Make Your Online Writing Pay | Jane Friedman | Oct 10

Learn how to become a better online writer and monetize your work

Starting Monday (Oct. 10), Jane Friedman is teaching a new online course—“Make Your Online (and social media) Pay” through MWW Ongoing—that helps you learn how to market and promote yourself through online writing—as well as what it takes to monetize your online work. It’s a 4-week course ($200) that’s suitable for all types of authors, especially those who want to develop a long-term strategy for their online platform and creative work.

REGISTER HERE!

This course is for both unpublished and published book authors who wonder what they could or should be doing to market and promote themselves through online writing—whether that’s blogging, guest blogging, micro-publishing through social media, or contributing to sites such as Medium, The Huffington Post and other large clearinghouses of content.

The challenge for most book writers is that they haven’t had any professional experience or training in writing short pieces (or even social media posts!) that are ultimately skimmed quickly in online environments—particularly mobile environments. Writers have heard that blogging, or producing content for social media sites, can be an effective way to build a readership, but don’t understand how that happens especially when they have no audience and are unpublished.

This course helps authors make themselves and their work more visible through strategically written online pieces that get distributed and marketed to the right audiences in order to develop their author platform and build a readership over the long-term of their careers.

This course is about making your online writing efforts, especially those with a marketing intent, have a measurable and meaningful payoff—whether for your website/blog, social media, or someone else’s site. We’ll look at content strategies, measurement tools, marketing and promotion tactics, and specific ways to make your online content put money in your pocket.

Week 1: Best Practices of Online Writing and Blogging

  • Welcome from Jane
  • A Big-Picture Preface Before We Begin
  • Basic Principles of Online Writing
  • Blogging Basics (is it for you?)
  • 7 Principles of Good (Professional) Blogging
  • Don’t Forget the Important Role of Your Website

Week 2: Understanding Search Engine Optimization

Week 3: Marketing and Promoting Your Blog or Online Writing

Week 4: Monetizing Your Blog or Website

Gold medal for MWW16!

Your evaluations, emails, tweets, posts have been read and tallied. The results are in!

The determination: gold medal for MWW16!

Sure, we weren’t perfect. We had a few deductions to our final score (parking, construction, A/C), but we received more high scores than low. And for our first year in a new facility, we were darn pleased that participants and faculty had a great time. The high marks included: our “killer deal,” 10+ for our social media tutoring, our spiral bound book of session notes, and 10+10 for our unique “Buttonhole the Experts” activity.

Comments in the hallways included: “I loved the diversity of topics and speakers/presenters.” “I met life-long friends here!” “AMAZING conference! Life-changing! I plan to be back!”

From July 21-23, a record-breaking 280 people who are passionate about writing — participants, faculty, interns, MWW staff — occupied the three floors of our new location at the L.A. Pittenger Student Center to listen, talk, write, share, pitch, question, eat, drink, laugh, challenge, commiserate — and, yes, rejoice.

From the ten intensive sessions of Part I to the 45 sessions of Part II, MWW16 offered participants opportunities to “find their tribe” and enjoy a genuine community which encouraged them to make connections and get to the next step in their writing. And what other writers’ conference provides a chance to bowl with a literary agent (or a T-Rex) and a massage therapist to relax you before your pitch?

Something special marked this 43rd annual workshop and these are some of the comments which pointed in this direction.

From the participants:

 “Thank you for helping me to pursue my life-long dream! You guys rock! You’re amazing!”

“In a solitary profession like writing, it’s sometimes difficult to connect with peers – or even realize that you have any. At MWW, I realized that the literary world is both large and small: there are many of us who come from across the country, but we are a tight knit group, bound by our mutual respect, appreciation, and encouragement of one another. I was expecting a community of writers at this conference – but I was not met. I was welcomed. – Valerie Weingart

“It was worth the trip from North Carolina! I’m going home with information and inspiration to aid my writing.” – Rebecca Paynter

“This was my first writers’ conference. MWW truly delivered on their promises. I  feel much more prepared to begin a writing career, and the atmosphere was perfect for connecting with so many amazing writers, authors, agents, and other members of the writing community. I am excited already for MWW 2017!” – Mary Rose Kreger

“Great content. Great community.” – Bo Thunboe

“Writing can be a lonely pursuit. The opportunity to find your tribe and make connections with other introverts tied to their computers was wonderful.” – Mary Robertson

“When you are stuck and alone in your writing journey, MWW will give you the kick in the pants you need. Stop wallowing and come find your people.” – Elizabeth Newman

“MWW is so inclusive of all writers’ wants and needs — topics, events, activities. This has been the best conference ever!” – Doris Smith

“As a young writer, this conference provided access to a variety of topics. I met other writers who immediately treated me with kindness and made me hopeful.” – Sarah Salow

From the faculty:

“Midwest Writers Workshop is a very special place for writers. I’ve been speaking and attending its sessions for nearly 15 years, and the sense of community and support is outstanding. It has played a role in launching numerous successful author careers-unsurprising, since it works so thoughtfully to fulfill its mission of helping writers flourish and be their best selves.” – Jane Friedman

“I’ll go just about anywhere to talk about the agony and ecstasy of writing fiction, but I’ve found the standard of excellence against which all writers conferences will be measured: the Midwest Writers Workshop in the Ball State University campus in Muncie, Indiana. Not only is the hospitality without peer, the staff is professional, the participants lively and whip-smart, the faculty engaging and edifying. Wanna believe that people still love to write and read? Come to Muncie!” – Tom Williams

“Please, please invite me to speak every year from now until infinity.” – Jen Malone

“Midwest Writers Workshop is the best workshop in the Midwest for writers no matter whether they are beginners or seasoned pros. The success stories are countless, and there’s a reason why.  This workshop is all about the writer from the moment the first sentence is written until the last goodbye is said.  It’s a five star event that prepares great writers to go out into the world and share their stories at the highest level.  I count this workshop as one of the main reasons that I have published twelve novels.” – Larry Sweazy

“It was a pleasure. And I already got a client out of it! I signed Jessica Rauh who I met in a pitch session!” – Jim McCarthy

Congratulations to the 2016 Manny Award winners! (and thanks to sponsor Matthew V. Clemens and Robin Vincent Publishing)

midwestwriters2016_web-100

Irene Fridsma – Poetry

Paula Mikrut - Nonfiction

Paula Mikrut – Nonfiction

Victor Suthammanont - Long Fiction

Victor Suthammanont – Long Fiction

Kathryn Page Camp - Short Fiction & winner of the Top Prize L. Karl Largent Award

Kathryn Page Camp – Short Fiction & winner of the Top Prize L. Karl Largent Award

 

 

 

 

 

 

 

Irene Fridsma – Poetry

Paula Mikrut – Nonfiction

Victor Suthammanont – Long Fiction

Kathryn Page Camp – Short Fiction & winner of the Top Prize L. Karl Largent Award

 

***

MWW16 may be in our rear view mirrors, but a lot of what we experienced and learned will always remain. We invite you to view our  Photo Gallery and tag yourself on our Facebook Page, which are sure to bring back memories.

