The Drive-in Movies

There I was at Sam’s Club on 52nd near Wadsworth yesterday and that’s when the memory surfaced. This is where the drive-in used to be. (One of those places where families, friends and dating couples went to watch movies on a humongous screen while sitting in their car, one speaker hanging on a window.)

Ahhhh…

After our parents found the best in-the-middle-of-the-dirt-lot-parking-place, where we experienced the first surround sound system ever, (one speaker per car x 100+/- cars), us kids trotted to the playground in front of the gigantic screen. We played as far into the darkness as possible, until horns beeped, demanding children return to their respective car.
After the first seconds into the cartoon just about every mom, trailed by kids, walked for what seemed like miles to potty. Often the trip was on false pretenses because some kids just wanted to see the vast variety of available treats.

A friend of mine and her four sisters seemed to always walk in front of our car on their way to the restroom/refreshment bar and disrupted my concentration of Woody Woodpecker—until that night. They never showed.

Worried until I saw my friend at school the next day, she explained her mom was never taking anybody to the bathroom again, at least at the drive-in. If anyone in their family had to go, the only container available was an empty coffee can (in or behind the car) or the dirt parking lot because her mom was tired of missing over half of most movies.
Oh, the horror!

At age 16, the same friend and I enjoyed our first trip alone to the drive-in movie theatre. However, we missed the movie because of the romantic antics of the couple in the car in front of us.
The next thing I recalled was my friends and me were short of money for the drive-in, so we pooled our finances. Still short on funds, I volunteered to hide in the trunk of the car just until the driver found a place to park. That lasted about thirty seconds. I pounded and kicked and yelled to be let out. The attendant who took our money, (sort of like a person at a toll road booth), ran to the car and demanded the trunk be open. We were kicked out and told never to return.

However, at the prime age of almost 18, a (new) friend and I arrived at the same drive-in, in style—I drove a 1968 GTO with Hurst automatic racing gears. Oh yeah. We pulled next to the speaker pole—but too far from in front, and then I reversed—too far back. That’s when my car died. Not to worry, remember every car had a speaker. Besides, the show was Mel Brooks’ Silent Movie. You remember the one. Only the mime spoke.

To quote Skipper, the head penguin from the Madagascar gang, “Kowalski, analysis?”

You gotta love irony.

Rocky Mountain Writer #95

Alice Kober - 2017 Honored Guiding Member

Two years ago, Rocky Mountain Fiction Writers started a new tradition of recognizing Honored Guiding Members, those individuals who have significantly contributed to the success of the organization over the years. Honorees are selected for their talent and abilities, as well as the leadership they've shown.

This year, it’s Alice Kober.

Alice Kober has been a member of RMFW for over 20 years.

She has volunteered for numerous jobs, including Conference Chair and RMFW President. She was given the Jasmine Award in 2005 to honor the long-term service of individuals to the organization.

On the podcast, Alice reflects on her early years with RMFW and also give us a sneak peek about the workshop she’ll be giving at this year’s conference, about the importance of book covers.

Alice should know. She currently works for the Arapahoe Library District, where she buys both print and e-book fiction for one of the best library districts around.

Local writers please note – Alice particularly loves buying books by Colorado authors.

Intro music by Moby Gratis

Outro music by Dan-o-Songs

For suggestions about content or to comment on the show, email Mark Stevens. Also feel free to leave a comment about the podcast on iTunes or your favorite podcast provider.

Host Mark Stevens: http://www.writermarkstevens.com

The Critical Importance of Look Alike Words

A word from Conan the Grammarian:

Concerning the Critical Importance of look-alike words, or similar or commonly mistaken words. Learn the diffs! As Conan has often admonished writers, this is not advanced rocketry or even higher mathematics.

In no particular order, these words often appeared incorrectly in this year’s contest manuscripts.

Stanch & staunch

The first means to stop up or prevent from bleeding; the second means stout-hearted, loyal.

Of course a character would never stand stanch at the hero’s side, so please don’t go staunching any wounds!

Discreet & discrete

The first means circumspect or tactful; the second means separate, distinct: individual.

Conan finds that scientists and engineers often write about characters who act discrete, because apparently they don’t know there is another word (the same way lawyers often have characters waive instead of wave).

Rack & wrack

The first means to torture (as in the eponymous medieval device); the second is debris from a storm.

Characters who wrack their brains not only commit cliché, but they perform a very odd non-action, too. On the other hand, characters may go to wrack and ruin, but never to rack and ruin (though that’s a cliché, too).

Lead & led

The first is a soft, toxic metal or the present tense of the verb to lead; the second is the past tense of that verb. Memorize this!

Pour & pore

The first is a verb meaning to decant liquids (or rain); the second is a noun meaning a teeny tiny hole or a verb meaning to scrutinize.

One ought never pour over a document, unless one spills something by accident.

Grill & grille

The first is a type of cooking device or the act of cooking on that device; the second is a grating or lattice.

