Another installment of a series of posts by San-Diego-based writer Thomas Shess, who has decided to keep a journal on his journey to find a publisher for his novel.

Dissed-Claimer-As a reminder, please understand a rookie novelist is penning this column. Contents are musing aimed at other unpublished novelists or those published souls who have compassion for the slings and arrows of newbies wading in the swamp called the book publishing industry.

Day Job Carryover-My day job as a magazine editor has some carryover into fiction writing. For example, some non-fiction editors have a credo that anything they don't know is considered news. That's me. If I find a new concept or insight into writing fiction it may be very old news to some, but exciting stuff to a new and heretofore unpublished novelist. See below.

For Example-Call me dense, but I've had trouble figuring out the difference between plot and storyline. A vintage how-to-book set me straight. The following is from "Structuring Your Novel: From basic idea to finished manuscript,"
by Robert C. Meredith and John D. Fitzgerald. I have a feeling this 1972 book published by Barnes & Noble is out of print, but if it isn't let me know and we'll pass the word along.

Traditional novels--First, here's what the good profs about developing plot or storyline in traditional novels:

"...all have a plot or a story line. All have a time element into which the story is telescoped. All present one major complication, sometimes more than one, and minor complications within the framework of the major complication..."

Plot & Storyline Defined-Meredith & Fitzgerald point out: "...Both a plot and a story line in a traditional novel are a chain of causally related events that gives a novel continuity, pace and thematic significance."

More on story line-"...in writing a novel with a story line, when the point of recognition by the reader and the ante-climax complication are not crystal clear to the author, the author should let the character possession decide both for him?" OK, what the devil is character possession? Again Profs Meredith and Fitzgerald explain character possession is the point in writing the novel "during which the characters become so alive for the author that they begin to assert themselves and say and do things the author had no idea they would say or do when he began the novel."

Plot Points-The profs continued: "In a novel with a plot the author can plot the event outside the character of the protagonist that triggers the chain of causally related events. The author can plot where the point of recognition by the reader will occur. The author can plot the ante-climax complication that resolves the major complication. And he can plot the major complication." Hmmm, so far character possession seems to be the way to go.

Early Bards-San Diego is fortunate in having two quality writing conferences early in 2007. The first is the 23rd annual San Diego State Writers' Conference, Jan. 26-28, held at the Doubletree Hotel in San Diego's Mission Valley area. Flat rate fee is $395 for one day or the entire conference. The confab has a solid reputation. Details here.

The other is the 21st annual Southern California Writers' Conference held President's weekend, Feb 16-19 at the Red Lion Hanalei Hotel also in Mission Valley. The attitude of this event is simple attend to learn and leave your high horse at home. These folks run a serious conference but there is always good humor and affection shown to all writers. Here's an example of the no-BS rule from the conference website written by the director: "...Note: Agents wanting to participate. Contact Michael Steven Gregory only if you're accepting clients. There are plenty of other conferences that provide reps who have no sincere intent of acquiring new clients with free weekends at nice hotels in desireable locales. The SCWC is not one of them..." Fee: $395 with a $50 early bard discount by Dec. 1. Details here.

* Because it's a jungle out there.