbul) the capital of the eastern Roman (Byzantine) Empire. Eventually the Ottoman Empire conquered the land, and while Turkey is today officially a secular state, the Muslim religion is predominant, with very few remains of Christianity other than at archaeological sites.

Sardis Gymnasium

And there are plenty of archaeological sites! We saw some amazing ruins, where the archaeologists have painstakingly pieced together fragments of stone and have rebuilt large portions of the old cities. Through the years many cities have been destroyed several times by earthquakes. If anyone likes jigsaw puzzles, study archaeology and go to Turkey!

Laodicean archaeological jigsaw puzzle

One thing was hard to miss: There was always at least one temple in the major cities. We saw temples to Artemis, Zeus, Athena, Dionysius, Trajan, Aphrodite, Domitian and Apollo. Amazing among this list of names are Trajan and Domitian – Roman emperors! The Imperial Cult was the issue that made Christians the enemies of Rome. Saint Polycarp, bishop of Smyrna, was martyred because he refused to say ‘Caesar is Lord’.

Temple of Trajan, Pergamum

Polycarp was born in 65 AD, and is thought to have been a disciple of John, who ordained him as bishop. When required by the Romans to revile Christ, he is reported to have said, ‘Eighty-six years have I served him, and he has done me no wrong. How can I blaspheme my King who has saved me?’

One of the strongest impressions that I took away is the courage and endurance of those early Christians. Jesus was absolutely clear when he told the 72 of his followers that he was sending them out as ‘lambs among wolves’ (Luke 10:3). The early missionaries were heading into the teeth of opposition and darkness, trusting their lives to God. The incident in Lystra described in Acts 14:8-20 is an example. There, after Paul had spoken God’s healing to a man born crippled, the priest of the temple of Zeus wanted to sacrifice oxen to them, calling Barnabas ‘Zeus’, and Paul ‘Hermes’. They managed to stop him, but very soon the opposition from their last town (Iconium) followed them to Lystra and turned the crowds against them. Paul was stoned, dragged out of the city and left for dead. However with the help (and doubtless prayer) of the believers, he recovered and went back into the city. The following day, undeterred, he set off for Derbe – his next mission station.

It struck me recently that on the night before he was crucified, Jesus told his disciples that he had conquered the world (John 16:33) – which must have rung very hollow as they watched him die the following day. But he had – through his death and resurrection. The early missionaries were clearly prepared to follow in his footsteps.

Fiona McCutcheon

Spot the Error

Our current topic of the week is critiquing. As explained on the group, I discovered a faux pas on a poster I had sent to a church - after it had been checked by five other people. So - for fun - let's see how quickly you spot the error.

How Can You Make Your Characters TALK?

Today  we welcome guest blogger Carrie Lewis.

For over thirty years, Carrie's writing took a backseat to full-time work outside the home and to her small business painting portraits of horses and other animals from across the country.

In 2008, she rediscovered writing and, in late 2009, became a full-time artist, which opened up time each day to pursue writing. She has been a member of American Christian Fiction Writers since 2008.

Her favorite genres are mystery, suspense, and political thriller, with manuscripts in the works in each of those categories. She also is an active crit partner for other authors, both published and unpublished.

Carrie’s writing blog can be found at http://writing-well.carrie-lewis.com/. Her art website and blog is http://www.carrie-lewis.com/.

How Can You Make Your Characters TALK?

How do you get acquainted with a character who refuses to talk with you?

It may seem hopeless at times but there are techniques that might draw your characters into conversation with you. Here are four.

1. Character Interview

I have a standard set of 100 questions that I present to every lead character and the antagonist, as well as a few secondary or minor characters. The list begins with basic information like name, age, where they live and whether or not they're married. Topics include physical appearance, the character's attitude toward work, money, family, religion, and personal ambition. The list I have concludes with the character's thoughts on his or her fellow characters.

You can use this list like a standard resume and fill in the blanks, as though building a dossier on the character without his or her direct input.

2. Meet with Your Character

You can also use the basic interview questions in a more traditional interview style in which you 'sit down' with your character and discuss the questions.

The first time I did this, I was in a moment of desperation. I'd been trying to figure out the why of my lead's behavior and 'fell into' a discussion with him as we sat on the back deck of his house. It ended up being an illuminating exercise.