One could, Conan supposes, grill burgers on a makeshift grille, but Joe’s Bar and Grille is trying to be fancy and ends up looking ignorant and pretentious.

Rain & reign & rein

Rain falls from the sky; emperors, queens, and terrors reign; riding horses and some metaphors require reins.

It rained for ten days after King Mutt’s reign ended, causing his people to rein in the celebrations.

Council & counsel

The first is a noun meaning committee or board; the second is verb meaning to give advice. A counselor is a lawyer or other professional advice-giver.

May & might

For the verb indicating possibility, may is present tense; might is past tense – past tense as in the tense most storytellers use most of the time.

Alright & all right.

The first is not a word (yet) in accepted English; the second is how it should be spelled.

Conan admits that languages change over time, but alright remains nonstandard, and Conan will fight it to the death. All right has nothing to do with already, so the attempt to “normalize” one into t’other is as foolish as the egregiously erroneous rules that one must never split infinitives or end sentences with prepositions.

FREEZE! SMOKE POLICE!

I’m sure most of you have heard of Writers’ Police Academy, the four day conference offering an exciting and heart-pounding interactive and educational hands-on experience designed to enhance a writers understanding of all aspects of law enforcement, firefighting, EMS, and forensics. If you’re writing anything with a cop in it, I highly recommend the experience.

Day One

The first session is all about Drones! The expert had six or seven drones, 3D glasses so you could see from the perspective of the drone, and in-depth information on types, uses and hands-on demonstration! Registration fee justified!

At the opening ceremony, the Oneida Tribal Police blessed the WPA – the campus and conference hotel are located on tribal lands. There are dancers, and then I’m one of 10 people chosen to wear a gun belt. It comes complete with an orange gun (a solid plastic training gun) and blue taser (again, solid plastic). My assignment—wear it ALL day Friday. Things I learned:

  • The belt is heavy. It adds about 20 pounds around your waist. Add the Kevlar vest (which they want their officers to wear 24/7) and I was lugging around an extra 35 pounds. It makes it hard to run!
  • You’re told to take it the gun belt off when you go to the bathroom, but there’s a problem. Where do you put it? Place it on the floor? Yuck. On the back of the public toilet. Yuckier. If you hang it on the back of the door, it’s apt to get stolen. It’s happened. Tami Hoag solved the problem by pulling it up over her boobs. Brilliant! Maybe that’s why she’s a NYT bestselling author.
  • It’s hard to draw the gun and/or taser. But then, just wearing it was enough to scare some people. Take the stoner smoking within 5 feet of the hotel door. He saw the belt and his demeanor changed. He stepped away trying to gauge 25 feet. He glanced warily over his shoulder at me a number of times, and then seemed truly scared with my “police” dog (a 13-year old, 14 pound, black, miniature poodle) trailed out the door behind me. Freeze! Smoke police!

Day Two

This is a full day of classes. Six sessions a day, with some special assignments. These were hands-on trainings where you shoot real guns, drive real cars, search real buildings, and blow off real doors. I was assigned to “Handgun Live Fire” and I want to go back to try “Building Search/Room Clearing,” “Pursuit Immobilization Technique (PIT),” “Wait Explosive Entry.” “Defense and Arrest Tactics.” FYI, this is where you learn to handcuff people, but I’ve already done that. At a Rocky Mountain Chapter or Mystery Writers of America workshop I handcuffed RMFW’s own Jedeane Macdonald. Only one problem, the handcuff keys were missing. No problem! We just took a field trip to the closest Fire Station and had them cut off.

Regular sessions included things like “Incognito, Exploring the Undercover Experience” (with a real undercover cop who busted drug dealers in New York City), “Blood Spatter” (with a real dummy that spatters blood when he’s struck in the head), “Arson Investigation” (where they actually teach you how to start a fire with three different accelerants), “Federal Law Enforcement,” “Prison Gangs,” “Dogs, Dogs, Dogs,” and the list goes on. Too much to do in one year. Too much to do in two years.

Day Three

I was assigned to “Shoot, Don’t Shoot.” This was a special setting with a simulator that presented various scenarios the cops might encounter. I went first, with a partner, and we were called to a building with an intruder. We had no idea what we’d encounter, then a guy came out of the front door shooting. I fired three shots. My partner emptied his gun. Neither of us got shot. 15 rounds were fired, and only one shot connected, bringing the bad guy down—mine!

Other scenarios included a domestic dispute, an attack on an electrical transfer station, a attempted mugging in Central Park, an encounter when off-duty… Here’s what I learned:

  •  Shoot until the danger is neutralized.
  •  Shoot if there is eminent danger to you or others.
  • If you empty your gun when it’s not necessary, you may find you’re out of ammo and still facing danger.
  • I want one of these simulators!!

