Vol. 2_No. 7 Carmel, Indiana January 27, 2007
Speed City typically meets on the 4th Saturday of the month.
NEXT MEETING:
February 24, 2007
10:30a.m. critique group
11:30a.m. business meeting
12:00p.m. guest speaker: TBA.
FUTURE MEETINGS AND EVENTS:
March 24, 2007
10:30a.m. critique group
11:30a.m. business meeting
12:00p.m. guest speaker: TBA
MEETING LOCATION:
The Mystery Company
233 2nd Avenue SW
Carmel, IN 46032
317-705-9711
800-643-6737
CRITIQUE GROUP
SinC members who have not joined the critique group but are interested in doing so need to contact Pat Robertson at:
TO JOIN SPEED CITY SINC:
You must be a member of the National Sisters in Crime Local chapter dues are $15.00, due on or before October 15, 2006 and payable to SCISinC. You can mail your application and check to:
Pat Robertson
554 Miami Street
Ellettsville, IN 47429
E-mail Pat Robertson if you need an application or additional information.
INDIANA SISTERS IN CRIME CHAPTER OFFICERS
(January 1, 2007 - January 1, 2008)
Brenda Robertson Stewart, president
317-831-1566
Andrea Smith, vice president
Pat Robertson, membership chairman, 812-876-7772
Jim Huang, program chairman
Vicki Stewart, treasurer
Kit Ehrman, secretary, newsletter editor
Mark Zacharias, communications chairman, (webmaster)
Sheila Boneham, critique group chairperson
CALL FOR GUEST SPEAKERS
Give Jim a hand in finding interesting guest speakers by providing the following information:
GUEST SPEAKER CONTACT INFORMATION
•
name, job title
name, job title•place of employment
place of employment•address
address•phone
phone•fax
fax•e-mail
e-mail•website if applicable
website if applicable•suggestions for topic(s) the speaker is qualified to speak about and that the group would find interesting
suggestions for topic(s) the speaker is qualified to speak about and that the group would find interesting•list of published works if applicable
list of published works if applicable•your connection to the speaker—how you know him/her
your connection to the speaker—how you know him/her•permission to use your name in the initial contact
permission to use your name in the initial contactSend your information to Jim Huang
Put SinC Possible Guest Speaker in the subject line.
WEBSITES OF INTEREST
If you’re a chapter member with a mystery website, and you would like it listed here, e-mail Kit Ehrman.
WEBSITES OF INTEREST TO WRITERS
NEWSLETTER ARCHIVES
Want to see what happened at an earlier meeting? Visit the newsletter archives page.
MYSTERY / BOOK CONVENTIONS:
02/01/07 - 02/04/07
Seattle, WA
02/02/07 - 02/04/07
Rosemont, IL (Chicago area)
02/10/07
Birmingham, AL
03/21/07 - 03/25/07
Charlottesville, VA
04/25/07
New York, NY
04/26/07
New York, NY
04/28/07- 04/29/07
Los Angeles, CA
05/04/07 - 05/06/07
Arlington, VA
05/24/07 - 05/27/07
Omaha, Nebraska
06/01/07 - 06/03/07
New York, NY
06/08/07 - 06/09/07
Boise, ID
06/15/07 - 06/16/07
Boise, ID
06/15/07 - 06/17/07
Victoria, BC, Canada
06/21/07 - 06/27/07
Washington, DC
06/29/07 - 07/01/07
Parsippany, NJ
07/12/07 - 07/15/07
New York, NY
09/27/07 - 09/30/07
Anchorage, AK
Email: aksinc@alaskasinc.com
10/9/08 - 10/12/08
Baltimore, MD
MEMBER NEWS:
Kit Ehrman's latest release in the Steve Cline
Mystery Series is a February 2007 Book Sense
Notable Book. It was also named as a
Kentucky Literary Award nominee.
~~Speed City members, share your news.~~
E-mail news releases to Kit Ehrman.
CALLS FOR SUBMISSIONS, CONTESTS, CONVENTIONS, PROMO OPPORTUNITIES, RETREATS
A LETTER FROM OUR NATIONAL PRESIDENT
Continuing Grants
SINC is offering $300 grants to independent booksellers and libraries who host Sisters in Crime authors! The grants must be used for additional publicity or advertising of the event. Please tell your favorite bookstore or library about them. We WANT to give away money! Go to www.sistersincrime.org/grants.html for more information.
