South Coast Writers Conference - 8 a.m. to 6 p.m.
Saturday Workshops will be held at Gold Beach High School.

Come prepared to write and learn. Some workshops will have time for writing and reading of participants’ work.

Session 1 -  9am—10:30am 

A. Dramatic Dialogue – Anne Osterlund

  
B. Maybe You Don't Need Western Union: Political Fiction that Works - Jeff Golden

Filmmaker Billy Wilder probably read his share of screenplays and novels weighted down by clunky advocacy. “If you want to send a message,” he once said, “use Western Union.” Had everyone agreed, some brilliant work from the pens of Hugo, Steinbeck, Kesey, Bradbury and Kingsolver — to say nothing of William Shakespeare — would never had seen the light of day. 

Is fiction suited for advocacy? What can it do that nonfiction can’t? What makes for powerful and effective political fiction and what makes for clunkers? We’ll want you to give us your idea of superb political fiction, and why it worked for you. And if you’ve written some, bring us a passage you especially like.  
 

C. The Many Ways to Begin a Story (fiction or memoir) - Elizabeth Lyon

Writers hook their readers or lose them with first words, pages, and chapters of their works. Successful examples exist for beginning stories with dialogue, setting, back-story narration, life-and-death scenes, low-key scenes, prologues, interior reflection, characters alone or characters in groups, dream sequences, looking into mirrors, and every other kind of beginning that writers have been taught to use or avoid. What works? What is best for your story?
 

Session 2 - 10:45am—12:15pm

F. Crafting a Killer First Page – Ray Rhamey

In the workshop, I first give a brief presentation of six vital story elements for fiction. Then, one at a time, a writing sample (first page from a novel submitted by an attendee) is passed out to attendees. Attendees read the sample, decide if they’d turn the page on this novel, make notes, and then I lead the group in a critique of the page as to its effectiveness, shortcomings, and strengths. I also give my evaluation. My critique may also suggest a better starting narrative from later in the submitted chapter. Attendees who submit samples that are critiqued can take the group’s notes with them, including mine. 

G. Song Catching - Alice DiMicele

There are many approaches to songwriting. It is a craft and an art, yet without inspiration it can be more of a mind exercise. "In my experience, the songs that move people the most are the ones that come naturally" says Alice. This workshop will focus on the art of song catching and will include exercises to prepare for the flow of inspiration.  Much like fishing, one needs to be prepared with the right equipment and be in the right place at the right time to catch a song. We will also discuss editing of lyrics, vocal phrasing, the difference between song lyrics and poems and the ways that poems can become songs and vice versa. Bring a notebook and a pencil.
 

H. Publishing Demystified - Dennis Stovall

There’s never been a better time for writers to get published. Dynamic changes in publishing have opened the gates. More than 500,000 new titles were published last year in the US alone. Everything is in flux, from the ways stories are told to ways they are delivered, but the changes sing of opportunity. Whether you want to work in publishing or you want to be well published, you need to know how the game is played: the mechanics of publishing; recent history and current trends; forms of the book; when to self-publish; and how to find and woo the right publisher for your work.
 

I. Learning to Read for Writers & Illustrators - Amber Keyser

One of the first pieces of advice given to new writers and illustrators is “read what you want to write or draw.” What does that really mean? In this talk, I’ll dissect this cryptic (and overwhelming) suggestion into a series of activities that will help you get a handle on current books in your genre. These activities will help you spot trends, understand what works in children’s literature, and identify publishing houses that might be interested in your work. Plus, you’ll discover some gems for your bookshelf. Click here for a flow chart to guide your research efforts. 
 

J. Bugs, Trees, Tables, and Other People: Writing about Animals, Plants and (In)animate Objects - Charles Goodrich

What if everything is, in fact, alive? What if every creature and object is a person, a character? Such an intuition may lead into us into challenging ethical dilemmas, but it also opens the door to livelier writing.  In this workshop, we will practice strategies for creative anthropomorphizing, giving the animate world the respect it deserves. Poets, prose writers, and genre benders are equally welcome.
 

Session 3 -  1:30pm—3pm

K. What’s to Love About YA - Anne Osterlund

A discussion about the joys—and challenges—of writing young adult literature. Versatility, complexity, pacing, and the ever-challenging adventure of working with teenage characters!
 

