July to December 2024 Writing Workshops

Whether a one day session, one week conference, or a month-long writing workshop, writing related events are a good way to commune with other writers. They are opportunities to network and get your name out there. In some instances, you can meet and mingle with editors and agents. Some offer critiques or pitching sessions. Nowhere will you find a higher concentration of introverts enjoying each other's company. Local conferences are a good place to meet potential critique groups or recruit members. Note that information for this list is accurate as to what was available in December 2023. Dates and formats may change. Some events continue to be virtual, which allows for a wider audience and lower costs. Others also offer online resources that were presented at conferences past.

Some are free. Some require a fee. Some are more social than others. Many are for new writers, but a few dig deep into craft. You should choose an event that speaks to your needs and desires.

Also keep in mind that some of these organizations offer year-round events, critique opportunities, groups to join, etc. You may find your tribe.

July 7 – 13, 2024 Kenyon Review Fiction Workshop, Kenyon College, Gambier, Ohio offers online programs for adults and young writers. https://kenyonreview.org/writers/fiction/

July 8 – 15, 2024 Squaw Valley Writer's Conference, Olympic Valley, California. https://communityofwriters.org/workshops/writers-workshops

July 8 – 14, 2024 Fishtrap Summer Weekend, Wallowa Lake Lodge, Joseph. https://fishtrap.org/summer-fishtrap/

July 10 – 14. 2024 Southampton Writers Conference, Southampton, New York to be announced. https://www.stonybrook.edu/writers/

July 11 - 13, 2024 Midwest Writers Workshop, Muncie, Indiana, https://www.midwestwriters.org/

July 14 – 21, 2024 Tin House Summer Workshop, Portland, Oregon, https://tinhouse.com/workshop/summer-workshop-2/

July 16 – 28, 2024 Sewanee Writers’ Conference, University of the South, Sewanee, Tennessee. http://www.sewaneewriters.org/

July 14 - 20, 2024 Port Townsend Writers Conference in Fort Worden State Park, Port Townsend, WA https://centrum.org/the-port-townsend-writers-conference/

July 16 – 18, 2024 Sewanee Writers Conference, Sewanee, Tennessee, http://www.sewaneewriters.org/conference/index.html

July 19 – 21, 2024 Book Passage Mystery Writer’s Conference at Book Passage, 51 Tamal Vista Blvd., Corte Madera, CA 94925 https://www.bookpassage.com/mystery

July 19 – 20, 2024 Writing Heights Writers Conference Our conference sessions will take place both in-person and online. https://www.writingheights.com/page/conference

July 20 - 22, 2024 Sun Valley Writers Conference in Ketchum, Idaho. https://svwc.com/

July 31 – August 3, 2024 Romance Writers of America Conference in Austin, Texas https://www.rwa.org/

August 1 - 3, 2024 Mendocino Coast Writers Conference in Mendocino, Calfornia http://mcwc.org

August 16 0 18, 2024 When Worlds Collide Science Fiction and Fantasy Festival at the Delta Hotels by Marriott Calgary South,135 Southland Drive SE, Calgary, Alberta, T2J 5X5 https://www.whenwordscollide.org/

August 22 - 25, 2024 Killer Nashville International Writers’ Conference Franklin, Tennessee, https://killernashville.com/

August 28 to September 1, 2024 Boucheron in Nashville, Tennessee https://www.bouchercon2024.com/

August 29 – September 2, 2024 Bear River Writers' Conference. Boyne City, Michigan. https://lsa.umich.edu/bearriver

September 4 – 7, 2024 GayRomLit Retreat Renaissance Portsmouth-Norfolk Waterfront Hotel  Virginia https://www.gayromlit.com/ 

September 13 – 18, 2024 Creatures, Crimes, and Creativity Doubletree Hilton Hotel Columbia MD https://creaturescrimesandcreativity.com/

September 26 – 29, 2024 Sleuthfest at the Hilton Bayfront, St. Petersburg, Florida https://sleuthfest.com/

September 27 – 29, 2024 Rocky Mountain Fiction Writers Colorado Gold Workshop will be held at the Hyatt -Regency Aurora-Denver Conference Center. https://rmfw.org/

