To everyone who attended #ROSACon2015 in Stellenbosch:
We have now run out of reports on the sessions of the conference to post on the blog. The reports we are still outstanding are:
Marie Dry's discussion on 'Just because you could, doesn't mean you should'
Every single session from the second day!
Please could you submit any reports you offered to write (unless it has already been published on the blog below) to Romy Sommer on admin@romancewriters.co.za as soon as possible, or alternately please volunteer to write something?
#ROSACon2015: Romy Sommer on Conflict
Thank you to author Linze Brandon for this report back on Romy's talk on External vs Internal Conflict.
Romy dealt with the one subject that differentiates a narrative from a story, the dull from the exciting - conflict.
Without conflict in a story, there is no motivation for the reader to finish the story. The reader will not be rooting for the hero (and heroine) and will soon be bored since there will be nothing that drives the story to its conclusion.
Does the hero overcome his biggest obstacle? Do the hero and heroine finally overcome their past prejudices, fears, histories, problems and let their hearts embrace the love waiting for them?
All other story structures need to support this concept and Romy addressed this with clarity in her talk. She also went on to explain what conflict is not, as these situations are often confused with what does constitute the conflict in the scene.
~Romy Sommer is the Chairperson and one of the founding members of ROSA.
#ROSACon2015: Just because you could, doesn't mean you should
#ROSACon2015: Carolyn Meads on 'Wat uitgewers in Liefdesverhale begeer'
Once again thanks to Elsa Winckler for this report back on #ROSACon2015. The guest speaker, Carolyn Meads is an editor at NB Uitgewers, responsible for their Afrikaans romance lines. She spoke about what publishers look for in romances.
Wat uitgewers begeer:
Carolyn Meads, Uitgewer: Queillerie (drukkersnaam van NB Uitgewers)
Carolyn het in haar hoedanigheid as uitgewer gesels oor wat uitgewers verlang wanneer dit by die liefdesverhaal kom.
Die kernverhaal = ontwikkeling van verhouding tussen held en heldin. Storie van verlief en lief word.
Die leser weet wie die held is en dat hy en die heldin uiteindelik saam sal opeindig, maar die lekkerte lê in hóé hulle die struikelblokke gaan oorkom.
’n Goeie liefdesverhaalplot bevat niks wat irrelevant is nie. Alles dra by tot die opbou van spanning tussen die held en heldin.
Geen streng resep by NB-Liefdesverhale, maar sekere kern-gebeure:
◦	Ontmoeting (vroeg reeds)
◦	Struikelblokke (opbou van spanning)
◦	Gelukkige einde
Spanning = opbou van begeerte en konflik
Leser wil saam met heldin op die held verlief raak. Lees agter emosionele belewenis aan. Bly geboei want wag vir uiteindelike vervulling.
Selfs sexy boeke nie net oor fisieke begeerte nie. Eerstens emosionele vervulling. Wanneer hulle besef dat hulle lief is vir mekaar en dit vir mekaar sê.
Opbou verloop min of meer só:
◦ Ontmoet en is aangetrokke tot mekaar – al ontken hulle dit◦	Verliefdheid groei (verhouding vorder fisiek en emosioneel)
◦	Een, uiteindelik albei, besef hulle is lief vir die ander, maar sê dit nie (baie belangrike oomblik!)
◦	Liefdesverklaring geskied na aan einde (as dit vroeër gebeur is daar geen spanning nie)
Plot / Verhaallyn: konflik
Pasop vir te veel eksterne konflik. Opeenstapeling van gebeure.
As jy dít doen is daar nie genoeg ruimte om die hoofkarakter se gedagtes en emosies te verken nie.
Interne, emosionele konflik is belangrik: Vloei uit verskillende geaardhede en oortuigings, hoe jy grootgemaak is, agergrond en ervarings. Lyk eers onoorkombaar.
Baklei oënskynlik oor uiterlike kwessies, maar innerlike konflik lê daaragter. Wys gedagtes.
Diepte en kompleksiteit aan konflik, nie eenvoudige misverstande soos in ouer verhale nie.
Elke keer as ’n struikelblok oorkom is, ontstaan ’n meer intense een. Moenie te maklik oplos nie.
Plot groei uit geloofwaardige, volronde, gemotiveerde karakters.
Emosionele band vorm, verstaan karakters se motivering. Realistiese emosionele reaksies.
Die skrywer moet die karakters deur en deur ken. Maar nie alles vind neerslag in die verhaal nie. Net wat relevant is.
Verklap inligting oor karakters bietjies-bietjies op subtiele wyse deur verloop van verhaal. (Gedagtes, stukkies dialoog, kwalifiserende teks.)