Banquet

Tami Hoag ran the live auction, and there was one item of note. Dr. Katherine Ramsland, an expert on serial killers and author of CONFESSION OF A SERIAL KILLER: THE UNTOLD STORY OF DENNIS RADER, offered a “personalized (to the winner) drawing, done by and signed by Rader, of one of his crime scenes.” Most people know this man as the BTK killer, an acronym he gave himself which stands for “Bind, Torture, and Kill.” No doubt the sketch will be a collector’s item. And, he fancies himself a poet, so it might even come with prose. Yet… It drew a final bid of over $800. Writers are a strange lot! Now, I’m fascinated by serial killers, and I’ve studied a lot of them, but I can’t imagine having something with such negative energy in my home. I actually went out to see if I could find an example on line and couldn’t actually bring myself to cut and paste one here. They’re just too creepy. Interested, here’s a link.

Day Four

I was ready to come home, and yet I attended the debriefing. Lee Lofland, the writer and ex-cop who put WPA together, led a rousing Q&A session with all of the guest presenters that had attendees rolling in the aisle.

WPA Cost: $395 registration; $20 t-shirt; $55 banquet; $500 (approximate) hotel bill; $30 in extra meals; $600 travel (approximate)

Value: Priceless

Rocky Mountain Writer #94

Curtis Craddock & An Alchemy of Masques and Mirrors

Many times on the podcast we’ve had examples of patience and hard work, and this chat with Curtis Craddock is proof again of the notion that you just need to keep writing and keep getting better.

It also doesn't hurt to attend Colorado Gold. Again, we’ve had stories in the past about chance meetings at the conference and again a very random encounter put Curtis Craddock together with the right editor and that informal meeting led to the publication, later this month, of An Alchemy of Masques and Mirrors, the first book in a series.

Kirkus has already raved and the Washington Post picked Curtis’ debut as one of the top three science fiction and fantasy books of the month.

Curtis Craddock was born in the wrong century and quite possibly on the wrong planet. He should have been born in a world where gallant heroes regularly vanquish dire and despicable foes, where friendship, romance, wit, and courage are the foundations of culture and civilization, and where adventure beckons from every shadow.

Instead, he was born on Earth and lives in a world bounded by bureaucracy, hemmed in by cynicism, and governed by the dull necessity of earning a wage. An exile in this world, he is a biographer of friends he’s never met, a chronicler of events that never happened, and a cartographer of places that never were.

Given that the mundane world supplies a dearth of oddly progressive kingdoms to be saved, he spends his time saving cats, dogs, and the occasional bird of prey. By day, he teaches Computer Information Systems classes to offenders at a correctional facility. By night, he puts on his writer’s cap, the broad-brimmed one with a feather, and, into the prison walls of reality, etches defiant words of legend.

Curtis Craddock's website

Intro music by Moby Gratis

Outro music by Dan-o-Songs

For suggestions about content or to comment on the show, email Mark Stevens. Also feel free to leave a comment about the podcast on iTunes or your favorite podcast provider.

Host Mark Stevens: http://www.writermarkstevens.com

Hocus Focus

Another one of those articles came across my feeds the other day. You know the ones? The ones where somebody with a book or two placed with A Real Publisher decries the sad state of authorship and how being poor but published is much superior to being one of Those People? There are fewer of those articles floating about these days,  but I keep running across this canard:

"Self-published authors should expect to spend only 10% of their time writing and 90% of their time marketing."

If that's what you're doing as a self-published author, you're doing it wrong.

I understand the rationale. It comes from the old school marketing people using mass market techniques on niche market segments. The impetus to do something - even something that doesn't work - can be overwhelming. It's what causes authors to abuse social media by posting "buy my book" messages six times a day to hit all the major time zones. It's what causes writers to spend time writing meaningful blog posts three times a week because they've been told that's how to get readers. It's why so very many of us think they have to be everywhere all the time or they're missing out the growth potential of each of the channels.

But here's the thing.

As content creators, we really should focus on creating content. The content we need to create is not "interesting links" or "regular blog posts" or even "quality content." We need to create new stories. Sure, they're rehashed retellings of one of the seven basic plots, but to readers, they're new stories. We breathe life into the characters and unfold plots. We take readers to worlds that fascinate or horrify or titillate - sometimes all three.

We can't do that if we're focused on marketing. We can't do that if we're spending the majority of our effort and attention chasing goals based on flawed models.

The heck of it is, the models sorta work. That's the danger in them. They work in the same way taking a pair of pinking shears to your lawn works. If you stick with it, you will eventually get your grass cut. It may take so long that you'll have to start again immediately, but it does work. Sorta. As an analogy, I think it applies to the way people approach marketing. The mass market tools work but they're not very effective and they're horribly inefficient. By focusing time and energy on using those tools, you incur an enormous opportunity cost. You wind up spending all your time marketing and never write the stories your audience wants.

All because of a misplaced focus.

Image Credit: "Focus" Michael Dales CC BY-AT-NC

The Trap of the Magical Negro and why it needs to be Avoided

The Magical Negro is a trope as old as American literature. Originally, the Magical Negro was there to show white readers that African-Americans could be wise, intelligent, and loyal, just like all Americans. It served its purpose for many years and now it needs to be retired. In this article, I will try to explain why.

