Q&A with Jon Gibbs

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GLVWG "Write Stuff", Writing Advice, Writing Conferences, Writing Craft

By Sara Karnish

A longtime friend of GLVWG, Job Gibbs will be presenting three sessions at the 2023 Write Stuff Conference: “The Three C’s of Conflict: Part 1,” “The Three C’s of Conflict: Part 2,” and “The Funny Pages.” Here is a complete conference schedule.

Writer bio:

Born in England, Jon Gibbs now lives in New Jersey, where he was Author-in-Residence at Georgian Court University from 2012 to 2017.

Jon is the founder of:

• The New Jersey Authors’ Network (www.njauthorsnetwork.com)
• NJ Writing Groups.com (www.njwritinggroups.com)
• The I are a writer! (and more) store (www.iareawriter.net).

His middle grade fantasy, Fur-Face, was nominated for a Crystal Kite Award. Originally published by Echelon Press in 2010, the second edition was released in November 2022. The sequel, Barnum’s Revenge, was published by Echelon Press in 2013. The second edition is due out this year.

Jon’s latest book, Abraham Lincoln Stole My Homework, is due out this year.

When he’s not chasing around after his children, Jon can usually be found hunched over the computer in his basement office. One day he hopes to figure out how to switch it on.

Contact him at admin@jongibbs.org.

Q: One of your sessions is called ‘The Funny Pages.’ What will we learn during this session?

JG: We’ll be looking at how humor comes in many forms, and how we can use it in lots of different ways, whether it’s to lighten the mood after a shocking or stressful scene, or show us a little backstory, or even to make us like a character we aren’t supposed to – Think the Sherriff of Nottingham in Kevin Costner’s Robin Hood: Prince of Thieves. 

Q: Humor is difficult to achieve in writing. What are a few key elements to ‘writing funny’?

JG: I think we all have slightly different ideas as to what counts as funny, but when it comes to using it in a book or story, I’d say the most important thing is that whoever’s writing it finds it funny. Also, consistency is important. Humor is part of our personality. If a story character switches between self-deprecating humor and one-liners to snarky jokes and sarcasm without any obvious reason, it can be jarring (at least, it is for me as a reader).   

Q: Can you give us a sneak preview of your ‘3 Cs of Conflict’ 2-part sessions?

JG: Using examples from books and movies, we’ll be looking at some of the many ways to insert conflict in a story, and how we can use it to do more than just provide an obstacle for our characters to overcome. We’ll also be looking at examples from attendees’ current works-in-progress to see how we can ramp up the conflict while also helping to move the character/story arc along. 

Q: What does conflict add to a piece of fiction?

JG: Conflict certainly isn’t everything, but without it, any story (and most of real life) would be pretty boring. It doesn’t all have to be car chases and brawling; in fact, most conflict is pretty subtle, but if it’s not there, readers soon start flipping ahead a few pages, or worse, simply put the book down.  

Q: You write middle-grade fiction. What are some must-haves for writing middle-grade?

JG: Usually, the main character has to be middle-grade age. Adults can help solve the story problem, but they can’t be the driving force behind it. Aside from that, I’d say the must-haves are the same as any other fiction. Characters the reader cares about, good story, etc. 

Q: How is writing middle-grade different than writing for adults?

JG: There are some basic differences, most of which are common sense. The official age range for middle-grade readers is between 8 and 12, so there’s an awful lot of scope for the type of story you can tell (as well as in how you tell it). Across the board, though, really bad language, sex, etc., are definite no-nos. 

Book-length tends to be a lot shorter – usually between 20K and 50k words. If there is a romantic interest, it’s subtle – think Ron Weasley and Hermione Granger in the first few Harry Potter books.

Interview with Kathryn Craft

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GLVWG "Write Stuff", Writing Advice, Writing Conference, Writing Craft

Author and developmental editor Kathryn Craft is one of the presenters at the 2023 Write Stuff Conference

Interview by Sara Karnish

Long a leader in the southeastern Pennsylvania writing scene, Kathryn served for more than a decade in a variety of positions on the boards of the Greater Lehigh Valley Writers Group and the Philadelphia Writers’ Conference, and was named the 2020 Guiding Scribe for the Women’s Fiction Writers Association. Kathryn leads the Your Novel Year small-group mentorship program, has served as adjunct faculty for Drexel University’s low-residency MFA in Creative Writing program, hosts writing retreats for women, and speaks often about writing. She writes a monthly series, “Mad Skills,” at the award-winning blog, Writer Unboxed.