Nie een groot blok beskrywing aan die begin nie. Pasop vir telling in plaas van showing en infodumps.
Hoofkarakters is geïdealiseerd, maar geloofwaardig binne die konteks van die verhaal. Nie karikatuur, emosioneel kompleks.
Moenie die leser oorweldig met te veel karakters nie.
Elke karakter daar vir ’n spesifieke doel, nie oorvleueling.
Newekarakters moet ook volronde karakters wees maar nie die verhaal oorheers nie. ’n Tweede paartjie moenie ewe veel aandag kry nie.
Karakters moet deurlopend volgens hul aard optree. As hulle verander, moet dit gemotiveerd wees.
Karakters moet met verloop van die boek groei. Held en heldin leer hoe om haakplekke tussen hulle uit te stryk sodat hulle gelukkig saam kan wees.
Carolyn het ook in detail beskryf hoe lyk die hedendaagse held en heldin.
Alomteenwoordige verteller: staan ekstern tot die aksie, ontaard in “telling” en headhopping. Vertellerstem verbreek die illusie.
Subjektiewe derdepersoonsperspektief (“Deep POV”) kom so na as moontlik aan die fokaliseerder / perspektiefkarakter, alles word haar bewussyn filtreer. Leser beleef als deur haar.
“Sy” word gebruik, maar impliseer ’n “ek”.
Bewerkstellig ’n hegter band tussen leser en karakter.
Tradisioneel net die heldin se perspektief, maar ons laat ook die held s’n toe.
Nie meer as twee perspektiewe per boek nie. Een perspektief per toneel.
Moet soos natuurlike gesels klink. Nie info dumps, heeltyd op naam aanspreek.
Maar moet ook doelgerig wees – die storie voortstu.
Doellose, niksseggende (en vervelige!) dialoog is nie welkom nie, al praat ons in werklikheid so.
Karakters moet na mekaar luister en reageer op wat die vorige een gesê het. Nie verby mekaar praat nie.
Elke karakter met sy / haar eie stem hê. Ouer mense, mense in hul 20’s, tieners en kinders praat anders.
Moet eerder nie fonetiese spelling van dialek gebruik nie. Gebruik sinskonstruksie om aan te dui.
Dialoog – kwalifiserende teks:
Kwalifiserende teks / Tussen-dialoog teks: stukkies teks tussen dialoog wat ietsie meer oor die gesprek sê.
Hoef nie heeltyd te vermeld wie praat nie, solank dit duidelik uit die dialoog blyk.
Moenie voor die hand liggende woorde gebruik nie.
◦	“Hou op om jou broer te terg!” sê sy kwaai.
Pas op vir te veel bywoorde en byvoeglike naamwoorde
Gebruik kwalifiserende teks om meer oor die karakter, sy/haar gedagtes of die ruimte of die plot te verklap.
Vermy te veel herhaling.
Wees oorspronklik, maar moenie te hard probeer nie.
Tydsverloop en tempo:
Hou liefs by chronologiese tydsverloop. Terugflitse is nie wenslik nie.
Belangrike, bepalende momente in verhaalhede moet voor die leser afspeel. Moenie die karakter net daaraan laat terugdink nie.
Agtergrondinligting moet nie in groot homp aan begin vertel word nie. Verklap relevante inligting stuk-stuk.
Redelike vinnige tempo in liefdesverhale. Maar moenie afjaag nie. (God is in the details.) Neem tyd om sekere gebeure te wys, moenie in telling ontaard.
Moenie heeltyd dieselfde tempo handhaaf nie (hetsy vining of stadig) want dan word dit vervelig. Vinniger dele moet afgewissel word met meer uitgesponne dele
Oriënteer leser, maar nie ellelange beskrywings nie.
Gee hier en daar subtiel iets van die ruimte weer. Wys hoe die karakters in interaksie met die ruimtes tree.
Beskryf net wat nodig is.
Ruimte is funksioneel in liefdesverhaal, byvoorbeeld karakteriserend, skep atmosfeer.
Wys, moenie vertel nie. (Showing vs telling)
Vermy clichés, byvoorbeeld “stormagtige oë”.
Maar moet ook nie so vernuwend probeer klink dat dit ongemaklik lees nie. Daar is ’n verskil tussen ’n cliché en ’n idiomatiese uitdrukking wat goed werk.
Pas op vir komplekse, uitgerekte beelde en metafore.
Moenie soveel aandag na jou ongewone taal- en beeldgebruik trek dat die leser uit die verhaal geruk word om te probeer sin maak daarvan nie.