20th Anniversary Commemorative Products
Mugs and t-shirts commemorating our 20th anniversary will be available through our website soon. Keep checking www.sistersincrime.org/resources.shtml for more.
Library Programs
In March 2007, libraries will celebrate the spirit of Sisters in Crime with special displays. If you would like your local library to receive a free kit with everything they need to mount an exciting 20th anniversary display, please have them sign up at www.sistersincrime.org/anniversary.html
That's it for now -- except for one more thing. Please make sure we keep your email address up to date so we can continue to keep you abreast of our activities. Send any changes to: sistersincrime@juno.com. Be assured we will never give or sell your email to anyone. And if you'd like to visit our newly designed, chock-full-of-information website, just click here.
Thanks -- we hope to see you sometime during our anniversary year!
Libby Hellmann, President
SPEED CITY
Indiana Chapter of Sisters in Crime News
SPEED CITY
Indiana Chapter of Sisters in Crime News
compiled by Kit Ehrman
SISTERS ON THE ROAD
Please support Speed City members when you can by attending their events.
Brenda Stewart opened the meeting, and Vicki Stewart gave the
Treasurer's report; then we established the calendar for the rest of the year.
Meeting Schedule for 2007:
February 24, 2007
March 24, 2007
April 28, 2007
May 26, 2007
June 23, 2007
July 28, 2007
August 25, 2007
September 22, 2007
October 20, 2007 (moved because of Magna cum Murder)
November 17, 2007
December - no meeting
Mark you calendars!
The Anthology:
Brenda met with a publisher on Friday, January 26th, and he's interested in publishing the anthology. It's looking good at the moment. If all goes well, it's possible that the anthology will be published this year. We have a month to get the stories ready because the book must be published by April 1st if we're going to do it this year.
Brenda and Tony will be doing a final edit in the next two weeks.
Brenda will need a two or three-line bio from all the authors.
We will also be incorporating true-fact stories about the Indianapolis 500 in-between each story. There are nineteen fictional stories, so we'll need seventeen to eighteen true-fact stories. Anyone can submit these.
The true-fact story should be one page, approximately 200-250 words. There are so many interesting stories surrounding the Indy 500, such as the Gray Ghost, the Italian drive who ran out of gas at the last minute. They pushed his car over the finish line, but he was disqualified because the car was not "driven" across. Writing about women racing in the 500 would be apropos since we are Sisters in Crime. Please send these true-fact stories to Brenda at brendoll@indy.net as soon as possible.
We don't have an introduction yet, but it will include the purpose of Sisters in Crime. Sisters in Crime does not sanction anyone doing an anthology because of the competitive element, so "Sisters in Crime" or the SinC logo can not be used on the cover. National is doing a SinC anthology by SinC presidents and past presidents. After the meeting, Jim had additional suggestion regarding the anthology intro: ask someone connected to the race and/or the media to write the intro. Someone from the family that owns the track? Bob Kravitz (the Star's sports columnist)? The historian who spoke to our group last year? Just a thought....
We don't have a title, yet, but we have 75 suggestions. Maybe we'll have a vote.
The publisher will do the cover; although, he's open to suggestions. If you have an idea, feel free to pass it along to Brenda. She personally likes the idea of a race car with a skeleton as driver. Sherita suggested that the car have the number 13 assigned to it.
Speed City Sisters in Crime members can purchase the anthology at wholesale.
There's much work to be done. We'll need to promote the anthology and set up events at libraries and bookstores. Brenda will be talking to the 500 people.
Jim Huang kindly offered to coordinate publicity.
Brenda plans to have a big blowout at The Mystery Company. We'll have champagne, invite the media. It should be a blast.
Jim recommend that we consider all options for events; The Historical Society for instance.
Bouchercon 2009:
Bouchercon, the World Mystery Convention will be held in Indianapolis in 2009, October 15-18. To find out more about what Bouchercon is all about and future conventions, go here and follow the appropriate links.