So we’re patting ourselves on the back. And for just a while, basking in the bright light that was #mww16 before we move on to our 44th MWW, July 20-22, 2017.

Q&A with Liz Pelletier, CEO & Publisher of Entangled Publishing

Liz Pelletier co-founded Entangled Publishing in 2011. Over the past four years, Entangled has gone from a small start-up to a bestselling romance publisher, with more than 17 NYT bestsellers and 39 USA Today bestsellers. Her out-of the-box approach to everything from pricing strategies to marketing to editorial allows Entangled to be both disruptive and agile within a dynamic publishing landscape. Liz continues to disrupt the publishing business with her launching of Entangled Music in 2015, where stories come to life through the extension of music.

Midwest Writers committee member Cathy Shouse interviewed Liz about coming to 43rd writers’ conference this week, July 21-23, 2016, in Muncie, IN.

MWW: Which publishing lines of Entangled will you hear pitches for?

LP: I’m happy to listen to pitches for any Entangled imprint.

MWW: How should someone best prepare to pitch to you? Should they bring a couple of pages or anything with them? Manuscript should be finished?

LP: The best way to prepare to pitch to me is to relax. Unless your book’s genre is really far off from what we publish, I’m going to request a full regardless of the pitch. Some people have a real talent for pitching a book verbally that doesn’t match the writing, and others fumble through their pitch but have an amazing voice in print. I can’t really tell if a book is going to be great until I read it! So relax, start with word count, genre, and if the book is completed or not, and just tell me the very basics of the conflict and what you love most about the story. The rest we can figure out after I read your manuscript!

MWW: Is there any story genre or sub that is saturated/not appropriate? (Is a mystery without a romance thread acceptable, for example?)

LP: We’re really focused on stories with a strong romantic arc at Entangled. However, we are actively acquiring women’s fiction with a romantic element at this time as long as the main protagonist is 35yo or younger and the tone is humorous. Paranormal is still a bit saturated, but we are looking for vampires and shifters again! Beyond that, I’m just looking for a great story that I can get lost in.

MWW: You were co-founder of Entangled Publishing in 2011, and by 2013, you started collaborating with MacMillan and St. Martin’s. What did it feel like to have this said about you? John Sargent, Macmillan’s CEO, said, “We are hugely impressed with Liz Pelletier’s vision and what she has accomplished in such a short time. We found her out-of-the-box approach to publishing incredibly exciting and saw potential to work together with her on several levels. We think Liz and Entangled have found a new way forward and we think we can help build on that remarkable success.”

LP: John Sargent’s comments were a highlight in my career thus far. He’s truly a visionary in the publishing world, and I’ve been delighted to try to blend a traditional approach to publishing with Entangled’s more out-of-the box approach to digital. Our partnership with Macmillan has been amazing, and we look forward to continuing the relationship for many years to come.

MWW: How would you briefly define episodic writing? How much of a problem is it in manuscripts you see and what’s the cure?

LP: I don’t mind episodic writing in certain genres, the writer just needs to be aware that end of scene hooks are vastly important in today’s saturated market. So ending a scene with a pretty bow, as would happen in most scenes of this style, simply is not strong enough to create a bestseller in the romance market. In addition, stringing together a series of small conflicts that can be resolved within the scene is a good way to lose the attention of a reader as there is no main, overarching and organic conflict pulling the reader forward in the story written as episodic fiction. Chicklit, as an example, can do quite well in this form of writing, however one would still need to address a larger, big picture conflict as well as end of scene hooks to create an unputdownable read.

And just for fun:

Twitter or Facebook?  Facebook

Print or e-book? ebook

Disney or Universal? Disney

Writing platform or story? STORY

As an editor, if you can’t have both, will you choose writing style over content or vice versa? Writing style

In addition to hearing pitches, Liz’s sessions include:

  • “Editor Q&A with April Osborn”
  • “How to Edit a Bestseller”

Conference 101 for first-time attendees

MWW committee member Holly G. Miller will welcome first-timers to our workshop during a new session,“Conference 101,” Thursday, July 21, from 3:45 to 5:00 p.m.

Holly explains what that session will offer:

My goal for Conference 101 is twofold: First, I hope to reduce–or better yet, eliminate–the fear factor. Rubbing elbows with successful authors and New York agents sounds scary, but this is the friendliest environment imaginable. Authors and agents come here to share what they know, meet the NEXT generation of successful authors, and to be surrounded by people who love to read, write and tell stories. Second, I want Conference 101 to give newcomers a heads up on what to expect and how to get the most out of the two days that will follow. How should they decide which session to attend? How can they get feedback on the novel they’ve written?  Where can they hook up with people who want to write in their genre?

I’ve taught at writers’ workshops from Cape Cod to San Diego. Each one has a unique personality, but none is more motivating than MWW. That’s why people come back year after year. And that’s why it keeps growing.

Best piece of advice for persons heading to Muncie in July: Keep an open mind. If you write romance novels, sit in on a poetry class; if nonfiction is your passion, go hear how to plot a cozy mystery. In other words, plan to stretch yourselves in all sorts of new ways. The best part of being a writer is that you never master it. You’re always learning and experimenting.

MWW Holly Miller quote

 

About Holly:

Holly picAmong my noteworthy accomplishments:

1) Serving as a contributing editor to a magazine geared to high-tech professionals at a time when I barely knew how to switch on my IBM PC Jr.

2) Ghost-writing a book for a champion bodybuilder when I hadn’t been inside a gym since grade school.

3) Interviewing Judge Judy and living to tell about it (actually, she was very nice!)

Coming to MWW16, YA author Natalie C. Parker

Natalie C. Parker is the author of the Southern Gothic duology Beware the Wild and Behold the Bones (HarperTeen), as well as the editor of the forthcoming young adult anthology, Triangles: The Points of Love (HarperTeen). She is the founder of Madcap Retreats, an organization offering a yearly calendar of writing retreats and workshops. In her not-so-spare time, she works as a grant coordinator for the University of Kansas, where she runs writing workshops for tribal college students in STEM disciplines. 

