Hands-on workshops: EDITING & REVISION, or NaNoWriMo BOOTCAMP!

MWW one-day conference to encourage you to move forward with your writing!

Midwest Writers Workshop’s Fall One-Day Conference is Saturday, October 5, 2019, 9:30 a.m.-4:30 p.m. at the Ball State Alumni Center, 2800 W. Bethel Ave., Muncie, Indiana. The cost for this one-day MWW Fall program is $155 and includes coffee (all day!) and lunch.

REGISTER HERE

We are offering TWO tracks of workshops for this MWW one-day conference to encourage you to move forward with your writing, take the next step, and improve your writing. TRACK 1 includes hands-on workshops on EDITING and REVISION. You can choose from three workshop sessions: Manuscript Makeover: Nonfiction, The Writing Life, or Revising Your Fiction. You will spend the day with the instructor and other writers who share your interest.

Or you can choose TRACK 2, an all-day workshop: NaNoWriMo Bootcamp! Participating in NaNoWriMo again this year? First time? Always meant to, but just never seemed to kick it in gear in time? This Bootcamp has the sure-fire inspiration and advice you need to make it happen this year. Prepare for November’s National Novel Writing Month with hands-on workshops on character development and plot. Your chances of drafting an entire novel increase exponentially when you spend some time preparing yourself for the journey ahead.

Track 1: Editing & Revision Workshops OR

Track 2: NaNoWriMo Bootcamp

TRACK 1:

Manuscript Makeover: Nonfiction – Holly Miller

Send us the first eight pages of your nonfiction work in progress by Sept. 18. Instructor Holly Miller—author of 15 books and more than 2,500 published articles—will edit your pages and use them to show strengths and weaknesses and to illustrate revision techniques and strategies for improvement. Writing exercises and marketing tips will round out the jam-packed (and fun) day. Send pages to midwestwriters@yahoo.com subject line Manuscript Makeover Nonfiction

The Writing Life – Larry Sweazy

That unfinished book is sitting in the drawer because you don’t have time to finish it. Life got in the way of your dream so you set it aside, promising to get back to it someday. Regardless of where you are on your path to fulfilling your writing dream, whether you write novels, short stories, or screenplays, you will encounter roadblocks, time drains, and the lack of energy and desire to finish what you started.

This is an intensive workshop that will help you focus on the time you need to write your masterpiece. This class will offer exercises, practical advice on where to find ideas, time management tips, and step-by-step guidelines that will encourage you to put writing at the top of your to-do list. The techniques taught in this class will apply to all genres and types of writing, and will prepare you to send your work out into the world. Bring a laptop or pen and paper and be prepared to write…with the clock ticking.

Revising Your Fiction – Lucrecia Guerrero

You’ve brought your creativity to bear and have completed a work of fiction. Now, it’s time to turn the analytical brain, and polish your little gem until it shines. Bring in your short story or novel chapter of up to fifteen pages. You are the one who will be revising your own work, so it’s important that you learn revision techniques. In this workshop, you’ll apply revision exercises to your own writing and receive feedback on the results. You’ll be reviewing the whole story, from the overall picture, to the protagonist’s motivation, down to the particular phrase or word. Print out at least one double-spaced hard copy of your manuscript in addition to bringing a copy on your favorite device. Come prepared to write and be a part of a supportive writing community!

TRACK 2:

NaNoWriMo Bootcamp – Sarah Schmitt

To prepare you for the fast moving and creative energy of NaNoWriMo and writing an entire novel in 30 days, Sarah presents these hands-on workshops include Character Development and Plot, and how to keep editing to a minimum. Your chances of finishing a first draft of a novel in November are greatly improved if you prepare in October.

SCHEDULE:

9:30 am – 10:00: Registration

10:00 – 10:15: Welcome

10:15 – 11:45

TRACK 1:

  • Manuscript Makeover: Nonfiction – Holly Miller
  • Where Do You Get Your Ideas? – Larry Sweazy
  • What’s It All About? – Lucrecia Guerrero

TRACK 2:

  • NanoWriMo: Character Development Workshop – Sarah Schmitt
    • Does your character’s eye color matter? Does he or she resent authority? Why? Character development is imperative for any story. This hands-on workshop will look at how a character’s past influences their actions in the present and where inspiration can be found to create a character as unique as the student writer. As a group we will develop a character to use in the second part of the boot camp. The remainder of the time will be used for each participant to begin developing their own characters.

11:45 am – 12:45 pm: Lunch/social time

12:45 pm – 2:00 pm

TRACK 1:

  • Manuscript Makeover: Nonfiction – Holly Miller
  • Finding Time to Write – Larry Sweazy
  • The Big Picture – Lucrecia Guerrero

TRACK 2:

  • NaNoWriMo: Plot – Sarah Schmitt
    • Building on the work done during the Character workshop, this session will focus on plot. Again, we will, as a group, plot on an entire story using Blake Snyder’s Save the Cat format. We’ll go through each of the fifteen beats as we craft an entire story line with just a genre.

2:15 – 3:00 pm

TRACK 1:

  • Holly Miller: Manuscript Makeover: Nonfiction – Holly Miller
  • The Publishing World Deconstructed – Larry Sweazy
  • A Closer Look – Lucrecia Guerrero

TRACK 2:

  • NaNoWriMo: Writing to Revise Tips – Sarah Schmitt
    • Creating an entire novel in 30 days means writing fast and keeping the editing to a minimum. In this session, learn how to satisfy your editorial brain while letting your creative side stay in the driver’s seat. Time permitting, there will be a Q&A session at the end.

3:15 – 4:15 pm: PANEL with all faculty: Larry Sweazy, Lucrecia Guerrero, Sarah Schmitt, Holly Miller

4:15 pm: Send off (with reminder of Agent Fest, March 13-14 & July 23-25, 2020)

FACULTY:

Author or co-author of eleven nonfiction books, four published novels, and 2,500 magazine short stories and articles, Holly Miller has led writing workshops from California to Massachusetts. A consulting editor to two national magazines and a judge for an annual fiction-writing contest, she holds communication degrees from Indiana University and Ball State University and has taught college writing classes for 25 years. Her how-to book, Feature & Magazine Writing, co-authored with colleague David Sumner, is in its third edition. Her greatest joy is helping unpublished writers break into print.

Larry D. Sweazy is a multiple-award winning author of fourteen Western and mystery novels, thirty-one short stories, and over sixty non-fiction articles and book reviews. Larry lives in Noblesville, Indiana with his wife, Rose, and is hard at work on his next novel. More information can be found at www.larrydsweazy.com.

