Archive for the ‘Writing’ Category

WAIT! Can it be? A fourth class in the wildly popular series of Grub Street classes that combine the best of literary fiction techniques with the punch of genre storytelling? Yes, IT IS! In this newest instalment of Michael Marano’s “Smart Page-Turner” sequence taught at Boston’s Grub Street, you will receive serious hands-on instruction from a multi-award-winning novelist and nationally syndicated critic that will not only infuse your genre fiction with literary gravitas, but that will also infuse your literary fiction with the readability and popular appeal of fiction genres such as thrillers, mysteries, Science Fiction and Fantasy, erotica, adventure, etc. Classes will include writing exercises and workshopping of students’ fiction. Specific topics are outlined below on a week-by-week basis. This class expands on topics covered in Grub’s “Writing the Smart-Page Turner”, “The Smart Page-Turner Strikes Back!” and “Revenge of the Smart Page-Turner”, but is open to all. Recommended for those with previous workshop experience.

Where? At Grub Street’s Downtown Boston HQ, right by Park Street Station on the Red Line and Downtown Crossing, 162 Boylston St #5, Boston, MA 02116

Who?   https://grubstreet.org/about/who-we-are/faculty/#MichaelMarano

Michael Marano is a horror and dark science fiction writer whose first novel, Dawn Song, won the Bram Stoker and International Horror Guild Awards. Stories From the Plague Years, a collection of Marano’s new and reprinted short fiction, was named one of the Top Ten Horror Publications of 2011 by Booklist. His supernatural crime novella “Displacement” was nominated for a 2011 Shirley Jackson Award. Stories From the Plague Years was reprinted in 2012 by ChiZine Publications of Toronto, who also reprinted Dawn Song in 2014, which will be followed by two sequels, A Choir of Exiles and Winter Requiem.

Since 1990, he has also been reviewing movies for the Public Radio Satellite System program Movie Magazine International. Mike’s pop culture commentary has appeared in many national publications. Marano is also a beginning circus performer, developing and choreographing narrative aerial pieces for the trapeze and lyra based on the works of J.G. Ballard and Philip K. Dick.

 

When? 10 Thursdays from 10:30am-1:30pm, starting September 7th, 2017

How? Enroll here! SCHOLARSHIPS ARE AVAILABLE! https://grubstreet.org/findaclass/class/the-smart-page-turner-reloaded/

OUTLINE OF THE CLASS

Week 1. Creating Suspense and Tension

What the hell is suspense? What the hell is tension? How are they different? How do they compliment each other? What are their components? We’ll dive in and examine strategies for creating suspense and tension in genre and non-genre contexts.

Materials: Daphne du Maurier’s Rebecca; Tracy Letts’ play Killer Joe; one of Lee Child’s Jack Reacher novels.

Week 2. Using All Five Senses

Ever read something that’s just blah, because the author is only using sight and sound to tell a story? You have FIVE senses… so why not harness them all for your fiction?

Materials: Patrick Süskind, Perfume; Elizabeth Kata, A Patch of Blue.

Week 3.  Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 1–“Tapping Real Life”

Some of the best storytelling created today is being written for performed media. We’ll look at how these techniques can be applied to prose fiction. First up, creating “Slice of Life” moments…when there’s this thing that happened… and you really want to write about it in a dramatic way. How do you take a “slice of life” that everybody can relate to, and still make it interesting and compelling? How do you avoid the dreaded, “Yeah, so?”

Materials: Emmy winners Judd Apatow and Michael White’s teleplays for the high school comedy/drama Freaks and Geeks and parts of renowned theater director Peter Brook’s essay “The Open Door.” A short story or two by Bonnie Jo Campbell

Week 4. Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 2– “Using Place and Time to Define Drama”

Drama and conflict and personal growth can’t exist in a vacuum. We’ll look at the specific ways the time and place of your story can and maybe should define its emotional impact and arc.

Materials: Emmy-winners Matthew Weiner & Robin Veith’s teleplay for the Mad Men episode, “THE WHEEL” and either Greg Mottola’s Independent Spirit Award-nominated script for Adventureland.