Natalie will team teach the Part I “Building the YA Novel” Intensive Session with Julie Murphy.

MWW committee member Shelly Gage recently interviewed Natalie about her sessions and her writing.

SG: What should we expect from your sessions at MWW and how will they be structured?

NCP: Each of my sessions with be co-taught with the illustrious Julie Murphy. As we considered what we were best equipped to offer, we knew our focus would be on Young Adult genres and we settled on the intimate places where prose becomes power — single pages. We are both very interested in writing that takes the reader forward by leaps and bounds in the course of a single paragraph, page, or chapter.

Our sessions will be a blend of close analysis and practical application. We’ll study passages that represent voice and world building and character, and then we’ll challenge each other with prompts and exercises.

There will also be an abundance of Magic Mike references and possibly candy because what’s a writing workshop without a double dose of sugar?

SG: What achievement are you most proud of and why?

NCP: Madcap Retreats. Last year, I started a small business focused on creating writing retreats for aspiring and established writers. Almost a full year later, we’ve hosted five incredible events and have twice as many on the horizon.

The venture grew out of the first retreat I ever attended as an unagented, star-in-my-eyes writer. Having access to authors who were established in their careers and willing to talk about it was invaluable to me. I came away from that experience determined to recreate it for as many writers as possible. And that’s exactly what I’m doing with Madcap.

SG: How have conferences influenced your life and career (assuming that they have)? What writing tip or two has had the most positive impact on your career?

NCP: I didn’t attend my first writing conference until after I found my agent, but I was immediately taken by the possibilities for creative, constructive community. If I could give my younger self some advice, it would be to find a local writers’ conference and be brave!

The writing tip that continues to comfort and challenge me is this: break the rules. I have always bristled at the notion that there are do’s and don’ts when it comes to creating fiction. Do use dialogue tags, don’t use adverbs, do start close to the action, don’t open with a dream sequence. Hearing those things repeated again and again has always inspired me to find the exceptions. At some point, I realized that’s what I wanted out of my own writing — to create something that operates under its own set of rules.

SG: I really enjoyed the way you handled the supernatural elements in your books. My husband and I are real-life ghost hunters and the Clary stories reminded me of urban legends we’ve run into in our research, but they were also very grounded in Sticks. How much research did you do into the supernatural, or did you have personal experiences to draw upon?
NCP: As a kid, I was desperately in love with ghost stories and collected as many as I could get my hands on. But I also lived in a neighborhood with one house that was said to be haunted. It was a large house that pre-dated our Virginia subdivision with a wilting barn and a huge lawn that backed up to the Elizabeth River. And since I am a sagittarindor, I took (take?) every excuse to drag my friends on adventures. Especially adventures that might end up with ghosts. Double especially adventures that might result in a story about ghosts.
I can’t say that I ever successfully tracked down a real ghost, but I certainly crafted dozens of scenarios in my head. Many of my ghost stories come from the moments when I crouched in a dark surrounded by my friends and the destroyed walls of a barn, waiting for the noise that would send us running in terrified delight.
To be very honest, I’ve always felt a little like Candy in Behold the Bones–willing but maddeningly unable to see the ghosts that might be around me.

 

SG: Sterling’s voice was one of my favorite elements of Beware the Wild, and I loved the dynamic between Sterling and her friends, especially her relationship with Candace. I was delighted to find that you’d put out a sequel, and excited to see that the new story was from Candace’s perspective. She was such a forceful personality from the start. Did you know from the start that you would write a second book from her POV or did the character step up and demand her own book?  That seems like something Candy would do. 🙂
NCP: I wrote Beware the Wild as a stand alone and didn’t know that I was going to be able to write another story in Sticks until the time came to pitch my second book. But as soon as that possibility opened up, I knew it would be Candy’s voice at the helm. As a girl who was raised in Virginia by Mississippi parents, I love digging into tales about southern girls. Candy was equally a pill and a treat to write (and that’s just the way she likes it).
SG: Speaking of characters who may demand a book of their own, is there any possibility of a third story from Abigail’s POV?  Is there more to explore related to the Shine and the Swamp?
NCP: If there is ever an opportunity for me to return to Sticks, Abigail’s story is ready and waiting!
SG: If not a return to the Swamp, what is next for you?
NCP: I’m currently in the midst of editing my very first anthology filled to the brim with all sorts of love triangles! It’s been an incredible project to work on with 15 other Young Adult authors contributing in every genre imaginable. We’re working on the title now. It’s set to come out in fall 2017, and it’s going to break/ mend/ explode your heart.
Thank you so much for this incredible interview! I’m so excited to be joining MWW this year!

***

Natalie’s (and Julie’s) Part II sessions include:

Agent/Author Relationships Panel Julie Murphy/Natalie Parker & Molly Jaffa, Amy Reichert & Rachel Ekstrom, Uwe Stender/Brent Taylor & Summer Heacock

Voice/Dialogue – Julie Murphy & Natalie C. Parker. Voice is the lifeblood of every story. You’ve either got it or you don’t. Some would even say it can’t even be taught. Join Natalie C. Parker and Julie Murphy as they unlock key secrets and tricks to finding and nailing your narrator’s voice.

Word by Word: What Your First Line Says About Your Book – Julie Murphy and Natalie C. Parker. We know a good first line when we hear one, but we don’t always stop to consider what makes it good. In this session, we will evaluate a series of first lines for the promises they make about the novel to follow.

 

Meet Karma Brown, popular Women’s Fiction author

Karma Brown is a National Magazine Award-winning journalist, freelance writer, and author of the international bestseller (and listed as one of The Globe & Mail’Top 100 books for 2015) Come Away With Me (Mira/HarperCollins). She spent her debut year blogging at The Debutante Ball, and is a proud member of the Tall Poppy Writers group. A former marketing director and copywriter, Karma now spends her days writing fiction in coffee shops, coloring (outside the lines) with her daughter, and perfecting her banana bread recipe. She’s also an avid runner, skier, and bucket list chaser, who believes coffee cures all. Karma lives just outside Toronto, Canada with her family. Her second novel, The Choices We Make, hits shelves July 12, 2016.

MWW committee member Shelly Gage recently interviewed Karma about her MWW sessions.

*  *  *

MWW: What should we expect from your sessions at MWW and how will they be structured?