October 5 – 6, 2024 DFW Writers Conference (DFWCon), Dallas- Fort Worth Texas. Check site for registration dates. https://dfwcon.org/

October 24 – 26, 2024 Annual James River Writers Annual Conference. Greater Richmond Convention Center in Richmond, Virginia with a Master Class on the 23^rd. https://jamesriverwriters.org/

October 25 – 27, 2024 Surry International Writers Conference, Surry, British Columbia, Canada will be a virtual event. https://www.siwc.ca

November 11 – 17, 2024 Kauai Writers Conference Kauai There are also year-round online events. http://www.kauaiwritersconference.com

Writing events are a wonderful way to commune with other book lovers and probably the largest number of introverts in one area at one time. Don't be afraid to try them. I promise no one bites. I think, gives side-eye to Horror Writers.

 

2024 04 04 Situation Is Not Story

I've heard a lot of great ideas for stories from people over the years. The problem? They describe a situation, not a viable plot. Ideas are a dime a dozen. Inspiration from dreams ditto. They can be a seed that grows into a story, but not without a lot of work. The conversation usually goes like this:

Writer: "This girl is in this really unhappy relationship. I mean the guy is an obvious psycho, but she just can't leave him."

Me: "So it's a woman in peril story. " Could be Thriller & Suspense or Literary Drama depending on the way it is told. "She has to escape the psycho boyfriend?"

Writer: "No. It isn't that kind of story."

Me: "So what kind of story is it?"

Writer: "It's about abusive relationships."

Me: "So what does your character do about it? What makes her realize the danger? How does she get away?"

Writer: "She can't leave. That's the point. Women get trapped in these things and they can't get out. There's no one that really helps them." Okay, so Literary Drama with a down ending.

Me: "True. So what happens in this story?"

Writer: "This woman lives with his horrible guy. And he does (fill in list of awful things)."

Me: "And she learns to fight back?"

Writer: "No, no. She can't fight back or he'll kill her."

Me: "So she escapes." Women in danger Thriller then. 

Writer: "She can never leave. That's the point."

Me: "So, she dies?" This could work as a Literary tragedy with a strong thematic message.

Writer: "No. She's not murdered."

Me: "So what actually happens between Chapter 1 and the End?"

Writer: "That's it. She lives in an abusive situation. So many women do. Readers will relate, right?" 

Me: "Yes, too many women are in that situation. But what kind of story do you wish to relate? You have to pick a genre."

Writer: "Oh, I'd never write genre fiction."

Me: Sigh. "Changing the topic ..."

However you wish to tell a story, you must pick a story form unless you are keeping a journal. Even an epistolary novel has a form.

The author could highlight this plight in a nonfiction article, this isn't a story with structure. This is a character with a problem but not a plot. Until the character does something, even if she fails, this is just a horrible situation.

For it to become a story, the main character trapped in a hellish situation becomes the hero by finding a way out. A catalyst comes along that makes the situation untenable enough that she is forced to take action. It could be a literary story. It could be a thriller, or even a police procedural.

But, until the character defines a goal, makes a decision or takes action, and faces obstacles, it's just a situation. The story could have a down ending. The woman could try and fail and try again and end up dead. Not too many readers would love the ending, but it would be a realistic cautionary tale. The struggle for safety is the story.

A situation is Dick being in an unhappy marriage. The story begins when something comes along to make him want to leave it or fix it.

A situation is Sally hating her job. The story begins when she is fired, competing for a promotion, or finds the courage to start her own company.

A situation is Jane being betrayed by a friend. The story begins when Jane decides to do something about it: get revenge, confront and heal, or make her friend see the error of her ways in a misguided fashion.

A story goal with obstacles and responses are the gears that power narrative. You can write pages and pages of anecdotes that, while entertaining, do nothing to propel the story forward.

If you can't identify a central conflict and resolution of your plot, you could be illustrating a situation and that is how you lose readers.

Every chapter should include conflict represented by obstacles and responses. Every chapter should show characters moving toward or away from the goal until they reach the final outcome.

There's nothing worse than turning pages and wondering what the whole point of a chapter was. If I have to go back and reread it looking for a point, the book goes in the "to be burned" pile.

