When I got on the train on Saturday, the conductor said hello. I smiled and shouted, “Choo choo!” The other passengers burst out laughing; then someone noted that new lines were being painted on the parking lots. I piped up with, “Yes, and they’re also painting Mylar balloons on these lines so that people can see to park between them.” If Mike were here, he’d smile and say, “That’s my Balloon Lady,” but you see, anticipating the second day of PWC2019 had put me in a jolly mood.
The jolliness prevailed because I started the day in Jonathan Maberry’s master class on action scenes. I once believed that martial arts would enable anyone to defend themselves. However, I learned differently in that class. Martial arts have too many rules, said Jonathan, and they don’t teach the physics involved in a fight. Your character can use common items for self-defense weapons, but there’s a way to turn to apply torque to make that weapon more effective.
Saturday night, Jonathan was the keynote speaker, and he told everyone how he started out with teaching martial arts and writing nonfiction books. He then moved onto fiction, starting with Ghost Road Blues; he described how different writers have influenced him and his writing. In that speech and his Writer’s Business Plan class, he emphasized the importance of professionalism: don’t slam other writers, don’t put people on a pedestal, approach politics with caution on social media, and avoid negativity. As my mom used to say, if you don’t have anything kind to say about a person or organization, don’t say anything at all (at least on social media).
Sunday morning, I got up, tired, but I greeted everyone with a smile and “Top of the balloon to you,” for I anticipated more good things. And I got them in Brian McKinley’s class. He provided a lot of great material on horror, specifically log lines, elevator pitches, and book blurbs. One formula given: protagonist must do something brave to achieve a goal, with high stakes. There should be a time limit given, for example, a ticking bomb. For a one-sentence plotline, the formula is: in a setting, a protagonist has a (problem) caused by (antagonist) and faces (conflict) as they try to achieve a goal.
I also got plenty of good material from Shirley Hailstock’s class. The most important takeaway: the protagonist must do all the work. I can’t have God working miracles or the cavalry rescuing her. She also gives a tool for managing the ending, something I have difficulty writing. Have the story come full circle. So I’m thinking that if my book starts with a monster wreaking terror, perhaps the book could end with the protag slaying the beast or watching it die.
I owe the Liars Club and the PWC board a 50- balloon thank you for the hard work that went into this writing conference. This had to be one of the best I’ve attended, and I hope to go to many more.