KB: In our Women’s Fiction session Amy E. Reichert and I will discuss the genre’s definition and scope, common (and often overused) tropes, and what makes Women’s Fiction such a vital part of the publishing landscape. The workshop will explore different writing styles seen in Women’s Fiction, tips for your own writing, and ideas for helping your story stand out–including characterization, pacing, and conflict. We’ve also asked attendees to do a bit of pre-work, which is to read Forever, Interrupted and Maybe In Another Life by Taylor Jenkins Reid, who we’ll be using as one example of how variable Women’s Fiction can be. The session will be interactive and hands-on, meaning you won’t have to listen to us drone on as though we’re delivering a lecture! It’s meant to be a fun yet intensive workshop, with significant takeaways for those writing within this genre. [NOTE: STILL TIME TO REGISTER AND TAKE ADVANTAGE OF THIS: For those with complete story ideas, you’re welcome to submit a 2 page, single-spaced synopsis to Karma and Amy, along with your first 250 words by July 1 (midwestwriters@yahoo.com/subject line: Women’s Fiction Intensive). All submitted synopses and writing samples will be given feedback, and a few will be discussed in class.]

MWW: What achievement are you most proud of and why?

KB: Outside of my marriage and becoming a mother (a major achievement as we had an extraordinary path to parenthood, which involved cancer and  gestational surrogacy  (http://www.redbookmag.com/life/mom-kids/features/a44046/my-sister-was-my-surrogate-and-i-am-a-mother-because-of-her/), I would say seeing Come Away With Me on the bookstore shelves (and bestseller list!) is the thing I’m most proud of. Whenever someone tells me how lucky I am to be an author and writer, I like to point out that luck had little to do with it (but thank you!) — that book showcases a lot of hard work, frustration, rejection, and grit.

MWW: What writing tip or two has had the most positive impact on your career?

KB: There are two writing tips that have stuck with me over the years: one,  you can’t edit a blank page (this seems to be attributed to a number of authors, but the first time I heard it was from Jodi Picoult); and two,  write every day. This last one is from Stephen King, whose memoir and writing craft book On Writing remains my favorite, and the one I go to whenever I need a boost. I’m fairly diligent about setting my alarm for a 5 a.m. wake up call, especially when I’m heavy into drafting, and knocking out a thousand words or so before everyone else gets up. It keeps me sane (as long as I have coffee) AND keeps the momentum going.

Mac or PC?

Mac. I can’t even use a PC anymore. My MacBook Air and I have a serious relationship (the keys are basically illegible because the letters have been scratched off from so much typing), and I don’t even like other people to touch it.

Plotter or Pantser?

I like to call myself a “Plantser” – part plotter, part pantser. I create a fairly in-depth synopsis before I even start writing, and then map out the chapters and scenes using a writing tool called Scrivener (there is nothing better for drafting a book, though I do final edits and revisions in Word). But once I have this roadmap I allow myself some freedom, and see where the characters take me. Also, I never have the end sorted out until I’m about two thirds of the way through the book.

Early bird or night owl?

I used to be a night owl, but then I had a child and she’s the quintessential early bird (she used to wake up at 4 a.m., EVERY SINGLE DAY). She trained me to get up before the sun and birds, and I realized it was the perfect time to write. So now I’m an early bird and I can’t imagine going back to late night writing … everything feels so much more manageable in the morning, as long as there’s a lot of coffee.

Coffee or tea?

*See above!

***

Karma’s Part II sessions include:What to Expect When You’re Expecting a (Book) Baby –  Taking a book from SOLD to shelf can be a long process, filled with plenty of unknowns, hard labor, and thrilling milestones. Tips and insights for what to expect through (and beyond) the debut year.
Slaying the Synopsis – Tips and tricks for how to write a killer synopsis that gets the job done…without losing your mind, or your creative energy, while you do!

Q&A with Kelly O’Dell Stanley

Kelly O’Dell Stanley is full of doubt and full of faith. In 2013, Kelly’s essay “Amazing Grace” won the Writer’s Digest Inspirational Writing Competition, and she’s the author of Praying Upside Down and Designed to Pray (coming in August 2016). With more than two decades of experience in advertising, three teen and young adult kids, and a husband of 25 years, she’s learned to look at life in unconventional ways-often upside down. She enjoys living in small-town Indiana, where she operates her own graphic design business, reads too much and cleans too little, and thrives on coffee and deep discussions with friends.

MWW committee member Cathy Shouse recently interviewed Kelly about her MWW sessions.

*  *  *

MWW: What are some ways attendees can benefit from attending MWW this summer? How has your attendance, prior to coming on to the committee in 2015, influenced your career? You seem to have “colored outside the lines” and found friendships and collaborations that have propelled your career. Any tips on how others can do that?

KOS: Nearly everything I know about this industry–and writing–I learned at MWW (no exaggeration). Flash fiction sessions taught me to get right to the heart of a story; creative journalism sessions taught me better ways to tell true stories; a storyboarding intensive taught me about structure–and I’ve learned tons about platform building and promotion. The broader your exposure to multiple genres and techniques, the better your writing will be.

But the reason I love MWW the most? The friends I’ve made here. A handful of us connected deeply and quickly. They’re good writers, and they’ve helped me improve, but more than anything, their friendship makes my life richer. We write in different genres but support and admire each other’s work–pushing each other to get better, to keep working, and not to give up when things aren’t going as well as we’d like. Coming from different backgrounds, too, we are able to offer new insights into each other’s work.

The best tip I can offer is this: when you meet people (successful authors or those starting out; agents, editors, publishers, or what have you), don’t think about what they can do for you. Instead, be genuine in your interest and friendship. If you have anything to offer them (reviews of a book, sharing something on social media), do so without expecting a return favor. Be real, generous–and yourself. Ultimately, it’s likely that some of these people will help you in very real ways (like endorsements, guest blog posts, etc.). But that can’t be your motivation or you’ll never truly connect with them.

For example, I first met Elizabeth Berg at a writing workshop in Italy. I went to learn about fiction; instead, she pushed me to face my grief and loss of faith, and that experience resulted in an essay that won the inspirational writing category of the Writer’s Digest competition–and led to an endorsement from Elizabeth for my first book. I didn’t go into it expecting anything, just expressing my admiration for her work and being open to learning. But what I gained is immeasurable.

MWW: Your debut book, Praying Upside Down: A Creative Prayer Experience to Transform Your Time with God, had an amazing review by Elizabeth Berg, the award-winning novelist who spoke at MWW in 2015.