Her debut novel, The Art of Falling, set in the Philadelphia dance world, a harsh microcosm of our society’s celebrity-driven expectations of women’s bodies, is available from Sourcebooks. Her follow up novel, The Far End of Happy, is based on true events surrounding the 1997 suicide standoff that resulted in her husband’s death. Originally meant to be a memoir, she decided to novelize. 

Learn more about Kathryn at kathryncraft.com or writingpartner.com. 

Kathryn will be facilitating a half-day workshop focused on dialogue, “Say That and More”, on Thursday, March 23. I sat down with Kathryn to talk about the importance of dialogue and so much more.

Q: Can you give us a sneak preview of your half-day workshop “Say That and More” at the Write Stuff Conference?

KC: Dialogue, if used well, can be an incredible multi-tasker. It can build characterization, deliver information, enhance conflict, further the plot, reveal the motivations of non-point-of-view characters, expose hidden loyalties and secrets, and more. In fact, if it’s only doing any one of these things, it’s not doing enough! By analyzing powerful excerpts of dialogue from bestselling novels, we’ll figure out what these authors have done so well, and then give each technique a shot with either prompts or characters from our own works in progress. It will be both fun and eye-opening!

Q: Why is strong dialogue so critical to a novel?

KC: We humans communicate with each other primarily through speech. Imagine speed-dating without it! The first “I love you” will change a relationship, for better or worse. A baby’s first word is joyfully celebrated. Asking for what we truly need can be nerve-wracking. Losing our voice before a speech or performance can be a tragic loss of opportunity. One’s dying words can carry a lifetime of meaning. We can feel lost when someone is desperately trying to communicate with us in a language we don’t know. Since such situations are common to all humans, well-written dialogue can gain immediate emotional investment from your reader.

But equally important to dialogue is what isn’t said. If that first “I love you” is met with silence, we know things aren’t going so well. Same if the baby’s first word is “Da-da” and the mom whisks the baby from “Da-da’s” arms to go down for a nap. By tapping into these universal human emotions through a rich tapestry of actions, memories, and setting, we can invite the reader to add up what’s on the page for themselves. After all, they’ve been reading signals during conversations their whole lives.

Q: Authenticity is key to capturing how characters speak, and sometimes this means writing regional dialect. How should a writer handle dialect, colloquialisms, and “folksy expressions” in a novel? 

KC: This has changed a lot over the years as the publishing industry has gotten twitchier. There’s the fear that today’s busy readers will no longer put up with phonetic spelling and dropped syllables, even though doing so brought the series characters of middle grade authors like J.K. Rowling and Brian Jacques to vibrant life. A more recent concern is the fear that trying to write dialect will come off as prejudicial, racist, homophobic, xenophobic—if there’s even a whiff of political incorrectness in the way you’ve presented a character as “other than,”, there’s a possibility you’ll cross a line and lose readers. 

One solution is to evoke the sound of the language without full-out transcription. If a young woman says she could listen to her daddy all night long, his dropped syllables making his stories roll like waves, a periodic transcription of his language won’t cause a problem. If you need to convey the speech of a foreigner with minimal English, study the syntax of his native language (lack of articles in Russian, adjectives following many nouns in French) and mimic it.

Q: You’ve drawn on your personal experiences for your novels The Art of Falling and The Far End of Happy. What are some tips for writers to capture personal experiences—events, even interesting dialogue—and possibly use them later?

KC: I give a separate workshop on this, which was a direct result of all I learned while obtaining my PhD in self from the School of Hard Knocks. Since our emphasis here is dialogue, I’ll share one pertinent story from The Far End of Happy.

After I’d already filed for divorce from my first husband, and within a month of his suicide, he said to me, “I guess you don’t like me very much.”

This line of dialogue was seared into my memory to the point that I wanted to include it in my novel. But when my editor read that line of dialogue, floating as it was within the fictionalized version of real events, it made less sense. “The scene reads fine without it,” she commented. “Just delete it.” 