Lucrecia Guerrero’s short stories have been published in numerous literary journals and have been anthologized in FANTASMAS: Stories of the Supernatural, Best of the West, and Not Like the Rest of Us. She was a co-author of “Coming Home,” a play celebrating Indiana’s bicentennial. Chasing Shadows, Chronicle Books, is her collection of linked short stories; and Tree of Sighs, Bilingual Press, a novel. Tree was awarded a Christopher Isherwood Fellowship Award and the Premio Aztlan Literary Award. Recently, the Indiana Humanities named her as one of the workshop facilitators for its “Writing Workshop Program.”

As a former K-8 school librarian and youth services profession for a public library, Sarah Schmitt has always enjoyed pushing books on unsuspecting teens. Now, as a YA author, she gets to write those stories. The author of It’s a Wonderful Death (Sky Pony Press), she uses her hallmark brand of humor to address serious topics facing teens. Sarah has taught at The Indiana Writer’s Center and presents interactive workshops at middle and high schools around the country. She particularly enjoys inspiring other writers to get involved with National Novel Writing Month through her NaNoWriMo Bootcamp program. Sarah has served on the selection committee for the William C. Morris YA Debut Award, Eliot Rosewater Indiana High School Book Award, Young Hoosier Book Award for Middle Grade and YALSA Teens Top Ten. She lives with her husband, two kidlets, and a ninja cat near Indianapolis, Indiana. You can follow her on Instagram @sarahjschmitt.

REGISTER HERE

 

“Being a good writer is about listening and observing” | MWW19

Come meet poet Mitchell L.H. Douglas …

Mitchell L. H. Douglas is the author of dying in the scarecrow’s arms, \blak\ \al-fə bet\, winner of the Persea Books Lexi Rudnitsky/Editor’s Choice Award, and Cooling Board: A Long-Playing Poem, an NAACP Image Award and Hurston/Wright Legacy Award nominee. His poetry has appeared in Callaloo, The Ringing Ear: Black Poets Lean South (University of Georgia Press), The BreakBeat Poets: New American Poetry in the Age of Hip-Hop (Haymarket Books), Crab Orchard Review, and Ninth Letter,among others. He is a cofounder of the Affrilachian Poets, a Cave Canem graduate, and Associate Professor of English at IUPUI.

 

Mitchell’s sessions for MWW19 include:

  • Form as Freedom – Sestina or villanelle, poetry will never lose its fascination with form. In recent years, poets have evolved from experiments with traditional sonnets and ghazals to creating forms of their own. In this workshop, participants will examine new innovations in poetic form (including Ruth Ellen Kocher’s Gigan, Terrance Hayes’s Golden Shovel, and workshop leader Mitchell L. H. Douglas’s invention, the Fret) and discuss how a mode of writing typically linked to restraint can also provide freedom.
  • Maps to Metaphor: Ekphrasis & the Outward Gesture– Metaphor is the sport of poets: the drawing of threads between seemingly disparate things that shows a reader just how cunning a writer can be. It’s also no easy feat. Ekphrastic poems, interpreting visual art in textual medium, is a natural way for poets to meet their greatest responsibilities. This workshop will employ works of art to craft poems that create original metaphors and connect your poems to the world outside the lines.
  • Writing Beyond Your Experiences – Ashley Hope Pérez, moderator. As writers, we are always making a leap outside of our own experiences, but doing so responsibly is especially important when we are engaging in narrative with communities we aren’t part of. What are the dos and don’ts of creating a diverse world in your stories? How does this effort matter to the quality of your writing? (Mitchell L.H. Douglas, Cole Lavalais, Larry Sweazy)
  • Line breaks (and a brief exercise to illustrate how effective breaks are made)

Lylanna Musselman, Midwest Writers Workshop board member, caught up with Mitchell and interviewed him for this Q&A.

 

MWW: Your new book of poems, dying in the scarecrow’s arms (Persea Books), is your third book of poetry. What is something you would like readers to take away from this collection?

MLHDdying in the scarecrow’s arms is a book of hope. It’s about having the determination to survive in the face of violence, knowing our worth, and wanting more: love, understanding-respect. The poems are explorations of these universal needs.

 

MWW: People are often intimidated by poetry (reading or writing), what would you say to someone who likes to write, but steers away from poetry?

MLHD: Being a good writer is about listening and observing. Be curious, go into the streets of your city and walk them like a tourist, like everything is new. Image is important to all imaginative writing, but it is particularly important to poetry. If you start with a strong image-something you witness that appeals to the senses-the rest will come naturally.

 

MWW: How did poetry become your genre of choice?

MLHD: I enjoyed writing short stories as a child, but I officially declared myself a poet in middle school. I was so taken by the political messages in the punk music I was listening to, I wanted to write songs with the same impact. Those song lyrics eventually morphed into poems.

 

MWW: As a cofounder of Affrilachian Poets, can you share a little about this group?

MLHD: We started as friends at the University of Kentucky and became a poetry family in 1991. Undergrads, graduate students, and a very popular professor new to UK (Nikky Finney) were among the first members. The name, which comes from cofounder and former Kentucky Poet Laureate Frank X Walker, speaks to the idea that people of color exist in Appalachia. Affrilachia, as we see it, is the 13-state region touched by the Appalachian Mountains: a special physical and spiritual space in the African Diaspora.

 

MWW: What are you working on now? Is there a new book in the works by chance?

MLHD: I have a few special things in the works that will surprise readers. I’m also superstitious, so I believe too much talking about what you’re working on is bad luck!

 

MWW: Finally, last question – when you’re not writing poetry what do you enjoy doing in your spare time?

MLHD: Listening to jazz (a lot of jazz), visiting museums, pretending to be a photographer, and making beats. I am constantly creating a soundtrack for my life.

Get help to build authentic lives for your characters | MWW19

Come meet author Cole Lavalais …

Cole Lavalais’ work can be found in the Chicago Tribune, Obsidian, Apogee, Warpland, Tidal Basin Review, Aquarius Press, and others. Her novel, Summer of the Cicadas, was published by Willow Books in 2016. She is a fellow of the Kimbilio Center for Black Fiction, VONA and the Callaloo Writing Workshops. She’s been awarded writing residencies at the Vermont Studio Center and The Noepe Center for the Literary Arts. She holds a M.F.A. from Chicago State University and a PhD. from University of Illinois at Chicago. She has taught writing for over twelve years and is the current Director of the Chicago Writers Studio and a faculty member of the Chicago State University M.F.A. program.

