MWW 2012 Schedule
Thursday Events – July 26, 2012
8:15-8:30 am Registration packets for Part I available for pick up (coffee & pastries available)
8:30-9:00 am Welcome / Assembly Hall
9:00-11:30 am INTENSIVE SESSIONS:
Manuscript Makeover Critique – Holly G. Miller and Dennis E. Hensley
This interactive intensive is designed for those fiction and nonfiction writers who are ready to take a quantum leap forward in enhancing their writing skills. Participants will send the first 10 pages of a book manuscript in progress. The instructors will edit and critique these pages and display them (anonymously) to the class as a way of revealing strengths and weaknesses in the material. Additionally, the instructors will lead the students in writing exercises and offer advice on such topics as enhancing dialogue, learning to self-edit, mastering proofreading, finding the right markets for manuscripts and knowing when and how to go into writing full-time. This session is limited to the first 20 persons to register.
Literary Fiction, The Art of Flash Fiction – Lee Martin
What characterizes flash fiction other than brevity? What are the intentions of the form, and how can we best put it to use for the material that we have to shape on the page? This class will consider various approaches to flash fiction and will look at choices that writers make in structure, characterization, detail, point of view, and language in order to successfully practice the form. We’ll perform writing exercises designed to help us generate material and to invite us to work with techniques common to flash fiction. By the end of the sessions, you’ll have a better understanding of the form and when to use it. You’ll also have a few rough drafts to take with you back to your writing rooms for revision, or, who knows, maybe even a finished product ready for submission to an editor.
Writing the Cozy Mystery Novel – Julie Hyzy
Ask any writer and he or she will tell you: Ideas are everywhere, it’s turning them into a page-turner that’s tough. From setting the tone, to creating plot twists, to bringing characters to life, to those characters’ climactic do or die moments, writing mysteries is tough, but so much fun. We’ll touch on Point-of-View, playing fair with the reader, setting, pacing, and why readers seem to have an insatiable appetite for crime fiction. We’ll explore what works, what doesn’t, and “rules” (more like “guidelines”) for crafting satisfying tales.
Writing the Mystery, Idea to Plot to Story – Terence Faherty
In this interactive session, we’ll start with an idea for a mystery story, develop a well-structured plot, and work on the elements that will build that plot a sellable story. Topics we’ll explore in lectures, discussions, and short assignments include finding a “hook,” plot structure, outlining steps, building conflict, character development, and setting as character.
Writing Nonfiction: How to Tell the Whole Truth – Jack Heffron
Whether you’re writing a personal essay, magazine article or nonfiction book, telling the whole truth is easier said than done. In this intensive seminar, writers will gain hands-on experience through exercises and will receive first-hand critiques of their nonfiction work while learning techniques and strategies to take their work to the next level. You’ll focus on the elements of good storytelling as well as on weaving research and real-life experience into dramatic writing that pulls in readers and doesn’t let go.
YA Double Header: Strategies for Crafting Compelling Young Adult Novels – Erica O’Rourke
Love triangles are A two-part session that addresses key issues in young adult novels today: creating compelling love triangles and honing your YA voice. There’s no denying that teens love to read about love — and in The Geometry of YA Love Triangles, we’ll talk about how to create one that feels organic and believable, and actually strengthens the story you want to tell. We’ll analyze the construction of different types of love triangles, figure out what makes them successful (and what doesn’t), and look at how you can use a love triangle to further characterization and theme. In the second half of the day, we’ll spend time Stalking the Elusive YA Voice. Editors and agents often talk about the importance of an author’s voice when they’re deciding whether to take on a project. But what is “voice” and how can you tell if yours is the right fit for YA? We’ll look at examples of distinctive voices in YA literature, talk about how it can shape the story you want to tell, and learn some techniques for strengthening your voice — as well as common pitfalls to avoid.