Pas op vir te veel byvoeglike naamwoorde en soetsappighede.
Gebruik wel gelaaide woorde as jy iets meer wil sê.
Goeie taalversorging van ’n manuskrip skep onmiddellik ’n goeie indruk.
Belê in ’n goeie speltoetser (maar moenie net daarop staatmaak nie).
Kry ’n goeie woordeboek, byvoorbeeld Pharos Online www.pharosonline.co.za
Bekyk die Afrikaanse Woordelys en Spelreëls
Redigeer- / proefleeskursus? www.nbakademie.co.za
Anglisismes en sleng net toelaatbaar in dialoog en direkte gedagtemonoloog (indien dit by karakter pas).
Ons is nie so streng oor ’n vloekwoordjie hier en daar nie, mits dit gemotiveerd is.
Elke uitgewery het spesifieke tegniese vereistes vir voorleggings.
NB-liefdesverhale se vereistes: www.liefdesverhale.co.za
Carolyn het afgesluit deur na die hele proses te verwys vandat ’n manuskrip aanvaar work vir publikasie totdat dit op die rakke verskyn.
Sy beveel die volgende bronne aan vir voornemende skrywers:
Die Afrikaanse Skryfgids, saamgestel deur Riana Scheepers en Leti Kleyn
Writing a Romance Novel for Dummies deur Leslie Wainger
Vir meer inligting oor NB-uitgewers se liefdesverhale, besoek hulle webtuiste: www.liefdesverhale.co.za, sluit aan by hulle Facebook-blad, https://www.facebook.com/NBLiefdesverhale of stuur ’n e-pos aan Carolyn by carolyn.meads@nb.co.za
Thank you to Elsa Winckler for this report on the panel discussion which she not only arranged but also took part in.
Hoe warm mag dit onder die lakens raak?
Gesprek gelei deur Madri Victor
Deelnemers: Malene Breytenbach, Kristel Loots, Carolyn Meads en Elsa Winckler
1.	Graad van hitte
Madri vra vrae oor die volgende:
Hoekom is dit so moeilik om ŉ goeie sekstoneel te skryf? Hoekom skram sommige van julle weg daarvan? En wat moet ŉ mens doen voor jy begin skryf? Waar skryf julle? Maak dit jou ongemaklik om oor die liefde en liefdesdaad te skryf? Kan jy dit doen terwyl ander mense om jou is (soos in ŉ koffiewinkel)?
Die konsensus is dat die Afrikaanse leser op die oog af heelwat meer konserwatief is as haar Engelse eweknie en nie hou van te grafiese tonele nie. Volgens Carolyn Meads, uitgewer by NB, verkoop “warmer” fiksie wel redelik goed in Suid-Afrika, byvoorbeeld Boer kry ‘n vrou, maar wat liefdesverhale spesifiek betref, word liefdestonele steeds grotendeels in vae romantiese terme beskryf.
2.	Die perfekte liefdestoneel.
Wat is die perfekte liefdestoneel: alles wat ŉ mens skryf, is tog ŉ produk van jou verbeelding. Skryf ŉ mens dan jou ideale romantiese date of liefdestoneel – ook sekstoneel, in ŉ romanse? Is dit dus die droom – nie net jou leser sŉ nie, maar ook jou eie? (Dink hier aan die manier waarop die held die heldin benader, soen, met haar liefde maak.)
Hoe voel julle daaroor om uit die manlike perspektief seks te beskryf? Moet dit in ŉ romanse uit die vroulike perspektief wees?
Ons besluit (ook na aanleiding van Madri se vroeëre praatjie oor die hedendaagse man) dat ’n skrywer heelwaarskynlik ’n prentjie van haar ideale held in gedagte het wanneer sy ’n liefdestoneel beskryf. Die leser wil die heldin se gevoelens ervaar, maar sy hou ook daarvan om te weet wat die held dink. Vroue wil begeer word en dis soms lekker om uit die manlike oogpunt te lees hoe hy die heldin bewonder.
Lees julle erotika? Kry jy “inspirasie” uit ander romanses met warm sekstonele? Hoe verskil oorsese romanses van die SA weergawe? Is hulle warmer?
Wat in Afrikaans as stomend beskryf word, is in oorsese romanse taamlik mak.
4.	Beskryf jy nog wanneer die held die heldin beskerm tydens die liefdestoneel?
Daardie praktiese dinge: moet jou held ŉ kondoom gebruik? Romanse is ŉ ontvlugting, maar dit skram nie weg van moeilike kwessies nie. Dink jy dit is nodig om te verwys na ŉ kondoom?