Cole’s sessions for MWW19 include:

  • Building Authentic Lives – This workshop will introduce you to strategies to imagine and develop compelling and authentic characters who leap off of the page.
  • Short Story 101 – This workshop will introduce you to the basic tools every good short story writer uses to create engaging and unique fiction. We will discuss plot, point of view, setting, dialogue, and character development.
  • Panel: Writing Beyond Your Experiences – Ashley Hope Pérez, moderator. As writers, we are always making a leap outside of our own experiences, but doing so responsibly is especially important when we are engaging in narrative with communities we aren’t part of. What are the dos and don’ts of creating a diverse world in your stories? How does this effort matter to the quality of your writing? (Mitchell L.H. Douglas, Cole Lavalais, Larry Sweazy)

Gail Werner, long-time friend of Midwest Writers Workshop, caught up with Cole recently and interviewed her for this Q&A.

MWW/GW:  Can you tell me more about your background and how you got into writing fiction?

Cole: I started writing about 20 years ago. I was working on my Masters degree in psychology, and my thesis supervisor mentioned something about writing a book based on my thesis research, and I got really excited at the mention of me writing a book. And I knew right then I was going to write a book, but it wasn’t going to be based on my research. Soon after I began writing my first novel.

MWW/GW: You write short stories and you published your first novel, Summer of the Cicadas, in 2016. Which style of writing comes more naturally to you-short stories or novel writing? Or do you enjoy writing both equally?

Cole: I didn’t really have a lot of exposure to short story collections growing up, so most of my models were novels. I only really began focusing on short stories after I finished my first novel because I didn’t have the energy to commit to my characters that a novel requires.  I figured in a shorter genre, I could write about them and be done with them in a couple of months.

MWW/GW: Where do you seek inspiration for your stories? Is there anything you do to generate ideas, other than wait for your “muse” to appear?

Cole: Luckily, I have never had a shortage of ideas for stories. I have more ides than I have time to write. Sometimes they come from a story I hear in passing or sometimes they come from those close to me. I’ve also been known to just make things up completely. I’m really good about unplugging in public, so I can watch and listen to the people around me. You’d be surprised to see the types of stories that will find you out and about in your every day life.

MWW/GW: One of your upcoming sessions at Midwest Writers 2019 is titled “Short Story 101”. I’ve heard it said that writing a short story is the perfect place to begin your writing career. Do you agree with that opinion? 

Cole: I do. The short story genre is the perfect place to hone your writing skills. If you can tell a whole entire story in 10 pages or 5 pages or 1 page, you are ready to tell a story in 300 pages. Writing the short story well teaches you about story structure and language that is easily translatable to longer genres.

MWW/GW: You were born and raised in Chicago, and you’re a founding director of the Chicago Writers Studio. Can you share your thoughts about the literary scene there? It seems like it’s really taken off, in recent years especially.

Cole: Chicago is a city of neighborhoods, so things happening in one part of the city, aren’t really accessible to the other parts of the city. While the literary scene has definitely spread in the last five years, we can really do better supporting and hosting events all over the city.

MWW/GW: Can you share with us anything about what you are working on right now?

Cole: I’m currently working on a short story collection set in Chicago in the early 80’s and a novel set in a small town in Alabama.

MWW/GW: And lastly, when you’re not writing, what do you enjoy doing? 

Cole: Sleeping, eating, and walking my dogs.

Still time to register! Two weeks to go. Do this thing.

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Critically acclaimed YA author Ashley Hope Pérez | MWW19

Meet YA author Ashley Hope Pérez

Ashley is a critically acclaimed author of young adult novels and teaches world literatures at The Ohio State University. Her most recent novel  Out of Darkness  received a Printz Honor Award for Literary Excellence and won the 2016 Tomás Rivera Book Award and the 2016 Américas Award. It was also named a “best book of 2015” by Kirkus Reviews  and  School Library Journal  and was selected by  Booklist magazine as one of “50 Best YA Books of All Time.” Ashley’s other novels include  What Can’t Wait  and  The Knife and the Butterfly . She lives in Columbus, Ohio, where she enjoys all four seasons and tries to keep up with her two sons, Liam Miguel and Ethan Andrés. Visit her online at  http://www.ashleyperez.com/.

Ashley’s sessions include:  Organic Plot Development ( a discovery-based approach to shaping your narrative’s direction and getting characters into action); Get Inspired, Find Time to Write, and Be Happy While You’re Doing It (Ashley & author Alisa Alering); and she will moderate the panel Writing Beyond Your Experiences (with Mitchell L.H. Douglas, Cole Lavalais, Larry Sweazy). Her Friday morning Buttonhole the Expert topic for discussion is: Engaging diversity and difference in fiction: Craft, research, and responsibility.

Gail Werner, long-time friend of Midwest Writers Workshop, caught up with Ashley recently and interviewed her for this Q&A.

MWW/GW: How did your writing career begin?

AHP: I had several professors encourage me during my college years, but I became a published writer because I found my audience. This happened when I started teaching English and ESL in Houston. Besides meeting all the standards and getting my students ready to have a serious chance at completing college, I wanted them to discover the pleasure of reading, a notion that was pretty foreign to most of my students. As my kids told me about what did or didn’t engage them, I learned that many of them felt “their story” was missing from the library shelves. My first novel, What Can’t Wait, incorporates many of the stories they shared with me, and I finished the first draft just in time to give it to my last group of students (all seniors) for graduation. My students were my first readers, and their excitement still tops every success I’ve had since.

MWW/GW: One of your MWW19 sessions is on the topic of revision-how it’s not for the faint of heart. What have you learned about revising over the course of your career as an author?

AHP: For me, writing is really all about rewriting. I cannot express to you how horrendous my first drafts can be–shapeless, overwritten, awkward. But that doesn’t matter, because once I have something with characters, and something like a beginning, a middle, and an end, I can revise and revise and revise.

For most of my novels there have been about ten substantial revisions, and for most of these rounds, I start typing in a new document rather than just making changes to the old file. Doing this helps me to write new scenes or rewrite ones that aren’t working.

MWW/GW: What are your tips for how to manage your time and still work on your craft?

AHP: Be sure to sleep. It sounds obvious, but often when we’re overtaxed, we think that stealing hours from sleep will help us get more done. In the end, it only sabotages the next day’s productivity. Also, map out goals week by week and month by month. I try to have a semester or year plan and a five-year plan. Although achieving a goal often takes longer than we expect, putting it down on paper brings us a smidge closer to making the daily choices that will turn the aspiration into a reality.