As you go through your first draft, make sure each scene pulls its weight. Don't waste the reader's precious time, or you might find your book in ashes, your name blackened in the process.

To learn more about obstacles and responses, check out Story Building Blocks II: Crafting Believable Conflict and the free tools on dianahurwitz.com/theory.html. 

How Does The Story End?

At the conclusion of your exciting tale, most readers are rooting for a happy ever after ending. They want the bad guy punished, the good guy rewarded, and the lovers to be in love.

Sometimes a tidy ending isn’t where the story should go. Should you change it to conform or end it the way you feel deep in your gut it should end? It depends on genre. A Romance should end happily ever after, or at least happy for now. A down ending gets moved to Women's Fiction or added as another layer to a different genre. A murder Mystery should be solved. There can be an overarching foe for a series, like Professor Moriarty in Sherlock Holmes, but each book has a case that is solved.

Beyond that, the resolution of your story can be a little more creative.

Every story has a central question. Will the protagonist succeed in his overall story goal? There are multiple answers.

1. Yes. Dick succeeds and there are no gray areas or hanging questions. The plot is tied up in a neat little bow. He feels good about it. This is an up ending. Readers love up endings.

2. No. Dick fails and feels bad about it. He fought tirelessly, but in the end just couldn’t win. This is a down ending. Readers are sometimes disappointed by down endings.

Romance: The lovers walk off into the sunset happy.
Thriller & Suspense, SciFi, Fantasy: The threat is averted and life goes on in a better way.
Horror: The monster is defeated, never to return.
Historical: The revolutionaries win and push the enemy off the battle ground.
Western: The shootout occurs and the Sherriff survives to fight off bad guys.
Con, Heist & Prison Break. The heist is a success and the gang take off with their winnings unscathed.
Team Victory: The underdog team wins the tournament or game. The crowd goes wild.
Gothic: The governess survives the crazy woman in the attic and lives happily ever after.
Mystery: The case is solved and the murderer either put away for life or dies.

3. Yes, but. Dick succeeds at one thing but fails at another. He succeeds but there are ramifications of his success that carry on into the future. He succeeds but at a terrible cost he didn’t calculate. This is a form of up-down ending. These work well in a trilogy. The first two  books end Yes, but so there is another story to finish the series.

Romance: The lovers walk off into the sunset happy, but it leaves others in a bad position. This is shuttled off to Women's Fiction or another genre. Love comes with a cost.
Thriller & Suspense, SciFi, Fantasy: The threat is averted, for now. Either a greater threat has been uncovered or there were consequences to the win that they couldn't foresee.
Horror: The monster is defeated, they think. It either isn't really banished or there is another greater threat coming up the pike behind it.
Historical: The revolutionaries win the battle but not the war. There are more conflicts to come or their actions create a new worse conflict.
Western: The shootout occurs and the Sherriff survives to fight off bad guys. Sometimes the Sherriff dies. Sometimes another threat arrives to be vanquished in another book.
Con, Heist & Prison Break. The heist is a success but the gang members are imprisoned. Maybe the heist leads to a prison break. 
Team Victory: The underdog team comes in second but still feels good about it. There is always next year.
Gothic: The governess survives the crazy woman in the attic and leaves realizing love does not overcome all.
Mystery: The case is solved, but the mastermind survives to fight another day.

4) No, and further more.  Dick not only fails, but he is further punished or must try again in a sequel. Dick may have been going for the wrong goal and not only does he realize he is wrong, he  must take on a new challenge to make it right.  Dick fails at his goal, and we realize he was the bad guy all along. This is similar to the Yes, but option for all genres.

5) Yes and No. Dick thinks he has succeeded or failed in his goal but there is a twist ending and he finds the opposite is true.  He can kill monster A only to find out the real monster is B. Dick may win the battle but cause a major war. Dick may succeed but hurt everyone affected.  Dick succeeds at his goal but during the final credit roll, he gets nailed by an oncoming bus. This is another type of up-down ending.

6) Maybe Yes/Maybe No. The ending is left ambiguous. It is never made clear what really happened or how the story ends. The reader is left hanging. They may want to hang you. It is a risky artistic choice.