You’re writing a YA story about a teenaged pregnancy scare. Your protagonist is the white, male star of the football team. We’ll call the probable father Kevin. The fictional school is in a suburban, moderately affluent neighborhood. As a writer, you know diversity is a buzz word and having diverse characters might help you sell your book, so you want Kevin’s best friend to be black. His friend’s name is Richard.

So far, so good.

Richard has been the moral voice for Kevin throughout your book. He reminds Kevin that the female protagonist, we’ll call her Vivian, is having a harder time of this than he is; that Kevin had sex with the girl and he should be a stand-up guy, support her, emotionally, while protecting her from all of the vicious rumors. At a pivotal moment of the story, Kevin finally does the right thing by Vivian and supports her through the potential pregnancy and whatever final decision she decides to make. Kevin even thanks Richard profusely for his help in making him see the light.

You finish the book, go through edits, and come out the other side proud of your YA story. You are particularly proud of the Richard character. He was a moral young man who pushed Kevin into doing the right thing. His race was inconsequential to you. You feel proud.

You’ve also stepped into the trap of the “Magical Negro.”

Were there any other black characters in the story?

Have you thought out your black character's backstory?

If your protagonist is white, why is your black character so loyal? What do they get out of this?

Does your black character end up teaching your white protagonist a moral/virtuous lesson?

Does your black character act selflessly to help your white protagonist? Does he/she die?

These are the tropes of the magical Negro.

TVtropes.com defines the magical Negro;

In order to show the world that minority characters are not bad people, one will step forward to help a "normal" person, with their pure heart and folksy wisdom. They are usually black and/or poor but may come from another oppressed minority. They step (often clad in a clean, white suit) into the life of the much more privileged (and, in particular, almost always white) central character and, in some way, enrich that central character's life.

With such deep spiritual wisdom (and sometimes — though not always — actual supernatural powers), you might wonder why the Magical Negro doesn't step up and save the day himself. This will never happen. So enlightened and selfless is he that he has no desire to gain glory for himself; he only wants to help those who need guidance... which just happens to mean those who are traditionally viewed by Hollywood as better suited for protagonist roles, not, say, his own oppressed people. In fact, the Magical Negro really seems to have no goal in life other than helping white people achieve their fullest potential; he may even be ditched or killed outright once he's served that purpose. If he does express any selfish desires, it will only be in the context of helping the white protagonists realize their own racism and thereby become better people.

The magical negro trope is as old as American literature and cinema. While the trope usually comes up in American cinema, I bring it up here so you can avoid it when you write the next great American novel. Here are some examples:

Oda Mae Brown, (Whoopi Goldberg,) in the movie Ghost.

Jim in The Adventures of Huckleberry Finn.

Mother Abagail in Stephen King’s 1978 novel, The Stand.

John Coffey in the 1984 novel, The Green Mile and the 1999 film.

The superhero Falcon, from the Marvel comic book Captain America, throughout the 1970s.

This trope can also exist for Asian characters, Native American, and Queer character too.

All of these characters fit the trope because they do not have agency. Their own motivation is never brought up. Their reasons for being loyal are never examined, and they are usually super skilled or have access to some sort of abilities our white protagonist doesn’t have. In many cases, they literally have magical powers!

OK, you’re probably asking the question, why is this bad?  

First of all, the character is shallow. What are his motivations? What does he want? Where did he come from?

Second, the character isn’t authentic to the African-American experience. While some black readers may love Richard, most won’t because he has no (say it with me . . . ) agency.  Do you know anybody who would give you moral lessons on multiple occasions? Neither do I.

Jason, I am NOT a RACIST. I made this character because I wanted to show the diversity in my story’s world. I wanted to have my main character grow and learn by listening and trusting a person of color!

I understand all of that. For the record, you had the best of intentions and NOBODY is saying you are a racist. But can we examine this a little closer? Let’s go back to Richard.

In the example I gave above, Richard plays football with Kevin and is his moral voice. That’s good. But, here are some questions, like . . .

  • Why does Richard care, so much?

Do Richard and Kevin have a rich backstory together going back to grade school?

Does Richard have a relative who’s a single mother, so he knows how hard it’s going to be for Vivian?

  • Why is Richard the moral voice?

Is he the son of a minister, rabbi or Imam?

Are there no other boys in the high school who think Kevin is a jerk? Why aren’t they talking?

High school boys are notoriously self-centered, so what does Richard get out of this?

  • Does Richard have a life of his own?

Doesn’t Richard have class or something, too?

If these guys are such good friends, do they do anything other than preach to each other?

What about Richard’s love life? Has he experimented with sex, too?

  • Where are the other black people?

Is Richard the only black student in the school? If he is, why? THAT would be an interesting story!

  • Do we get to see any other black characters?

The way you avoid this trope is to give your black characters agency. That means your black characters must have their own motivations and their own character arc. They have to grow alongside your protagonist. When you do this, you create tension and conflict in your story.