That I couldn’t do. To me it had the feel of an important turning point in this couple’s awareness of what was (or wasn’t) happening between them. So instead of deleting, I went back several chapters to better set up this important moment.

My takeaways: 1) while listening to your editor is important, you don’t have to solve problems in the way they suggest, and 2) just because it was spoken in real life doesn’t confer power to a line of dialogue, and setting it up might be a long game.

Q: Dialogue aside for a second—you are a developmental editor through your business, Writing Partner. How do we maintain the tension throughout a novel and keep readers’ interest?

KC: This isn’t just a whole other workshop; I’m writing a craft book on the topic! Just about all fiction craft can be geared toward sustaining the reader’s interest. The most important foundational concept is what I call psychological tension—the relationship an author builds between the protagonist and the reader. A reader is hooked when a protagonist’s deeply desired goal raises a related question in the reader’s mind that she wants answered (“Can this character achieve his goal, given all the obstacles ahead?”). Now you have the reader looking around every corner to see how it’s going for the protagonist. It’s only once this relationship is created that the author can raise, dash, and reward reader expectation, which is the very definition of a satisfying read.

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This year’s Write Stuff Conference runs March 23-25 at the Best Western Lehigh Valley Hotel. Registration is open! www.glvwg.org

Meet Michael Ventrella – Writer, Editor, Lawyer, Musician, Wise Guy

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Editor, Legal Advice for Authors, Michael Ventrella, Pennwriters, Writing, Writing Advice, Writing Conferences, Writing Craft, Writing Workshops

Author Michael Ventrella, will be at the GLVWG Write Stuff Writers Conference™, “2020 Vision”, on Saturday, March 14, at the Best Western Lehigh Valley Hotel & Conference Center.

He will offer three sessions.

How the Law Really Works

The Biggest Mistakes Made by New Authors

What Editors Look For

** Click “Continue Reading” for Interview and Course Details **

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Biography:

Outside of writing, Mike worked primarily as a public defender; however, he also was a lobbyist for the liberal group Americans for Democratic Action (and later served as the Massachusetts chapter President for a year), taught political science courses at Bunker Hill Community College, and was a campaign manager for a state representative. Mike also wrote songs and performed in two prominent bands, Agent 99 and Big House, which played the major clubs in the Boston area and received airplay on local college radio.

Mike also started a magazine about animated films called Animato in the mid 80s which grew to be quite prominent. He was quoted in many publications as an animation expert, including Entertainment Weekly and in the book THE DREAM TEAM: THE RISE AND FALL OF DREAMWORKS by Daniel M. Kimmel.

In 1997, Mike and his wife, Heidi, moved to the beautiful Poconos, where Mike now works as an attorney. Heidi is a Niche award-winning artist whose work can be seen in galleries around the country and in Ripley’s Believe it or Not Museums all over the world, as well as on ABC TV’s To Tell the Truth. They love the pitter patter of little feet (they have five cats:  McGonigal, Mrs. Premise, Mrs. Conclusion, Doctor Who and River Song).

Mike is a regular fixture at science fiction conventions on the east coast, where he appears on panels to discuss fiction, animation, and gaming. However, to many people, he’s known primarily as the Guy Who Predicted The Hodor Plot Twist.

An Interview with Bob Mayer

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Cool Gus Publishing, Novel Writing, Writing, Writing Advice, Writing Conferences

Bob Mayer is a New York Times bestselling author of over sixty books, including “Eyes of the Hammer” and the CEO of Cool Gus Publishing  www.coolgus.com.

The 2018 GLVWG Write Stuff Conference™  is proud to present Bob Mayer as our keynote speaker. On Thursday, March 22^nd, he will guide attendees through A ONE DAY NOVEL WRITING SEMINAR. The presentation begins with the original idea and heart of a story, developing plot and character, working with point of view and, in conclusion, pulling everything together to sell your book and the business of writing.

Friday and Saturday, he will present topics on Write It Forward: From Writer To Successful Author, E-Pub, POD and the Future of Publishing for the Writer, and The Military for Writers. Saturday, he will speak at our luncheon I Will Make it Work.

GLVWG’s Bernadette Sukley does the honors of interviewing Bob.

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Bernadette: Your first book, “Eyes of the Hammer” debuted in 1991, but at what age did you start writing?