Jim and Mike Bursaw will be having an organizational meeting on Saturday, February 3rd at the Mystery Company at 2:00 p.m. Jim pointed out that we are eager to gather volunteers. If you're interested in helping out, please visit The Mystery Company page and scroll down to the lower left-hand side of the page to find the box where you can join The Mystery Company and Indylit mailing list. Please sign up. If you are already on the list, you'll be prompted to click Submit so you can update your profile to indicate that you'd like to receive information on Bouchercon. Keep your calendar open for this fantastic opportunity.
There's lots of work to be done to run a convention for 3,000 attendees, so please volunteer and look for other people in your life who would be interested and invite them to get involved.
Michael Connelly is the Guest of Honor. S.J. Rozan is the Toastmaster. Kathryn Kennison, of Magna cum Murder fame, is the Fan Guest of Honor.
The convention will be held at the Hyatt Regency, downtown, and we'll take over the entire hotel for the event! Anyone who has gone to a convention before where you take over the hotel knows how much fun this is. The overflow hotel is the Embassy Suites right across the street.
We'll need any and all volunteers. Speed City Sisters in Crime will be in charge of the Hospitality Room.
We had two guests visiting us today. Marta Stephens has her first Sam Harper mystery coming out this April 23rd, SILENCED CRY, published by BeWrite Books. And Ann Collins is a physician, and she's writing a medical thriller.
There was no further business and the meeting was adjourned.
Notes From National:
March 2007: Libraries across the countries celebrate SinC with displays
May 4-6: sinc celebration at Malice Domestic, Arlington VA
September 29, 2007: Closing celebration (Death by Chocolate) at Bouchercon, Anchorage, Alaska
Fall 2007: Release of SinC presidents anthology edited by Sara Paretsky
MARCH 3, 2007
The Write Business Workshop and Book-Signing sponsored by the Indiana Romance Writers of America
Indianapolis, Indiana
A Writing-To-Sell Workshop for Fiction Writers
Empowering Characters’ Emotions
If you want to learn how to enhance character emotions—word by word—this is the workshop for you. Learn the four levels of powering up emotion, explore the nuances of body language, and dig into deep editing with the EDITS System. You will hook the reader emotionally and keep the line taut until releasing them on the last page. Instructor Margie Lawson—Formerly a college professor teaching graduate courses in psychology, Margie holds a Master of Science degree in Counseling Psychology. Her resume includes clinical trainer, psychologist, sex therapist, hypnotherapist and keynote speaker.
Sex Between the Pages: Understanding and Writing Sexual Tension
How do you write great sexual tension whether you write Regencies or Erotica or somewhere in between? Why is it some authors can make you cheer and commiserate and ache as their characters take their perilous journeys toward intimacy and others leave you feeling ho hum? Mary combines examples from outstanding Romance authors with an in depth analysis of the 12 stages of intimacy, findings in behavioral science and the power of biology to better understand and incorporate sexual tension in your own writing. Instructor Mary Buckham—Mary interviewed authors such as Linda Howard, Stella Cameron, Susan Anderson and Lori Foster to learn how to write sexual tension from sweet to spicy hot for her SEX ON THE PAGE workshop. When Mary is not writing part of her INVISIBLE RECRUIT series for Silhouette Bombshell, she is presenting writing workshops both on-line and around the country.
The Write Business: Agent Kelly Harms will take afternoon appointments.
Book Signing: Following the workshop, area authors will sign books and answer your questions.
A Chance to Win: Two attendees will win a videotaped analysis of their agent/editor pitch, book signing talk or TV interview from Natalie
Eggeman www.PresentingWithPizzazz.com.
LOCATION:
Radisson Hotel Indianapolis Airport,
2500 South High School Road
Indianapolis Indiana 46241
(317) 244-3361
COST: $70
TIME: Registration begins at 8:30 a.m. Workshops: 9:00 – 4:00.
Agent appointments: 1:00-3:30 p.m. Book Signing: 4:15.
Seating is limited. Reserve your place soon.
Additional information and official registration form located on the Indiana Romance Writers website: www.indianarwa.com or email:workshop@indianarwa.com.
Our guest:
Our guest was, well, me, Kit Ehrman. So, I'm going to just jump in, here. I had two topics to cover, the importance of Critique Groups and how to get the most out of them, and my latest Steve Cline mystery, TRIPLE CROSS.
First, critiquing.