Let’s revisit Richard, again.

Richard and Kevin have known each other since Peewee football. They have been best friends for years. Richard’s father and mother lived together until they got a divorce. Richard’s dad left to take a job out of state. While Richard still sees his father, it’s only in the summer or at Christmas. As Richard has grown older, he wants his father’s presences more and more.

Richard has two younger sisters, 10 and 11. He has such a strong moral center because he’s the man of the house and has to take care of them. This includes dropping his sisters off at school and picking them up, after football practice.

Other than football, Richard has time to study and take care of his sisters.

See, Richard wasn’t a racist character; he was a shallow one. A little bit of character building and he’s much more believable.

Now, I want to give you an example of a character who is not a magical negro.  Michonne, from the Walking Dead Comic Book.

Michonne appears in the year 2005 of the comic book, The Walking Dead. The first time we see her she has two zombies chained to her. They are missing their jaws and their arms. She uses them as camouflage.

We also learn she is a bad-ass with a Katana, lopping off zombie heads left and right. She earns her place in Rick Grimes group of survivors and becomes a trusted advisor to Rick.

So far, so good, right?

  1. Rick’s group makes it to a walled town called Alexandria, Virginia. They try to integrate but are too violent for the survivors there, who have hidden there since the outbreak. Rick is particularly crazy about trying to get the other residents to know how bad it truly is.

Michonne constantly reminds Rick that they are guests. That it’s not their place to “Toughen” the other residents up. They have arguments over this stuff. Eventually, in a fit of rage, Rick screams in the street waving a gun at everyone. Michonne knocks him out and ties Rick – our white protagonist – up until he calms down and agrees to let it go.

We have tension, story conflict, and a moment of growth in both character arcs because the African-American side kick steps up and tells the protagonist he’s full of it. Great Story telling.

You’re Exercise

Flesh out your African-American by giving them a back story. Who were their parents? Are they college educated? Does this person have a family of their own?

What is the dynamic between your protagonist and your black character? Why are they friends? What brings them together? Is there a history between the two? Does one owe the other a favor?

Tension and conflict are central to all stories. What tension or conflict drives your white protagonist and your black supporting character apart?

Are they romantic rivals? Professional rivals? Is there respect, but no affection? Or affection, but little respect?

Write your black characters back story.

 

Follow me on Twitter @evans_writer

Like my Facebook Authors Page: Jason Henry Evans

Read more about me and my journey at www.jasonhenryevans.com

The Beat Sheet

As I thought about this series, I realized in retrospect that I wanted a plan.  And I wanted something for you readers to be able to follow along.  And I wanted it to be totally available.  AHA - a Beat Sheet.

If you don’t know what beat sheets are, here’s the short description:  The “beat sheet” is a way to sequence your story, using bullets instead of whole sentences or paragraphs. Very quickly, though, those bullets becomes sentences and paragraphs. And when that happens, you have an outline on your hands.  (From Storyfix.com)  You’ll find a lot of talk about beats and beat sheets in the screenwriting world.  I won’t get into it here, but it’s certainly something to check out if it sounds like gibberish to you.  I often use beat sheets to do some preliminary plot work once my character work is well in hand.

Jamie Gold is the queen of beat sheets online.  She has made a variety of them in Excel format so you can fill in your page goal and it will calculate where all your beats should come.  Obviously, this is a tool.  Don’t get stressed about having to follow it exactly.  Jamie even has one for romance.  Good information in the entire post.

Here’s why I’m sending you there.  It occurred to me as I was looking at this beat sheet that I may have jumped the gun last month with Boy Meets Girl.  Yes, Boy Meets Girl should happen in Act One, but there should probably be some preliminary scenes before that happens.  Note:  In the “olden days” of Romance, the requirement was that hero and heroine meet in the first pages of the book.  I don’t think that’s the hard and fast rule anymore.  But if the line you’re targeting wants it - give it to them.  You’ll have to weave the other preliminary stuff in as you do so or shortly after.

Alright.  So here’s why I’m making a U-turn – it’s only temporary.  It’s not because I’m requiring - or even suggesting - that you have to use this beat sheet.  But I will be using it as a guideline for this series of article.  It’s all about me 🙂

Last month we talked about Boy Meets Girl.  That event usually happens as the Inciting Incident in your plot outline.  Before that happens, you may want to introduce your reader to one or both characters and set up the romance by showing what your character is lacking - or what he (she) thinks he’s lacking.  In the opening scenes of the story, you’ll want to create empathy.  Showing what the character is lacking/longing for is a way to do that.

As an aside here, most of the time, the goal that the characters go into the story with is what they WANT but not what they NEED.  Over the course of the story, you’ll bring them through a character arc from what they thought they wanted at the beginning of the story to what they actually NEED.

In the spirit of taking that step back, I’d like to talk about WANT and NEED before we go further.  So that’s what I’ll tackle next month.

Hope you’ll forgive the blip!