“Like the books of Anne Lamott, so full of honest and soulful searching, Kelly Stanley’s Praying Upside Down takes as its launch pad the precepts of the Christian faith. But what is offered here can apply to anyone, regardless of their faith–or lack thereof. What this book does is offer ways to learn and practice a humble kind of self-inventory, leading to forgiveness and generosity toward others as well as toward oneself. I found Kelly’s spiritual journey compelling and her voice clear, engaging, and irresistible.” (Elizabeth Berg)

Please give us a thumbnail sketch of how this unique book, which could only be created by a writer who is also an artist, went from idea to publication? Plus, how did it make you feel to be compared to Anne Lamott, who is so admired in your genre?

KOS: I was giddy when I got Elizabeth Berg’s review. My main goal in Praying Upside Down was to be true to my faith and accurately relate my experiences, but to do so in such a way that it was not off-putting to those who are not Christians. To get such a great review from a mainstream, New York Times bestselling novelist–and then to have her compare me to the person about whom I’ve always said, “If I could write like anyone, it would be Anne Lamott,” well, let’s just say there were a lot of tears that day. The good kind.

So, what is Praying Upside Down? When you turn an image upside down to copy it, you’ll get a more accurate result. When an image is upside down, it frees our minds from defining it, so we see what is really there, not what we expected to see. When my husband and I owned two houses for two years because we couldn’t sell the first, I started praying for the woman who would someday buy my house, and doing so changed everything for me. By taking myself out of the equation, I could see other things happening, and in the end, I believe I saw so many things God did in the process that I would have missed had I been determined that answered prayer could only look a certain way.

One day I saw that I had been praying upside down, much like an artist might draw upside down, and I realized nearly everything I know about art applies to prayer. At MWW 2011, I decided to turn that idea into a book, and in August 2012, right after MWW, I’d completed the book proposal and several chapters so I submitted to three agents. Several months later, I signed with one of them (Blythe Daniel), and in January of 2013 got offers from two publishers. Manuscript was due by end of the year and my book released in May 2015–it was a long wait, but I made the right choice because my publisher is so great to work with. In the end, my book turned out to be about 90% memoir and about 10% practical application. Most chapters contain a prayer palette, which offers creative suggestions for implementing the different artistic concepts described in terms of prayer–things like white space, composition, perspective, using the grid method, sketching, and so on.

MWW: From what we’ve heard, sometimes getting that second book contract can be as difficult as the first. For your second book, Designed to Pray: Creative Ways to Engage with God, which releases August 1st, how was your path to publication easier, if it was?

KOS: My experience defied every expectation of what is supposed to happen. Since I was a first-time author, my publisher wanted to see six months of sales figures before considering another book proposal. My book came out in May; in early June, my publisher emailed my agent. They’d teamed up with Women of Faith for two new books, and would I write one? And could I turn it in in two months? When they described the concept they had in mind–which was an idea I had described to a friend a few weeks earlier (but hadn’t mentioned to anyone in publishing)–I said yes. When I first hung up from the call with my agent, Blythe Daniel, there were tears then, too. Seems like a pattern with me. Don’t let me near Hallmark movies, either, or it could really get ugly.

Designed to Pray is a really different kind of book and was a creative challenge. Technically it’s a Bible study workbook. Each of the eight chapters begins with an essay on a new topic-praying like a child, overcoming obstacles, getting creative. The remaining days of each week are made up of a wide variety of practical exercises to help people apply those concepts, discover new truths about their faith and their prayer life, and explore prayer to broaden their definition of what it can be. These include writing, doodling, looking up Bible verses, coloring pages, filling in charts, and making things. I wrote it, but the biggest challenge was creating 56 different activities, designing them in order to lead people to unique results, and finding and suggesting visuals for all of the exercises. It was crazy and fast and complicated–and boy, was it fun.

MWW: Your session about finding and holding on to inspiration talks about “inspirational” writing. What are some challenges people writing “inspirational” face and how would you define the genre? Specifically, what types of writers will benefit? Is this all about religion? I’ve heard debates about what makes something “inspirational,” so am curious to get your take on it.

KOS: Inspirational writing doesn’t have to be religious, but most Christian publishing falls under that category. I guess I’d simply define it as writing that inspires, or a story with an uplifting purpose or intent. Although my writing is mostly about faith, I hope my sessions will appeal to all those who write to inspire others (whether that’s through a biography or fiction or whatever). We’ll talk about establishing credibility; maintaining a balance between your public and private faith (if that applies); the responsibility to authentically and factually relay our stories; and being sensitive when writing for an audience that spans denominations or religions.

I think the greatest challenge we face is maintaining authenticity. As writers of faith, specifically, I think we’re held to a higher standard in terms of living the type of life we are presenting in our work. I can’t write about prayer without actively and intentionally praying on a regular basis. I can’t give my take on the Bible without having read and studied carefully. No one is standing over me supervising me, but my faith is the most important part of who I am, and I want to get it right–or my readers will have no reason to read my books. All good writers know their subject matter, so in that respect it’s no different than what any other writer does. But in order to have any success whatsoever, I have to be as real as possible. Because readers will see right through it if I’m not.

MWW: I followed your journey through several rewrites (or revisions?) of your first book, which you shared on your Facebook page. How difficult was that time for you, what was involved and what motivated you to stay the course? Also, do you have any memorable reactions from strangers that have been part of your reward?

KOS: Tyndale has some extraordinary editors, and I was paired with a woman who totally gets what I’m trying to do in my writing. I’ll admit, I cried (devastated, heartbroken, sad tears) when I got the first round of changes from her. So I had a big glass of wine and watched TV until I fell into bed, resolutely refusing to think about it. But when I sat down at the computer the next day, I saw that they weren’t criticizing my work but making suggestions for clarity, not correcting mistakes as much as tightening and strengthening the words that were there. When I finished, I saw how much better my book was because of it–and I felt as though I’d just completed a masters’ course in creative writing.

People have been so good about contacting me and telling me what stories touched them, or how my book changed their prayer lives or reassured them that they were not alone. The messages from people asking me to pray for them are the most moving. When I think about what it would take for someone to reach out to a stranger–to trust me, based solely on the words I put on the page, to help them with something personal and important (and often, something they haven’t shared with people close to them)–that’s when I stop and give thanks for what I get to do. It shows me I’m exactly where I want to be.

MWW: For your MWW session “Embracing creativity in nonfiction,” what is a way, or a technique, you’ll be sharing that might help attendees to catch an editor’s eye?

KOS: I plan to discuss types of brainstorming and making connections between different things, because generating ideas is the basis for everything we do–marketing, publicity, the writing itself. We’ll talk about creative structures or frameworks for the story, ways to get an editor’s attention in the book proposal, how to reach and define your target audience, and ideas to implement after you have a book published or want to grow your platform.

