The novel, A Favor Returned, is used as a basis for this presentation which examines the growth of the author and his writing over the fourteen years between the initial publication of the novel in hard cover and the subsequent release of a completely revised edition in 2013. Specific references will be made to the editing and revision process. Comparisons of brief passages in each version will demonstrate the subtle but definite changes in dialogue, “show, don’t tell,” and writing flow.

A light, humorous program based on reactions of a wide variety of family, friends, acquaintances and strangers to the books written by Duke Southard. The issues of separation of the author from the characters and content in his novels will be discussed.

For anyone interested in how stories such as A Favor Returned and Agent for Justice evolve during the writing process, this program is for you. The storyteller’s staple questions of “what if?” and “why?” will be examined in detail. Personal experiences of the author during the editing and revision process will help explain the methods of weaving believable characters into relationships that span several decades in the books.

Three key ingredients will be the focus of this wide-ranging discussion of beginning and, more importantly, completing that first novel. From whence come those DARK characters? Do people really talk like this?” Can you supply believable vicarious experiences? These three elements will combine with the most common mistakes of a first time novelist such as overuse of the deadly “ly” words to provide attendees with valuable advice for the daunting task of writing a first novel.

How important is the connection between the story and the characters peopling the story with the “quiet desperation” of every day human beings living “normal” lives? EXTREMELY IMPORTANT! This program will address the issues of the willing suspension of disbelief and the importance of relevance. Incidents and events from A Favor Returned and Agent for Justice will serve as examples of attempting to connect with the reader through commonalities.

As work continues on Murder in a Small Town: The Tragic Death of Stacey Burns, this program will highlight the difficulty for a writer used to depending on imagination as a primary writing tool to transition to the role of investigative reporter. Pertinent aspects of writing in the true crime genre will be examined from a “neophyte’s” point of view. Such areas as the interview process, the recalcitrant witness problem, the police reluctance and arrogance, and the fear generated by the murder will be discussed in some detail. Technical differences between writing fiction and true crime will also be addressed.