Mad Anthony Writers' Conference

Over the weekend I attended a writers' conference at Miami University in Hamilton. I thought it would be nice to share a couple of things I learned with the class. The first few workshops I attended were so-so simply because of the content, presenters, or both. However, I attended one workshop mid-day that caught my attention. It wasn't so much the content of the workshop that drew me in, but rather the presenter and craft of the subject matter. The workshop was called "Digging into Literature to Write Characters like the Pros." I'm not sure how many of you write, but no matter what you write characterization plays a major role; especially in fiction. The presenter, Nancy Pinard, previously taught creative writing at Sinclair, UD, and Antioch. Needless to say, I can't say enough wonderful things about her. She presented the attendees with three separate handouts. One handout in particular featured excerpts from her favorite novels with the main character's details omitted. The point of this activity was to look at the paragraph and determine the character's details by simply reading the setting. Her point was, when writing characters the reader must relate to the human condition. Sound familiar? For example, "He had a brown mustache and stood about 5'8" with a medium build" doesn't have the same effect as the simple statement of "He wore cowboy boots." What kind of man immediately comes to mind when you think of cowboy boots? Our mind has the capability to fill in imagery details on its own. Therefore, writers don't need excessive character details. 

The last workshop I attended was not only the most interesting, but it was also the most informative. The presenter, Emma Bernay, is a professional ghostwriter. I heard the term "ghostwriting" before, but I never knew what it entailed. Emma was extremely helpful and lead her presentation by letting the attendees ask questions. I learned that ghostwriting often takes place under a "front name" or pseudonym. Sometimes you may be the only Chad Jackson, but other times you may share that name with multiple writers in a series. The key to successful ghostwriting is to maintain the character's voice throughout the series with different writers. The catch is, ghostwriters are often paid a flat rate and have to sign over their rights to the publisher. Typically the publisher has an outline already written and when you contact them for commission, they will ask you to "audition" or send samples of your writing related to the topic you are inquiring. If you have little experience or they aren't hiring for writers, you may still suggest sending them a sample of your writing for the future. An annual book called, "Writers' Market," features book publishers and packagers across the United States. This book, Emma said, is the ghostwriter's Bible. She personally received all of her book deals without an agent. However, she said agents are nice when it comes to reading the fine print. I think this avenue would be an interesting one for English majors. Although, I would still like to know more.

A Streetcar Named Desire: Blanche's Motive

The moment Blanche arrived to Elysian Fields by a streetcar named Desire she was out of sorts. All she knew was country life and city hub-bub overwhelmed her. Blanche was appalled by the dreadful dwelling of her baby sister, Stella. She first displayed herself as a judgmental, paranoid bundle of nerves when she and Stella sat down to chat. Blanche automatically assumed Stella was making assumptions. "...Now don't get worried, your sister hasn't turned into a drunkard, she's just all shaken up and hot and tired and dirty! You sit down now, and explain this place to me! What are you doing in a place like this?" (1164). Although Blanche tried to direct the conversation toward Stella, she still managed to make it about herself. The insecurities of Blanche were shown more and more as the play progressed. The loss of Belle Reve greatly affected Blanche. She spoke of the loss not only as material, but also of death. "...All of those deaths! The long parade to the graveyard! Father, mother! Margaret, that dreadful way!... You came home for the funerals, Stella. And funerals are pretty compared to deaths" (1167). Blanche's automatic reflex to play the victim got her out of sticky situations in the past. However, Stella's handsome husband, Stanley, was onto her act.

Blanche displayed sudden gumption when she tried to convince Stella to leave Stanley. Blanche was at a pivotal point in her life. She knew what she left behind in Laurel and she knew flirting would only work a little while longer in New Orleans. Older women who were not settled during this time period often found it difficult to marry at all. Again, loss played a major factor in Blanche's insecurity. The one person she truly loved was sexually confused and she blamed herself for his suicide. "There was something different about the boy, a nervousness, a softness and tenderness which wasn't like a man's, although he wasn't the least bit effeminate looking--still--that thing was there... He came to me for help. I didn't know that" (1199). Since that tragic event, Blanche had been searching for acceptance. She thought by sharing her history, rather than being found out, she would receive forgiveness. Instead, Stanley used her past to make her an object of sexual desire. The irony between the disbelief of Stella and the disrespect of Stanley and Mitch tie into the grief of Blanche. Although she escaped further persecution in Laurel, she did not escape abuse in her "safe haven." In the end, Blanche's previous desire resulted in her death.

The extensive dialogue in Scene Six between Blanche and Mitch express Blanche's main motive of loneliness. She (and Mitch) simply wanted someone for company. Her desire to be loved and forgiven and his desire to find a suitable match before his sick mother passed away made them an ideal couple in theory. He asked Blanche questions about her age simply because he was inquiring for "his mother." He said of his mom, "She won't live long. Maybe just a few months. She worries because I'm not settled. She wants me to settle down before she--" (1198). Blanche non-nonchalantly avoided his questions by asking her own. She acknowledged their mutual loneliness when she said, "I think you have a great capacity for devotion. You will be lonely when she passes on won't you? I understand what that is" (1199). The understanding Blanche expressed again, made her the vulnerable victim. The scene ended with Blanche and Mitch coming to a mutual agreement of possibly uniting their loneliness. Mitch said, "You need somebody. And I need somebody, too. Could it be-- you and me, Blanche?" (1200). Blanche replied, "Sometimes--there's God--so quickly" (1200) as if her prayers had been answered.