Whichever ending you choose, your story architecture must support it. The ending must grow organically from the actions and decisions leading up to it. You don’t have to make everyone happy. You just have to leave your audience satisfied. The worst thing is an unsatisfying ending that makes the reader feel like they wasted their money. I once read a book where an alternate ending was tacked on at the end by a new POV character and it basically undid the nicely wrapped up package. Never read that author again. 

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook Page. Free tips and tools are also available on my site https://dianahurwitz.com/.

Weaving Separate Plot Threads

A parallel plot tells two stories of equal importance, moving from one to the other and back again as opposed to a subplot. It can be a past versus present story. It can be one or more characters whose plots intersect. The more threads, the weaker the connection to the story. It can be done but requires advanced craft to do it well enough that you keep the reader entranced.

It can be hard to get caught up in one plot when the writer shifts the verbal camera between separate story lines, especially if they don’t connect. The potential for plot holes is enormous.

If you choose a parallel plot or plots, ask yourself these questions:

1. Who do you want the reader to care about?

Splitting the focus between two (or more) protagonists weakens the reader’s attachment to them. Every time you move the verbal camera between them is a point where they can put the book down. If you fail to make them care about either of them, they may skim past those scenes or simply quit reading. Every single thread needs to have its own impact and tension. Too many point of view characters can stretch the reader’s connection to the story. Do you truly have two protagonists or does a secondary character just play a main part? The love interest really isn't a protagonist. There is (almost) always a person's whose POV starts the ball rolling and has the decision to make, action to take, and stakes for not doing it. Just because a character's POV is followed does not make them a protagonist in terms of story cast. You can have five a-list stars in a movie. They aren't all protagonists.

2. What do the threads have to do with one another?

If you use this technique, it is critical that the plots intertwine, not run along aside each other, meeting only at the end.  When the reader doesn’t understand the point of the split, they are likely to put the book down. I am not saying it hasn't been done, but it is a choice that can have negative consequences. I once skipped half a book because one thread simply didn't matter and held no tension. That is not the kind of page turning to aim for.

3. Are the threads equally intriguing?

It is hard enough to maintain tension in one plot line, much less two. Making both threads equally thrilling is twice the work. Making both threads equally thrilling and related is grueling. If only one thread is interesting, the reader will do a lot of page skipping, unless they toss the book in the do not finish pile. Plot out each thread separately. Are all of the pieces there? How do they impact one another? How can you layer the scenes to keep the pace moving forward? Backstory, flashbacks, and memories are not story plots. They augment a plot. There are many stories that explore a story that happened in the past that has impact on a story in the current era or a future era. For example, a modern-day literary love story that is impacted by a romance in the past. A mystery with a modern day sleuth mirrors a case from another time and place. A historical thriller has a plot in the modern day that uncovers the full story of what happened in the past. Each layer has a main character, friends, foes, goals, stakes, and outcomes. 

4. Does it suffer from too many characters?

Each protagonist interacts with friends and foes and either the same antagonist or different antagonists. Two protagonists and antagonists equal twice the work. Every primary and secondary character you add dilutes the emotional connection to the story. Keeping track of a vast cast, especially if one needs to consult a list or take notes, can put your story in the do not finish pile. As much as George R. R. Martin is heralded, his books suffered from cast bloat and many readers didn't finish the books. They were happy when it was adapted for TV. I suggest sticking to the POV of the main character for each plot or stay in omniscient POV. Using a close POV can also cause problems if not done well.

5. Does it have a satisfying conclusion?

There is nothing worse than wading through complex construction only to reach the end and find a weird twist or obscure denouement. Don’t make one of the plot threads a dream. There are genres that require a happy ending. Romance requires a happy ever after for the main couple. A mystery requires the resolution of the current case, even if there is an overarching evil villain that returns in the next book. Moriarity in Sherlock Holmes is an example of a retuning mastermind. But each of Sherlock's cases are solved in the books. The rest of the genres can have an up, down, or even up/down endings. 

