Presenter: Liza Palmer
What no one tells you about writing, is how isolating it is. We need a tribe. We need fellow writers. But how? And when we do finally build a community, what then? In this session, Liza Palmer offers tips and insights into how to build a community and, once it's built, how to keep the space safe and productive for everyone involved.
Presenter: Mary Robinette Kowal
When people converse, they do so with more than just words. Body language, tone of voice, and societal context all play a role in understanding what a person really means. In this workshop, we'll use in-class exercises to explore how to get the most out of dialog when you are confined to text on the page.
Presenter: Sarah Wendell
Being an author means being an entrepreneur, running a business with a creative base, marketing, publicity, and administrative demands as well. There's been an increase in the number of virtual assistants for authors, which offers a great opportunity to help an author become more organized and effective. In this workshop, we'll talk about how to evaluate virtual assistants and identify tasks you'd like to outsource. We'll share tips and tricks to managing an effective relationship, and discuss how to avoid common problems. The end goal: a more relaxed, organized, and effective creative entrepreneur.
Join our agent/author pairs for a discussion about the ins and outs of the agent/author relationship.
Presenter: Jack Whyte
Join Jack Whyte for this session on the challenges and requirements of writing series. This session will examine different kinds of series such as disconnected stories featuring the same protagonist, chronological longer series featuring one ongoing overall story arc, and shorter ones like trilogies.
Presenter: Peter Darbyshire
Voice is the most important part of any book. Do you write with the fallen angel lyricism of Raymond Chandler’s detectives? The storytelling magic of Annie Proulx? The pop culture playfulness of Cory Doctorow? Voice tells us what we need to know about the world of the book, who the characters are and what they want. Voice tells us what’s important to the writer — and that tells us what’s important to the reader. The hardest part of learning to write is finding your voice, but once you have it you’ve arrived. Let’s find your voice together.
Presenter: Simon Clews
Still can’t get a publisher to bite? What do they know?! Have you thought about going it alone? Self publishing is now a serious option for writers to consider and light years from what used to be disparagingly referred to as ‘vanity publishing.’ Self publishing is now an acceptable way for the writer to take control of their own work and to interacting a much more direct way with their readership. This workshop aims to teach you how to make your mark in this flourishing sector.
Presenter: Vicki Pettersson
No two writers’ paths unfold identically, but every published author finds a way to address goal-setting, time management, and the resolve to get to the writer’s chair daily. Join bestselling author Vicki Pettersson for tips, tricks, and hacks to help first-time authors beat the mind games that stand in the way of publication.
Presenter: Gail Sattler
Learn how to settle into the heads of your characters, get focused, and stay focused. Handle troublesome issues as headhopping, perspective, interpretation of other characters' thoughts who are not the POV character, how to know when you’re slipping into omniscient, and how to make a transition from one character's POV to another.
Presenter: Steven Galloway
Fiction is an artifice; it is the practice of making things which are not true seem true. A story uses a set of constructs and structures to place a reader inside of this. In this session we will examine the component structures of fiction and how a writer uses them to tell a story. We will look at each of the elements of theme, narrative, action, image, language and time in detail, examine how they work, how they can be used, and what purpose they serve in the creation of story. We'll think about how people read fiction, and how these artificial elements contribute to suspension of disbelief. What is the job of the writer in a communicative text? How do we let people use our work to have an imaginative experience? By considering these elements and thinking about how we each as writers use and prioritize them, we can better understand our craft and how we structure our stories.