Cheers, Jax

 

 

12 Elements of Crime Fiction

Fresh, unique ideas sell books, right?

Not necessarily.

Even the freshest idea must follow specific ‘rules’ or elements of the genre.

Don’t believe me? Then why in almost every romance novel the main character has one or more dead parents and the poor orphan was often raised by a kindly/odd/distant aunt or uncle? Or better yet, why is it that in an urban fantasy, the female lead is always haunted by something, whether it’s a real ghost or the ghost of boyfriend past, or in some cases herself?

Crime fiction is perhaps the worst offender.

And that’s why I love it.

These elements and rules give crime fiction its grit and style.

Mind you, not every one of the elements I list below will be in every book. But I bet that if you pull a copy of any crime novel off your bookshelf, you’ll find at least one and likely many more inside.

  1. The hooker/thug with the heart of gold
  2. Substance use/abuse
  3. A dirty cop
  4. A bottle of booze hidden in a desk/cabinet/toilet tank
  5. A femme fatale
  6. The term “Doll face” or “Baby doll”, really just some reference to a doll
  7. A description of a woman’s legs, in vivid detail
  8. A lounge/bar/nightclub/strip club
  9. A guy named “Fast” something, usually Eddie
  10. A dead partner/lover and/or betrayal by a former partner/lover
  11. Pipe/cigarette smoking hero and/or villain
  12. A dead body in the first 10 pages

Got any more? What about the genre which you write, what are the 'rules' in it?

 

 

What to Expect at 2017 Colorado Gold

The fun never ends at Conference HQ!

Colorado Gold is only a month away! We're at the Denver Renaissance Hotel in Stapleton again this year, which will be familiar to some attendees and new to many.

We have over 150 first-timers attending this year, and there are always little changes taking place, so I've put together this day-by-day run-through of what to expect at Colorado Gold this year.

Registration is SOLD OUT. Please make sure you register for the waiting list if you would like to attend. We do typically have last-minute cancellations and we will use the waiting list to bring new attendees on board.

Even though we are sold out, there are still a few sessions that existing attendees can ADD to their registration.

Sessions you can still add (if you're already registered):

  • Master Classes
  • Hypnosis Sessions (group or one-on-one available)
  • Audit Critique Round Table (select sessions only)

If you wish to add a session to your existing registration, the steps to do so are simple:

  1. Click on the SOLD OUT graphic from http://RMFW.org/conference
  2. When you get to the wait list page, click "already registered" and follow the prompts
  3. Click "OK"
  4. When you're at the summary page, click the MODIFY button on the upper row of buttons.
  5. Add your sessions.
  6. Click through to the end.
  7. Process your payment.

Don't Forget! Bring a Blank Journal to Conference!
RMFW Special Guest, Stuart Horwitz, is delighted to share: Book Architecture has partnered with Cocoon Journal, a non-profit organization that puts blank books in the hands of high school writers. The idea is that by writing, they can clear their head (and maybe generate the first draft of a future project). Do you have some blank journals lying around that you aren't using? Now, the solution: BRING THEM TO CONFERENCE! Cocoon Journal will be collecting unused, blank journals during Colorado Gold this September. You can also ship blank journals to: Cocoon Journal P.O. Box 740340, Arvada, CO 80006.

The At-A-Glance Schedule and Brochure

First, I wanted to point out that the At-A-Glance (AAG) schedule is organized by floor.

The left-most classrooms are located on the ballroom floor, which is the lower level of the hotel. These include the Ballrooms, Big Thompson, Platte River, and Boulder Creek.

The middle classrooms are located on the atrium level, these are Winter Park, Breckenridge, Snowmass, Telluride, Durango, Steamboat, and Aspen.

The right-most rooms, called the "Peak Rooms" on the schedule are located on the third floor. They aren't listed on the schedule individually because they are not part of the workshop space. This is where the one-on-ones, the critique groups, and other appointment-only sessions happen. These rooms include Blanca Peak, Longs Peak, Capital Peak, Gray's Peak, Bennett Peak, Maroon Peak, and Pike's Peak.

There is a floor plan printed on the back page of the conference brochure, which is available online right now. You will also receive a printed version of this brochure when you check in at conference.

Registration

Registration is located on the ballroom level, at the bottom of the escalators. Someone will be at the registration table for the duration of conference, and available to answer questions or help you with whatever you need. Registration opens Friday at 7:00 AM for the morning sessions and 10:30 AM for the regular conference attendees.

About Appointments and One-on-Ones

If you signed up for an appointment, it is likely that you will have to leave a workshop in session in order to attend. If you need to leave a workshop in-session, this is perfectly fine and happens throughout conference. Simply gather your things and quietly depart. Once your appointment is over, feel free to return to any workshop in-session.

Handouts

Handouts are available online. Check the HANDOUTS page often as we get closer to conference and more are added by our presenters. Please download handouts to your device or print them at home. You *can* download them at the hotel using the public wifi in the common areas of the hotel, but you will have to leave the classrooms to do so. While there is Wi-Fi in the hotel, there is NO Wi-Fi in the classrooms. 