Week 5. Stealing the Storytelling Techniques of Writers for Stage, Screen and TV, Part 3–“Creating Personal Conflicts”

 Ever find yourself amazed at how some playwrights can just have a few people in a room, and the emotional results are like a UFC Cage Match? We’ll breakdown how they do that.

Materials Nobel-winner Harold Pinter’s play, The Homecoming and Pulitzer Prize-winner Jason Miller’s play, That Championship Season.

Week 6. Using Stanislavsky to Create Characters

Actors have a whole bunch of great tools to get into character’s heads. So… why can’t authors use those tools, too?

Materials: Kazuo Ishiguro, Remains of the Day or Never Let Me Go; Thomas Harris, Silence of the Lambs

Week 7. Using Setting, Part 1, The City

To really use an urban setting, even to in a work of realism, you have to tap a really unique sense of the unreal. Poets like Baudelaire and TS Eliot figured this out. And so have a few really great prose authors.

Peter Straub, “A Short Guide to the City”; Hubert Selby, Last Exit to Brooklyn or The Demon, Vera Caspary, Laura, Dorothy B. Hughes, In a Lonely Place

Week 8. Using Setting, Part 2, The Wilderness.

When you have characters in the wilderness, the real struggle isn’t always with the external wilderness, but the inner one. We’ll look at ways to tap that struggle.

Robert B. Parker, Wilderness; Bonnie Jo Campbell “Bringing Home the Bones”

Week 9. Satire and Hyperbole

When you take something emotionally real and blow it up, you’re using the same tool that humorists use, even when you’re not writing about something particularly funny. We’ll look at the ways that satire and hyperbole can be used to be funny and tragic.

Rod Serling and Michael Wilson, Planet of the Apes; Evelyn Waugh, The Loved One; a short story by P. G. Wodehouse; John Le Carre, Tinker, Tailor, Soldier, Spy;

Week 10. Catch Up, Loose Ends and Review

 

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Ordinarily when I write longhand, I use a Lamy Extra Fine Point fountain pen or a Shaeffer Extra Fine on old accountant ledgers. (Why old accountant ledgers? See this post: https://michaelmarano.com/category/lovecraft/) Why a fountain pen? I love the feel and flow of a fountain pen and, best of all, I love the scritching sound they make on paper. I use ballpoints all the time for note-taking and regular, everyday writing not related to writing fiction. But the sound ballpoints make on paper isn’t nearly as satisfying as a fountain pen nib’s scritching. I’m old enough to have begun my writing career on a typewriter, and to write in a way that is not associated with some kind of sound feels like a cheat. (For that matter, as a journalist, I’m of the very last generation to have worked in a newsroom with a typewriter and a teletype. All that wonderful noise and clatter helped me to focus and make deadlines. I still have a few sheets of used teletype paper in my files, on the backs of which I scribbled copy.)

Why write longhand at all? Simple. I get really fucking sick of looking at computer screens. Past a certain point, they hurt my eyes, and my hands get all achey from too much typing. Plus, it’s just a good idea to grab a pen, a tablet of paper, plop down in a coffeehouse or a library and just write, without any interfacing digital technology. I think it’s a healthy way to use different parts of your brain, so they don’t get all creaky and gummed up.

Today, though… I wrote with a Cross Medium Point. Why? Because in the novel I’m writing, A Choir of Exiles, I had to kill two sympathetic characters, and the ink had to really flow along with the mayhem. I gotta finish typing it all up before I make dinner.

Maybe I’ll play a sound file of a teletype machine going, so it’ll sound like a race with a real deadline?

 

 

Hey… I’m posting this because I’ve been getting emails about the specifics of my upcoming “Writing the Smart Page-Turner” class at Grub Street in Boston this January, which will be taught at Grub Street HQ in downtown Boston Thursdays, from 10:30 AM to 1:30 PM starting on January 14, 2016. The gist of the class is–how do you make genre fiction… be it fantasy, science fiction, mystery, suspense, Western, erotica, whatever… literary? Yep, I toss around ideas about what makes certain works both popular and literary. But the class is specifically designed to be useful for the actual writing of novels and short stories. The instruction is practical, not theoretical.