Starting a Critique Group
All you really need to start your writers' critique group are other writers and a place to meet (and with today’s online groups, you don’t even need that). How to get started:
•Invite writers to form a critique group. If you don't know any other writers, look for an existing group that may be open to new members. Libraries, bookstores, and colleges are good places to look for groups. It’s usually best to keep the group small.
Invite writers to form a critique group. If you don't know any other writers, look for an existing group that may be open to new members. Libraries, bookstores, and colleges are good places to look for groups. It’s usually best to keep the group small.•Once you've gathered some writers together, hold an initial meeting. You'll need to make the following decisions:
Once you've gathered some writers together, hold an initial meeting. You'll need to make the following decisions:oHow often you will meet, what time, where, for how long.
How often you will meet, what time, where, for how long.oHow much material each author can submit for critique at each meeting.
How much material each author can submit for critique at each meeting.oWhether the group will read the work at home and bring comments to the meeting, or will the authors read their work aloud at the meeting?
Whether the group will read the work at home and bring comments to the meeting, or will the authors read their work aloud at the meeting?Having printed copies with members’ notes makes it easier for the author to take notes, listen to comments, and ask follow-up questions.
Having printed copies with members’ notes makes it easier for the author to take notes, listen to comments, and ask follow-up questions.oWhat kind of writing do you plan on including in your group? Generally, it’s best to stick to one genre. Members need to be well-read in the genre to give valuable feedback.
What kind of writing do you plan on including in your group? Generally, it’s best to stick to one genre. Members need to be well-read in the genre to give valuable feedback.oEstablish rules of conduct.
Establish rules of conduct.oDecide if you want a mediator. Will you set a time limit for each member?
Decide if you want a mediator. Will you set a time limit for each member?•If travel is a problem, there are some good online groups. Sisters in Crime National has on-line critique groups.
If travel is a problem, there are some good online groups. Sisters in Crime National has on-line critique groups.Why Join a Critique Group?
Writing is a solitary process, but you should never lose sight of the fact that you are writing for an audience. In order to improve, you need feedback. Your critique group will be your first audience.
First and foremost, you should write stories that please you. Don’t write for a market or trend. The basis of all writing is communication. Fiction needs to be understandable before you can achieve anything else, before you can give the reader an emotional experience.
You know what you mean to say, what you want your reader to feel. You won’t know whether you’ve succeeded until you ask someone to read your work. A critique group provides a medium where you can find out if your writing had the effect you intended.
As you move toward publication, you’ll be interacting with a community of professionals: other writers, editors, agents, publishers, reviewers, booksellers, and readers. This is where your continuing experience with a critique group is invaluable.
Critiquing is a separate though complementary skill to writing. It’s easier to see mistakes in someone else’s work. As you become proficient at understanding what does and doesn’t work, you’ll be able to apply your new skills to your own writing, and you’ll be able to approach your own work with a greater degree of objectivity.
Being part of a critique group also gives you a writing goal. A deadline.
Giving a Critique
At home, read the work first as a reader would, noting your visceral reaction to the writing. Then read the work as an editor, performing line editing and writing comments on the manuscript. Finish up by going through the manuscript one last time and typing a cover letter outlining your thoughts as you read in case you don’t have time to go over everything in the meeting.
Before coming to the critique group, go over the notes you made earlier so you’re prepared. Decide what points you want to present during the meeting and what comments are self-explanatory--comments the writer can just read off the manuscript.
Present your most important comments first. If there’s time, you can then go through the comments you have on each page of the manuscript.
Try to understand exactly why you reacted to the story in the way that you did so that you can be specific in your criticism.
Always frame comments positively and be specific.
In order to save time for a story’s structural problems, comments regarding typos, spelling, grammatical errors, and suggested word changes can be left for the writer to read off the manuscript at home. However, systemic problems that show up throughout the manuscript should be brought up in the critique group meeting.
Make it a practice to avoid repetitious comments. If a member has already said what you were thinking, when it’s your turn to give a critique, simply say “I agree with…” and continue to your next point. It’s useful for the writer to know how many readers had the same reaction.
Critiquing the work of others requires balance. Being too nice will not help your fellow writers develop their work; being too harsh can crush a writer’s ego (particularly new writers). How can you achieve the right balance? Here are some tips:
•Start with the positives, then move to what could be improved.
Start with the positives, then move to what could be improved.•Be honest in a polite, caring way. Holding back your feelings about a piece isn’t going to help anyone. Be considerate when you share criticism.