MWW/GW: Your most recent book, the award-winning Out of Darkness, is a story about segregation, love, and family, set against the backdrop of a Texas school explosion in 1937. What drew you to want to write historical fiction?

AHP: I really wanted to shed light on an event that occurred close to home and also to use that project to shine some light on the experiences of minoritized people, which have too often been relegated to the margins of mainstream histories or erased altogether. We all need to engage with these stories.

Also, I think that readers of all ages benefit from the chance to recognize how many of the “givens” in our society can be changed. Historical fiction doesn’t just show us how bad (or good) the past was; it dramatizes different ways of living, doing, relating, learning. Those differences in the past remind us of the possibility of change in the future. When we get that we are, individually and collectively, a work-in-progress, it’s possible to begin talking about how our society needs to grow and change if we are to envision a more just future.

MWW/GW: What makes being a writer gratifying to you?

AHP: After they read an early draft of my first book What Can’t Wait, a couple of my former students wrote me these incredibly powerful, moving letters. One of them said:

This is the first book that I have ever read from beginning to end. There are so many things here that I have never seen in a book before . . . There were lots of times I stopped reading a book, but I didn’t want to stop reading this book.

He was one of my students who struggled most to care about what he was reading, so it was very moving that he took the time not only to read the book but also to let me know what it had meant to him. Even if the book had never been published, it was already worth it in that moment because I had a reader for whom the book was a gateway experience. And I think that’s what I love: for my books to be gateway drugs for readers, to make them want to read more, because they’ve experienced something they hadn’t experienced before.

MWW/GW: Can you share details about what you are working on right now?

AHP: Although I’m sure I’ll be back to writing novels in the future, I’ve been working a bit more in shorter form pieces and some creative non-fiction, like a forthcoming piece that will appear in the Rural Voicesanthology. The book I want to write next is set “now,” and there are some ways that the present political and social moment simply feels too unstable for me to predict how my characters’ lives will unfold.

MWW/GW: And finally, when you’re not writing, what could we find you doing?

AHP: I’m a full-time literature professor at The Ohio State University, so that takes up some minutes of my days. I also love cooking lavish breakfasts, collaging notebooks, and taking walks with my sons Liam Miguel and Ethan Andrés. Columbus has a ridiculous number of fancy ice cream places (I love Jeni’s Splendid Ice Cream and Whit’s Frozen Custard), so making those rounds also keeps us busy!

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Creativity = Novelty x Utility

Meet MWW19 faculty member Bryan Furuness!

Bryan Furuness is the author of The Lost Episodes of Revie Bryson, a novel. His next novel, Do Not Go On, will come out in the winter of 2019. With Michael Martone, he is the co-editor of Winesburg, Indiana, an anthology. His next anthology, My Name was Never Frankenstein: And Other Classic Adventure Tales Remixed, will be forthcoming from Break Away Books in the fall of 2018. His stories have appeared in Ninth Letter, Sycamore Review, Southeast Review, Hobart, and elsewhere. His essays have appeared in Brevity, Nashville Review, and Barrelhouse, among other venues. His work has been anthologized in New Stories from the Midwest, Not Like the Rest of Us: An Anthology of Contemporary Indiana Writers, Best American Nonrequired Reading, and elsewhere. He is a recipient of the Tennessee Williams Scholarship in fiction from the Sewanee Writers’ Conference, a finalist for the Society of Midland Authors award, and a winner of the Midwest Short Fiction contest. He holds an MFA from the Warren Wilson Program for Writers and has edited for several literary magazines and small presses, including Booth, On Earth As it Is, Engine Books, and Pressgang, the small press he founded at Butler in 2012. He lives in Indianapolis, where he teaches at Butler University and serves on the board of Engine Books.

Bryan’s MWW19 sessions include:

  • Session #3: Intro to Editing – A session about global editing and line editing, including exercises that can help students edit the work of other writers or revise their own work.
  • Session #3: Forming a Writing Habit – Figuring out your own ideal creative process and starting a sustainable writing practice.
  • Session #3: Reading like a Writer – Once you develop this way of seeing how stories are built, every text will become a teacher.

Bryan is also a member of the Manuscript Evaluation Team. Here’s your opportunity to have an author and editor evaluate your manuscript pages!

Jama Kehoe Bigger, MWW Director, interviewed Bryan for this installment of our MWW19 faculty Q&A.

MWW: You have a page “Notes on Creativity” on your website. What do believe are the components of creativity?

BF: Here’s a simple formula, straight from the pages of Creativity 101 by James Kauffman: Creativity = Novelty x Utility

“Novelty” means new or different. “Utility” is a little less obvious-here it’s talking about how appropriate the creation is for the situation.

Finally, note the multiplication sign. If either novelty or utility are a zero, the whole thing is an airball.

For example: I ask you for a story. In response, you slowly push a banana up your nose.

Novel? Sure. Task-appropriate? Uh, no. Therefore, not creative.

(For a slightly more developed take on this topic, see this post. And if you like this kind of thing, you can sign up for my newsletter here and get a few short posts about creativity delivered to your inbox every three weeks.)

MWW: Since you are an author and an editor, what do you see as the common traps for aspiring writers?

BF: I’ll give you one that’s been on my mind lately: overestimating the amount of talent it takes to write a book, and underestimating the time and effort and sheer persistence that it takes.

(This miscalculation isn’t exclusive to the writing world, by the way. See also this article with a very explain-y title: “People Underestimate the Value of Persistence for Creative Performance“)

Here’s a weird disconnect. If you tell people that it takes ten years of devoted work to reach mastery of a skill–not greatness, but mere mastery–they will nod and say, Right, that makes sense. But if you tell them that means it could very well take them ten years or more to write a novel, no matter how good their idea is . . . well, you can see the despair on their face.

But the thing is, you’re allowed to enjoy those ten years (or however long it takes). Actually, you better enjoy it. If you find that you don’t actually like writing all that much–if you’d rather be a person with a book than a person who writes–hit the eject button early and save yourself a ton of suffering.

MWW: What is your writing process like?

BF: I don’t have one.

Or, rather, I don’t have just one. My process depends on the type of project, the reason for writing, the time I get to work on it, and probably a thousand other factors I can’t consciously discern.

For example, my process for writing this response is different than my approach for my current novel project, which is different than my approach for my last novel project, which is different than answering a hundred emails in an hour, which is different than–

You get the idea. Each project calls for something different. I have a mental junk drawer full of strategies, and I’m always on the lookout for new strategies. That way, if a certain combination doesn’t work, there’s always something else I can try. Flexibility is key. Flexibility and an experimental spirit.