6. Is it appropriate for the genre?

Separate plot threads are not the same as different point of view characters. It is two separate plots. If you use it for a Romance, it becomes a literary Romance. Romances follow one story line. There can be a subplot where the main lovers' best friends also fall for one another. That is not the same thing as two full plots. A murder Mystery follows one sleuth solving crimes. Switching between sleuths and timelines may not be pleasing to your ordinary mystery lover. In a recent television series Bodies, there were four sleuths and four cases and four timelines. I love Mysteries. They make up forty percent of my story consumption. However, it was not my cup of English Breakfast tea. It had mixed reviews. Dual plots can work in Historical, Thriller and Suspense, Fantasy, Literary Dramas, perhaps even con, heist, and prison break.

7. Are you depriving the reader of full engagement?

The goal of any story should be full immersion. The plot should be fully-formed and the tension gas pedal applied expertly to control the speed of the narrative. Are other layers simply an annoying distraction? Can you make multiple threads work together in a way that keeps the reader eager to turn the page? If you don't know how or assume the reader will forgive you for shorting them of the full-immersion experience, then reconsider.

I would not suggest this method for a first-time author. Build your skills first. I’m not saying it can’t be done, or even done well. Some examples of parallel plots are:

To Kill a Mockingbird by Harper Lee

Holes by Louis Sachar

Blueberries for Sal by Robert McCloskey

The Lady of Wild Beasts by Debra Spark

The Sex Club by L. J. Sellers

Day of Atonement by A. Alvarez

Sarah’s Key by Tatiana de Rosnay

Stephen King's The Stand is a complex layering of plot threads. Even the master of horror struggled with it because of the large number of characters and storylines.

George R. R. Martin's Game of Thrones followed three separate but simultaneous storylines. Some readers gave up because of what I call cast bloat. If a reader has to start taking notes, they often give up.

As you can see, they are very different books. Some were more successful than others. 

Plot bifurcation has inherent structural weaknesses. If you choose to build your story on this skeleton, be prepared for the writing equivalent of a biathlon. Each plot must have solid structure, a full cast, and tension that builds. It is essentially writing two novels. You don't have to outline it if you are allergic to the process. You will need to do a detailed dissection of your story scene by scene and chapter by chapter after the first draft.

It is critical that you have other people read it before submitting it or self-publishing it. The details in your head may not make it onto the page. It can be easy to lose your audience. They don't know the story in your head. What makes sense to you might confuse the reader and that results in bad reviews.

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook page. Free tips and tools are also available on my site https://dianahurwitz.com/.

April to June Writing Workshops

Whether a one day session, one week conference, or a month-long writing workshop, writing related events are a good way to commune with other writers. They are opportunities to network and get your name out there. In some instances, you can meet and mingle with editors and agents. Some offer critiques or pitching sessions. Nowhere will you find a higher concentration of introverts enjoying each other's company. Local conferences are a good place to meet potential critique groups or recruit members. Note that information for this list is accurate as to what was available in December 2023. Dates and formats may change. Some events continue to be virtual, which allows for a wider audience and lower costs. Others also offer online resources that were presented at conferences past.

Some are free. Some require a fee. Some are more social than others. Many are for new writers, but a few dig deep into craft. You should choose an event that speaks to your needs and desires.

Also keep in mind that some of these organizations offer year-round events, critique opportunities, groups to join, etc. You may find your tribe.

April 4 – 6, 2024 Tennessee Mountain Writers annual conference at the DoubleTree Hotel in Oakridge, Tennessee. https://tmwi.org/

April 4 – 6, 2024 Erma Bombeck Writers' Workshop, University of Dayton, Dayton, Ohio, workshop is a hybrid in person and virtual event. https://udayton.edu/artssciences/initiatives/erma/index.php

April 11 – 14, 2024 Left Coast Crime Trouble in Tucson in Seattle, Washington http://www.leftcoastcrime.org/

April 15, 2024 A Rally For Writers Conference in Michigan. https://arallyofwriters.wordpress.com/

April 18 - 20, 2024 Chicago North RWA Spring Fling Conference Chicago Renaissance O’Hare—and online Registration begins Fall 2023. http://chicagospringfling.com/