WiFi

Since this comes up quite often, it get's its own section! There is no WiFi in the classrooms for the presenters or for the attendees. WiFi is available in the common areas of the hotel.

Bookstore

The bookstore is located in Clear Creek on the ballroom level for the duration of conference.

Conference Recordings

CES recordings of all the workshops will be available for purchase near the registration table on the ballroom level. Place your order before the end of the day on Saturday for pickup on Sunday. Orders placed on Sunday will be shipped to you after conference.

And now... here's a day-by-day walk through of our wonderful conferece!


Friday, September 8

On Friday Morning, we have appointment-only sessions from 8am to 12pm.

  • Master Classes (still open for add-on registration)
  • Agent & Editor Critique Round Tables

Check-in for the Friday morning sessions is at the registration table starting at 7:00 AM. Master Classes and Agent and Editor Critique Round Tables begin at 8 AM. Once you collect your registration materials, you will proceed to your assigned room. Check-in for the rest of the conference attendees will open at 10:30 AM.

Master Classes: The Master Classes are located on the ballroom level and atrium level. Check the schedule for your specific room and plan to arrive a few minutes early. Registration is available for these sessions if you're registered and wish to add it

Agent & Editor Critique Round Tables: If you signed up for a Round Table, these sessions are located on the third floor in the "Peak Rooms". Please arrive a few minutes early, and note that there will be signs on the doors so that you know you are in the right place.

Conference Officially Begins On Friday Afternoon:

  • 12pm:  New Attendee (or it's-been-awhile-attendee) Orientation Meeting (bring lunch or plan to eat before)
  • 1245pm: 15-minute Standing Yoga to get your day started out right! *stretch*
  • Regular Workshops
  • Mentor Room Appointments
  • 2pm: Hypnosis Group Session (still open for add-on registration)
  • One-on-One Pitch Coaching Appointments
  • Afternoon Agent & Editor Critique Round Tables
  • Plated Banquet Dinner
  • Author Signing and Book Sale (free and open to the public)

Check-in for the conference attendees will open at 10:30 AM.  Workshops and appointments begin at 1 PM.

Standing Yoga: Come as you are and enjoy a 15-minute yoga session to get your body ready for the afternoon sessions. Hosted by Bonnie Ramthun.

Mentor Room: The Mentor room is located in Boulder Creek, on the ballroom level. If you have an appointment for the Mentor room, your specific appointment details will be included in your registration packet. Check in at the main registration table 10 minutes before your appointment.

Hypnosis Group Session: This session will be held in Kingston Peak from 2-4pm. Registration is required. Join this session to unlock your potential and increase productivity, overcome writer’s block, and open up your imagination and creativity.

One-on-One Pitch Coaching appointments: If you signed up for Pitch Coaching, these sessions are located on the atrium level in Winter Park, Breckenridge, Snowmass rooms. Your specific appointment details will be included in your registration packet. There will be a separate check-in table outside the rooms. Please arrive 10 minutes before your appointment to check in.

Agent & Editor Critique Round Tables: If you signed up for a Round Table, these sessions are located on the third floor in the "Peak Rooms". Please arrive a few minutes early, and note that there will be signs on the doors so that you know you are in the right place.

Friday Dinner: Plated Banquet Dinner on Friday is located in Ballrooms C/D at 6 PM. Join us as we welcome you, honor our volunteers and hear from Diana Gabaldon, our Kickoff Keynote Speaker. There will be a cash bar in the hall outside the ballrooms prior to dinner and a cash bar inside during the meal.

Author Signing and Book Sale: Join us in Ballrooms A/B for an author signing extravaganza! Meet dozens of RMFW authors, our keynote speakers, presenters, and special guests. Buy books and have them signed. The cash bar will be open during this time. This is open to the public, so spread the word!


Saturday, September 9

On Saturday morning, we have:

  • 6am: 1-hour traditional Yoga Class in Ballroom A. Bring a towel or your own mat. (free and open to drop-in)
  • Hypnosis one-on-one sessions (still open for add-on registration)
  • Continental breakfast
  • Mentor Room Appointments
  • NLA Story Clinic Master Class
  • Agent & Editor Pitch Appointments
  • Buffet Lunch (new!)

Morning Yoga: 1-hour traditional yoga class. Bring a towel or your yoga mat from home and enjoy a 1-hour yoga session to get your body ready for the long day of conference. Hosted by Bonnie Ramthun.

Continental breakfast: This is optional and available starting at 7 AM in the hall outside the ballrooms.

Hypnosis One-on-One Session: These are available by appointment only. Experience an immersive one-on-one session to unlock your potential and increase productivity, overcome writer’s block, and open up your imagination and creativity.

Mentor Room: The Mentor room is located in Boulder Creek, on the ballroom level. If you have an appointment for the Mentor room, your specific appointment details will be included in your registration packet. Check in at the main registration table 10 minutes before your appointment.