That said, certain threads run through my creative practice, no matter what I’m writing. Daydreaming. Making notes. Showing up to the page (almost) every day, and finding ways to lower the pressure and boost the joy.

MWW: What advice do you have for writers coming to MWW19? What will your sessions emphasize?

BF: The first time I went to a writing conference, I ran into one of my old teachers. “Pace yourself,” she said when I breathlessly told her about all the panels I’d already seen and everything I was planning to do.

Nah, I thought. I’m fine. I want to squeeze every last drop out of this conference.

As it turned out, the conference squeezed every last drop out of me–before dinner on the first day. So learn from my mistake, my friends, especially if you’re an introvert who needs the occasional oasis of solitude to recharge. Pace. Yourself.

Okay, about my sessions. Three sessions, three different topics: writing, reading, and editing.

  • Writing: We’ll talk about process and practice, the cornerstones of the writing life.
  • Reading: Once you learn how to “read like a writer,” every text will become a teacher.
  • Editing: We’ll dig into global editing and line editing, playing around with exercises that can you help you edit the work of other writers or revise your own material.

Hope to run into you there. And if I look all wild-eyed and manic, remind me of my own advice, won’t you?

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Are you writing a mystery? Need help with a writing plan?

We look forward to welcoming Mary Carter – a Chicago-based, bestselling novelist and workshop leader at the Chicago Writer’s Loft – to MWW19 this July.

Mary’s works have been translated into a number of languages and include: Home With My Sisters, London From My Windows, Meet Me in Barcelona, Three Months in Florence, The Things I Do For You, The Pub Across the Pond, My Sister’s Voice, Sunnyside Blues, She’ll Take It, and Accidentally Engaged. In addition to her novels, she has written six novellas, two of which have been New York Times bestselling anthologies.

Readers and aspiring writers can check her out at MaryCarterBooks.com and thewritersloft.com, follow her on Twitter @marycarterbooks, or like her on Facebook at Mary Carter Books.

Mary also writes under the pen name Carlene O’Connor and is a USA Today bestselling author of “The Irish Village Mysteries.” To date, as Carlene O’Connor, she has written Murder in an Irish Village, Murder at an Irish Wedding, and Murder in an Irish ChurchyardMurder at an Irish Pub, and Murder in Galway. September 2019 will see the release of A Christmas Cocoa Murder. Readers can visit her at CarleneOConnor.net or Carlene O’Connor on Facebook.

Mary will be joining us as part of the MWW faculty for the first time. Her Thursday workshops include “Get a Clue: Setting the Mystery Scene” and “Not the Usual Suspect: Developing Characters for Your Mystery.” During Friday morning’s buttonhole session, she will lead discussions on “Words as Weapons.” And Friday afternoon, she will present “Plotting and Re-writing Your Mystery: Where the Magic Happens.”

Janis Thornton, long-time friend of Midwest Writers Workshop, caught up with Mary recently and interviewed her for this Q&A.

MWW:  According to your bio on the Fantastic Fiction website, you’re an actor! Please tell us a bit about how you’ve applied your acting techniques to writing, primarily in creating and building your characters.

MC/CC: 

I consider myself an ex-actor, although maybe there’s no such thing. When I finally took the writing course that I now teach, the light bulb went on as far as the connection between writing and acting. All the work I did on my characters as an actress now had to apply to all the characters in the story. Acting helped with scene study, dialogue, motivation, and most importantly feeling everything your characters are feeling. It was a fabulous foundation for my journey as a writer, and I believe sped up my development once I made the connections.

MWW:  When did you write your first cozy mystery, what led you to the genre, and what do you enjoy about writing them?

MC/CC: 

I wrote Murder in an Irish Village approximately five years ago. It was a request from my editor. He first asked if I would be interested in writing a murder mystery series for them set in England. I answered honestly, that I would have no idea how to do that -then added – but I could set in Ireland. I was in a parking lot of a grocery store in North Carolina. I had just moved there because I was tired of writing and working day jobs, so I Googled “cheapest, nicest places to live” and ended up in Wilmington, North Carolina. I will be honest. I never read “cozy” mysteries before that, unless you’re counting Agatha Christie as cozy. It’s the publishers that focus on genre. As a writer, there are times I’m given restrictions – i.e., there are reader expectations built into the genre of cozy mysteries, but then I had to write one that I would want to read. That isn’t a dig on the genre; I just wasn’t an avid reader of them, as I preferred gritty mysteries as a reader. I enjoy the challenge of sticking to those guidelines, but also stretching them, and creating a believable and compelling mystery within those guidelines.

MWW:  What is your biggest challenge in keeping your storylines and characters fresh?

MC/CC: 

Believe it or not, I haven’t run into that yet. I’ve been able to keep each mystery fresh by imagining scenarios that interest me. I employ change of seasons, new characters coming to town, new subjects – be it genealogy, or weddings, or poker games, and in the current one I’m writing, the characters venture a little outside of their hometown to shake things up a bit.

MWW:  How have your Irish ties influenced your writing, characters, and plotting?

MC/CC: 

Of course. All my years of research at Irish pubs in NYC paid off. And all my Irish friends, Irish exes, and Irish in the family line. It’s impossible to imagine the series set anywhere else, as setting and characters are such a deep part of the story. I’m sure I get things wrong that an Irish native would notice. I strive to learn from those mistakes with each book.

MWW:  What authors have inspired you?

MC/CC: 

Oh boy. I read everything I can get my hands on and that is a long list. I guess I’ll stick to mysteries. I like everyone from Tana French, Sue Grafton, Ann Cleeves, Raymond Chandler, John Grisham, Dennis Lehane, Jane Harper, Lisa Gardner, Tony Hillerman. I also love psychological thrillers. My TBR list is always piled high, and I read widely across genres. And now that I have author friends, I love all their books too.

MWW:  And lastly, what’s the best way for participants in your sessions to prepare, and what is the best new writing tip you want them to leave with?

MC/CC: 

No preparation needed, just an open mind, and a notebook, (or laptop), and I will leave them with a writing plan – the WOAES – that they can use the rest of their writing lives! Is that a little mysterious? A mini cliffhanger? I hope so!

MWW:  Thank you, Mary! We’re all looking forward to meeting you.

Register Today! Do this thing.

Click here to register.

 

Author Platform and Career Development Bootcamp with Jane Friedman!