“If only every teacher had the passion of Mike. He brings his rich background of book and film knowledge–and experience–and uses them to create classes that are a joy to attend. His comments on your writing are thoughtful, sincere, and designed to make you strengthen your writing muscles–no matter how developed or atrophied they may be.” John D., former student

The class will consist of detailed workshopping, brainstorming, in-class exercises, and the reading of some pretty great fiction, screenplays, stage plays, and comic books/graphic novels. Here’s a breakdown of the class and a few of the things we’ll be reading.

Week 1. What Makes Fiction Popular? OK, what makes something a “Smart Page-Turner”? To warm up, we’ll be picking apart a few of those elements, tricks and techniques that give genre works literary heft. There are three factors that are key to this, and we’ll not just talk about each factor, but look at how they work together. Readings will include Ray Bradbury and a few others.

Week 2. Creating Characters–“Archaeology Without Digging” In this class we’re going to be pinching techniques from top Hollywood screenwriters, acting coaches, journalists and… believe it or not… archaeologists. Creating good, memorable, believable characters can be a daunting challenge, and ruthlessly stealing from other disciplines can give you an awesome toolkit for doing this. Readings will include (non-scary) parts of Silence of the Lambs by Thomas Harris, who, it should be noted, was a top crime reporter before he became a crime fiction writer. We’ll take a close look at how he uses his reporter’s eye to create amazing characters.

Week 3. World Building and Setting In genre fiction, “World Building” is often thought of in terms of how it applies to the creation of imaginary worlds, like Dune or Middle-earth. But the same techniques that are used to create imaginary settings can also be used to create believable, visceral settings for mysteries, espionage stories, cop stories, and vice versa. Building on last week’s lesson, we’ll take a look at how character defines setting, and setting defines character. Readings will include Philip K. Dick, part of a Philip Marlowe story by Raymond Chandler, and Tom Perrotta. We’ll also be looking at some awesome comic books, written by bestselling thriller author Brad Meltzer!

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Week 4. Exposition “As you know Bob–my twin brother and fellow operative with whom I grew up in Kansas–our briefing report from HQ summarizes that it is our objective to….” Ever roll your eyes at an expositional groaner like that? How do you get across the background information the reader needs to know without making a botch of it? We’ll go over some elegant techniques that get that information to the reader in ways that the reader at times won’t even notice. Readings will include Andre DubusJohn Cheever, and we’ll take a look at how James Cameron pulls this off in his better screenplays from the 1980s.

Week 5. Dialogue Bad dialogue can kill a great story. We’ll take a look at the work of people who can skillfully tell stories using almost only dialogue, like playwrights and the authors of radio dramas. We’ll see how playwriting techniques can be used in prose form, and also look closely at the work of playwrights who also write for the screen. Authors read will include Norman WexlerMidnight Cowboy author James Leo Herlihy, and Sarah Kane.

Joe Cover

Week 6. Point of View We’ll take a look at how POV actually defines plot, how it determines the narrative arc of a story, and can be used to create suspense. We’ll build on previous lessons to find ways to get deep into a character’s head, and to use that perspective to figure out not just what makes that character tick, but how he or she ticks in his or her world. Among other sources, we’ll be looking at a pretty great comic book written by Ed Brubaker that features Batman… in a context you’ve never seen him in before!

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Week 7. Plot What is plot? How is what is not told to the reader just as important in the creation of a plot as what is told? Is the narrative climax of a work of fiction the same as its emotional climax? In addition to raking over these questions, we’ll go over some great “hands on” techniques for creating new plots and getting your creative pistons firing. Readings will include Annie Proux.

Week 8. Theme Theme isn’t a one-way street. This session will focus on the ways that the reader contributes to an understanding of Theme right along with the author. We’ll talk about the themes in your fiction, how to develop them and make them dynamic. Readings will include Jack Ketchum and either Rosellen Brown or Tom Reamy.

