February 16. 2008

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

Session 1: 9:00 am - 10:30 am

A. Breaking In, Breaking Out – Larry Brooks
How to land an agent or score your first publishing contract, or if you're published, how to stay published.  Or not.

B. Writing for Children – Ann Cameron
Ann Cameron, author of 15 award-winning children's books from picture books to YA titles, will talk about what makes writing for children a distinctive art and answer participants' questions about children's publishing.  Time permitting; the workshop will include a writing exercise to help participants recover the voice, language and point of view of the child they once were.

C. The Importance of Culture, Knowing Yours, Respecting Others – Se-ah-dom Edmo
What we write about, the characters we identify with in the stories we read reflect and influence who we are and who we want to be. This workshop will be a discussion on how we connect with our own culture and others to create believable characters living complex lives in a multicultural world.

D. The Hero’s Journey, or Who’s that Hero? – Jayel Gibson
No matter how talented a writer you are, if you don’t have believable characters no other element will matter and your work will fall flat. Characters are the most important element in fiction – it is through their thoughts, speech, and actions in which your story is told. What is the secret to building believable characters then? In simplest terms, to build a believable character you must know your character. He/she must become a real person.

E. Humor 101--Remedial Risibility for Unfunny Writers – Phil Hahn
If you've never been able to understand how a writer's mind creates something funny, this workshop could be for you. If you are a professional funny person, fuggedaboudit. The workshop explores the mind's ability to mix and match the sensible with nonsense, and reality with the absurd. It will cover many of the forms of humor, and show that they are just different destinations on the same bumpy road. It will give helpful hints on how to become a humorist, such as making sure you are born with a funny father and three funny uncles. You will not become a comedy writer by taking this workshop, but you may get a clue how to someday get there. Hopefully, you will get a few laughs in the process.

F. Writing a “Pitch” that Works – Jessica Bryan
This hands-on class focuses on writing a concise book description that can be used in a query letter when seeking a publisher, printed on the back cover of a self-published book, in marketing materials such as a press release, or in any other situation in which an author needs to come up with a quick response to the questions: “What’s your book about?” and “Who would want to read it and why?” Please bring a 1-3 page synopsis of your book to class.

Session 2: 10:45 am - 12:15 pm

G. Tools to Transport the Reader – David Oliver Relin
After more than two decades of studying and instructing writing, I remain unconvinced that writing can be taught. But the tools necessary to transport a reader, to seduce them into the setting of your work, can certainly be sharpened. Through exercises and examples we'll focus on honing your ear, your eye, and learning how to construct a scene around a few well-chosen details.

H. Police Policies on Use of Force – Rory Miller
Polish those thrillers, action adventures and mysteries, and the way you write about law enforcement officers with this class taught by martial arts expert and Corrections Tactical Team instructor, Rory Miller. Presented exactly the way real cops are taught.

I. Writing the Short-Short – Sylvia Tohill
What is a short-short?  It’s a very short, but complete, piece of writing (usually 100-1500 words). Although it’s often fiction, it may also be memoir or essay.  It can be humorous, experimental, troubling, surprising, mysterious, or profound. Regardless of its form or tone, it often culminates in a twist at the end or a “flash” of insight.  The short-short is a terrific way to improve craft and to discover new material.  And it offers wide opportunities for publishing.  During our session, we’ll look closely at a variety of examples of the short-short.  Then we’ll write some ourselves on the spot.. 

J. Getting Started: Finding a Focus, Drafting a Story – Sally Harrold
This workshop, based on exercises from Judith Barrington's text, Writing the Memoir: From Truth to Art, explores ways to focus chapters of a memoir and allows writers to complete a draft of a story within a chapter.

K. Creating the Lyrics – Dan Frechette
Come and join Dan as he workshops the psychology and spirit behind popular lyric writing, citing examples from traditional and more popular music of the mid-20th century.  Dan will explain the merits of good word selection, lyric rhythm, rhyming, meter, and meaning and crafting a lyric that sings off the page.  Bring along your own lyrics and also a pencil and some empty sheets and we will brainstorm the many possibilities of lyric crafting!