People think of fiction as the place to be creative, but nonfiction benefits just as much from creative approaches. Even nonfiction writing itself is creativity–it’s the act of creating something that didn’t exist in that form before, of telling a true story in an interesting way. In fiction, writers do character studies–we will discuss our audiences in a similar way. Good fiction keeps upping the stakes; in nonfiction, the equivalent is adding value to the reader. Bringing in different techniques and approaches will help your work stand out.

MWW: To wrap this up, the following questions are just for fun:

Netflix or Prime or???

Usually a book, but I DVR a handful of shows and watch Netflix sometimes. Or I did, until we lost the remote this week. So I’m 100% back to books.

Coffee or tea?

Coffee–strong, preferably dark roast Sumatra with lots of brown sugar. Or real Italian espresso.

E-books or paper?

Both, depending on where I’m reading. An iPad is awfully convenient to prop up beside me while I eat breakfast or lunch, so I lean in that direction unless I can get a signed paper copy or know I’m going to want to mark key passages. The night I finished the first book of a series at 10:30 and realized I could download the next book and start reading right away (rather than driving an hour to Indy the next day or waiting for UPS to deliver), I was sold.

MAC or PC?

Mac, of course, says this iPhone, iPad, Mac Book Air and Mac Pro owner. No question.

Q&A with Women’s Fiction author Amy E. Reichert

Reichert AmyAmy E. Reichert loves to write stories that end well with characters you’d invite to dinner. A wife, mom, amateur chef, Fix-It Mistress, and cider enthusiast, she earned her MA in English Literature, spent eight years in the technical writing mines, and currently serves on her local library’s board of directors. Her debut,The Coincidence of Coconut Cake (Gallery, 2015), was called “clever, creative, and sweetly delicious” by Kirkus Reviews. Her second book, Luck, Love & Lemon Pie, will follow on July 12, 2016.

Amy and Karma Brown are co-teaching the Part I intensive session Women’s Fiction, Deconstructed. [NOTE: openings still available!]

In this session we’ll discuss the genre’s definition and scope, common (and often overused) tropes, and what makes Women’s Fiction such a vital part of the publishing landscape. The workshop will explore different writing styles seen in Women’s Fiction, tips for your own writing, and ideas for helping your story stand out -including characterization, pacing, and conflict. Pre-Work: Before the day of the intensive, please read FOREVER, INTERRUPTED and MAYBE IN ANOTHER LIFE by Taylor Jenkins Reid so everyone is familiar with and able to discuss the same examples. For those with complete story ideas, you’re welcome to submit a 2 page, single-spaced synopsis to Karma and Amy, along with your first 250 words by July 1 (midwestwriters@yahoo.com/subject line: Women’s Fiction Intensive). All submitted synopses and writing samples will be given feedback, and a few will be discussed in class.

MWW committee member Cathy Shouse recently interviewed Amy about what her MWW session attendees can expect, and so much more.

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MWW: Your debut novel, The Coincidence of Coconut Cake received sparkling reviews, including Booklist saying that “Well-developed secondary characters and detailed descriptions of the Milwaukee food scene will leave readers hungry for more.” Your second book, Luck, Love and Lemon Pie, and will come out on July 12. Kirkus Reviews wrote: “An enjoyable and thought-provoking exploration of a modern day marriage in midlife crisis.”
Tell us what it feels like to see those kinds of reviews. And given that you’re from Milwaukee and a food lover, will your intensive at MWW include ways for writers to incorporate their own interests in their books? What should attendees to your class expect? Lecture? Writing exercises?

AER: When I see reviews like that I feel relief that the themes I was trying to explore came through successfully on the page, at least to one person. And the intensive I’m teaching with the lovely Karma Brown will absolutely touch on incorporating personal passions into the story. Participants should expect to leave with a better understanding of Women’s Fiction, its place in the publishing world, and how to use that knowledge to improve their own storytelling. At this point, it will be mostly discussion and lecture, with the emphasis on discussion.

MWW: Please provide a thumbnail sketch of your road to publication. Next, if MWW was a part of your journey to getting published, what ways did the conference help you?

AER: The quick version of my path was write CAKE, revise it, query, get rejections, meet writing friends, learn about writing and everything I was doing wrong, revise, query, get more rejections, learn more about writing and repeat for 14 months until I finally had a presentable draft and signed with my amazing agent (who will also be at MWW), Rachel Ekstrom. She found me in her slush pile. I revised again, then we took CAKE on submission for about ten months when my fantastic editor, Kate Dresser at Gallery, snapped it up. While I didn’t meet my agent or editor at MWW, I did meet most of my close writing friends. Without their knowledge and support, I wouldn’t be where I am. MWW is great for soaking up knowledge, but meeting other writers and sharing experiences is almost more valuable. I look forward to this event every year!

MWW:  What is the best piece of advice or three you’ve ever been given about writing or a writing career?

AER: 1. First drafts suck. Accept it, then finish it so you can start making it better.  2. Don’t read reviews! When you’re immersed in the publishing world, everyone you know reads and leaves reviews, but the vast majority of readers don’t. And you can’t change a bad review, so why torment yourself. That being said, I will occasionally fall down this rabbit hole.  3. The publishing world is a small one. Professionalism, honesty, and kindness will serve you very well.

MWW: In conclusion, what are your responses to the following quiz?
MAC or PC?

My Macbook is my life.

Pantser or plotter, (meaning do you just start writing or do you plan/outline)? (For fiction)

Plotter. The more I know about where my story is headed, the more layers I can incorporate in a first draft.

Scrivener (or fancy fill-in-the-blank software) or Word?

Scrivener, though I will switch to Word once my editor and I move into copy edits because we need to keep track of the changes.

Early bird or night owl?
Night owl. Mornings are loathsome and horrible, only made better by the existence of coffee (and I’m so excited there will be a Starbucks at MWW this year). I also do my best writing between 9 pm and 1 am when everything is quiet.

Q&A with poet Liz Whiteacre

Liz Whiteacre currently teaches writing at the University of Indianapolis. She is the author of Hit the Ground and co-editor of the anthology Monday Coffee & Other Stories of Mothering Children with Special Needs with Darolyn Jones. Her poems have appeared in Wordgathering, Disability Studies Quarterly, The Healing Muse, Breath and Shadow, and other magazines. She is a recipient of many writing honors, including the 2015 Excellence in Teaching Award from Ball State University and an Inglis House Poetry Award in 2010. In 2011, she was nominated for a Pushcart.