Poetry: Obstructionism: Finding Freedom in Poetic Restraint – Kathleen Rooney
Poet Marvin Bell has remarked that “The plain truth is that, except for mistakes that can be checked in the dictionary, almost nothing is right or wrong. Writing poems out of the desire to find a way to be right or wrong is the garden path to dullness.” Through close attention to form, detail, and constraint, this intensive session will do its best to keep your poems from ever being dull. In order to achieve that end, this class will interfere with and re-direct your poetic intentions and drafts. This obstructionist approach—predicated on the idea that a poet can often find the greatest freedom of expression within the strictest of restraints—might, at times, be frustrating. But if you participate with an open mind and strive to cultivate an attitude of flexibility and fun, your willingness to embrace these obstructions will lead you to discoveries—about structure, about content, and about your processes and preoccupations as a reader and writer of poetry.
11:45 am-1 pm Buffet Networking Lunch
1:00-3:30 pm Intensive Sessions (continued)
PART II begins
3:45 Registration packets for Part II available
3:45-5:00 pm Social Media with Jane Friedman & Media Consultants / Assembly Hall
Changes in the publishing industry have forced writers to become “author-preneurs”—marketers, promoters, social media experts, and much more. At MWW, we know how time-consuming and confusing these tasks can be, and we want to help by offering individualized social media services. This isn’t just about “self-promotion.” New technologies allow us to seek out other readers and writers, to participate in a community that isn’t limited by geography. Consultants will be available to show you how to start a blog and how to use Facebook and Twitter effectively. Sign up for a 45 minute individual tutorial priced at $35, bring your laptop and/or smartphone, and get ready to join the digital age!
6:30-8:30 pm Introduction of Faculty / Speaker: Chuck Sambuchino: Mastering the In-person Pitch [refreshments]
This is a chance for anyone and everyone to practice their “agent pitch” on me. Chuck will critique the pitch for all to hear. Individuals can pitch or simply attend to listen in on other pitches. It’s an opportunity for writers to rehearse their elevator pitch before sitting face-to-face with agents. This session targets fiction and nonfiction writers, both novice and intermediate; and it breaks down what needs to be in a pitch, and what NOT to include in a pitch. Chuck will listen to sample pitches to help you prepare for your pitch with an agent on Friday or Saturday.
Friday Events – July 27, 2012
[NO sign up necessary for Part II sessions; attend any ones you want!]
8:15-8:30 am Welcome (coffee & pastries available) / Assembly Hall
8:30-10:20 am Agent Panel Q&A: Kathleen Ortiz, JL Stermer, Sarah LaPolla, Brooks Sherman / Assembly Hall
10:30-12:00 am / Assembly Hall
[1] Writing the Memoir – Lee Martin, Kathleen Rooney, Jack Heffron. [Cathy Day, moderator]
12:15-1:45 pm Buffet Networking Lunch / Cathy Day: Literary Citizenship
2:00-3:15 pm CRAFT WORKSHOPS [w/writing assignments; leave session with a product, piece of flash fiction, section of dialogue, etc.]
[2] The Art of Flash Fiction: “Sunday at the Zoo” – Lee Martin. A compressed form can make a writer’s choices stand our more vividly and can invite us to imitate them; the miniature can often contain a larger world. This class will use Stuart Dybek’s piece of flash fiction, “Sunday at the Zoo,” to consider techniques for putting a narrative into motion, using character development and exposition for pacing, letting a detail grow into a metaphor, building complications to a climactic moment, and utilizing persona, facade, and irony to create a resonant closure. We’ll write our own flash pieces in imitation of Dybek’s story, and then we’ll see how what we’ve written might suggest a poem, an essay, a longer story, or–gasp!–a novel.
[3] Writing Dialogue in Crime Fiction – Julie Hyzy. Unless someone is about to get struck by lightning, you don’t want your characters standing around discussing the weather. Or discussing any of a thousand mundane things people do every day. Crime fiction demands crackling dialogue and constant conflict. How to maintain snap while keeping it real.
[4] Making a Scene: 5 Strategies for making Your Nonfiction More Dramatic – Jack Heffron. The best nonfiction tells a page-turning story, whether it’s a personal memoir or a service article. In this workshop you’ll learn powerful techniques for making your nonfiction more gripping and satisfying for your readers.
[5] I’ll Wait to See the Movie – Terence Faherty. How to use screenwriting techniques to improve the pacing and structure of your book and your chances of selling it.