April 18 – 21, 2024 Chanticleer Authors Conference, Four Points by Sheraton in Bellingham, Washington.https://www.chantireviews.com/chanticleer-conference/

April 19 – 21, 2024 Clockwork Alchemy Steampunk Conference at the San Mateo Marriott. Panel discussions on all things steampunk.  http://www.clockworkalchemy.com/#/about

April 25 – 28, 2024 Pikes Peak Writers Conference will be held at the Colorado Springs Doubletree Hilton Hotel. https://www.pikespeakwriters.com/ppwc

April 26 – 28, 2024 Ravencon Science Fiction and Fantasy Convention will take place at the Virginia Crossings by Hilton in Glen Allen, Virginia. http://www.ravencon.com/

April 26 – 29, 2024 Malice Domestic Bethesda Maryland, http://malicedomestic.org/

April 26 – 28, 2024 Pikes Peak Writers Conference Colorado Springs Doubletree Hotel in Colorado Springs, CO. https://conference.pikespeakwriters.org/

May 3 – 5, 2024 Gold Rush Writer Conference in Mokelumne Hill, CA. http://www.goldrushwriters.com/

May 3 – 4, 2024 Lakefly Writers Conference will be held at the Oshkosh Convention Center in Wisconsin. https://lakeflywriters.org/

May 3 – 4, 2024 Atlanta Writers Conference, is an in-person event. Westin Atlanta Airport Hotel https://atlantawritersconference.com/

May 4, 2024 Writing Conference of Los Angeles https://writingconferenceoflosangeles.com/

May 10 – 12, 2024 GrubStreet The Muse and the Marketplace Conference Boston Park Plaza Hotel, Boston, Massachusetts http://museandthemarketplace.com/

May 9 – 11, 2024 Storymakers Conference is Provo Utah Valley Convention Center Provo, Utah https://ldstorymakersconference.com/ 

May 11 - 18, 2024 Longleaf Writers' Conference, Seaside, Florida.www.longleafwritersconference.com

May 18 - 21, 2024 Kachemak Bay Writers’ Conference Kachemak Bay Campus in downtown Homer, Alaska. http://writersconf.kpc.alaska.edu/

May 26 – 30, 2024 Blue Ridge Christian Writer’s Conference, Asheville, NC https://www.blueridgeconference.com/

May 29 – June 1, 2024 North Words Writers Symposium, Skagway, http://nwwriterss.com/

May 30 - June 3, 2024 ThrillerFest XVIII is at the Sheraton New York Times Square Hotel, New York City, NY. http://thrillerfest.com/

May 30 – June 2, 2024 Stokercon Horror Conference, San Diego Marriott Mission Valley, San Diego, California https://www.stokercon2024.com/

May 31 – June 1, 2024 Pittsburgh Writing Workshop, in Pittsburgh, PA will be an online event. https://pittsburghwritingworkshop.com/

May 31-Jun 2, 2024 CrimeCon in Nashville, Tennessee, https://www.crimecon.com/

June 6 – 9, 2024 Writer’s Police Academy/Killer Con in Greenbay, Wisconsin https://writerspoliceacademy.com/ 

June 6 – 9, 2024 Indiana University Writers' Conference, Bloomington, Indiana will be an in person event this year. https://iuwc.indiana.edu/

June 26 – 28, 2025 Historical Novel Society Conference in Las Vegas, Nevada looks like they are skipping 2024. http://hns-conference.org

June 9 – 15, 2024 Kenyon Review Fiction Workshop, Kenyon College, Gambier, Ohio offers online programs for adults and young writers.  https://kenyonreview.org/writers/fiction/

June 9 - 15, 2024 Santa Barbara Writers Conference, Mar Monte Santa Barbara Hotel, Santa Barbara, California. http://www.sbwriters.com/

June 16 - 22, 2024 Chesapeake Writers’ Conference at the St. Mary's College of Maryland. https://www.smcm.edu/events/chesapeake-writers-conference/

June 16 – July 27, 2024 Clarion West Six Week Workshop, Seattle, Washington, https://www.clarionwest.org/programs/summerworkshop/

June 23- July 20, 2024 New York State Summer Writers Institute, Skidmore College, New. https://www.skidmore.edu/summerwriters/

June 24 - 29, 2024 Minnesota Northwoods Writers Conference, Bemidji State University, Minnesota. Conference will be in person.  http://www.northwoodswriters.org

Writing events are a wonderful way to commune with other book lovers and probably the largest number of introverts in one area at one time. Don't be afraid to try them. I promise no one bites. I think, gives side-eye to Horror Writers.