Be honest in a polite, caring way. Holding back your feelings about a piece isn’t going to help anyone. Be considerate when you share criticism.•Be specific when pointing out things that you didn’t like and offer alternatives.
Be specific when pointing out things that you didn’t like and offer alternatives.•Offer suggestions when you think a change is needed. Suggestions, even to the point of rewording, can be helpful. Even if the suggestion isn’t exactly right for the author’s work, your comment may give her an idea or, at least, a better understanding of the point you’re trying to make.
Offer suggestions when you think a change is needed. Suggestions, even to the point of rewording, can be helpful. Even if the suggestion isn’t exactly right for the author’s work, your comment may give her an idea or, at least, a better understanding of the point you’re trying to make.•Rewording suggestions should be made on the manuscript and not covered during the meeting because of time constraints.
Rewording suggestions should be made on the manuscript and not covered during the meeting because of time constraints.•Don’t interrupt another member’s input while they are giving their critique. If you have a question about their input, wait until they’re done.
Don’t interrupt another member’s input while they are giving their critique. If you have a question about their input, wait until they’re done.•Be polite if you disagree.
Be polite if you disagree.•Don’t argue.
Don’t argue.Everyone in a critique group should keep in mind that they share the same goal: to help each other write the best stories possible.
Receiving a Critique
Your Critique group members’ time is valuable. Don’t give them a story full of typos, spelling mistakes, and grammatical errors because they’ll spend too much time acting as a copy editor without addressing larger issues of plot and character, pacing, etc.
To get quality feedback, you must submit quality material. Edit thoroughly before submitting it to the group. Take time to study books on grammar and punctuation.
The most effective way to improve your writing is to learn what you’re doing wrong. Being critiqued can be uncomfortable, but once you’ve had time to go over comments and revise your piece, your writing will have improved.
Receiving criticism in a safe environment will prepare you for a professional career when you’ll be receiving criticism from editors and agents (often in the form of rejection letters) and later, reviewers and readers.
How you handle receiving a critique is just as important as how you give them. It’s natural to want to defend your work, but doing so is counterproductive. If you’re always defending your work, your critique group members will tire of putting effort into critiquing your work. When receiving a critique, here are a few things to keep in mind:
•Don’t argue with someone’s critique of your work. If you don’t like the changes he or she has suggested, when they are finished, just say “Thank you,” and move on.
Don’t argue with someone’s critique of your work. If you don’t like the changes he or she has suggested, when they are finished, just say “Thank you,” and move on.•A critique is not a debate. A writer should not argue with how a reader has reacted to her story. If the reader was confused, there will be other readers who will get hung up at the same place in your manuscript.
A critique is not a debate. A writer should not argue with how a reader has reacted to her story. If the reader was confused, there will be other readers who will get hung up at the same place in your manuscript. •Ask questions when being critiqued. Don't argue. If someone has misinterpreted something in your story, try to understand why so that you can correct the problem.
Ask questions when being critiqued. Don't argue. If someone has misinterpreted something in your story, try to understand why so that you can correct the problem.•Feel free to ask for clarification if you don’t understand a comment.
Feel free to ask for clarification if you don’t understand a comment.•Remember, you’re the author. You have the final say. You can accept or reject any suggestions made when you sit down at home and begin your revisions. Don’t reject them at the meeting. Just listen.
Remember, you’re the author. You have the final say. You can accept or reject any suggestions made when you sit down at home and begin your revisions. Don’t reject them at the meeting. Just listen.•Don’t feel like you have to change something just because someone in the group didn’t like it; but don’t make hasty judgments, either. After you’ve given the story a rest, you may see the value to the comments you received.
Don’t feel like you have to change something just because someone in the group didn’t like it; but don’t make hasty judgments, either. After you’ve given the story a rest, you may see the value to the comments you received.•If everyone in the group has the same comment, chances are you have some work to do.
If everyone in the group has the same comment, chances are you have some work to do.•Don't let professional or creative differences become personal.
Don't let professional or creative differences become personal.•Finally, if you have a problem with how something is handled in the group, express your concerns. If the problem is not addressed, you may feel that you need to leave the group. If you drop out, do so without any hard feelings.