Week 9. Meeting Weird Editorial Requirements Writers have to meet deadlines and deal with certain themes or topics when solicited, and some themes are just weird, or bewildering, or whacked. We’ll dig in and take a look at real themed anthology guidelines and find ways to cook stories suited for those markets. We’ll also find ways to create stories suited for several specialized markets, and take a look at how specific works have been developed for and sold to specialized anthologies. Readings will include William Faulkner and a few others.

Week 10. How to Work with Editors, Cover Letters, Submitting your Work So… what’s an editor do? What do they look for? The course will close with an examination of fiction that I have myself taken through the editorial process with other writers in my capacity as the Fiction Editor of the online magazine Chiaroscuro. We’ll also go over ways to submit professionally, and ways to strategize to whom you should send your work and how you should pitch it.

For more information on the class and to sign up, you can click here.

You can contact me directly at profmike AT mindspring DOT com

Thanks stopping by! Hope to see you in January!

Hey, Everyone!

People have been asking me about the kinds of things I cover in my Grub Street class, Screen and Stage to the Page: What Drama, Movies & TV Can Teach Prose Writers.  Well, for want of a better term, we’ll be using ideas from theater and drama critics and directors to “reverse engineer” scenes like this one below from the brilliant cult TV show FREAKS AND GEEKS, so that the same techniques can be used for your prose fiction, or even memoir. Think of it as a computer hack, only we’ll  be dissecting the teleplay and watching the episode, then we’ll take those awesome nuggets and figure out how to plug them into our novels and stories. This specific bit from FREAKS AND GEEKS is what we’ll be covering in the section on “How to Tap Real-Life Experiences.”  We’ve all been in situations kind of like what Lindsey faces below. But how do you blow that up into something dramatic and funny and packed full of meaning? How do you write about “slice of life” situations and create compelling storytelling, and not just diary entries with names changed?

Watch!

 

That’s a pretty amazing scene, right? Full of a whole spectrum of emotions. It feels over-the-top, but it also feels real. When we’ll be looking at this TV script, we’ll be looking at the ways in which writer Michael White managed to concentrate Real Life into a brilliant fictional scene, and brainstorming ways to do the same things for your prose storytelling.

 

For a break-down of all the stuff we’ll be covering, check out the syllabus here!

To enroll, click here.

 E-mail me at profmike AT mindspring DOT com if you have any specific questions or want any further information.

 

Hope the New Year is treating you all well!

 

 

 

 

Hey, Everybody!

Thought I’d give a specific hint of the kinds of things things I’ll be covering my upcoming Grub Street Class,  Screen and Stage to the Page: What Drama, Movies & TV Can Teach Prose Writers. It’s a 10-week class that will meet Monday Mornings from 10:30 to 1:30 at Grub Street HQ in downtown Boston starting January 12, 2015.

Check out the really incredible scene below (which we’ll be dissecting in detail about halfway through the course), from Robert Redford’s adaptation of Judith Guest’s really amazing novel Ordinary People. The script was by the great Oscar-winning screenwriter Alvin Sargent.  The scene below is not in Guest’s novel, but it has become iconic in that it so beautifully and intensely concentrates the emotional tensions that backbone both the novel and the film. Check it out:

 

 

What we’re gonna look at in Screen and Stage to the Page: What Drama, Movies & TV Can Teach Prose Writers are the ways that you can, and at times maybe should, look upon revisions of your first drafts not as polishings, per se, but as adaptations, much in the same vein as screenwriters adapting novels to screenplays. We’ll “reverse engineer” the ways in which Sargent created the above scene (by taking a look at similar scenes he’s written in other adaptations of novels, like The Sterile Cuckoo by John Nichols, author of The Milagro Beanfield War) and inserted it into Guest’s existing narrative. And we’ll figure out ways you can use the same techniques of adaptation that screenwriters use to the revision of your own work.

If you have any questions, post them below and I’ll answer them ASAP.

 

To enroll, click here: http://tinyurl.com/3ctj92f  .

Hope to see you guys in class!