Elizabeth Whiteacre - EnglishLiz is teaching the Part I intensive session, “Leaping into Poetry.” Its content was inspired by poet Robert Bly’s book, “Leaping Poetry,” which fanned the conversation about taking leaps in poems or moving readers between conscious and unconscious thought. During the daylong session, Liz will concentrate on associate leaps, allusions, and leaps prompted by figurative language, like metaphor. Attendees will learn strategies for leaping in poems both as they compose and as they revise. Written exercises and opportunities to share work will be part of the session. Participants are encouraged to bring a few of their own poems that they are interested in revising.

In addition, during MWW’s Part II, on Friday at 10:30 a.m., Liz will teach “Prompting Poems,” a session covering different types of writing prompts and resources for jump-starting a new poem; and at 10:30 a.m. Saturday, she will conduct the “Line Break Clinic” to offer strategies and exercises for determining line breaks, and help with forms that best suit the writer’s goals and the poem’s intention.

MWW committee member Janis Thornton recently interviewed Liz about Liz’s love for poetry and teaching, her new book (Hit the Ground) in which she uses poetry to explore dealing with a life-altering injury, what her MWW session attendees can expect, and so much more.

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MWW: When and why did you begin to write, and when did you first identify as a writer – and specifically, as a poet?

LW: I started writing in college. I signed up for a poetry workshop at Indiana University, not quite realizing what it was. In the workshop, we focused on reading contemporary poetry, which I’d not read much of, and writing poems in response to what we learned from them. It was a wonderful experience, and I just kept going, eventually getting my MFA in creative writing at Southern Illinois University. I was fortunate to work with poets who were encouraging and very generous with their time. I think I finally started to identify as a poet when I continued writing and publishing poetry after I left school. I was compelled to write at that point and made time for it in the midst of all my other responsibilities. It was then, I started thinking of myself as a poet, and not just as a student or teacher.

MWW: How long have you been teaching poetry, and what is it about the genre that speaks to you?

LW: I’ve been teaching poetry for over a decade. I love puzzling over how to take a fuzzy emotion and turn it into a concrete image or narrative, playing with language and form to help support the poem’s message. As a teacher, I present students with, to borrow Kooser’s metaphor, all the tools they can use to craft a poem and create an environment in which students test the tools and see what they can build. Some poems fall apart. Some poems are unexpectedly strong and beautiful. As students work, they begin to see what tools are most useful for what they like to build. And, we can turn to other poets/readers for advice with the construction process. It’s the process of the genre that gets me excited about workshops, whether I’m a teacher or student.

MWW: Who is the author who most influenced your development and/or style as a writer? In what ways did that author help shape your art?

LW: Many poets have influenced my work, and it’s hard to pick just one. Richard Cecil, Allison Joseph, Rodney Jones, and Lucia Perillo were wonderful, supportive professors as I started writing in college – I’ve learned from their work and from their charismatic teachings. Lately, I’ve been reading poets who write about disability, and I’ve had the pleasure to work with Laurie Clements Lambeth. Her poems and graphics have shaped how I explore metaphor in my poems about pain.

MWW: Your poetry chapbook, Hit the Ground, explores the effects of your devastating, life-altering spinal injury. Why did you choose to tell that experience in poetry? How did writing about this difficult time in your life challenge and/or advance your creative writing skills? How do you feel about the final result?

LW: I think I started telling my story through poems because I was writing poems at the time, and I continued to work with the medium because poems allowed me the opportunity to zero in on particular aspects of my accident/recovery and explore them in a focused way. The poems helped me take abstract feelings like pain and frustration and make them concrete through figurative language. While all the poems in Hit the Ground are based on personal experience, I did feel more freedom to excerpt, condense, or combine things than I would if I were writing a creative nonfiction essay. I think my experiences with spinal injury definitely gave me endless content for poems, and the challenge to write a poem that invites a reader to understand an abstraction has kept me going. It is satisfying to share a poem with someone and have that person better understand not only what is happening to the speaker, but what life is like for someone they know dealing with chronic pain.

MWW: What are you working on now?

LW: I am working on a persona poem project, writing poems from the transcripts of wheelchair users who participated in the study “Pre-Enrollment Considerations of Undergraduate Wheelchair Users and their Post-Enrollment Transitions” authored by Roger D. Wessel, Darolyn Jones, Christina L. Blanch, and Larry Markle.

MWW: What is the best advice you give your students?

LW: Engage with a writing community. Students who read other people’s work, talk with other writers about writing, attend events, get conversations going on social media, etc. will benefit in many ways. Not only will they find themselves part of an incredible support network, but their own writing will mature and grow in unexpected ways.

MWW: With regard to your intensive session – “Leaping into Poetry” – what do you teach that’s beneficial to both poets and writers of prose? What do you want your attendees to know before the session, and how can they best prepare for the day?

LW: Years ago, when a friend shared Robert Bly’s idea of leaping in poems with me, how I write poems changed. The MWW intensive session will focus on how writers can move readers between conscious and unconscious thoughts using associative leaps, allusions, and other types of figurative language. We will be using poems as examples at the workshop, but writers of any genre would benefit from careful thinking about how they create associative leaps in their work, which can add layers of meaning for their readers.

I’ll be providing examples of leaps in poems when we begin our discussion, and attendees will have the opportunity to practice leaping while they compose a poem. It would be great if attendees could bring 1-3 poems or flash fiction/nonfiction pieces they’ve already written (and are open to revising) with them to the workshop, which we can use during an exercise that will help us practice leaping during the revision process.

MWW: Thank you, Liz. We are all looking forward to welcoming you to the 42nd annual Midwest Writers Workshop.

Q&A with thriller author Matthew V. Clemens

ClemensLong-time MWW attendee, faculty, and board member Matthew V. Clemens, with his collaborator, Max Allan Collins, has penned 17 TV tie-in novels including  CSI: Crime Scene Investigation, CSI: Miami, Dark Angel, Bones,  and  Criminal Minds. Twilight Tales published the pair’s collected short stories in  My Lolita Complex and Other Tales of Sex and Violence. They also have authored thrillers — You Can’t Stop Me, No One Will Hear You, What Doesn’t Kill Her, and  Supreme Justice for Thomas & Mercer. Fate of the Union was released in November 2015, and the next Reeder and Rogers thriller is due this year. A resident of Davenport, Iowa, Matthew can’t quite recall if he first discovered MWW in 1990 or ’91, but he’s attended every conference since. Matthew’s high regard and affection for MWW is mutual, and we look forward to welcoming him back to Muncie for his 25th (or is it his 26th?) conference this July.

MWW committee member Janis Thornton won the lottery, and her interview with Matthew follows.

