WITH A PASSION FOR HISTORY
Snakebite Scenes and Hollywood Plots:
Writing Action with Heart
You have the beginning. You know how it should end. But what to do with those hundreds of pages in the middle? Use my so-called "snakebite scenes" to help characters acknowledge their deeper passions and bond over moments of danger--even when surviving everyday dramas--and analyze movie classics to see how Hollywood tells a rip-roaring story. For plotters, pantsers, and everyone in between, this course can unblock your creative process and help you add action and heart to every page.
(Online Workshop)
January 17-30, 2011
Lowcounty RWA
(Online Workshop)
June 6-26, 2011
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The Tiny Art of Elevator Pitches
How to Craft Them & How to Use Them
Every word counts! If you've ever considered attending a conference, you've probably heard the term "elevator pitch," which is nothing more than a bare-bones summary of your novel. But reducing tens of thousands of words down to 30 or less can be difficult, daunting, and confusing. What to leave in? What to ignore? How to give it punch and drama?
I'll share the elevator pitches that got me in the door, as well as techniques for making them both concise and effective. Each student will be encouraged to share his or her pitch(es), and to identify the most important themes, details and character traits--the good stuff that will set your work apart. We'll also discuss how elevator pitches can help your career: from query letters and off-hand conversations, to finding your hook and focusing your writing before you even start!
I'll share the elevator pitches that got me in the door, as well as techniques for making them both concise and effective. Each student will be encouraged to share his or her pitch(es), and to identify the most important themes, details and character traits--the good stuff that will set your work apart. We'll also discuss how elevator pitches can help your career: from query letters and off-hand conversations, to finding your hook and focusing your writing before you even start!
(Conference Workshop)
Orlando, FL
4:30-5:30 PM, July 29, 2010
Orange County RWA
(Online Workshop)
November 15-December 11, 2010
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Beyond Research:
Stronger POV & Effective Use of Detail
Everyone knows that a good author does her research homework, but a heap of trivia doesn't make for a steamy, sweet, compelling, tear-jerking, rip-roaring novel. How much detail is enough? What to keep and what to ditch?
And what the heck is "deep point of view" anyway?
Join us as we look at how to meld research and fiction, with the goal of selecting and integrating the best details to enhance character point of view. Although designed and taught by a recovering historian, this workshop is geared toward the use of any detail, from historical facts to paranormal and fantasy worldbuilding. See how using character-specific details can make your fiction more memorable, endearing, emotional--every writer's goal!
And what the heck is "deep point of view" anyway?
Join us as we look at how to meld research and fiction, with the goal of selecting and integrating the best details to enhance character point of view. Although designed and taught by a recovering historian, this workshop is geared toward the use of any detail, from historical facts to paranormal and fantasy worldbuilding. See how using character-specific details can make your fiction more memorable, endearing, emotional--every writer's goal!
(Online Workshop)
August, 2010
Dunes & Dreams
(Online Workshop)
October 18-28, 2010
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Beyond Britain: Writing, Selling and Promoting Unusual Historicals
Carrie joins panelists
Zoe Archer, Jade Lee, Sherry Thomas, and literary agent Kevan Lyon to discuss how to write, sell and promote unusual historicals in today's romance market.
RWA National Convention
(Conference Workshop)
Orlando, FL
3:15-4:15 PM, July 30, 2010
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Deconstructing Writing
Beginning in September 2010, Savvy Authors is offering a year-long series of five-day workshops that deconstruct an instructor's choice of novel or film. These conversational online seminars will focus on story structure and character development, teaching craft through example and analysis. Courses will be priced at $7 (members) and $10 (non-members), with the ability to buy discounted packages of four. The stories I'm deconstructing are:
Labyrinth (1986)December 6-10, 2010
Although populated with Muppets and some fantastically cheesy musical numbers, Labyrinth is a psychologically complex coming-of-age tale about negotiating the temptation of adult experiences. We'll examine pacing, sexual metaphor, the hero's journey, character psychology, and David Bowie's incredible hair.
The Last of the Mohicans (1992)
April 4-8, 2011
Set during the French & Indian War, Last of the Mohicans has been remade repeatedly since the publication of James Fenimore Cooper's original novel. We'll look at how changes in this version put it squarely in the realm of adventure romance, as well as issues of sexual tension, sustaining conflict, and ethnic characters.
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For a list of the workshops or talks Carrie is available to give throughout the Midwest, see her list of topics on the PASIC Speaker Connection.