Bob:  The key was that I was a voracious reader as a child. I read everything I could get my hands on; growing up in the Bronx; I’d bike to the local library. When I’d read through that, I biked further to the next nearest library. I’d take the subway to Manhattan to the main branch, guarded by Patience and Fortitude, the two lions.

At West Point, I wrote a psychology paper that was supposed to be a study of some historical figure, so I picked the protagonist of Pink Floyd’s The Wall and turned it in, inside the LP. Then I also wrote a short about a young man arriving at West Point in the mid-1800s based on some diaries I read in the archives. In the military I wrote lots of orders; also the Gettysburg Battle Staff Walk for the JFK Special Warfare Center.

But I jumped right into novel writing with a book in 1988. Technically, it wasn’t my first book published, but it was called Dragon Sim-13, based on a mission my A-Team had done.

Bernadette: A favorite author(s)? Why?

Bob:   A terribly unfair question. There are so many. I believe Stephen King said, “read writers who you aspire to be like.” Great writers. Not so much the literary canon, as I really doubt Ulysses was the best book of the 20th Century. Sorry. I heard enough drunken Irishman stories growing up. Off the top of my head, there’s Kate Atkinson, Larry McMurtry, Michael Connoly, Richard Russo. I read a lot of non-fiction. Currently devouring American Lion by Jon Meacham. I’ve read all of Pat Conroy’s books, which are an intriguing study in plotting and prose. He has operatic plots, way over the top, but when Jimmy Buffet can set your words to music, you can write any damn thing you like. We used to live across the Intracoastal from Dafuskie Island, the setting in The Water Is Wide.

I like authors who combine great characters with intriguing plots. I’m not a fan of books that I need to read four times and write a paper on in order to try to figure out what they meant. That’s not good writing in my opinion. I can grasp what Hemingway meant the first time. He was direct and to the point.

What to Look for in a Writer’s Conference

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Writing Advice, Writing Conferences, Writing Craft

By Donna Brennan – Vice President of the Greater Lehigh Valley Writers Group

 

Maybe you’ve just started out on your writing journey, or maybe you’ve been diligently working on it for years. Wherever you are in the process, there are many benefits to be had from attending a writer’s conference. But not just any writer’s conference will do – you should look for a conference that fits your needs and where you are at the moment. Cost and location, although important, are not the most crucial issues to consider.

How to pick the best writer’s conference for you depends on your current needs and goals. Do you need to learn the basics? Do you need to understand how to market your book? Are you looking for a publisher, or do you prefer information on how to self-publish your work?

Some conferences are geared for a specific genre, which is great if you write in that genre. Some conferences cover a broader spectrum of genres and may include topics like marketing, pitching to an agent or editor, or self-publishing. Before you can choose the best conference on which to spend your time and money, you must determine what it is you need right now.

First, what do you write (or want to write)? Novels? Nonfiction books? Articles? Short stories? Poetry? Then narrow that down. What types of novels? Thriller? Romance? Or something else? What types of articles? Features? Self-help? Amusing anecdotes?

Next, where are you in your writing journey? Do you need to work on your craft? This includes things like pacing, dialogue, point-of-view, plotting, story arc, and self-editing. Do you think you have a pretty good grasp on the craft, but have no idea how to approach editors and agents, or how to compose a query letter? Maybe you want to learn the best ways to use social media to market your books or position yourself as an expert on a particular topic. Maybe you need help figuring out what kinds of book promotions work, and what kinds don’t.

Another important thing to consider, if you’re writing a book, is whether you want to self-publish it or go the traditional route. Or maybe you haven’t decided that yet.

Finally, what is the most important thing you want to get out of the conference? Is it to learn the skills necessary to get started or to improve your writing? Is it to learn how to market that book you’ve worked so hard on? Is it to meet with an agent, book editor, or magazine publisher? Is it to learn what you can about self-publishing? Or maybe you just want to network with other writers?

Once you know what you’re looking for, you can view conference listings with an eye as to how their offerings meet your needs. Read the titles and descriptions of the workshops and sessions thoroughly. Will the workshops provide you with the skills or knowledge you want? Go online and research the presenters to see what they write; maybe search for their books on Amazon and read the first few pages to see what you think of their work.