L. Everything But Writing – Sue Fagalde Lick
Professional writers don't just write. A real writer is also an entrepreneur, accountant, secretary, salesperson and more. Learn how to handle the many other aspects of the writing business and still get some writing done. Topics will include time management, bookkeeping, taxes, office equipment, web sites, marketing and more. Lots of handouts, questions welcome.

Session 3: 1:30 pm - 3:00 pm

M. Of Pitfalls and Pratfalls -- Fatal Mistakes and Other Ways To Earn A Rejection Slip – Larry Brooks
'Nuff said.

N. Seeing Your Story on Your Inner Stage – Ann Cameron
Fiction and memoir writers, free yourself from the tyranny of the blank white screen and the blank white page by seeing your characters as actors working on your own inner stage.  Get your characters to help you by explaining their complexities to you.   This class may contain a writing exercise in which participants develop their inner theaters, or if the class prefers, time can be devoted to discussing other ways through difficulties with manuscripts they're working on.

O. The Importance of Culture, Knowing Yours, Respecting Others – Se-ah-dom Edmo
What we write about, the characters we identify with in the stories we read reflect and influence who we are and who we want to be.  This workshop will be a discussion on how we connect with our own culture and others to create believable characters living complex lives in a multicultural world.

P. Freelancing for Newspapers – Sue Fagalde Lick
Most people think of magazines when they think of freelance writing, but newspapers are great markets for freelancers, particularly in the early stages of their career. They require tremendous amounts of copy to fill their pages, and many sections are open to freelance work, including opinion pieces, essays, profiles, reviews and stories about gardening, home decorating, food, travel, entertainment, business, and more. Beginners will learn how to get started and experienced writers will learn how to take their careers to new levels

Q. Humor 101--Remedial Risibility for Unfunny Writers – Phil Hahn
This workshop is a repeat, see Workshop E for description

R. Constructing a Worthy Query Letter – Jessica Bryan
This class focuses on taking a book description, such as the one created in “Writing a Pitch that Works,” and using it as the basis of a query letter. Examples of different types of query letters will be discussed; includes handouts.

Session 4: 3:15 pm - 4:45 pm

S. Tools to Transport the Reader – David Oliver Relin
This workshop is a repeat, see Workshop G for description

T. Weapons and Wounds – Rory Miller
Whether your characters wield blades or revolvers this overview of guns, blades and clubs; what they do to flesh, and how to deal with them will give your writing a sharper edge. Also includes information on modern “less-lethal” technology such as chemical sprays, Tasers, Flash-bang grenades and riot control devices.

U. Writing the Short-Short – Sylvia Tohill
This workshop is a repeat, see Workshop I for description .

W. Using What You Know:  Creating the World You Knew – Sally Harrold
This workshop, based on exercises from Judith Barrington's text, Writing the Memoir: From Truth to Art, focuses on ways to develop a memoir chapter about one time period and allows writers to complete a draft portrait from that time. 

X. Creating the Music – Dan Frechette
Come and join Dan as he demystifies the relationship between lyric and melody and rhythm into a philosophy used by most of today's successful songwriters.  Dan will explain several different methods of creating music and memorable melodies using voice or instrument.  Dan will also discuss the discovery of inspiring chord progressions and rhythms and how they evoke the soul and mood of the songwriter.   Bring an instrument and some music ideas and a tape recorder (if you wish) and brainstorm the many possibilities of music writing!

Z. The Magic of Marketing – Jayel Gibson
Not sure how to get readers to discover your existence after the book is published? Regardless of your budget, there are simple effective ways to market and help the publisher sell your book. Become a ‘guerrilla’ marketer. Find out how to create a marketing and promotion plan, determine your target audience, set marketing goals and sales expectations, use press releases and media kits, and set up book signing events. Includes information on web marketing and virtual author tours.