An all-day bootcamp to help authors sort through various strategies, tools, and opportunities available

and what makes sense at this point in time for the next stage of their careers  

Midwest Writers board member Dianne Despain (writing as Dianne Drake for Harlequin), who got her start at MWW in 1993 and now has 57 books published, asked Jane Friedman about the Author Platform and Career Development Bootcamp intensive workshop she will teach at MWW19 (Saturday, July 27) this summer.

 

MWW: So first, who, exactly is your bootcamp directed toward?

Jane: It’s for published authors or soon-to-be-published authors (those with a release date) who want to develop a long-term, sustainable strategy for marketing and promoting their work.

Many authors are confused about how to prioritize the many marketing tools and opportunities available-and what makes sense for their particular genre or readership. By the end of this bootcamp, writers will have a clearer idea of what’s next for them-and if all goes well, an action plan with specific and concrete next steps for the year(s) ahead.

MWW: If you could list the top five things your bootcamp will address, what would they be?

Jane:

  • A strong definition and understanding of your target audience or readership. What is your understanding of your readership and who they are? How can you find out? Is there a potential readership you’re missing out on?
  • Optimization of your product (your books or anything else you do) and brand. How well are your books “optimized” to appeal to your target audience? Are you offering a coherent marketing message across everything you do? Are you using the language of readers to help your efforts?
  • Direct reach development. How do you reach readers currently, and what areas need shoring up? What opportunities are available to expand your direct reach? What does your own website, email newsletter, or social media analytics tell you about that reach and where the opportunities lie?
  • Lead generation. What strategies and tools do you use to reach new readers? How effective are your methods? What methods should you try?
  • Using the power of community to help you. What opportunities exist to improve your reach through collaborations, partnerships, and influencers?

MWW: Since you’re known for your nonfiction writing and advice, how will this workshop benefit fiction writers or poets?

Jane: My books and courses help writers from all across the industry. I focus on teaching marketing and business best practices that remain the same regardless of the genre you work in.

MWW: Is there an overall commonality between fiction and nonfiction when planning your career?

Jane: Regardless of what you write, the more you understand your target reader, how to reach them, and how to engage them, the more successful you’ll be at turning your writing into a sustainable business.

MWW (DD): I wrote for Women’s Day, Family Circle, etc. back in the day when they wanted words. The market has changed drastically since then, words counts are lower, pay is much lower, so is there a way to break into the magazine market today and make a living, or do magazine journalists need to seek out other types of writing to make ends meet?

Jane: It’s still possible to make a living as a freelancer, but it’s far more difficult to do so if focused strictly on getting paid by the print magazine market. Most freelancers have to diversify their business model and consider working for a range of outlets, print and digital, and consider work that readers might pay for directly. (Paid subscription newsletters are very popular right now with journalists of all kinds.)

When I first entered the publishing industry twenty years ago, one of the most popular books for freelancers was The Well-Fed Writer, which focused on how writers could get paid a much better rate by pitching themselves to corporate clients and businesses. E.g., there is significant demand for magazine-like content for businesses as diverse as Netflix, American Express, and Warby Parker. Even high-minded institutions like the New York Times and Atlantic have divisions to offer businesses custom content-to help pay their bills. So, if freelancers are flexible about the type of work they’ll do, there is paying work to be found.

MWW: Self-help books used to be all the rage in nonfiction. Are they still, or is there something else out there that’s currently the hot trend?

Jane: In recent years nonfiction sales overall have increased all around the globe. Partly this is due to current events and the political situation-so you’ll see growth in those categories. But personal development (i.e., self-help and self-improvement) continues to dominate, in both the adult and children’s markets. When I was at London Book Fair last month, a representative from Nielsen said she’d studied the words that are most common in the titles of books forthcoming in 2019. They include inspiration, calm, happy, and mindfulness.

In the current landscape, you might categorize nonfiction publishing growth in two ways: there are books that help you learn and understand the world, but then there are books that help you cope with and escape the world. (And some books are a little of both.)

MWW: If there’s one best piece of advice you’d give an aspiring writer, what would that be?

Jane: Be patient with yourself and your progress.

MWW: And similarly, if there’s one best piece of advice you’d give a writer who’s had some success and is finally on the way?

Jane: Be patient in growing your readership.

 

This intensive is ideal for published authors or about-to-be-published authors, whether self-published or traditionally published. 

Explore how to live a more creative life | with Melissa Fraterrigo | MWW19

Meet fiction author Melissa Fraterrigo

Melissa Fraterrigo is the author of the novel  Glory Days  (University of Nebraska Press, 2017) which was named one of the Best Fiction Books of 2017 by the  Chicago Review of Books ; she is also the author of the short story collection  The Longest Pregnancy  (Livingston Press). Her fiction and nonfiction have appeared in more than forty literary journals and anthologies from Shenandoah  and  The Massachusetts Review to story  South , and  Notre Dame Review . She teaches classes on the art and craft of writing at the Lafayette Writers’ Studio in Lafayette, Indiana.

During MWW19, July 25-26, Melissa will teach  The Write Start: Cultivating Creativity.”  In this session, Melissa explains, “You will learn how to turn your love for the written word into practical experience. Whether you are new to writing, have an idea you are interested in pursuing, or write regularly but need a reboot, in this class we will explore how to live a more creative life.”

On Friday morning, Melissa will teach  Finding Your Personal Essay Through Play” where participants will discover how form can be used to structure personal essays to reveal unexpected insights and create momentum through play. In the afternoon, she will present  Exploring the Novel-in-Stories.” She asks, ” What do  Olive Kitteridge  by Elizabeth Strout, Cathy Day’s  Circus in Winter  and  Winesburg, Ohio by Sherwood Anderson have in common?” The answer: All are novels-in-stories, existing between a collection of stories and a novel. Those attending this session will leave with a clear idea of possible linkages in their fiction and how to build upon these for their own linked collection.

MWW alum and volunteer Stephen Terrell asked Melissa a few interview questions to help us learn a bit more about her as a writer and faculty member.

MWW: When did you first know you wanted to be a writer?

MF: I have always loved writing and penned my first book when I was in the first grade. It was called “The Littlest Pukin” (I think I was inspired by “The Littlest Angel”; pukin was actually supposed to be pumpkin) and I can still remember how glorious I felt flipping the pages of my book, showing it to my parents. I always felt a kinship with words and stories and in many ways, I think I was destined to work with stories in some fashion; only it took me a long time to get to where I am. Despite that, I’ve got to say I have the best job in the world.

 

MWW: What is the Lafayette Writers Studio?  How did it come about? What do you want people to know about the Lafayette Writers Studio?