Finally, if you have a problem with how something is handled in the group, express your concerns. If the problem is not addressed, you may feel that you need to leave the group. If you drop out, do so without any hard feelings.•Once you’ve left, do not gossip about the members and their writing.
Once you’ve left, do not gossip about the members and their writing.•Be professional.
Be professional.Critiquing as a Reader:
The first time you pick up the story, pretend that you are reading it as a finished product. Pay attention to your reactions to the story and the writing. Keep a running commentary in the margins.
•Huh? - Let the author know when you’re confused or have to reread a sentence or paragraph.
Huh? - Let the author know when you’re confused or have to reread a sentence or paragraph.•LOL! - Laughing out loud. When someone is writing humor, they need to know where it worked. If the comment was not meant to be funny, they need to know how it came across.
LOL! - Laughing out loud. When someone is writing humor, they need to know where it worked. If the comment was not meant to be funny, they need to know how it came across.•Nice - Writers benefit from knowing what you liked.
Nice - Writers benefit from knowing what you liked.•I still don't know what the story is - It is important for the writer to get a sense of where the reader begins to lose patience. Let the writer know when you’re frustrated because you don't know who the main character is, what the conflict is, or what’s at stake.
I still don't know what the story is - It is important for the writer to get a sense of where the reader begins to lose patience. Let the writer know when you’re frustrated because you don't know who the main character is, what the conflict is, or what’s at stake.•Who is so-and-so? - If you have to backtrack to figure out who someone is, let the writer know.
Who is so-and-so? - If you have to backtrack to figure out who someone is, let the writer know.•I thought so-and-so was a woman or a kid or … - Let the writer know if a character made a wrong first impression at the point where you realized your mistake.
I thought so-and-so was a woman or a kid or … - Let the writer know if a character made a wrong first impression at the point where you realized your mistake.•Cliché - Indicate when a phrase, character, or plotline is cliché.
Cliché - Indicate when a phrase, character, or plotline is cliché.•Indicate where the story drags or moves too quickly. It is on your first read, when you do not know what will happen next, that you can comment on your reactions to the pacing in the story.
Indicate where the story drags or moves too quickly. It is on your first read, when you do not know what will happen next, that you can comment on your reactions to the pacing in the story.•I know that such-and-such is going to happen - If you feel that you know exactly where the story is going, let the writer know at the point where you figured it out, even if you end up being wrong.
I know that such-and-such is going to happen - If you feel that you know exactly where the story is going, let the writer know at the point where you figured it out, even if you end up being wrong.•It’s especially useful to let a mystery writer know when you suspect someone and when your suspicions change and why.
It’s especially useful to let a mystery writer know when you suspect someone and when your suspicions change and why.•Coincidence - Let the writer know if you feel that the plot has been moved along by coincidence.
Coincidence - Let the writer know if you feel that the plot has been moved along by coincidence.Once you have finished your first read, pause to make a few notes about your overall impression of the story.
Critiquing as an Editor:
After you’ve gone through the story once, you’ll never be able to read it with fresh eyes. Your role as a reader is done. Now you need to figure out why you reacted to the story the way you did. Things to look for in your second read:
Read for Story:
•Are showing and telling used to their advantage in the story?
Are showing and telling used to their advantage in the story? •If you had to revise your impression of characters or setting in your first reading, identify where you got the wrong impression and why.
If you had to revise your impression of characters or setting in your first reading, identify where you got the wrong impression and why. Read for Plot:
•Now that you know how the story turns out, you can identify the climax and the elements that lead up to it (foreshadowing).
Now that you know how the story turns out, you can identify the climax and the elements that lead up to it (foreshadowing). •Is the exposition in the right place?
Is the exposition in the right place? •Do all of the scenes move the story forward?
Do all of the scenes move the story forward? •Does the pacing work?
Does the pacing work? Read for Character:
•How did you feel about the main character?
How did you feel about the main character?•Are any characters irrelevant?
Are any characters irrelevant? •Can any characters be merged? This is especially useful in a short story where word count comes into play.
Can any characters be merged? This is especially useful in a short story where word count comes into play. •Identify why you reacted to the characters in the way that you did.
Identify why you reacted to the characters in the way that you did. Read for Setting:
•Why this setting and not some other setting?
Why this setting and not some other setting? •Are the five senses employed?
Are the five senses employed? •Could you sketch a map of where the action took place or were you confused as to the spatial layout of the story?