Daar is tog ’n gevoel dat jonger lesers ons stories lees en alhoewel die skrywer nie ’n plig het om voorligting te verskaf nie, is daar wel ’n argument te maak om wel na voorbehoeding te verwys – maak dit humoristies, verwys skrams daarna, ens.
5.	Waar vind jou liefdestoneel plaas?
Is dit belangrik waar ŉ sekstoneel of warm liefdestoneel afspeel? Mag ŉ mens dit maar in die openbaar (soos op ŉ strand) plaas?
Daar is die fantasie en die werklikheid. Liefdestonele vind gewoonlik binnenshuis plaas.
6.	Watter woorde gebruik jy?
Toe Die AA tot OE van seks verskyn het, het Karin Elof in ŉ resensie gesê: “Riette (Rust) verdien regtig spesiale erkenning vir haar oorspronklike name vir seksposisies en -speelgoed, soos vloerwoer, kopgalop, wysneus, snoeswoes en vibreerbroekie! Dis absoluut pragtig, maar wragtie nie soos ek al ooit enigiemand hoor praat het nie. “Ag, skatlief, bring gou my vibreerbroekie sodat ons ’n bietjie kan hang-pangelang, toe?” Uhm, I don't think so.” Kan ons ŉ bietjie praat oor die regte woorde vir die spel? Moet ŉ mens wegbly van woorde soos “vagina” / “penis” of is dit juis verkieslik bo iets soos “oester”/ “meneer”? In Afrikaanse liefdesverhale word geslagsdele nie op die naam genoem nie. Die klem is eerder op ’n beskrywing van die die heldin se gevoel.
7.	Wanneer het jy genoeg beskryf?
Hoeveel momentum bou ŉ mens op na ŉ liefdestoneel toe en waar stop jy? Mag jy heel vroeg in die verhaal al ŉ warm toneel hê? Moet dit dan warmer raak soos jou verhaal verloop?
’n Liefdestoneel moet die storie bevorder, nie net iewers ingedruk word nie. Die konflik moet verdiep, ons moet iets meer omtrent die karakters leer, ens. Wanneer ’n liefdestoneel vroeg in die storie reeds plaasvind, moet iets anders hulle weer uitmekaar hou sodat die spanning kan voortbou.
Seks moet nie met liefde verwar word nie. Daar kan vroeër reeds ‘n sekstoneel plaasvind, maar dan moet hulle nog nie hulle liefde vir mekaar verklaar nie. Die liefdesverklaring is die werklike klimaks van die liefdesverhaal, nie die seks nie. Wanneer die held en heldin albei besef dat hulle mekaar lief het en hulle gevoelens openlik met mekaar deel. Maar eers moet daar ‘n opbou van spanning tot daardie punt wees. Seks ontlont nie noodwendig die spanning nie, maar kan dit selfs verhoog, want nou weet die held en heldin hoe goed dit voel om bymekaar te wees, tog hou struikelblokke hul uitmekaar en groei hul verlange. Ek moet egter erken dat in die meeste Afrikaanse liefdesverhale slaap die held en heldin eers naby aan die einde van die verhaal saam wanneer daar reeds ‘n commitment (verbintenis?) aan mekaar gemaak is.
Ons wou ook nog gesels oor die beskrywing van die liefdesdaad self, besluit hoe vinnig die karakters in die bed kan spring en hoe jy die oomblikke na die liefdestoneel beskryf, maar die tyd het ons ongelukkig ingehaal.
This report on Jo Watson's talk on Storylining is by Jana van Niekerk, who writes under the name Eden Walker.
First off, you need to know that I am a HUGE Jo Watson fan. Read her book Burning Moon which won her a book deal with Harlequin via their So You Think You Can Write Contest in 2013. It will keep you awake. So I was delighted to hear what she had to tell us about Storylining: what we can learn from TV. Jo is humble but dynamic and passionate about her work and the presentation was amazing! She has worked in TV and wrote a WHOLE TV SHOW about our conference – “Blood ROSA” – just to demonstrate some pertinent points! The amount of work that went into this (plus video clips!) was mind-boggling. And it was tremendously useful. This is what I, as a romance writer, took away from it:
• “The character Bible”: What do your characters
Major turning points?
• “You can back anything up with a back-story”
• Multiple story-lines for complexity (ABCD)
• “The mechanics of story are precise, purposeful, mathematical”
• See Robert McKee on story:
Set-up leads to Confrontation leads to Resolution.
Inciting incident – rising action – Climax 1 – Mid-point (a big twist) – Climax 2 – falling action.