The most interesting such interview – and the one that proved to me the worth of this method – was when I sat down to talk with a professor character. Since he’s an overachiever and quite proud of his accomplishments, I thought his office was a good place to start. The interview went wrong almost from the start. Just as I was about to call the whole thing off, he suggested a change of venue. We ended up at his favorite near-campus restaurant, where we talked about all sorts of things. It was one of the most productive character conversations I’ve ever encountered.

The pivotal factor with this approach is to meet at a place where your character is comfortable. It does imply a basic knowledge of your character to begin with, but a lot of times, the process of characterization doesn't break down at the very beginning. It happens later on.

With this method, you can go into it with an idea of where it might end up, but don’t be restricted by that idea. Part of learning about your character is learning what works and doesn’t work for him or her. Let that sort of discovery happen without too much author influence.

3. Drop the Character into a Crisis Situation

That's right. Imagine a crisis situation. Put your character right in the middle of it. Watch to see how he or she reacts then record what happens. Granted, this might be a short exercise of 100 words or less, but it might also be the very ice breaker you need.

This works best if the situation is not related directly to the story you're trying to write. That event may end up in the story, but it's more likely to be a character-defining event in the character's past. Something no one else knows about.

It might also be something you set up just for ‘fun’. What would your character do in an earthquake, for example? Think outside the box for this kind of exercise.

4. Start a Character Journal

Let your character rant, rail, whine, moan, and otherwise express him or herself in the pages of a personal journal. Don't write as the character's biographer (which is the way most writers write). No. Write as the character. You can start with a question in mind, but don't consciously ask the character that question. Begin just like you might begin your own personal journal.

Stumped for ways to get started? Consider these potential opening lines.

·         I can't believe things turned out the way they did.

·         Who would ever have thought X would treat me that way?

·         I always knew X would come to no good.

The subject might be personal to the character (as in the first three examples) or it might be about someone the character knows (as in the fourth example). It could be about relationship, politics, business, hobbies, anything. Find something that angers, frightens or excites your character and you've made a good start.

This again implies a basic general knowledge of your character, but as I mentioned earlier, that's not usually where problems occur anyway.

Conclusion

These are four of my favorite methods. There are others, of course, but these will get you started.

Whatever method you use, the most important thing – in fact the KEY – is to be patient. You may need to coax a reluctant character into confiding in you. That's okay. Not every person you meet on the street spills their life story to you on the first encounter.

Chances are, your characters won't either.

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GOALS & RESOLUTIONS

In light of this weeks TOTW (Theme of the Week) on the group, I thought this picture I found was most appropriate.

Print it, and pin it up on your office wall in front of your PC.

LOOKING FOR AN AGENT: What He Doesn't Want to Hear.

I have recently had my first book, Strength Renewed, Meditations for Your Journey through Breast Cancer, published and released to the global market. I did it without an agent. I'm blessed!

However, I am now in the market for an agent. I realise that I will only have one crack at each one I approach, so I'm doing my homework.

What should I not say in my query letters to them? 

Following is  a list of some of the things I should avoid saying:

• "I see from your website that you represent science fiction and fantasy, but I have written this cosy romance, and thought you might like to look at it."

Agents often specialise in specific types of literature for a reason. They have their contacts in that field, and that's where they are confident. I must study their websites, and if they don't represent your field, I mustn't  waste their time or mine. I must look for another agent.

• "I have attached my novel for you to read. It is a rather large download, but I'm sure you'll find it worth the effort."

I must avoid filling his (her) inbox with long emails or attachments. I need to send a brief, well-formatted query. If the agent wants to see my work, he'll ask. Sending a full manuscript is a guaranteed formula to make sure he won't even read my work.

• "If you are interested, I will send you the book as an attachment."

If he is interested, he will almost certainly only want to see a full book proposal telling him about the book, why I've written it, who I've written it for, and why I'm the best person to write the book. He will then decide if it's worth his time reading the entire manuscript. Again, I need to study the submission guidelines on his website.

• "This is a draft copy and I'm open to your suggestions to improve it."

I must remember, I'm writing to an agent, not an editor. Premature submission is not an option if I'm trying to find an agent. He is a busy man and according to what I've read, most of his reading is done at home. He's not interested in material that is not the very best I have to offer. If I recognise it needs more work, I must do the work--or pay an editor to help.

• "My writing is on a par with John Grisham but without the legal angle." 

I may think my writing is like John Grisham, and my mother may agree. It's highly unlikely, however, and it's for the agent to decide. Don't try to compare your work to other authors or boast about your amazing writing skills. He is a professional, and he will decide for himself.

