Today we resume my
wrap-up of this year’s Creatures, Crimes, and Creativity conference, beginning
with Saturday’s after-lunch session.
The Insider’s View of the Submission and
Acquisition process at Kensington press
Michaela Hamilton
I almost didn’t go,
as I have a publisher, but I’m glad I did. Michaela had a metric tonne of
insights about how business is conducted that were worth hearing for anyone
involved. Well worth anyone’s time.
Passive Voice, Exposition, or Dark and
Stormy Nights: The Nitty-Gritty of Prose
John Gilstrap,
Peter Blauner, John Wren, Penny Clover Petersen (Moderator)
A truly outstanding
discussion of craft, in which Penny Clover Petersen did a fine job of putting
the topic out there and letting a formidable panel have at it. The highlights
are too many t mention here, so I’ll limit it to several of the best.
Blauner and
Gilstrap agreed that it’s best to ground exposition in the voice of a character.
Filter description through the sensitivities of the character. Tell the reader
as much as he needs to know, when he needs to know it.
Blauner said the
initial scene should give an idea of what the book is about, which Gilstrap
followed up with his idea of the greatest opening line in modern literary
history: Well, I’m pretty much fucked.
(From The Martian.)
Blauner likes to
set a mood or increase tension through the use of ordinary things, such as a
pause in an argument with the tension brought out by the sound of the ice maker
dropping cubes.
Gilstrap said a
subtle way to ratchet up tension is for something not to work. Example: If
someone needs to sign a document he doesn’t want to sign, the pen can run out
of ink.
If I could have a
recording of any one panel, this might be the one.
The Difference Between Writing for the
Screen and Writing for the Page
Peter Blauner
Or maybe this one.
Peter started with lessons learned in undergraduate school and on, spicing
things up with anecdotes from other sources from time to time. A few
highlights:
- It’s not about the best writing or telling the best story. It’s
about meeting the requirements of the show.
- The most interesting stories aren’t ripped from the headlines.
They’re on Page 7.
- Not even the best TV can replicate the intimacy of reading.
- He takes time off from TV when he wants to write a novel. Can’t
switch back and forth.
Tools in the Investigator’s Kit
Karl Braungart,
David Swinson, Lanny Larcinese, Bernard Shaffer (Moderator), and me, once again
lowering the level of discourse.
Hard to take notes
when you’re on the panel. What I remember most, selfishly, is how good it felt
when two serious business and experienced cops validated much of what I’ve
based my books on. This would have been worth the price of the conference all
by itself.
Keynote address by Jonathan Maberry
There’s no way I
can do Maberry’s story justice in the space I have here. I’m not even gpoing to
try. Suffice to say that if there was anyone in the world who could describe
himself as overcoming difficult circumstances to succeed in his chosen field,
it’s him. Yet, as do so many who actually have done this—especially, I’ve
noticed, writers—he spent much of his talk noting how lucky he’s been that
people along the way took an interest in him and helped without any expectation
of return other than to do the right thing. His grandmother, a librarian, and
famous writers such as Richard Matheson and Ray Bradbury. A humbling experience
to listen to someone at the top of his profession, and a talk all those born on
third who think they hit triples would do well to take to heart.
I think Friday’s
bar session took a little out of some folks, as things were quitter on
Saturday. I personally limited myself to Arnold Palmers for the evening. (I
think the bartender assumed I was a designated driver, as he never charged me.)
A wide-ranging and pleasant conversation until the final conference attendees
left the bar.
Sunday,
September 10
Keeping Readers up all Night
John Gilstrap,
Ilene Schneider, Bill Rapp, Belinda Gordon (Moderator)
Lots of good
back-and-forth on the benefits of cliffhangers, leading the reader into the
next scene, or knowing the exit line is good enough by itself. John may have
had the money quote of the conference here when he said, “Resolutions are
boring. Questions are interesting.”
911: What’s the Emergency?
Peter Blauner,
Bernard Shaffer, Michael Black, Lanny Larchinese, Denise Camacho (Moderator)
This panel also got
into some fascinating tangential discussions. Everyone on it had unique
perspectives on emergency calls to make this a panel that could have gone twice
as long and no one would have minded.
Bernard Shaffer set
the tone when he said that not only do the 911 operators have to get all the
necessary information, they have techniques to work with panicky callers, and
may have to give emergency instructions in the case of choking or bleeding
until help arrives. They also never get closure, as they never see the outcome
like the cops do. It leads to PTSD issues on their own.
Peter Blauner
extolled the virtues of subtlety in creating tension, that not every such scene
has to be a gun to the head. Bernard followed up with a reminder that The Sopranos was the master of this, how
any little thing could set Tony off and you never knew which ones would.
Bernard also had
the perfect exit line for the conference as a whole when he said that the real
heroes—more than the cops and other first responders—are the victims (kinds,
rape victims, elderly) who have to sit in open court a few yards away from the
attacker and tell their story.
C3 is a rising
event on the annual conference tour, and one that’s footprint increases a
little every year. I have no financial interest in the con, so I have a clear
conscience when I say writers, aspiring writers, and readers who want to get up
close and personal with each other in an intimate setting should take a look
into attending in 2018. I know I’ll be there. I already signed up.
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