L. Song Catching - Alice DiMicele

There are many approaches to songwriting. It is a craft and an art, yet without inspiration it can be more of a mind exercise. "In my experience, the songs that move people the most are the ones that come naturally" says Alice. This workshop will focus on the art of song catching and will include exercises to prepare for the flow of inspiration.  Much like fishing, one needs to be prepared with the right equipment and be in the right place at the right time to catch a song. We will also discuss editing of lyrics, vocal phrasing, the difference between song lyrics and poems and the ways that poems can become songs and vice versa. Bring a notebook and a pencil.
 

M. Copyediting Basics--Punctuation, Grammar, and Format - Elizabeth Lyon

Agents, publishers, and readers love creativity, but not in mistaken punctuation, faulty grammar, and weirdo formatting. If you are planning to self-publish, these gaffes risk bad Amazon reviews and will adversely affect your sales. This workshop identifies the mistakes that appear most frequently. You'll learn about the industry style guide for books, the preferred dictionary for those nitty-gritty decisions about spelling and hyphens, and acceptable format for submitted manuscripts.

N. Send Send Send--Literary Magazine Submissions--Author and Editor POV -  Stefanie Freele

Lecture based on my experience as Fiction Editor with Los Angeles Review, submissions editor with SmokeLong Quarterly, and published writer with over 80 published pieces in a variety of literary magazines. I discuss rejection, cover letters, editor/writer communication, searching for markets, submission strategies etc. LECTURE ONLY with Q&A.
 

O.  Stretch! Expand Your Poem Possibilities - Drew Myron 

Session 4 -  3:15pm—4:45pm

P. Crafting Killer Description and Dialogue Scenes – Ray Rhamey

The fiction writer’s task is to create the experience of the story in the reader's mind, not to just write a report of what happens. By combining a technique called experiential description with action beats in dialogue, a narrative can deliver that experience. This workshop leads writers to think about how to write for effect—the use of writing techniques to affect the experience the reader imagines. 

Q. Maybe You Don't Need Western Union: Political Fiction that Works - Jeff Golden

Filmmaker Billy Wilder probably read his share of screenplays and novels weighted down by clunky advocacy. “If you want to send a message,” he once said, “use Western Union.” Had everyone agreed, some brilliant work from the pens of Hugo, Steinbeck, Kesey, Bradbury and Kingsolver — to say nothing of William Shakespeare — would never had seen the light of day. 

Is fiction suited for advocacy? What can it do that nonfiction can’t? What makes for powerful and effective political fiction and what makes for clunkers? We’ll want you to give us your idea of superb political fiction, and why it worked for you. And if you’ve written some, bring us a passage you especially like.  
 

R. Building a Freelance Career/Life - Dennis Stovall

In high school, I was told, “You’re a talented writer, but you should think about how to make a living.” Ernest Hemingway said it well in his poem, The Age Demanded: "First they taught us how to dance/Then they jammed us into iron pants.” We hone our craft, often for years, but we’re rarely shown how to put it to work—or offered only a few ways to do so, when there are more than you can count. A fellow writing teacher walked into a class where I’d just answered “yes” to “Can you make a living freelancing?” and answered it this way: “As Dennis has undoubtedly told you: No!” Undoubtedly? No way. Life’s steady accretion of daily experience, things learned, craft developed, art nurtured, and connections made means we’re better prepared today than yesterday. Yet we frequently take our talents and knowledge for granted, overlooking myriad possibilities for creating a freelance life. We’ll talk about strategies and tactics. It’s easier than you think.
 

S. Graphic Novels: Get a Grip on a Rising Genre - Amber Keyser

There’s currently a lot of hype about graphic novels for kids. What’s it all about? In this talk, I’ll introduce the genre and discuss the ways in which graphic novels do things differently (and often better) than traditional prose. I’ll share how writing graphic novels has improved and enhanced the way I write my other books. You’ll leave excited about this growing phenomenon in children’s literature. 
 

T.  Bugs, Trees, Tables, and Other People: Writing about Animals, Plants and (In)animate Objects - Charles Goodrich

What if everything is, in fact, alive? What if every creature and object is a person, a character? Such an intuition may lead into us into challenging ethical dilemmas, but it also opens the door to livelier writing.  In this workshop, we will practice strategies for creative anthropomorphizing, giving the animate world the respect it deserves. Poets, prose writers, and genre benders are equally welcome.