First establish an ordinary world (the status quo) (So you can f*** it up big-time). The inciting incident is a call to action; the world goes into disarray. In order to fix or change it, to return to the ordinary world, the character realises s/he will have to move through and it will be painful.
But first there is a Refusal of the Call (reluctance). The character lacks the skills to deal with the inciting incident. But then there is increased awareness, commitment, a big change, rededication and then mastery of an issue. This is the character arc!
Along the way: Progressive complications, stumbling blocks, conflicts (watching/reading it, you go “What the f***??”)
The equilibrium is disrupted, the character recognises this and attempts repair so that a new equilibrium is established.
Climax and a return to the altered world.
And it’s conflict that makes it happen!
• Conflict between the character and the world
• Conflict between the character and her/himself
• Conflict between characters (interpersonal)
Also, we left with a list of “the best ever” TV series that, “If you haven’t seen this, I’m sorry, you haven’t lived”. When Jo Watson says it, I believe it. So check them out and enjoy (and live!):
• Gray’s Anatomy (to understand The Cliffhanger)
Thank you Jo for sharing your enthusiasm and talent with us. What a pleasure.
Jana van Niekerk,
#ROSACon2015: Kristel Loots on 'Moet jou skrywer of karakters gemuilband word?'
Thank you so much to Carolyn Meads, editor at NB-Uitgewers for this report on Kristel's talk.
Hoe besluit jy hoe jou karakters moet klink? En wanneer jy hulle stem gevind het, gee jy aan hulle vrye teuels om voort te babbel of moet hulle soms gemuilband word?
Dis nie altyd so eenvoudig om dié vrae te beantwoord nie, het Kristel Loots by die onlangse ROSA-konferensie gesê.
“It’s complicated. En daarom is skryf nie vir sissies nie.”
Kristel het ’n foto van ’n uiters konserwatiewe dame en een van ’n kroegmeisie in ’n laehalstoppie op die skerm vertoon en dié twee karakters as “mevrou doktor Hoogenboesem” en “die kroegmeisie met die cleavage” voorgestel. Hoe sou dié twee se dialoog klink?
“Daar is die stereotipes,” het Kristel gesê. “Mevrou doktor Hoogenboesem, madame die burgemeestersvrou, ’n onderwyseres en ’n bibliotekaresse sal almal min of meer so naastenby dieselfde klink. Redelike sedig, vroom en vroed. Miskien ’n bietjie pretensieus en lief vir woorde soos huidiglik, basies en fundamenteel.” Maar toe daag Kristel die gehoor uit: “Sê wíé?” Sy het ons daaraan herinner dat skrywers juis stereotipes nekomdraai. “Selfs mevrou dominees is nie meer wat hulle was nie . . . En die rondborstige kroegmeisie werk moontlik aan ’n tesis vir ’n sosiologiese-teologiese doktorsgraad oor die waarde-konsep van een of ander sosiale verskynsel en is net daar as deel van haar navorsing!”
Om uiteindelik jou karakters se ware stem te vind, moet jy hulle “as mense leer ken”, het Kristel verduidelik. Dit sluit in hul geskiedenis, familie, persoonlikheid, politieke oortuigings – selfs watter grootte bra sy dra. “Elke mens het ’n unieke, anderste manier van praat wat eie is aan jou menswees . . . Elke karakter het ook gunstelingwoorde wat gereeld gebruik word.”
Die volgende vraag wat Kristel aan die gehoor gestel het, was of ’n karakter mag “twak praat”. Sy het daarop gewys dat ons in die werklikheid dikwels oor alledaagse en vervelige onderwerpe praat net om iets te sê, en vriendelik en hartlik voor te kom. Jy kan dit egter nie so in jou dialoog gebruik as dit nie funksioneel is nie.
Kristel het ook die onderwerp van kragwoorde en spesifiek die gebruik van die f-woord getakel. Sy meen skrywers van romantiese fiksie moet versigtig daarmee omgaan, maar dit beteken ook nie dat dit glad nie gebruik mag word nie. Die mate waartoe kragwoorde gebruik word hang dikwels af van wie die teikenleser is en ook soms van die skrywer se persoonlike gevoel daaroor. Kristel verkies self die versagte vorm “frieken” omdat dit steeds ’n mate van die ware f-woord se krag oordra, sonder dat dit direk gesê word. Maar as ’n sekere karakter wel iemand is wat in ’n bepaalde situasie ’n kragwoord sou gebruik, kan jy waarskynlik nie anders as om dit in span nie.
