Buying Craft at Conferences, by Eric Witchey
First, the gratuitous ad. The new book is available. It won’t launch until the World Fantasy Convention, but it is available on Amazon in hard and e-book forms. Please buy, read, and review. Here’s the link:
On to the blogging.
When a writer goes to a conference and pays for a fifteen-minute, private professional critique session with one of the presenters, what are they really trying to buy?
Some are trying to buy recognition.
Some are trying to buy discovery.
Most are trying to buy improvement.
Generally, the conference presenter who has agreed to read and do story analysis has little influence over the misguided motivations of the first two desires. The third can rarely be done in fifteen minutes. Sure, the conference presenter can offer one or two ideas. They may even offer an idea that lets the hopeful writer turn a corner in craft. However, those are rare moments.
As part of my commitment to the Write on the Sound Writers Conference where I’ll be teaching this weekend, I am reading and analyzing 10 manuscripts and providing a sit-down, one-on-one development session to each author. Having read all ten, I’m now working on my write-ups.
I don’t have to do written analysis for my conference clients. It’s not part of the contract. All I have to do is read then sit down with them for fifteen minutes and chat about their writing. So why write up my responses at all?
The first reason is to respect their work. The second reason is to show them their hope is valid. The third reason is that I can and should. It’s the right thing to do, and I have found methods of making it efficient and helpful.
For example, of the ten manuscripts I’ll be addressing this weekend, eight show no indication of understanding standard manuscript format. For some, that may be a result of rather vague instructions given by conference coordinators. For others, maybe not. For the two who obviously do understand manuscript format, there was clearly just no choice but to deliver pages in standard manuscript format.
Now, I’m not going to explain standard manuscript format here. I’m just using it as an example. In fifteen minutes of discussion at the conference, I might be able to get across the fundamentals of manuscript format and why it is important. Maybe. Fifteen minutes isn’t much time for show-and-tell. Certainly, it’s not enough time to help a client develop a couple of MS Word Template files that automatically provide layout and styles definitions that support manuscript format.
However, I can describe the problem, the reasons the problem is a problem, and the solutions to the problem in a short white paper that I can then include as part of the packet response for the eight clients who need it.
Over time, I’ve recognized that certain patterns of success and patterns of failure recur in conference manuscripts. In fact, they appear in slush I have read, in college classes I have taught, and in seminars I have led. I can easily list the most often seen issues in manuscripts written by developing writers.
Mind you, not all the manuscripts I read for this conference had these problems. In fact, one was clearly professional. However, experience reading in many venues has brought me to realize that this list of development issues is pervasive enough that I have developed white papers for each item and quite literally hundreds more. By handing each client a short, written analysis of their text and augmenting that analysis with supporting white papers, I can give the client a lot to think about and material they can come back to later. When they do come back later, they will discover a much more detailed exposition of the issues and methods for solving that issue. After all, aren’t executable solutions what they really paid for?
Here’s a simplified list of the most common weaknesses I see in conference manuscripts:
- Absence of dramatic conflict or the belief that dramatic conflict means combat.
- Failure to understand character transformation.
- Failure to understand the relationship between character transformation and incremental emotional change in scenes.
- Failure to understand character depth and how to demonstrate character psychology and change in dialog and narrative.
- Failure to understand the difference between authorial voice, narrative voice, character voice(s), and the reader’s internal voice.
- Failure to grasp core thematic(s) and how a story demonstrates it/them.
- Failure to fully develop the psychological and sociological nature of the opposition.
The list could go on, but these are the things I see missing most often. I don’t have time here to develop descriptions of each of these, nor would I since I’m not being paid. However, some of the readers of this blog might be going to conferences in the future. Before you pay for an analysis of your manuscript, check it for the above. Before you pay for a sit-down session, see if you can find out whether you are buying a chat or a solution.