Hey everybody! I’d like to announce my new class, Screen and Stage to the Page: What Drama, Movies & TV Can Teach Prose Writers. It’s a 10-week class that will meet Monday Mornings from 10:30 to 1:30 at Grub Street HQ in downtown Boston starting January 12, 2015. Here’s the official class description:

Some of today’s best writing in terms of theme, character, dialogue, and plot is being done by playwrights, screenwriters, and teleplay writers. In this class, a nationally syndicated film critic and multi-award-winning novelist will show students how to use the tools of Pulitzer Prize-winning playwrights and Oscar-winning screenwriters for their prose fiction stories and novels. Topics covered will include ways to rewrite real-life incidents into tight and compelling drama, how to streamline exposition so it doesn’t stop your narrative dead, how to crystallize character-defining moments into a scene, and how to use the context of specific settings to amp drama. Classes will consist of analysis of plays, teleplays, and scripts as well as some prose source materials, group watching of films and TV episodes, and in-class workshopping of students’ short fiction and novel excerpts with special emphasis on how the tools of screen and stage writers can be applied to these works. All genres and kinds of fiction writers are welcome.  

So, how will that breakdown? Here’s a tentative syllabus of the topics I’ll be covering and the materials we’ll be looking at.

1. Tapping Real Life

So, there’s this thing that happened… and you really want to write about it in a dramatic way. How do you take a “slice of life” that everybody can relate to, and still make it interesting and compelling? How do you avoid the dreaded, “Yeah, so?”

Materials Emmy winners Judd Apatow and Michael White’s teleplays for the high school comedy/drama Freaks and Geeks  and parts of renowned theater director Peter Brook’s essay “The Open Door.”

2. Awesome Exposition and Action

So, there’s all this stuff… background information… that the reader needs to know about in order for the plot to move forward. But to give that information to the reader, you can wind up stopping the plot dead in its tracks. Which can be close-the-book boring. We’ll look at ways to give the audience/readers the information they need while still making your narrative interesting and full of dramatic punch.

Materials Oscar-winner Paul Haggis’s screenplay for the James Bond movie Casino Royale,  with some comparison to Ian Fleming’s original novel. David Koepp’s screenplay for Jurassic Park with some comparison to Michael Crichton’s original novel.

3. Point of View and Emotional Development

OK… point of view is vitally important to telling a story. So’s character development. How does your main character’s emotional arc affect how you use POV?

Materials BAFTA winners Joel and Ethan Coen’s screenplay for True Grit, with some comparison to Charles Portis’ original novel .

4. The Scope of Time and Space and Hitting Emotional Beats

Let’s say you got a story that takes place over a long period of time, over a lot of geographic space. How do you keep a solid emotional core to something that takes place, well… all over the place, and for a long period of time? How do you pace out the emotional beats to keep that story going strong?

Materials James Vanderbilt’s WGA-nominated screenplay for the David Fincher movie Zodiac.

5. Creating Tension, Apprehension and Dissension

Ever find yourself amazed at how some playwrights can just have a few people in a room, and the emotional results are like a UFC Cage Match? We’ll breakdown how they do that.

Materials Nobel-winner Harold Pinter’s play, The Homecoming and Pulitzer Prize-winner Jason Miller’s play, That Championship Season.

6. Adding Dramatic Layers of Meaning to Your Dialogue

Wait! Did that person really just say that? Wait! Did that really mean what I think it meant? We’ll look at ways to load your scenes with different meanings and different emotional notes.

Materials John Patrick Shanley’s Pulitzer-winning stage play (and screenplay for) Doubt.

7. Using Place and Time to Define Drama

Drama and conflict and personal growth can’t exist in a vacuum. We’ll look at the specific ways the time and place of your story can and maybe should define its emotional impact and arc.

Materials Emmy-winners Matthew Weiner & Robin Veith’s teleplay for the Mad Men episode, “THE WHEEL” and either Greg Mottola’s Independent Spirit Award-nominated script for Adventureland or Alfred Sole and Rosemary Ritvo’s screenplay for Alice, Sweet Alice.