MWW: You identify author R. Karl Largent (a frequent MWW faculty member until he died in 2003) as a writing mentor, who greatly influence your writing. (1) What other MWW faculty have made a positive impact on your career? (2) What were the most inspiring and helpful insights they taught you about writing? (3) How have you applied them to your writing over the years? (4) How do you incorporate those lessons into your workshops and pass them on to your attendees?

MC: 1) Holy frijoles, all of them. I’ve met amazing people, legends, at MWW since my first conference in 1991. Joyce Carol Oates, George Plimpton, William Brashler, Donald E. Westlake. So many people that I read when I was learning. More recently, I have learned a ton from John Gilstrap, William Kent Krueger, and Julie Hyzy, in particular. You never know enough about storytelling. I don’t care who you are, and the moment you stop learning is the moment you begin to wither.

2) I have no real idea how to answer this. Every insight is helpful in some way. Karl taught me PYAITCAW — Plant Your Ass In The Chair And Write. That, more than any other tidbit is the one that has kept me going. I’ve learned to write tight, to get in and get out, and a thousand other bits that are all part of the process.

3) This is a weird one. Some lessons you know right away — okay, I can use that, I can do this step better because I’ve learned this tip. But I remember after my very first writers’ conference that I went home annoyed, thinking I hadn’t learned much. Then, about a month later, I wrote something that made me just stop as I realized that before the conference there was no way I could have written that piece, that paragraph, even that sentence.

 These tips we learn, they all go into the simmering soup that is our creative brain, and we may not even know they’re there, like bay leaves, but sooner or later they surface and you understand how important these little bay leaves of knowledge are to what you’re trying to accomplish. Not everything is cayenne pepper and immediately noticeable, but it is all part of the whole.

4) My first conference as a student was 1987, so almost thirty years of learning to tell a story as well as I can, the last twenty-four as a professional and I still feel there’s so much to learn, but when I teach, I try to bring up as much of what I’ve learned as I can. You throw it all out there and some of it will stick in this person’s brain, some totally different item will be important to someone else. It boils down to teachable moments and hearing the thing you need when you’re ready to hear it. Writing is not a destination; it’s a journey. The sooner you understand that, the easier it is to accept that not everything you do is perfect, or even good sometimes, but you keep at it, you keep learning, and you get better.

MWW: You met your favorite author, Max Allan Collins, at a 1987 writers’ conference, when you were still a budding writer. At that event, Collins told you that your writing had possibilities. Just five years later, you sold your first short story and quit your day job. To top it off, before the decade ended, Collins had become your writing partner. So the burning question is: What did you do after 1987 to hone the writing skills that helped you land a partnership with Collins.

MC: I wrote every day. I read every day. Then eventually, I started working as a freelance editor. Along the way, I met Pat Gipple and we collaborated on Dead Water: The Klindt Affair. That was a true crime book about a murder in our hometown. In doing that, I met some police investigators who became friends. About that time, Max and I started writing short stories together and looking for something we could do in a novel format. When he was offered the tie-in gig doing novels for CSI: Crime Scene Investigation, he called me and asked if my cop contacts would help us get the forensics right. I sat down with a crime scene investigator I knew who fed us the correct science, and Max and I ended up doing ten novels, four graphic novels, and short stories for eight CSI jigsaw puzzles and even designed the story for a CSI: Miami computer game. Our collaboration has continued, and now I’m putting the finishing touches on my draft of our twenty-fourth novel.

MWW: When did fiction thrillers and true crime first draw you in as an author? What about them attracted you?

MC: I started reading mysteries in grade school. First, it was Donald Sobel’s Encyclopedia Brown series, then I skipped the Hardy Boys and went straight into what has been a lifelong love of Sherlock Holmes. As both reader and writer, I am attracted to seeing justice meted out, and as I have gotten older, I’m interested in trying to understand what makes people capable of the cruelty we inflict on one another. There is always a conflict of some sort to be resolved, and honestly, I like to see the good guys win.

MWW: Just as your books thrill readers, whose books thrill you?

MC: So many authors, so many good books. Because of my schedule, I tend to read my friends. I love Gilstrap, Hyzy, and Krueger. I’m late to the party on people like Johnny Shaw, Sean Chercover, and Lou Berney, but they’re all great, too. A lot of what I read is in my capacity as a consulting editor. Some of my clients are published, some not, but I read a lot of good books that way, too.

MWW: Your intensive workshop, “Making Your Thriller Thrilling,” promises to reveal steps for writing a suspenseful thriller: characters, settings, building suspense, incorporating other ingredients such as humor. What do you want your attendees to know before they step into your classroom?

MC: You need to know we’re going to write in class. Writers write. I’ll talk a lot, but we learn this craft by doing, so we’re going to spend time writing and talking about what we’ve written. I would love them to all take a couple of hours before class to watch “Jaws.” That movie is a great tool for learning how to create suspense, and how to use humor to break tension.

MWW: And now, before we close, I’d like to offer you the last word — perhaps you’d like to share a tidbit of insight to put attendees at ease, or maybe you’d rather ramp up the tension with some intrigue. It’s up to you, Matthew!

MC: Put my attendees at ease? I’m going to make someone cry. Happens every year. I have a streak to protect. Seriously, we’re going to have fun, we’re going to work hard, and if this works like it should, we will all learn something new. Even when leading a seminar, I learn something too. Storytelling is a vast art form, and there are as many ways to do it, as there are people who imagine telling a story. What I will do is pass along what I’ve learned, and what has kept me afloat in an ever-changing publishing world for the last quarter century.

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Matthew’s Part I session is:
Making Your Thriller Thrilling:  From inception to completion, we will touch on the steps to writing an exciting, suspenseful thriller.  Creating real-life characters, intriguing settings, building suspense, and even using humor. We will also discuss adding tools to your writer’s toolbox that will allow you to succeed regardless of your chosen genre. Not just a lecture, we will do numerous writing exercises in a workshop setting. [NOTE: this session is 53% full! Register soon!]
His Part II sessions are:
Saturday, 1:15-2:15 p.m.– Panel on the crime writing business (also includes Lori Rader-Day, Larry D. Sweazy and D.E. Johnson)
Saturday, 2:30-3:30 p.m.– Master Class: Nuts And Bolts: Basics Of Novel Writing + The Book Doctor Is In. A discussion of completing a novel from the first glimmer of an idea through writing a complete manuscript. Gleaning an idea, developing it, researching it, writing the first draft, revising, and editing, all the way through to searching for the perfect agent for your work. Including a 25-point checklist to know if you’re done with your novel. Matthew uses the checklist is his own work and as a developmental editor.