3:30-4:20 pm
[6] Settings You Can’t Escape – D.E. Johnson. How do some writers create a setting that’s so real that not only can you see what’s happening, you can also hear, smell, feel, and taste it? Setting is a lot more than just a place for your story to happen. A good setting immerses the reader in the story and works as a tool that helps you create mood, intensify the drama, and sell your story (both literally and figuratively). The New York Times called D.E. Johnson’s most recent book, Motor City Shakedown, “extraordinarily vivid.” It’s not magic; it’s simply executing a strategy. Dan will show you how to apply this strategy to your writing.
[7] Critique Partners Are Critical – Erica O’Rourke. Why do I need a critique partner? How do I find one? How do I keep one? We’ll answer these questions and more, plus talk about ways to get the most out of a critique partnership — one of the most valuable tools in your writer’s bag of tricks.
[8] Twitter: One Size Does Not Fit All – Jane Friedman. Using Twitter at first is mostly about finding your voice and finding like-minded people (or your target audience). But your strategy, motivation, or purpose on Twitter will undoubtedly change as your career grows. This session discusses three potential models for getting started, plus practical tips on handling the information stream if you’re not yet familiar with Twitter. Advanced strategies will be touched on, with models of how individuals (and businesses) have used it to develop stronger audiences, market products, and self-promote.
[9] Publishers Point of View: Inside Publishing – Kathleen Rooney. Do you have a manuscript that’s looking for a home? Are you unsure as to where that home might be? This session will walk participants through the editorial process both from a trade and an independent perspective: from concept or receipt of a manuscript, to review and approval, to revision and delivery of the final manuscript. We will also explore how to launch and market the finished product.
4:30-5:20 pm
[10] Writing the Period Mystery – Terence Faherty. A discussion of how to bring to life a historical period through your fiction. Although aimed specifically at mystery writing, these techniques can be applied to any type of historical writing.
[11] Four Tax Schedules Every Writer Needs to Understand – Gary Hensley. Attend this session to learn the four critical tax schedules that can make you or break you financially as a professional writer. Don’t count on your tax preparer to develop your tax-saving strategies. Also, as part of this session, Gary will cover the key documentation you will need to substantiate your deductions. Handouts to attendees.
[12] The Voices in Your Head: When to Pay Attention, When to Ignore – Julie Hyzy. What do you hear when you write? Constant, biting criticism, or gentle words of warning? Do your characters rebel when you set them up for trouble? Do they make suggestions, or do they follow your every whim? How to cope with the critic on your shoulder. And how to decide when it’s time to listen up.
[13] Chapter 1 Dos and Don’ts – Chuck Sambuchino. This workshop examines that all-important Chapter 1. It spends a lot of time going over what not to do—listing clichés and overused techniques that repeatedly pop up in chapter 1 manuscripts, with comments from agents and editors alike. Following a discussion of agent pet peeves, the workshop addresses what writers should be doing to draw readers in.
6:00-9:00 Evening Meal & Program: The Great Midwest Writers Write-Off contest (your chance to win ) Message in a Bottle Activity
Saturday Events – July 28, 2012
8:30-10:00 am Buttonhole the Experts [informal Q&A with 7 participants to a table, switching to a new table after 20-minute conversation with the “Expert”] / Assembly Hall
10:15-11:30 am
[15] Start Here: How to Get Your Book Published Panel [Cathy Day, moderator]; with Jane Friedman, Chuck Sambuchino, Kathleen Rooney, JL Stermer
11:30-1:00 pm Lunch (on your own) [Boxed lunch available; $12 - MUST be pre-paid with registration]
1:00 pm-2:00 pm
[16] The Walking Dead(line): How to balance writing and the rest of your life – Erica O’Rourke. In today’s publishing industry, tight deadlines are a fact of life — and real life doesn’t come with a pause button. We’ll share stories and develop techniques for balancing your work, family, and writing obligations without turning into a zombie.
[17] First2 Pages of Your Manuscript: Important! – Kathleen Ortiz. Often times, it takes a single page, or even a paragraph, for an agent to decide whether or not to continue reading. In this session, Kathleen will discuss what makes the first two pages pop as well as common mistakes made by authors and cliched opening scenes. Kathleen likes to use ‘live’ examples, so if you’re brave enough, bring a stapled copy of your opening two pages for the chance to receive immediate feedback.
