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Showing posts with label The Wiregrass. Show all posts
Showing posts with label The Wiregrass. Show all posts

August 28, 2019

Book Writing in a Group or Class



By Pam Webber


Book writing is often accomplished in a quiet, solitary environment where an author listens only to herself and her characters. However, writing scripts for TV is anything but quiet—a writers’ room is conversational and collaborative. By merging these two approaches, I set out to test whether book writing in a group could improve the quality of the work.

During the editing process for my bestselling debut Southern novel, The Wiregrass, I discovered the rules (yes, there are rules) of literary writing. Some I'd followed, albeit unintentionally, and others I hadn't. As a result, when preparing to write my second novel, Moon Water, I searched for a mentor who understood how to merge these rules with creativity.

I found such a person in a class sponsored by James River Writers, an organization in Richmond, Virginia, dedicated to helping authors. Traveling there meant a long, weekly trek through the Blue Ridge Mountains, a trip I initially looked forward to making. During the first class, the teacher, a New York Times bestselling author, made clear his role. To make us better writers, not coddle our egos and lavish us with false praise. He wasn’t kidding.

His brutal critiques of our short stories quickly earned him the nickname, The Flogger. For weeks I limped home with a bruised ego, questioning my sanity for continuing the class.  Eventually, I realized my writing had improved, by literary standards and my own. After surviving the fall class, several of us signed up for the spring one. By summer, we'd made such progress, The Flogger agreed to lead a novel writing group for four of us, a lawyer, an artist, a factualist, and me, a nurse practitioner.

We all came to the group with the same goal but different areas of expertise. The Flogger preached a Puritanistic style of writing that required us to "interview every word." The lawyer shared grammatical and technical writing skill. The artist had an eye for multi-layered creativity. The factualist kept everyone honest, and I brought the ability to create a sense of place.

For a year we wrote, edited, critiqued, laughed, cried, and prayed we'd not supply The Flogger with an absurd phrase or line he'd make fun of the whole night. Somewhere along the way, we became better writers with skills to challenge and occasionally win against The Flogger's critiques. I believe this was his intent all along. That we learn the rules, then choose to apply or not apply them with a confident author’s voice.

I don't know if Moon Water will have the same commercial success as The Wiregrass, but one thing is certain. The writing in Moon Water is better thanks to The Flogger and the gifted members of our group.
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Pam Webber is author of the bestselling debut Southern novel, The Wiregrass and its standalone sequel, Moon Water (She Writes Press, 8/20/19). The award-winning university nursing educator and nurse practitioner had previously co-authored a nursing textbook and peer-reviewed research articles before she was invited to be aPanelist at Virginia Festival of the Book. Pam lives with her husband, Jeff, in the Northern Shenandoah Valley. Visit Pam at


November 2, 2015

Choice, Chance, or Grace


By Pam Webber


The symbolism of the floating feather in Tom Hanks’ movie Forrest Gump is rich with meaning. At the beginning of the movie, a feather appears to float serendipitously in on a breeze, landing in an open copy of Forrest’s favorite book, Curious George.

Look a little closer and you'll see that the feather lands on the page where the little monkey is balancing himself on a tightrope. One wrong step left or right and everything changes, and not necessarily for the better.

Winston Groom, the author of the book and screenplay for Forrest Gump, used the tightrope to symbolize destiny. Throughout out the movie, he had Forrest trying to balance his mother’s belief that destiny is like a box of chocolates, and you never know what you’re going to get, against Lieutenant Dan’s adamant belief that nothing occurs by chance, and everyone has a predetermined destiny to fulfill. By the end of the movie, Forrest comes to the conclusion that “maybe it’s both.”  I agree with him, but with a twist.

That twist is chance-by-grace. Forrest was a man of faith, and Lieutenant Dan was struggling to find it. One of the most powerful scenes in the movie is when an angry Lieutenant Dan battles God during a storm and afterward finds peace in the realization that he was living his destiny. The intersection of faith and destiny for Forrest and Lieutenant Dan was the culmination of choice and chance-by-grace.

Most of us dance with choice and chance on a daily basis, but it is not a haphazard dance. We strategically make the best choices we can given our genes, education, experiences, and faith, and if those choices place us in the right place at the right time, grace disguised as chance picks us up and moves us to unexpected, but intentional places.