 

Creating Conflict With Backstory

We have learned how to avoid backstory plot holes and discussed how to use backstory as plot devices. This week, we look at how to use backstory to create conflict.

1. It is tempting to cheat by inserting letters, news articles, and pages from a book or diary to impart information. There may be instances where it works, but rarely. These shortcuts are generally boring in nature. Even worse, they are often placed in italics. If you insist on this, keep it short and simple. Pages of italics strain the eyes.

Backstory in the form of letters or journal entries tests a reader's patience. They draw the reader out of real time. A few readers adore them. Most don't. I scan read them. If they are too long, I skip over them. They rarely contain conflict and are a lazy way of delivering information.

If the contents can be summarized quickly through internal dialogue or dialogue, do that instead. We don't need to see a long news article about a body being found. Dick can read the article and comment on it to Sally, offering her the juicy parts. Most of us do this when we read something to someone across the kitchen table or office desk. We don't read the whole article. We react emotionally to the contents. We skip over the blah, blah, blah parts and read the good stuff.

"Reading Mom's diary is so surreal. I had no idea she was such a free spirit, a freethinker, and a party girl."

Jane reached for the book. "When did that change? She was so prim and proper." 

Sally dodged her and kept reading. "Oh my lord, she slept with Phyllis's husband before they got married."

Jane attempted to grab the journal a second time. "Are you certain that's what she meant?"

Sally turned the page. "Last night was so romantic. We walked to the back of the garden and stood under the weeping willow, my favorite hiding spot. We kissed. He slowly undressed me. The night air was cold, but his skin was so warm."

"She never! That can't be our mom, can it?"

This type of delivery keeps the reader in real time and in the presence of characters they care about.

2. Short snippets of backstory can be revealed through inner dialogue and thoughts. What a character thinks reveals character. A conversation or situation can bring back pleasant or unhappy memories. Memories can differ. This is part of interiority. Dick can think:

Sally thinks she knows everything. Even when we were in kindergarten, she thought she knew everything. No one in this town ever changes.

This reveals that he has a history with the town, he has known Sally since kindergarten, and he isn't too pleased with her. In this example, he keeps the negative opinion to himself. The same information could be related as dialogue.

In the next example, Dick shares the same information and antagonizes Sally in the process.

"You thought you knew everything back in kindergarten, too. Nothing ever changes in this town."

3. Short summary can propel the story. Jane might drive past her old house, the one she shared with her ex-husband, and think:

I pulled up to the curb and left the engine idling. God, I missed the cottage. I loved the symmetry of it, the gables, and the white picket fence. I loved the rosebushes and the neighborhood cat that used to sun itself on the steps. I should have been sitting on the front porch swing, drinking tea, and reading a good book instead of driving past it like a lovesick teenager. It wasn't the affair or the divorce that gutted me. Dick wasn't worth a single tear. It was knowing that he had taken the cottage from me out of spite and moved in that lanky-skank ho. Killing him wouldn't make a difference. It would still belong to her. I'd have to figure out a way to drive them out.

This reveals that Jane used to live in the house, her aesthetic preferences, she likes tea and reading books, and she loved the house more than her ex. It gives us the story goal. You could have spent pages telling us about Jane's past and setting up her motivation. Instead, it was summarized in a few short, bittersweet sentences.

4. Backstory can be revealed though dialogue. Avoid horrible "As you know, Sally" information dumps. Make sure your characters would utter the words in a real conversation.

"As you know, Sally, our great-grandpa started this tea business in 1893 when he came over from old England. He built the place from the ground up."

 Of course Sally knows. It's her grandfather. Let's slip this in with a little character conflict.

Dick ran a hand over the smooth wooden chest, tracing the Sinclair name and the year 1793. "I wish grandpa Mac had lived to see this."