Om haar punt te illustreer, en haar praatjie af te sluit, het Kristel die Suzelle DIY-video “How to Make a Braai Pie” gewys. Die f-woord aan die einde van dié toneeltjie is volgens haar uiters geskik: “Mapstieks sou nie daar gewerk het nie!”
Kristel's latest novel, 'n Ander vrou se rok, is available now.
Dr Malene Breytenbach, author of over 20 books, including historical as well as contemporary stories, spoke on Hoe om navorsing in jou
roman te inkorporeer. Thank you to editor Carolyn Meads of NB-Uitgewers for this report on Malene's talk.
Vir doktor Malene Breytenbach is navorsing een van die lekkerste dele van die skryfproses. Dít het duidelik geblyk toe sy by ROSACon2015 haar navorsingsgeheime met liefdesverhaal- skrywers gedeel het.
“By alle boeke is ’n mate van navorsing noodsaaklik,” het Malene gesê. Dit is iets wat sy by al haar boeke – van moderne tot historiese liefdesverhale en romanses met ’n mediese agtergrond – van groot waarde ag. Sy het daarop gewys dat navorsing die basis vorm vir die ontwikkeling van karakters en ruimte, waaruit die storie voortvloei.
“Moenie jou lesers onderskat nie. Gee vir hulle iets wat hulle nuut kan leer,” het Malene gesê. “Dis intelligente mense wat romanses lees.”
En sy sal weet, want Malene beskik oor meestersgrade in Ou Nabye Oosterse Studie en Antieke Studie en ’n doktorsgraad in Joernalistiek. Dit is juis haar navorsing oor die antieke wêreld wat gedien het as inspirasie vir haar eerste gepubliseerde romanse, Palmyra herleef.
Malene steun dikwels op haar eie kennis van argeologie en joernalistiek en haar eie ervarings van byvoorbeeld reise om haar verhale te skryf. Maar sy weet ook hoe om bronne effektief in te span. Sy gesels graag met kundiges, veral vir die mediese liefdesverhale wat sy onder die Hartklop-druknaam publiseer. “Die insigte in ’n beroep en lewe wat jy van só iemand kry, is meer prakties as wat jy in ’n boek of met Google kan navors.” Maar sy voeg by dat Google en boeke beslis hul plek in die navorsingsproses het. Malene stel ook voor dat skrywers ’n kaart raadpleeg wanneer hulle oor ’n bepaalde gebied skryf en dat hulle dan oor die geskiedenis van dié plek oplees.
Vir haar mees onlangse boek, My redder, my beminde, waar ’n aktrise in ’n ongeluk ’n diep sny oor haar gesig kry en by ’n eksklusiewe kliniek deur ’n plastiese chirurg behandel word, moes Malene plastiese chirurgie navors. TV-programme soos Botched het handig te pas gekom toe sy skryf oor ander pasiënte wie se gesigsontrimpelings en borsvergrotings elders geflop het en wat by die kliniek opdaag sodat die bekwame en baie aantreklike dokter dit kan regstel.
Hoewel navorsing vir Malene baie plesier besorg, is dit ook vir haar ’n saak van erns. Sy het die skrywers by die praatjie gemaan om navorsing nie ligtelik op te neem nie. "Daar is altyd lesers wat iets meer van ’n ding weet as jy en as dit nie outentiek en geloofbaar klink nie, kry jy kritiek of hulle skryf jou af.” Moet dus nooit die belangrikheid van goeie navorsing onderskat nie. By
Thank you to Clare Loffler for today's report on Joss Wood's talk on Writing Compelling Dialogue. Joss is a multi-published (17 books and counting!) author for Harlequin and Tule Publishing. Her latest book, Claimed by the Warrior, is out now.
Joss Wood spoke on the art of “Writing Compelling Dialogue” at ROSACon 2015. She said that dialogue reveals characters’ relationships to one another, moves the plot forward and increases tension.
She said it is important to keep the following questions in mind when writing dialogue:
Will the story still make sense if the dialogue is removed?
Does it change the character’s situation for better or worse?
Does the dialogue shed some light on what the character wants?
Does it serve to strengthen the character’s resolve or perhaps weaken it?
Joss stated that it is important to listen to conversations happening around you and to take note of the gestures and tones used as these will help you to write compelling dialogue. Be aware that men and women talk differently, and remember to keep your character’s dialogue consistent and realistic. Dialogue is not just quotations she said, it is also grimaces, pauses, adjustments of blouses and so on… Including physical reactions also helps the reader to identify which character is talking. Action, she said, was a good way to break up dialogue, while simple descriptions are a good way to slow dialogue down. She warned against writing dialogue that serves no purpose, and advised writers to be on the alert for characters telling each other things that they already know.