While completing my first novel, The Wiregrass, I danced with choice and chance-by-grace over and over again, I was just not aware of it. Looking back, it is easy to see how their synergy either moved me forward or pushed me in a different direction altogether. Ultimately, their dance helped produce a novel I’m very proud to call mine.

Choices and chance-by-grace placed incredible people in my path. From my publisher, editor, and publicist, to an incredibly talented community of writers, I have an incredible team, and I am grateful. Any other steps left or right along my tightrope, and The Wiregrass would be different, and probably less.

At the end of Forrest Gump, the feather falls from the pages of Curious George and is once again picked up by a breeze, floating along in the clouds until this chance-by-grace breeze brings the feather right to us. The choice to grab it or not is ours.
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Pam Webber is a nationally certified nurse practitioner and award-winning university-level nursing educator. She has published numerous articles and co-authored four editions of a nursing textbook. Pam resides in Virginia’s Northern Shenandoah Valley with her husband. The Wiregrass is her first novel. Find Pam at Facebook https://www.facebook.com/authorpamwebber orwww.pamwebber.com Twitter  https://twitter.com/pamwebber1Google+ https://plus.google.com/108116819675828568221/posts Goodreads https://www.goodreads.com/author/show/7729206.Pam_Webber Pinterest  https://www.pinterest.com/authorpamwebber/YouTube   https://www.youtube.com/channel/UCoVd

August 5, 2015

The Wiregrass: The Impact of Remembering ‘Big’


By Pam Webber


A couple of years ago while gathering research for my Southern novel, The Wiregrass, I ate supper at a small diner in an unknown town on an unknown road in South Alabama. On the paper placemat was the saying “Some folks never exaggerate . . . they just remember big.” Finding this unexpected wisdom in this unlikely place struck a writer’s cord with me.

Isn’t this exactly what most fiction authors do? Don’t we exaggerate characters, settings, and themes to create entertaining and tension-filled storylines? Aren’t we remembering big the unique sights, sounds, places, and feelings that help us create and enhance meaningful stories? Can you imagine what the story of Tom Sawyer would be like if Mark Twain had not exaggerated the characters of Huckleberry Finn and Injun Joe and remembered big the sights and sounds along the Mississippi River?

Would To Kill a Mockingbird have become an American classic if Harper Lee had not exaggerated characters like Scout Finch and Boo Radley and remembered big the issue of social injustice? Remembering big allows writers to bring lovable and unlovable characters to life while taking their readers on a roller coaster ride of emotions, from laugh out loud funny to soul crushing sadness. In the process, they create stories that stay with us for a lifetime.

So how do we go about remembering big the settings and characters in our novels? While there are no formal guidelines, the following suggestions may help.

First, give the story’s setting the same degree of attention you give the major characters. Can you imagine Tom Sawyer without the details of the Mississippi River or To Kill A Mockingbird without the suspense associated with Boo Radley’s house? Rich, detailed settings support and surround the story, engage the reader, and advance the story line, and they do it in a way the characters can’t.

Second, climb into your character’s head and stay there. Singularity in point of view is important to the internal consistency of a story and is what connects with readers. See what the character sees, think what he thinks, feel what he feels. It was the single point of view that allowed us to see Becky Thatcher through Tom Sawyer’s eyes and Boo Radley through Scout Finch’s, and it is an important element of successful stories.

Third, pull back the curtain on what moves your character. Readers connect with a story because it has meaning to them, and the only way to capture that level of meaningfulness is through the unbridled emotions of the author. If you’re not laughing and crying when your characters are then perhaps your story is more mechanical than meaningful.
In writing The Wiregrass, I remembered big the sights, sounds, and feelings of a magical time in an ordinary place, filled with extraordinary people, wrapped it all in a lot of imagination and faith, and prayed for the grace of a good story. I hope as you write you remember big too.
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Pam Webber is a nationally certified nurse practitioner and award-winning university-level nursing educator. She has published numerous articles and co-authored four editions of a nursing textbook. Pam resides in Virginia’s Northern Shenandoah Valley with her husband. The Wiregrass is her first novel. Find Pam at Facebook https://www.facebook.com/authorpamwebber
YouTube   https://www.youtube.com/channel/UCoVdp4-pEhMdckNbZRhRmYg