MF: I taught high school and junior high English for three years after earning my bachelor’s degree. My first job out of college was teaching high school English in a small town in downstate Illinois where the job prospects were few and many of my students were from families that were struggling both financially and emotionally. I really liked my students and loved talking to them about literature, but during that year my grandmother passed and I did some hard thinking about how I wanted to spend my own days. I hadn’t forgotten the desire to be a writer, only I didn’t know how to be a writer and also pay bills.

Somewhere during that first year I told myself to just start writing–just a little bit. I found the more I wrote, the more I enjoyed it. That summer I took at class at the University of Illinois at Chicago–my first fiction class–and met two other women who were also interested in fiction and poetry. For three years we met on a monthly basis to share work with one another and offer each other feedback. I have no doubt that without their support I would not be where I am today. Writers need other writers, and these two friends provided the support and encouragement I so desperately desired.

I love my parents with all my heart, but they were children of parents who survived the Depression. Working toward a degree that would get you a job, which in turn would pay some solid salary mattered more than doing work that fulfilled. Fortunately, I listened to my gut and kept writing, following the thrum of excitement I felt each time I drafted a new story or had an idea for a piece.

I attended Bowling Green State University and met a fantastic cohort of writers and instructors of writing–most of whom I’m in contact with today. This community of writers was essential for building the “literary family” that I craved–folks who were also driven to create worlds from their imaginations. We encouraged each other and continue to do so.  I taught at Southern Utah University, Penn State Erie–all the while working on fine-tuning my short story collection, The Longest Pregnancy was published in 2006. With time, I shifted into freelance writing for different universities. However, I still missed teaching and three years ago established the Lafayette Writers’ Studio to combine my love for teaching with my desire to help others tell their stories. I started my forthcoming novel, Glory Days a few years before I opened the studio.

The Lafayette Writers’ Studio is a place where writers of all experiences and backgrounds can learn about the art and craft of writing in an intimate, encouraging environment. We offer a range of classes from one-night intensives to workshops that last several weeks. It’s really a wonderful place with amazing students from all walks of life.

 

MWW: Working at the Lafayette Writers Studio, what are the three biggest suggestions you have for writers looking to improve their craft?

MF: I encourage writers to read like a writer, and approach texts seeking answers to the questions they have about their own work and craft in general. Every writer is different and as such, no one approach is going to help each and every writer get words on the page. As a result, I encourage students to take the time to get know themselves and their process.

 

MWW: Can you compare the process you go through in writing a short story compared to a novel? What makes one story more appropriate for a short story and another suitable for a more extensive treatment in a novel?

MF: My first book,   The Longest Pregnancy,   was published in 2006. About 1/3 of the book was written as part of my graduate thesis at Bowling Green State University. The stories really were stand alone pieces and I was nearly finished with the book before I started to see how they might fit together. I started my novel,  Glory Days   a few years before I opened the Lafayette Writers’ Studio and the first chapter I wrote for the book–“Teensy’s Daughter” actually appears ¾ of the way through the book. I initially thought I was just writing a story, only after I finished drafting “Teensy’s Daughter” I continued to think about three of the characters–Gardner, Teensy, and his daughter Luann. So I wrote another story with Gardner and Teensy at a much earlier part in their lives and found that I still had more to uncover. I was absolutely fascinated by these characters and once I realized how the town of Ingleside was a part of the conflict of the book, I knew there was a whole novel to be unearthed. So to answer your question, I really think it begins with the author’s own interest in the story and whether it can be sustained.

 

MWW: How do you channel real life experiences in your fiction – or do you? 

MF: I keep a small notebook with me at all times and jot down ideas whenever they strike–it could be an arresting image or a word or lately, a lot of memories from my own childhood. Some writers call this rich content “composting.” Just like you might mix together certain ingredients to make a soil healthy, you can use elements of your life and what you find interesting to create memorable characters and situations.

 

MWW: What are the most satisfying aspects of writing for you? Conversely, what are the most frustrating or difficult aspects of being a writer, and how do you cope with those issues.

MF: I love revision, I love the thrum of a new idea, I find structure immensely satisfying and there is nothing better than discovering a new writer who fuels my work. Yet the days are long and can be rather lonely. It’s important to surround yourself with other writers who can support and encourage you when the work isn’t going the way you initially envisioned.

 

MWW: I’ve seen Glory Days referred to as “Fly Over Fiction,” a term I’ve heard applied to other writing about middle America. Yet when I look at the wish list of literary agents, I never see “flyover” or “middle America” mentioned. Given that this is the Midwest Writers Workshop, do you think there is a place in the current fiction market for “flyover fiction”, that is, fiction that has its roots in the people, places, challenges and values of middle America? 

MF: I actually think there is an increasing interest in the Midwest as a place with its own identity, culture and values, which is quite separate from the coasts. That being said, I don’t sense that flyover fiction or Midwest literature is a concern of the big publishing houses. But smaller indie presses such as Nebraska University Press , Graywolf, Coffee House Press do not offer huge advances and therefore don’t have the same constraints as large publishing houses so they can pursue topics and approaches that appeal to different audiences, and this includes a newfound interest in work that is often overlooked such as flyover fiction.

 

MWW: Rejection is the most common shared experience among most writers. Do you have any advice for dealing with rejection from publications, agents or publishers? 

MF: I think it’s always important to keep in mind why you are writing. Are you writing because you want to become rich and famous? Are you writing to prove to your high school English teacher that you had more potential than the C- he gave you your sophomore year? While all of us dream of sharing our work with a wide audience, I think it’s much more realistic to think that the results of our efforts may not play out the way we imagine. The work you do must be the reward–publication, awards, all of those moments when you and your work are in the spotlight are fleeting. But the work is with you for the long haul. Try not to focus to much on those outside forces you cannot control and instead honor your relationship with your craft and your writing.

 

MWW: What is the best piece of advice you have ever been given about being a writer or about life in general?   What was the worst?

MF: Read everything you can get your hands on and don’t just read your genre–everyone should read poetry! Write! Put yourself on a writing schedule and commit to writing regularly. Even if you are only sitting at your desk twiddling your thumbs, the longer you sit there, the more ideas will come to you. As you begin to take note of those thoughts by jotting them down or mulling them over in your mind, your brain will send you even more ideas. Writing begins with paying attention to your world and your surroundings and choosing to be curious with your own thoughts and reflections. I think writing helps you be your best self-at least that’s what it continues to do for me.

 

MWW: Any last thoughts or comments that you want to share with those considering the MWW19?

MF: Come write with us!