[18] Danger, Will Robinson!: Avoid mistakes that could get your manuscript rejected – Julie Hyzy. So many manuscripts are rejected every day because authors didn’t take the time to avoid common errors. This is an introductory segment on how to submit your manuscript, and how to keep from making rookie mistakes.
[19] Make Yourself a Star: Building a Freelance Career – Jack Heffron. In this workshop, Jack Heffron draws on his many years as a professional writer and editor to present insider strategies for getting published and developing your personal brand as a freelancer. You’ll learn the benefits of social media, blogging and networking as well as ways to position yourself for success in the world of nonfiction writing.
2:10-3:10 pm
[20] Two for the Price of One – Terence Faherty. A discussion of the two stories in every mystery, the hidden story and the open story, and how understanding their relationship can make your idea development easier and your plotting more effective.
[25] Tricks of the Trilogy – Erica O’Rourke. How do you create a story that spans multiple books yet satisfies your reader? Writing a trilogy requires a different mindset than writing three standalone stories. We’ll discuss the challenges and benefits unique to writing a series, how to avoid Second Book Syndrome, and how to craft a finale that will leave readers satisfied…and wishing for a fourth book!
[26] When to Say When – D.E. Johnson. When should you stop researching and start writing? When is a book or story finished? These are big questions for many writers. You may be buried right now under an avalanche of minutiae for that historical novel or non-fiction book. You might have a book that’s been sitting in the bowels of your computer for a decade while you “give it one more polish.” If so, you need help! Dan’s books have been lauded for their historical accuracy as well as for the restraint he shows in using only the research that advances the story. You’ll learn about research, knowing when to stop and just write the book, and how to know with any writing project when you’re finished.
[27] The Business of Scriptwriting: You’ve Written a Play or Screenplay—Now What? – Chuck Sambuchino. This workshop examines what writers need to do if they’ve finished that play or screenplay and don’t know what to do now. We’ll address targeting markets, getting plays read/workshopped, writing script queries, the difference between agents and managers, and more. Everything is discussed, from writing and rewriting to contests and dealing with directors. Handouts provided. It’s not a session about craft; it’s a session about business—for writers who have a script and no idea what to do with it.
3:20-4:40 pm
[28] Build Your Website in 24 Hours or Less – Jane Friedman. It’s indisputable: All authors must have their own website. It’s critical for effective online marketing and readership growth. This session—which is ideal for those with a laptop with them at the conference—focuses on the simplest, most robust, and FREE tools to get a site up and running in a day or less—often in one evening! You don’t have to know any code, understand any technical jargon, or have previous experience with websites or blogs. While several different site-building tools will be discussed, this session offers a step-by-step tutorial on setting up a site using WordPress, a best-in-class system for websites today and free to use.
[29] The Dreaded Synopsis: Why They Matter – Sarah LaPolla. Writing a query can be hard enough, but what happens when an agent’s guidelines also require a synopsis? We’ll discuss what makes them different from a query, what should go in them, and why they are important. Come prepared to write your own synopsis, and learn why they aren’t as painful as they appear.
[30] Query Critique Workshop – Brooks Sherman. The format for this query letter and opening pages workshop will be a small group of approximately 10-12 writers who will read their material aloud. Brooks will react as though he’d received it as a submission, stopping the reading if and when the material stops working for him, and then explaining why in a constructive manner.
[31] Are You a Professional Writer? Don’t Wait for an IRS Audit to Find Out – Gary Hensley. Attend this session to find out what it takes to be considered a professional writer in the eyes of the IRS. Learn what you have to do now to nail down your professional status and why you don’t want your writing efforts classified as a hobby. This year’s expanded session promises to be the best ever on this challenging issue. Handouts to attendees.
5:00 pm Cash Bar
5:30-7:00 pm Closing Banquet / Manny Awards / Keynote Speaker: Lee Martin-
“Does Your Mother Know You’re Reading This?” A look at growing up in the Midwest and becoming a writer
Speakers and program sessions subject to change
Speakers and program sessions subject to change. Every effort will be made to adhere to this schedule; however, all programs and times are subject to change.