8. Putting Crystallizing Emotional Moments in a Scene

Sometimes, a dramatic moment can occur in a story that rips open a character so you can look deep inside to see what makes them tick. We’ll dissect a few of those scenes, to see how they can work in prose.

Materials Jenny Lumet’s screenplay for Rachel Getting Married  and Tony-winner Edward Albee’s Who’s Afraid of Virginia Woolf?

9. Adding Details to Make a Story Pop

The effect of little things can be huge in a story. We’ll look at ways to choose the right things to get the most dramatic bang.

Materials Brian Helgeland’s Oscar-nominated screenplay for Mystic River, with some comparison to Dennis Lehane’s original novel.

10. Mining Simple Conflict into Complex Drama

Sometimes, a really simple situation can be a really deep and profound exploration of the human condition. We’ll look at ways to use simple situations and conflicts to load stories with heavy emotional punch.

Materials  J.P. Miller’s teleplay Rabbit Trap and Paddy Chayefsky’s teleplay Marty .

To enroll, click here: http://tinyurl.com/3ctj92f  E-mail me at profmike AT mindspring DOT com if you have any specific questions or want any further information. Please note that scholarships are available for greatly reduced tuition. For more information on scholarships, please refer to the Grub Street page here. Deadline to apply for Scholarships is noon on DECEMBER 4, 2014.

SLUMMIN' IN SOMERVILLE

 

Slummin’ in Somerville–Comedy
Wednesday, 9:30 AM CBS
“The Whirlwind Wednesday”

Wackiness ensues when Mike, kind of behind on the new novel he has under contract and trying to get back into condition for circus training after an injury, has to deal with Jim, his kooky new neighbor (Paul Sand), an aspiring songwriter who belts out love songs every night dedicated to his girlfriend Gladys… whom he’s only “met” over the phone after she dialed Jim’s phone as a wrong number! Tony Randall guest stars as Jim’s agent, and Doris Day has a cameo as the voice of Gladys.

Paul Sand Guest Stars with Mike Marano in SLUMMIN' IN SOMERVILLE

Paul Sand Guest Stars with Mike Marano in SLUMMIN’ IN SOMERVILLE

*Sigh* I mostly write horror and dark fantasy. I want to write science fiction. But I can never _anticipate_ the future as a thing of absurdity or satire or terror. Each time I think of some future scenario, it’s overtaken by real life. A million years ago, I tried writing a political science fiction novel that just *became true* before I got far into it because of the candidacy of Ross Perot.  I tried writing about a near-future Great Lakes reality that just *became true* as Detroit imploded.

As a Science Fiction reader and writer, I can’t make up anything as insane as the Japanese Orgasm Game Show Challenge. And yet, it has happened.

I’ve been stuck in the writing of a dystopian SF novel for a while. I threw in a situation like the one below as an idea to sort of play with and explore as something going on in the background of the main action. I could never have come up with the really brilliant added touch of this craziness going on while the person was a.) fully clothed in a steam bath b.) in Alaska and c.) in January.

Here’s the explanation from Uproxx:

“Meet Kathleen Tonn, a Republican candidate for the U.S. Senate seat from Alaska currently held by Democrat Mark Begich. Here she is in a video she uploaded to her Facebook page, one that features her speaking in tongues fully-clothed in a steam room, naturally. She apparently did this to try to convert a non-believer into accepting Jesus Christ as her lord and savior.”

 

Really… how could even Alfred Bester, Robert Sheckley, Alice Sheldon or William Gibson have topped this true event through any imaginative act of extrapolation?

The totally gorgeous new cover for DAWN SONG by Erik Mohr

The totally gorgeous new cover for DAWN SONG by Erik Mohr

Hi, Everybody!

Above, please take a look at the stunning new cover by Erik Mohr for ChiZine Publications’ reprint of my first novel DAWN SONG. I think it’s an absolutely stunning piece of work, and when Brett Savory e-mailed me the cover, I was in a coffee shop in Cambridge, MA, where I kinda embarrassingly expressed my delight almost the same way Jan Brady would, upon receiving a signed 8 X 10 glossy in the mail from her favorite Monkee.