Are you writing a thriller, suspense novel, or mystery? Then maybe you should see if the conference offers any workshops on fight scenes, use of weapons, pacing, plotting. Do you write historical fiction? See if the conference offers workshops on how to conduct research for your story. Do you write romance? Beneficial workshops could cover topics such as dialogue, characters, or scenes.

Some workshops are geared for beginners. Others may expect a certain skill level or understanding. This applies to craft types of skills as well as technical types of skills. Read the descriptions carefully to see if it’s basic or advanced. You don’t want to waste your time covering material you already know or be lost in a complex topic your barely understand.

If your goal is to meet with an agent or editor, look to see if the conference offers appointments for pitch sessions. If they do, research those editors or agents to see if they handle the types of work you write. Go to their websites and blogs to get a better idea of what they’re looking for or what they might be like to work with. Go to sites like QueryTracker.net for more information about agents.

Other things to look for in a conference include opportunities to socialize with fellow writers, the presenters, and agents and editors. Are the meals included or do they cost more? Are critique services available, and if so, is there a cost involved? Can you make an appointment for advice with a marketing expert or book coach, and do these appointments cost anything?

A writer’s conference can be beneficial in so many ways. Do your research before you sign up, get plenty of rest in the days leading up to the conference, and have a great time once you’re there.

 

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GLVWG Write Stuff™ Conference Schedule – Saturday, March 25

Tags

Writing, Writing Advice, Writing Conferences, Writing Courses

7:00 a.m. Check-In table opens
Pick up registration materials at the check-in table

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Seminar Syllabus for Saturday, March 25

Kathryn Craft

GLVWG Write Stuff™ Conference Schedule – Friday, March 24

Tags

Writing, Writing Advice, Writing Conferences, Writing Courses

7:00 a.m. Check-In table opens
Pick up registration materials at the check-in table

 

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Seminar Syllabus for Friday, March 24

 

Kathryn Craft

GLVWG Write Stuff™ Conference Schedule – Thursday, March 23

Tags

Writing, Writing Advice, Writing Conferences, Writing Courses

Includes “Lunch with the Experts,” and Writers Café

Thursday Overview

8:30 12:00	Full day Michael Hauge seminar “Story Mastery”
12-12:45	Lunch with the Experts (included)
1:00 –  4:30	Michael Hauge: Continuation of “Story Mastery”
7:00 9:00	Writers Cafe: Informal Read and Critique (Included with ALL registrations)

 

The GLVWG Write Stuff™ Conference – The Fun Starts Thursday, March 23

Tags

Writing, Writing Advice, Writing Conferences, Writing Courses

It’s Here!

Greater Lehigh Valley Writer’s Group –  Write Stuff™ Conference

Starts Thursday, March 23.

Here’s the lineup of seminars for three days of awesome writer knowledge. Come early to learn, stay late to rub elbows with the presenters, agents, authors, and fellow writers.

 

Thursday March 23 : 

Interview with Amy Deardon – Award Winning Author and Publisher

Tags

EBook Services, Indie Publishing, Writing, Writing Advice, Writing Conferences

GLVWG’s Donna Sooy recently interviewed Amy Deardon, who will be at the GLVWG Write Stuff Conference™, Friday and Saturday, March 24 & 25, 2017.

On Friday, Amy will give conferees tips on Insider Self-Publishing: Separating the Amateurs from the Pros. Saturday, she’ll conduct two sessions, What’s the Right Type of Publishing for My Book?, and Does My Book Have What it Takes?

 

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DS:  I read you are an award-winning author, publisher, and budding online entrepreneur. Congratulations. What is a budding online entrepreneur? 

AD: Writing/Publishing is a wide-open field, with more options now for people to create and sell information than ever before. I am constantly looking for methods to deliver helpful products that will allow others to reach their goals… and hopefully allow me to help support our family in the process. A win-win!

DS: There are times when people relax at home, they read, crochet and color in the Mandela pattern books. What is your favorite pastime when relaxing?

AD: I tend toward the crafty side with sewing and needlework, although don’t do nearly as much as I used to. It seems I’m always working on a writing project and the computer is never too far away.

I’m fortunate enough to be able to do a lot of work from home, and since it’s not healthy to be too closed in I get out to exercise, or to meet with friends for coffee, or go to Bible study. Evenings are nice when my husband and kids and I cook dinner together as we talk.