Over the next few weeks we'll be bringing you reports on the various sessions at #ROSACon2015. Today we kick off with a report by Mandy Verbaan on the opening session of the conference, A Year in Romance by guest speaker Rebecca Crowley, author with Carina Press and Samhain Publishing.
First ROSA Annual General Meeting
ROSA's first AGM takes place at 10:00 on Saturday 5 September in Rivonia, Johannesburg.
Non-members of ROSA are welcome to attend, and also to join us for refreshments and a chat afterwards, however only registered, paid-up members of the organisation will be eligible to stand for election or to have their say on ROSA matters.
Registered members who live outside of Johannesburg and who are unable to attend will be able to participate via Skype.
If you would like to attend or have any queries, please RSVP to Romy on romy@romancewriters.co.za.
For more about membership of ROSA, please visit our website: http://www.romancewriters.co.za/
To all the romance writers and readers out there (yes, even the rare men) I hope you're enjoying having a day off work today. All that extra reading time!
South African author Helen Moffett has posted her annual rant about Women's Day, and it's well worth a read. Just beware that the post contains some bad language and shouting. But it's thought provoking. Every day should indeed be Women's Day!
I also highly recommend this post by Jen Thorpe.
You're probably wondering why, on a day that should be joyful, celebrating the strength of women and their many amazing contributions to the world we live in, there is such an outpouring of negativity from women.
The answer is simple: equality between men and women is still a myth in South Africa.
This was brought home to me three times over this last week.
First, it was the leaflet distributor at the red traffic lights who leaned clear across the hood of my car to press his leaflet against the windscreen immediately in front of my face. When I did not joyously acknowledge him, he moved to stand by my window, again waving his leaflet. Not getting a reaction, he finally drifted to the car behind me, driven by a man. I watched my rear view mirror in fascination as he paused beside the driver's window, waving his leaflets at almost twice the distance he'd stood from my window. He didn't shove the leaflet in the male driver's face.
The implication is clear. As a woman, I do not deserve the same 'space' in the world as the man behind me. The leaflet distributor clearly felt he had a right to get up close and personal and in my face, in a way he would never do with another man. The implication being that I, as a woman, am a lesser human being, less deserving of respect.
But it's not only the uneducated men handing out leaflets in the backed-up traffic who perpetuate this inequality.
This last week Books Live announced the line up for the 2015 Open Book Festival to be held in Cape Town next month. 102 authors! Wow - fantastic!
Then I scan down the list and though there are many women writers involved, none of the topics seem to cover women's fiction. There are about 120 sessions taking place during the Festival, and not one features the genre most read by women: Romance. Nor is there a single romance writer included among the speakers. There are the usual talks on politics and race that occur at every book fair in South Africa (yes, these are important, but nearly 50% of the line-up at an event about BOOKs, not politics?). A handful of sessions are devoted to comic books, and there's even a talk on the connection between hip hop and the spoken word. (Not the written word, you notice, even though this is a BOOK festival). There's also a talk about loadshedding by a man who has written a book about Eskom. Because really, that's more relevant to South African literature than the world's most profitable book genre? I suppose I should be satisfied that there is at least one talk about YA (Young Adult fiction).
But I have to wonder: How is it possible that the highest earning genre of fiction world-wide is not represented? Why is there not even one session out of the 120 devoted to the genre written mostly by women, for women and about women?
The implication is clear: because in the literary world as much as on the city streets, women are less important. Unless we write a genre that is of interest to men (non-fiction, politics, sports, literary fiction) we are not worthy of inclusion.
Finally, the last straw in my build-up to Women's Day, was this article on Jezebel.com showing that men are eight and a half times more likely to succeed in publishing than women. Not for any obvious reason, except that people in publishing, as in all things in our supposedly equal society, seem to have a subconscious belief that men are better than women. (Except in Romance which, as the article points out, is the one genre in which it is an advantage to be a woman!)
I don't really need to say that this pervasive attitude towards women is (a) wholly unfair and (b) complete and utter tosh, do I?
Women make up half this planet's population. Interestingly enough, we're the half that ensures the survival of our species. In fact, pretty much the survival of all life on earth, if you exclude sea horses, hermaphrodites and single cell organisms. I'd say that makes us just a little important, don't you think?
Many of us raise the next generation alone, in the face of rampant daily inequalities which threaten not only our ability to earn, but even our ability to stay safe, and alive. In subtle ways we find ourselves pushed back, even while men who should be our equals are pushed forward. We are exhorted to behave more like men in order to get ahead. We are forced to endure twenty seven Marvell comic reboots as we await the one romantic comedy that made it into production in male-dominated Hollywood.