Come to MWW19 and meet Melissa! Register here.

Pitch to Joanna MacKenzie at the MWW Agent Fest

Meet Joanna MacKenzie, literary agent with Nelson Literary Agency  

Joanna MacKenzie joined Nelson Literary Agency in 2017 and is building a list of adult titles in the areas of mystery, thriller, and commercial women’s fiction as well as select young adult passion projects. She loves creepy islands, mysteries set in close-knit communities (if those communities happen to be in the Midwest, all the better), and fierce mom heroines. Joanna is looking for smart and timely women’s fiction where the personal intersects with the world at large, think Emily Giffin’s All We Ever Wanted or Camille Perri’s The Assistants.

Joanna’s Wish List:

Her list includes: mysteries, atmospheric thrillers, women’s fiction, moms with secret lives, anything set on a creepy island (or any island, really), midwestern-set mysteries/thrillers/fiction, re-invention stories (She’d love to find more about women in their 40s and 50s reinventing themselves following tragedy or break-ups). She’d also love to find a Beaches redux (aka friendship stories).

MWW Board Member Dianne Drake interviewed Joanna about her life as an agent and about coming to MWW Agent Fest.

MWW: Could you give us a little background of the agency you represent and the overall philosophy or focus of your agency?

JM: Nelson Literary Agency was found by Kristin Nelson in 2002. We are a full-service agency and though we may look like a boutique agency, we don’t operate like one. We have amazing support staff who, for example, tackle things like royalty statement review and contracts, so agents can focus on their authors.

 

MWW: Because you primarily represent fiction, what makes fiction masterful in your eyes? 

JM: For me, masterful fiction has voice and a sense of place. I want to get swept away, no matter what the genre, and transported to a new locale and I want to go on that adventure with a fascinating host.

 

MWW: Besides “good writing,” what are you looking for right now and not getting? What do you pray for when tackling the slush pile? Conversely, what are you tired of seeing? 

JM: I’m actually getting a lot of great stuff right now! So please keep it coming. I’m always down to confident voice, even if, and sometimes especially if, that voice is unexpected and new to me.  When I pray to the slush pile deity, I specifically ask for the next Tana French.  Or the next  All We Ever Wanted by Emily Giffin or the next  Station Eleven by Emily St. John Mandel. Personally, I’m a little tired of drunk cops down on their luck. I think there’s a fresh way to approach this character.

 

MWW: As an agent who’s being pitched, what do you want to hear in the allotted time? What don’t you want to hear?

JM: I want to hear a clear statement on what I’m being pitched, even if it’s wrong. Tell me you’ve written an 80,000 word thriller that will appeal to fans of Gone Girl, rather than an 80,000 word novel that might be a thriller, but could be women’s fiction and will appeal to everyone who has ever picked up a book. It’s up to me, ultimately, to decide if your comps are right, but I want to hear the clear idea.

 

MWW: What, in general, should a person do to make a good impression during a pitch session and what, specifically, should she/he do to impress you? And, if you like, what doesn’t impress you at all?  

JM: I love it when authors can place their manuscripts on a shelf for me, when they tell me of comparable titles.

 

MWW: Any other advice?

JM: Practice and don’t be nervous. Easier said than done, I know, but I’m here to help and to listen. And I’m a nice Canadian, now Midwestern, person. Also, don’t be afraid to ask questions. It’s rare to have face to face time with an agent.

 

MWW: Also, what do you represent, and do you have preferences within that list? 

JM: I represent commercial adult fiction in the areas of women’s fiction, mysteries and thrillers, as well as select young adult projects. Right now, I’m drawn to female stories of reinvention (women on their second or third acts or finding new direction after a life-altering event); moms with secret lives (think Weeds); and women pushed to the limit who push back (think Widows).  I’m also a fan of Midwest stories as well as creepy islands.

 

Come to the Agent Fest and pitch to Joanna!

Read more about the MWW Agent Fest: May 10-11, 2019.

Register Today!

Click here to register.

Friday 1:00 pm through Saturday 5:00 pm. {$249 / $289 after 4/1/19}

Prepare. Pitch. Publish. #preppitchpub

You want agents. We’ve got agents.

5 ways to rock your writing

Registration for MWW19 is now available!

Here are FIVE ways to rock your writing by coming to MWW19, July 25-27, 2019:

ENJOY NETWORKING OPPORTUNITIES

This is a chance to find your tribe. Network between or during sessions, over lunch, and of course at the evening activities.

 

GET MENTORED BY THE BEST

Learn from a faculty with award-winning bestsellers who will help refine your work and propel your career. Check out the faculty bios.

 

CREATE YOUR IDEAL EXPERIENCE

Choose from dozens of breakout sessions. Stretch yourself and select sessions outside of your comfort zone! Check out the schedule.

 

HONE YOUR FIRST 10 PAGES

The Saturday Intensives offer hands-on editing for your fiction or nonfiction manuscripts.

 

DEVELOP A STRATEGIC LAUNCH PLAN FOR YOUR WORK

Saturday Bootcamp with Jane Friedman, for published authors or about-to-be-published authors, will help you come up with an action plan.

 

Come for the creative energy that is MWW19…

  • Choose Your Genre: YA, Mystery, Middle Grade, Nonfiction, Poetry, Essay, Feature Writing
  • Fortify Your Writing: Editing and Revision, Cultivate Creativity, Form a Writing Habit, Research
  • Cross the Finish Line: Author Platform and Career Development Bootcamp
  • Manuscript Makeovers: Fiction, Nonfiction, Mystery, Romance, plus Nonfiction Book Proposal Workshop

Sometimes you just need to be surrounded by your people, to work on your craft, to get energized.

Come.

See what happens!

What writing will you produce after you leave? What friends will you make to hold you accountable? What impact will you give have on others in the writing community?

**MWW began in 1973 and has years of experience helping writers move forward in their writing journey.**

MWW hotel group rates available.

Register Today!

THREE-DAY: Thursday-Saturday, July 25-27, 2019

  • $399 [includes: Thursday reception, Friday & Saturday morning refreshments, lunches]
  • THREE-DAY REGISTRATION HERE.

TWO-DAY: Thursday-Friday, July 25-26, 2019

  • $289 [includes: Thursday reception, Friday morning refreshments, lunch]
  • TWO-DAY REGISTRATION HERE.

ONE-DAY: Saturday, July 27, 2019. [Intensive Sessions; small class, six-hour master session with an expert]

  • $155 [includes: morning refreshments and lunch]
  • ONE-DAY REGISTRATION HERE