• "I have a number of other books I'd be happy to send you to look at as well."

Unless this is the first of a series, I must limit myself to one book. If it is one of a series, I should mention that in my query letter, but only offer to send a proposal for the one book. Yes, the agent may be interested in knowing I have other books in me, but this is not the time for me to impress him with all the books he's going to have to look at. At this stage, he's only interested in whether I am a good enough writer, and whether he'll be able to sell my work--the book on offer.

• "I have published eleven books which all sold well." 

Truth is, I have contributed to ten published books, and had one book published by a major publishing house. Strength Renewed, my first "solo" book, was released a couple of months ago, so it's too early to say how well it's selling. I must remain truthful and not try to give a false picture of my abilities and success (or failure) rate.

• I know this book has the makings of a top best-seller, and it will make a lot of money for both of us.

I can't possibly know this. Come to that, nor can he. I mustn't have unrealistic expectations, nor try to tell him how good I think I am. It's up to him to decide if I'm any good.

• Sorry to bother you again, but did you receive my last three emails?

Agents are busy people. Some will acknowledge receipt of the email. Most will not. Some will send a form letter once they've looked at it. Others will write a short email. Still others won't reply at all. I find this bad manners, but according to much of what I've read, it often happens. I need to read their websites and make a note of when I can expect to hear from them. If they say I won't hear for 3-4 weeks, I should wait at least 5 weeks before dropping a polite note to see if they have had a chance to look at it yet. If I get no reply then, I should move on to the next agent.

• It is two weeks since I wrote to you and there has been no reply. You might at least show a bit of decency and respond promptly. I'm a busy person, and I'm sitting waiting to hear from you!

Whatever I do, even if I think they are being tardy or unreasonable, I should not show my annoyance. I am not only trying to "sell" my book idea, I'm trying to sell myself as a client. If they think I'm going to be a problem, they will immediately say, "No thank you!" Even if they accept me as their client, I need to remember I am not their only author. I must not expect to hear from them every day or two.

• I received your letter of rejection, but . . . "

So he's written to say "No thanks!" At least he's written. I need to acknowledge his letter politely, and thank him for his time--then move on. I should never be so unprofessional as to try and change his mind. No is no. If I really believed he was the right person, it would be a good thing to take another look at my query and see what might have put him off. But it's too late to try again with him. I must remember--I only have one shot.

• Oh fantastic! You've sold my novel? Now I can quit my day job and start my next book.

From my sale of Strength Renewed, I know only too well that signing the contract was only the first step in a long journey. Even now that the book is on the shelves of shops across the world, I still have little time for writing that next book. Most of my writing time is spent on marketing and blogging. If I still had a day job, I would not be quitting. (Taking some leave to catch up on marketing, maybe. But I would need that income!)

Okay, now I know what not to say, I need to figure out what I do need to tell a prospective agent. More in a few days.

OVER TO YOU: Did you know all these? Do you have anything to add? Is there any point you don't agree with?

SHIRLEY CORDER lives near the coast in Port Elizabeth, South Africa with her husband, Rob. Her book, Strength Renewed: Meditations for your Journey through Breast Cancer contains 90 meditations based on times when God spoke to her during the rough times spent in the cancer valley. Please visit Shirley at ShirleyCorder.com, where she encourages writers, and at RiseAndSoar.com, where she encourages those in the cancer valley. Follow her on Twitter or on FaceBook, or sign up for her newsletter.

TOTW: Do Agents Look for New Authors?

Do Literary Agents look for new authors? If so, how do I get one?

by W. Terry Whalin

Question:Do Literary Agents look for new authors? If so, how do I get an agent?

Answer: I'll begin this answer with a question: Have you written a book proposal on this book or the entire manuscript?

Even if the manuscript is short, you still need to write a book proposal. Many people make this mistake when they try to publish a nonfiction book.

If you are writing a novel and are an unpublished author, then you need to write the entire novel (yes, all 90,000 words of it). Many fiction editors have been disappointed with contracting a great proposal, synopsis and a few sample chapters then the novelist wrote themselves into a corner and didn't know how the story ended. This situation happens much more often than you would suspect so if you are writing fiction, then write the entire book. If you are writing nonfiction, then you need an excellent nonfiction book proposal and a sample chapter.

I've written a book on this topic, Book Proposals That Sell, 21 Secrets To Speed Your Success. This book includes a full example of a nonfiction book proposal which I wrote and sold several years ago for an advance over six figures. A book proposal includes a number of important elements for the publishing consideration process that are not in the completed manuscript--and the agent or editor will need that material.