Yet we survive. We thrive. We love. We rise above.
Women are incredible. On this Women's Day I honour all the women who went before me: my grandmothers, my own mother who is the most amazing person I know, my friends and my female colleagues, the authors who have written words that inspired me, and the 20,000 women who marched together in protest on this day 59 years ago.
And I hope that you will all stand beside me as we take this march forward, as we push back against those pervasive attitudes, as we prove that women are in every way deserving of equality and safety. Not just on Women's Day, but every day.
In less than two months ROSA will be hosting its second annual conference. This year's conference takes place at the Devon Valley Hotel in the Cape Winelands on 25 & 26 September 2015, and features an amazing line-up of guest speakers in both English and Afrikaans.
For more information on the conference program, the speakers, and the conference costs, please visit our website at www.romancewriters.co.za.
On the evening of Friday 25 September there will be a gala dinner at Helena's Restaurant in the historic heart of Stellenbosch, which partners and friends are also welcome to attend.
Conference delegates will have the exclusive opportunity to pitch their manuscripts to a number of editors at some of the world's top romance publishers as well as to three international literary agents. There is also a chance to win a gift hamper in our Sugar & Snark scene contest.
Book now as places are limited! Registration forms and further information are available from admin@romancewriters.co.za.
Two of her books were made into movies, Vrou uit die nag (Woman of the Night) and Plekkie in die Son (A place in the sun). The latter was the story of a leprosy shelter and a woman contracting leprosy and falling in love with the doctor working at the shelter. Revolutionary romance writing for the times. Ena Murray was well known for doing thorough research and not writing the story until she had all the details needed.
She also wrote suspense and thrillers but are best known for her romance novels. I remember reading her books from age eleven and those same books are still best sellers. That takes some doing.
Thank you so much to ROSA member Peter Barker for this review of The Rewrite, the new romcom which ROSA Johannesburg were invited to view at an advance screening courtesy of Ster Kinekor:
One may be tempted to stifle a yawn at the arrival of yet another 'chick flick' featuring naughty boy Hugh Grant. The typical Romance structure Boy meets girl, boy dates girl, Boy and girl break up, boy and girl reconcile and all live happily ever after while the arch-feminist in the sub plot is able to stand her ground.
Whereas the arrival of THE REWRITE featuring Hugh Grant and Marisa Tomei soon to be distributed through the Ster-Kinekor chain falls into this category, it is worthy of a more stricter test. Firstly, does it entertain? Is it interesting, (or does it educate)? Finally does it inspire?
On all three tests it certainly meets the criteria. The story is based at a University campus where Hugh Grant as a washed up one hit wonder script writer is sent to teach screen writing to a class of university students. He is spotted by single mother mature student played by Marisa Tomei. Hugh Grant's character treats the job with disdain until his mistakes start to catch up with him. Marisa Tomei's character is in the background guiding him through towards the right choices. Youth and its uncertainties and enthusiasm which comes through the students in the screenwriting class certainly provide entertaining viewing. The story line is enlightening for aspiring writers and gives a perspective of what writing and getting material published is all about. It is not a writer's guide but it does illustrate some of the tricks and pitfalls of the trade. Finally, there is in the cast of characters someone for everyone to identify with. Enough material for everyone to be reminded that your dreams and ambitions are obtainable no matter what your background is.
For an evening's entertainment which albeit in a familiar genre, will leave you entertained, enlightened and inspired. THE REWRITE is well worth a visit to the cinema.
A very big thank you to Ster Kinekor for inviting ROSA Johannesburg to view The Rewrite in advance of its release at their own private cinema in Sandton. We had a wonderful evening and everyone who attended loved the movie.
Here's what a few of our ROSA members had to say about it:
Thank you to Sterkinekor for inviting ROSA to the pre-screening of The Rewrite. The movie was hilarious. Hugh Grant is so droll and one is always well entertained by a movie with him in the lead. My husband and I thoroughly enjoyed the evening.
The movie was excellent, light-hearted comedy. I would recommend that they write "A Sequel to The Rewrite", or make it a "Series" as I love Hugh Grant's sense of humour. It would have been better if he had danced in the one part, instead of just watching the dancing.
Delightful! Humorous insights to the inner struggles of a writer…must see for any wanna be, still is or was writer…it will get you going again.
Very enjoyable story, also useful for aspiring writers. Go and see it when it comes on circuit.
Check out where it's showing here.
If you aren't already convinced to go watch this movie, here's a teaser:
#ROSACon2015: Just because you could, doesn't mean...