Sally didn't look up from her phone. "He'd be 200 years old."

"Not the point." Dick lifted the lid, inhaling the sweet smell of peppermint. "He left England with a small tin of tea and a dream and look at us: international distribution, thirty varieties, new hybrids."

"And disgruntled employees, greedy investors, irrational vendors."

"Forget it. Let me buy you out. You'll never love the place the way I do."

"I'll never love anything the way you do. You're obsessed. You should leave this cave occasionally. Go on date. Get laid."

"Get stuffed."

Sally slipped her phone into her pocket. "Every chance I get. I'm hungry. Let's do lunch before I pass out."

"I'm serious. I want to buy you out."

"I'll think about it on a full stomach."

A character's hot buttons, prejudices, and conceits can rear their ugly heads during heated conversations. Backstory is best revealed through a verbal sparring match, not a lazy trot down memory lane. You add conflict when the characters block what needs to be said, reveal painful secrets, point out a person's flaws, or expose old wounds along the way.

5. Differing memories can cause conflict. Memory is fallible. If you ask three children about their formative years, each has a different rendition based on how they perceived their experience. 

"You were always their favorite," Dick said.

Sally snorted. "Me? You were the golden boy, the heir. I was the spare and an afterthought."

"They let you get away with murder. I had to be perfect. I had all the pressure of their expectations. You were free to do whatever you wanted."

"You got all the attention. They didn't know I existed. I could have paraded around the mansion naked and they wouldn't have noticed."

"Oh, they noticed. They had massive arguments about you."

"On how to get rid of me."

Dick looked at the side by side caskets. "I guess it sucked for both of us."

"Now we can't even confront them over it." Sally walked away from the grave site.

Dick followed. "Don't be a stranger, okay?"

Sally opened her car door. "That's what we are, strangers. Maybe we should officially meet some day."

Masterful use of backstory elevates you from beginner to master craftsman.

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Backstory As Plot Devices

Last time, we discussed how to avoid backstory plot holes. This week, we offer ideas for using backstory as plot devices.

1. You can reveal your protagonist's critical flaw by explaining something that happened in the past. The critical flaw is revealed near the beginning to explain why Dick is drawn into the story problem and trips him up along the way. The flaw, his kryptonite, can stem from a traumatic episode from the past.

2. The secret weapon is revealed early on to explain why Dick, and only Dick, can solve the overall story problem. It can be a talent, strength of character, belief, or an actual object. You can show him using his secret weapon, or refusing to use it, in the past before he is called upon to use it in the present.

3. Whatever skills or failings Dick has, don't whip them out at the last minute by saying, "Oh, yeah, back in school I used to (fill in the blank)." That is backfilling and it is a no-no.

4. Backstory can raise questions rather than answer them. You can show Dick doing or saying something in the past, but not explain why until later. Mystery keeps the reader invested.

5. Backstory can be revealed in layers, like peeling an onion. Each reveal adds a slightly different twist to the reader's understanding of what happened. Write the backstory then select the bits you want to reveal and order them in the most effective sequence. Slip them in when needed.

6. If Dick did something in the past, he can repeat the action or find himself in the same dilemma in the present day, only there is an obstacle this time. His old method no longer works. He knows better now and this time it's uncomfortable. Perhaps he has the skills or experience to do things differently.

7. Backstory can create conflict for Dick by presenting him with difficult choices. In the past, the decision might have been easy. The current situation, or new knowledge, makes the same choice more difficult. Maybe he used to easily run toward danger, but he has new responsibilities and has to seriously consider the wisdom of his past actions.

8. Backstory can reveal change. If Dick is afraid of spiders because he was bitten by one as a child, he may have to take on the giant spiders that invaded Earth at the climax. If Dick was a coward in the past, he can be brave in the present. If Dick denied his feelings in the past, he can embrace them in the present.

Stay tuned for our wrap-up on how to use backstory effectively.

As always if you find this information helpful, share it, like it. If you want more free information, sign up to follow the blog on blogger or the Story Building Blocks Facebook Page. Free tips and tools are also available on my site https://dianahurwitz.com/.