Critique Groups: Part 1 & Part 2
My Editing Process: Part 1, Part 2, Part 3
"A Writer's Core" for Heart of Iowa Fiction Writers RWA's April '09 newsletter
"Are You a Fiddler?" on Word Magic
"Adding Deep Point of View" on Examiner.com
"Highs and Lows of a Group Blog" on 1st Turning Point
"Launching a Book: My Take" on 1st Turning Point
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Originally printed in The Bard's Scroll, the newsletter of the Hearts Through History RWA chapter, September 2008.
As authors of historical romance, we strive for accuracy. Most of us revel obsessively in the quirks of history, and we preach that quality research gives heft to our love stories and credibility to the genre. But more than this, we recognize that readers of historical romance are far more knowledgeable than society gives them credit for. Particulars of tradition, locale, and political intrigue help create an authentic world, one that transports readers to another place--an author's primary task. Research missteps run the risk of yanking keen-eyed readers out of the story.
But when writing an original work of fiction by blending or expanding a well-known tale--from the ancient myths to Grimm's fairy tales--the rules blur. What does the reader expect from this new version? An homage? An unexpected twist ending? A stripped down narrative based on pure fact? Breaching those expectations can be as damaging to the story's appeal as putting a vacuum cleaner in the hands of a 14th century housewife. And in the case of Robin Hood, sticking to "just the facts" leaves us with this:
A wily medieval troublemaker once lived in the north of England.
Historians have come to no other unanimous conclusions about who inspired his legends. He may have been a thief or an aristocrat. He may have led a band of outlaws, but they never called themselves the Merry Men--not in the written record, at least--and no evidence suggests that they wore tights, green or otherwise. He may have tangled with the Sheriff of Nottingham, but most Robin Hood primary sources put him in York or in the forests of Charnwood and Barnsdale.
Sherwood Forest? Afraid not.
When I began researching What a Scoundrel Wants--with Robin's nephew, Will Scarlet, as the hero--I looked forward to writing an historical romance that continues where the legend leaves off. But after months of trying to reconcile legend and history, I had to choose where the story required the basic facts of day-to-day life in the late 12th century and where the legend took precedent.
I kept iconic elements: Nottingham; the longbow; Richard the Lionheart's Crusades; the Sheriff, Marian, Little John, and Friar Tuck; and Robin Hood's bravery in the face of injustice. Ever since Robin evolved from a commoner to a nobleman who fights for commoners, his legend has inspired us. What would he be without a reputation for robbing from the rich and giving to the poor? Probably a more realistic man but a less interesting icon.
Had I faithfully re-created northern England in the year 1199, What a Scoundrel Wants would have been very different. For example, the term "Robin Hood" could have been shorthand in law ledgers to indicate unnamed criminals, not an actual person. The earliest use of "Robin Hood" was in 1228 and continued throughout the 14th century, and these tricky fellows popped up all over England. Any man identified by such a moniker--a medieval John Doe--was unlikely to have been an aristocrat. (Unless he was in disguise!) In addition, the English longbow did not come into prominent use until the mid-13th century, well after Richard the Lionheart's death in 1199. And the "High Sheriff of Nottinghamshire, Derbyshire and the Royal Forests" could have been an evil foe, to be certain, but one rather more pompously titled.
To contradict iconic features with historical fact would've required a complete re-imagining of the Robin Hood legend, one I was not prepared to undertake within the bounds of a fun and sexy romance. And anyone expecting to read a rip-roaring tale of justice, where good guys smile as they triumph over evil, would've come away dissatisfied.
Then there's Will Scarlet, the hero of What a Scoundrel Wants. I wanted to ground Will within his legend, but it turns he was the easiest part of my task. Remarkably malleable, he first appeared in the fifteenth century ballad A Gest of Robyn Hode. Over the centuries, he's been a fighter, a lover, a dandy, a thug, a moron, and a boy on the verge of manhood--whatever storytellers require. Fantastic! He's been a random outlaw, yes, but also Robin Hood's nephew or brother. Only their manly-man relationship remains the same: tempestuous, occasionally violent, and grudgingly loyal. I just took him one step further and made him a hero.
The advantage of a legend is its malleability. In the early years, Robin Hood was simply good. Now, we're fascinated with realistic characters. We ask, "Who was the man behind the legend?" But we also want to read about sword fights, rescues, and derring-do, preserving that gentle touch of the impossible. Robin Hood allows for both. Is it historical? Not exactly. Is What a Scoundrel Wants the most faithful portrayal of late 12th century England? I'd never make that claim. But these old legends make for some amazing stories.
And for Carrie's hot-and-dirty apocalyptic paranormal romances, co-written with Ann Aguirre, visit:
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