Could you sketch a map of where the action took place or were you confused as to the spatial layout of the story? Read for Language:
In prose fiction, the story is the central element, everything else -- including the language- must contribute to the story. To quote Ursula K. LeGuin, "As a narrative sentence, it isn't serving the story well if its rhythm is so unexpected, or its beauty so striking or its similes or metaphors so dazzling, that it stops the reader, even to say Ooh, Ah!. Poetry can do that...But for the most part, prose sets its proper beauty and power deeper, hiding it in the work as a whole." (1)
•Is the language used appropriate to the setting and/or characters?
Is the language used appropriate to the setting and/or characters? •Are there any problems with grammar that recur throughout the story?
Are there any problems with grammar that recur throughout the story? •Are concrete nouns and verbs used?
Are concrete nouns and verbs used? •Could a better word be used?
Could a better word be used? (1) . Ursula K. LeGuin, Steering the Craft, 1998. The Eighth Mountain Press: Portland: OR.
Many of the points above are from: http://www.cyberus.ca/~alette/Critique.htm
Online Resources: http://www.bartleby.com/141/index.html The Elements of Style by William Strunk, Jr. (online versions)
Recommended book on grammar: The Gregg Reference Manual by William A. Sabin. This book is expensive, so look for a used copy.
TRIPLE CROSS
"I recently learned that TRIPLE CROSS has been
named a Book Sense Notable Book for February 2007.
It's also a Kentucky Literary Award nominee.
"I didn't start out intending to write a book involving
the Kentucky Derby or Churchill Downs but it was a
logical choice since Kessler, Steve's biological father,
is a racehorse trainer. To be honest, I wasn't anxious
to write about a facility and event that's so heavily
trademarked. But, after writing COLD BURN, and spending three months plotting the next Steve Cline mystery, the proposal was rejected by my editor, so I had to come up with something quickly. That's when I thought, what about the Derby? I ran the idea past Barbara Peters, my editor at Poisoned Pen Press, and she liked it. She has some history in Louisville, so I think she was really looking forward to the story. My next obstacle was to obtain permission from Churchill Downs. I contacted Tony Terry, Director of Publicity, and he enthusiastically gave me permission.
"My project immediately became "The Churchill Book."
I start out a new project by conducting a lot of research. My plot and research notes generally grow into a Word Document spanning 350-400 pages, single-spaced, 8 font. I do a lot of preliminary research on the Internet, collecting articles, photos, maps, facility diagrams, quotes, anything that might be useful and that helps set the mood of the book.
"I like to incorporate real-life places into my fiction, so my choice of settings depends on whether or not I can find a good map. For the earlier books set in Maryland and Virginia, I used the ADC Maps, which are outstanding. I also found a great map for Louisville, so I was set.
"While doing preliminary Internet research for "Churchill" I was particularly interested in trainer's comments and evaluations of their horses' works, Kentucky Derby prep races, and the Derby Festival Events. There are over 70 events that take place in Louisville during the two weeks leading up to the Derby, and some of those events, I knew, would play into the plot.
"I researched every place where I knew I'd want to set a scene, and I really lucked out when I discovered that Jefferson County and Louisville have a super aerial map that can be manipulated to a height of 700 feet all the way down to 25 feet. It provided great detail and was useful when it came time to find a body dump site.
"E-mail is another important research tool. I was lucky to be able to question Julian Wheat, a.k.a. “Buckwheat," a.k.a. “the Mayor of Churchill." He serves as liaison between the track office and horsemen. Buckwheat was very kind in answering my lengthy and unusual questions about minuscule details about life on the backside.
"I also started taking Louisville's Courier-Journal in the months leading up to the Derby so I could get a sense of the activities and attitudes and excitement in the town. I also grabbed any other relevant publications and pamphlets when I visited Louisville.
"I love what you can learn when writing. My subplots required me to learn about corporate espionage and FBI investigations, oil and natural gas exploration, and hiding assets in offshore banks. But the best kind of research is in-person research.
"I met with Beverle Graves Myers and we toured Louisville. Our first stop was Bristol Bar & Grille on Main Street, where I had my first Hot Brown, the famous dish invented at the Brown Hotel in 1926. We also checked out Waterfront Park, the Belle of Louisville, Nation City Tower, where Steve would watch "Thunder Over Louisville," North America's larges pyrotechnic display. We also toured the Highlands, and I selected the house that would become the victim's. Throughout it all, I took notes and lots of photographs that I would refer to when writing.