NLA Story Clinic Special Intensive Master Class:  The NLA Story Clinic on Saturday morning is located in the Durango room on the atrium level.

Agent & Editor Pitch Appointments: Pitch Appointments are located on the third floor in the "Peak Rooms". Your specific appointment details will be included in your registration packet. There will be a separate check-in table for the pitch appointments located on the third floor. Please make sure you arrive at least 10 minutes before your appointment. If you have any questions or conflicts regarding your pitch appointment, you will need to speak to the volunteers at the third-floor check-in table. Additional pitch appointments are available on a first-come, first-served basis while space allows. Any questions about booking additional free pitches should be handled at the check-in table for the pitches with our Pitch Master, Mike Ruchhoeft, and his team of volunteers.

On Saturday afternoon, we have:

  • Buffet Lunch (new!)
  • 1:15pm: 15-minute Standing Yoga to get your afternoon started out right! *stretch*
  • 1:30pm: Regular Workshops Begin
  • Hypnosis one-on-one sessions (still open for add-on registration)
  • Mentor Room
  • Agent & Editor Pitch Appointments
  • One-on-One Critique/Blue Pencil Appointments
  • Awards Banquet Dinner
  • Author Readings

Lunch Saturday is provided. Buffet Lunch on Saturday is located in Ballrooms C/D at 12 PM. Join us as we honor our 2017 PEN Award recipients, and our 2017 Writers of the Year, Shannon Baker and Wendy Terrien.

Standing Yoga: Come as you are and enjoy a 15-minute yoga session to get your body ready for the afternoon sessions. Hosted by Bonnie Ramthun.

Hypnosis One-on-One Session: These are available by appointment only. Experience an immersive one-on-one session to unlock your potential and increase productivity, overcome writer’s block, and open up your imagination and creativity.

Mentor Room: The Mentor room is located in Boulder Creek, on the ballroom level. If you have an appointment for the Mentor room, your specific appointment details will be included in your registration packet. Check in at the main registration table 10 minutes before your appointment.

Agent & Editor Pitch Appointments: Pitch Appointments are located on the third floor in the "Peak Rooms". Your specific appointment details will be included in your registration packet. There will be a separate check-in table for the pitch appointments located on the third floor. Please make sure you arrive at least 10 minutes before your appointment. If you have any questions or conflicts regarding your pitch appointment, you will need to speak to the volunteers at the third-floor check-in table.

One-on-One Critique/Blue Pencil Appointments: One-on-One Critiques and Blue Pencil Cafe appointments are located on the third floor in the "Peak Rooms". Your specific appointment details will be included in your registration packet. There will be a separate check-in table for these appointments located on the third floor. Please make sure you arrive at least 10 minutes before your appointment.

Awards Banquet Dinner: Plated Banquet Dinner is located in Ballrooms C/D at 6:30pm. Please join us for an evening of fun and celebration as we present awards to our Colorado Gold Writing Contest Finalists and Winners, the Jasmine Award, and hear an inspiring speech from our keynote speaker, Sherry Thomas. There will be a cash bar.

Author Readings in Ballroom A: After dinner, please join us and listen to RMFW authors read their work live. If you signed up to read your work, you will have received your appointment details from our author reading coordinator. Please make sure you arrive before your scheduled reading time.

Cash Bar in "Hospitality Hall": Hang out in the hall outside the ballrooms after dinner and mingle. There will be a cash bar.


Sunday, September 10

On Sunday morning, we have:

  • Continental Breakfast
  • Regular Workshops
  • Hypnosis one-on-one sessions (still open for add-on registration)
  • Agent & Editor Pitch appointments
  • One-on-One Critique appointments
  • Farewell Luncheon with giveaways!

Continental breakfast: This is optional and available starting at 7 AM in the hall outside the ballrooms.

Agent & Editor Pitch Appointments: Pitch Appointments are located on the third floor in the "Peak Rooms". Your specific appointment details will be included in your registration packet. There will be a separate check-in table for the pitch appointments located on the third floor. Please make sure you arrive at least 10 minutes before your appointment. If you have any questions or conflicts regarding your pitch appointment, you will need to speak to the volunteers at the third-floor check-in table.

One-on-One Critique Appointments: One-on-One Critiques and Blue Pencil Cafe Appointments are located on the third floor in the "Peak Rooms". Your specific appointment details will be included in your registration packet. There will be a separate check-in table for these appointments located on the third floor. Please make sure you arrive at least 10 minutes before your appointment.

Hypnosis One-on-One Session: These are available by appointment only. Experience an immersive one-on-one session to unlock your potential and increase productivity, overcome writer’s block, and open up your imagination and creativity.

Farewell Luncheon: The farewell buffet luncheon will be located in Ballrooms C/D. Please join us as our keynote, Lori Rader-Day closes our conference with an inspirational speech and we draw winners for various giveaway prizes.


I hope this information is useful as you prepare for conference.

See you in September!