The reprint of DAWN SONG will be coming as a Trade Paperback and an ebook in June 2014; the ChiZine edition will be loaded with a few extra goodies that have not been in any other previous edition of the book. It will be followed by a sequel in 2015 and another sequel in 2016, the titles of which aren’t really finalized yet, though I can assure you that DAWN SONG: BREAKING DAWN has been considered and soundly rejected.

For those of you who don’t know, DAWN SONG was first published in 1998, and went on to garner the Bram Stoker and International Horror Guild Awards. According to some metrics, it’s still among one of the 100 most critically lauded genre publications, at # 72. (Hey, man… I’m right between Philip K. Dick’s Flow My Tears, the Policeman Said and Fredrick Pohl’s Man Plus on that list. That’s pretty goddam good company to be rubbing shoulders with!)

DAWN SONG is set during the first Gulf War build up of 1990, and is part of a mythology I’ve been developing in fiction based on the notion of a War in Hell… in which the struggles of various factions of demons in Hell for supremacy at once create, and are created by, the psychic shockwaves of conflicts on Earth. The book centers on the quest of Lawrence, a young gay bookstore clerk who’s come to Boston to create a new life for himself, and a Succubus who has also come to Boston to further the agenda of her demonic Patron in the War in Hell. I’ll be posting here about DAWN SONG some more in the future. But for now, let me sign off with a very generous quote from a writer who really helped me a lot in the development of my approach to this kind of material. Thanks so much for stopping by!

“‘The falling snow, dropping from the darkened sky, reminded her of the steady rain of souls upon the plains of her homeland. Although, unlike the souls, the snow did not scream.’ When I read those lines (from Michael Marano’s Dawn Song), I got up, turned on all the lights and checked the locks.”

“The author’s talent is unquestionable, his sensitivity and power of expression quite impressive. How rare to find a work of this genre written in so literate a style. It put me in mind of Anne Rice.”

–William Peter Blatty, author of The Exorcist and Legion

Hey, Everyone!!

Just wanted to let you all know about my NEW class at Grub Street, “How to not STINK! A Look at Bad Storytelling and What Writers Should Do and Not Do”

It will meet for 6 Wednesdays from 10:30am-1:30pm at Grub Street headquarters, (162 Boylston Street, 5th Floor Boston, MA 02116) starting on April 3rd.

Here’s the official Grub Street Description from their website: http://tinyurl.com/crswkzu

The most important thing a writer can do to become a good writer is to avoid being a bad writer. In this multi-week, multi-media class taught by an award-winning novelist and nationally syndicated film critic, students will autopsy a string of really bad examples of storytelling so we can all figure out why they’re bad and how not to be bad ourselves in the same ways. Strategies will be developed in class to make rotten books and films no longer rotten, or at the very least a little less rotten, so that students will develop a toolkit for writing fiction and other narratives that are … y’know … actually good. Students must be prepared to read some really bad fiction and watch some really bad movies. Class time will also be spent on in-class exercises fixing bad narratives, and on the development of a practical toolkit for actual good prose writing that will address issues such as world-building, character development, the right ways to apply background research to a story, and the application of sound logic to plotting. There will be workshopping of students’ fiction, emphasizing the application of good storytelling techniques from the toolkit we’ll be developing. For students with prior workshop experience.

Here are some of the topics we’ll tentatively cover:

*How to avoid clichéd characters.

*The importance of clear character motivation.

*How to structure plots that are logical.

*How to create conflict that’s meaningful, and not just an excuse to get your plot rolling.

*How to avoid bad imagery and mood.

*How to avoid terrible exposition.

*How to not cheat your readers with bad endings and resolutions.

*Does your protagonist really BELONG in your story?

*How to not use product placements in the place of real world building.

*How to not let your really awesome and fun research get in the way of your storytelling.

To sign up, click here:   http://tinyurl.com/crswkzu

If you have any questions, feel free to ask below!