As far as agents, every agent that I know (and I know a number of them from my work as a book acquisitions editor) is open to new clients--the key is that you have something different to say than the other stacks of things coming into their office unsolicited--and that your material catches their attention.

To get an agent, you need to ask other writers who have agents. Ask a series of questions such as the list over on the Association of Author Representatives website. Not every good agent is a member of the AAR but they have some membership requirements that make an AAR member a worthy agent to consider.

Also track down this book: Literary Agents: A Writer's Introduction by John F. Baker (Hungry Minds, 1999). Baker who writes for Publisher's Weekly profiles a series of literary agents who have been in the business for many years. You will learn a great deal about agents reading this excellent book--and it may give you some ideas about who to approach with your project. There are some good agents out there but as with editors, the good ones have their hands full.

Some times it's more difficult to find an agent than to get published in the first place. While you are talking with agents and waiting for a response, work on getting published in magazines and building some publishing credits. It will help you catch the agent's (and the editor's) attention.

Another good way to talk with agents is at a writer's conference. Look over the program and select a conference where there will be several agents attending. Take the initiative to talk with them and make a personal connection during the conference. After the conference, follow up and send them your material (or show it to them on the spot). That could be the major break through that you need.
___________________________________________________________
W. Terry Whalin understands both sides of the editorial desk--as an editor and a writer. He worked as a magazine editor for Decision and In Other Words. His magazine articles have appeared in more than 50 publications including Writer's Digest and Christianity Today. Terry has written more than 60 nonfiction books and one of his latest is Book Proposals That Sell, 21 Secrets To Speed Your Success (Write Now Publications). See more about his writing at www.right-writing.com/whalin.html. For more than 12 years Terry has been an ECPA Gold Medallion judge in the fiction category. He has written extensively about Christian fiction and reviewed numerous fiction books in publications such as CBA Marketplace and BookPage. He is the former Fiction Acquisitions Editor for Howard Books. Terry and his wife, Christine, live in Scottsdale, Arizona.

© 2008 W. Terry Whalin

Re-printed with permission

About Pansters - by Shirley Corder

In our Topic of the Week (TOTW) we're talking about Pansters. Here are some thoughts on the topic.

Stories written by Pansters tend to have a lot of twists and turns and often
end up somewhere you never expected--indeed often where the author never
expected. Fantasy writers and science Fiction writers are often Pansters.

Writing this way is a lot of fun. (I am a Panster.) But there are downsides:

Pansters are more prone to writer's block. It can be very frustrating when
your characters refuse to do what you want them to do, and throw the few
plans you did have out the window! I know it sounds weird to those of you
who are not Pansters--but this actually happens. I had a pair of twins in a
novel who absolutely refused to keep following an old lady they were spying
on. They insisted on turning in the gate to a play park. As a result, they
lost the old lady. BUT they opened the door for a new character that I
wanted to use but couldn't figure out how to introduce. So they redeemed
themselves.

This character independence can lead to unfinished stories or stories with
so many surprises they are difficult to follow.

Perhaps one of the best-known Panster writers is Stephen King. How many of
you have his excellent book (if you can bypass his language!) "On Writing"?
It really is one of the best writing books I have read. Here are a couple of
quotes from him:

"I won't try to convince you that I've never plotted any more than I'd try
to convince you that I've never told a lie, but I do both as infrequently as
possible. I distrust plot for two reasons: first, because out LIVES are
laregely plotless, even when you add in all our reasonable precautions and
careful planning; and second, because I believe plotting and the spontaneity
of real creation aren't compatible. . . . My basic belief about the making
of stories is that they pretty much make themselves. The job of the writer
is to give them a place to grow (and to transcribe them, of course)."

"The situation comes first. The characters - always flat and unfeatured, to
begin with - come next. Once these things are fixed in my mind, I begin to
narrate. I often have an idea of what the outcome may be, but I have never
demanded of a set of characters that they do things my way. On the contrary,
I want them to do things THEIR way. In some instances, the outcome is what I
visualized. In most, however, it's something I never expected."

Sounds like fun, right?

OVER TO YOU. Let's talk about what we've seen today.

* Does what Stephen King says resonate with you?
* Are you perhaps a Panster?
* Have you had any experiences like I've just shared about the twins?
* Do you think being a Panster only relates to fiction writers? Or would it also apply to a non-fiction writer?