"So, here I was, writing a mystery that would take place in Louisville and at Churchill Downs, but the powers that be at Churchill would not give me a pass to the backside. But, I was in luck. I'm a member of the Louisville Thoroughbred Club, and they happened to be touring the backside on the Tuesday before the race. So, I got in. I asked our leader if I could look around on my own, and he said, "You're in now, you can go wherever you want." That's all I needed to hear. I spent the rest of the morning taking in the environment, hanging outside the Derby barn, taking pictures, writing notes, and freezing. It was 35 degrees that morning, and I had not brought a coat or jacket. It was late April, after all. I ended up pulling every piece of clothing out of my suitcase and putting them on. I probably looked like a homeless person.
"I spent the rest of the week in Louisville, checked out the grandstand, Wagner's Pharmacy, a popular eating place frequented by trainers and backside workers, I explored the neighborhood around Churchill, stayed in the hotel where Steve would stay, and later in the week, I stayed in the Rocking Horse Manor bed and breakfast where Kessler would stay. That was a blast. I asked the owners if I could put their B&B in the book, and they said yes.
"When I wrote back to run the scenes past them, I discovered that they'd moved! Luckily, the new owners were just as gracious. With a few name changes, they had cameos in the book and were pleased with the scenes I'd written.
"Last but not least, I got to go to my first Derby. But writing this book was not all fun and games. There was a greater degree of pressure to get it right. Louisvillians love this event and love their town, and I needed to be accurate. So, there was more pressure. I wanted to get it right. I wanted the locals to enjoy the read, and I wanted people who've never been to the Derby to come away with a sense of what it's like. I also had to guard against it coming off as a travel log, and I had to make sure I didn't put stuff in the book just because I'd done the research.
"The Derby Festival calendar became a problem for me as far as plotting went. I wanted certain key plot events to take place at Derby events, so the Derby Festival calendar started messing with my plot. I knew my climax would happen on Oaks Day, the day before Derby, so I eventually plotted backward from that point, and it worked out.
"All in all, the book that was not meant to be was a great experience, and I hope you enjoy the read."
March 11-18, 2007
Novel In Progress Workshop
Spalding University
Louisville, KY
Green River Writers, Inc., will host the 17th annual Novels In Progress Workshop from March 11 to 18, 2007 in Louisville, Kentucky. For the third consecutive year, this weeklong fiction writing conference will meet on the campus of Spalding University in downtown Louisville.
Conference activities for 2007 will include faculty-led breakout sessions, individual instruction with faculty mentors, small-group critique sessions, a panel discussion with agents and editors, and opportunities for one-on-one meetings with agent and editor guests.
Writing conference participants will be able to choose from three enrollment options based on their instructional needs. Workshop Basics will offer a full week of seminars designed to help aspiring novelists learn about the writing craft and the publishing industry. Personal Instruction will add the opportunity to zero in on the writer's own work of fiction with the help of a faculty mentor and other participants, as well as visiting agents and editors. One-day Workshop Blocks will allow those who cannot attend the entire week to register for individual days of the writers' conference.
Novels In Progress Workshop always provides a great opportunity to get to know other fiction writers from across the region in a mutually supportive atmosphere. Participants come together in a creative community while studying, writing and living together. Housing for the week is available in an on-campus residence hall as well as several nearby hotels and bed and breakfasts. Located near Louisville's beautiful Central Park, the Spalding University campus is within walking distance of several restaurants and shopping locations, including Fourth Street Live, the city's new entertainment and retail nexus.
For more information visit: http://www.greenriverwriters.org/nipw.html
Directions to the new MYSTERY COMPANY:
It's easy to get to the new Mystery Company from the old location. Leave the old parking lot and turn right, heading north on S. Rangeline Road. Pass beneath a steel Arts & Design District arch that spans the road. Almost immediately, make a left onto 3rd Street SW. Third Street SW dead ends at the Monon Trail. Make a right onto 2nd Avenue SW. Go a half block. The new store is on the right. Additional parking is across the street.
Mapquest Map
The Mystery Company phone # 317-705-9711
