Category Archives: The Fictorians

In Conclusion…

Business Colette Black Conventions Networking 5 Comments

Hey all,calendar_25

We’ve had a great time talking about conventions, conferences, workshops, and seminars throughout the month. We hope you’ve enjoyed the ride. I wanted to take a minute and summarize our posts for the month as well as mention a couple of venues that didn’t quite fit into our schedule:

Some local conventions:

The big babies:

Workshops and seminars:

  • Superstars Writing Seminar (mention fictorians when you sign up and receive a free, autographed copy of one of Kevin J. Anderson’s books)-Colorado in May
  • Caravel Writing Workshop (6-day cruise with David Farland, Kevin J. Anderson, Rebecca Moesta, and Grammar-girl Mignon Fogarty; from Vancouver B.C. to San Diego)-October
  • David Farland’s Writing Workshops (mention fictorians when you sign up and get $20 discount or dinner with Dave)-throughout the year, most in Utah, but not all
  • Dean Wesley Smith Workshops (online also available)-Oregon, varying dates

These aren’t all the workshops and conferences in existence. There are many more. But these are the ones fictorians members have either attended or heard good things about. As you plan your year, and plan your goals for the year, we hope this list can help.

Stay tuned next month as we talk about romance in writing: levels of heat, as a main plat and a sub-plot, where to get information and instruction, writing different types of relationships, relationship conflicts…. It’s going to be a good month.

Novel Rewriting Workshop and Other Dave Wolverton Semimars

Conventions First Drafts Giveaways Nancy Greene Rewriting Superstars Writing Seminars The Writing Life 5 Comments

Did you every have one of those stories that you know “missed it by that much”? I did. While there were some obvious fixes I knew I needed (like beefing up my descriptions), there was a fundamental flaw in the story that I couldn’t get my hands around. The story was sick and needed help. So, I took my baby to a professional.

Let me back up for a second, the story I’m talking about is my trunk novel. I’ve been picking at it for far too long. The first draft was well over 300,000 words. I know. I know. So, I broke it into three books. The problem was that the first book’s story arc was high on the Character quotient of Orson Scott Card’s MICE scale. For those who don’t know, I’m going to vastly oversimplify this. Card broke stories down to four archetypes – Milieu (setting), Issue, Character, and Event.  A character story is mostly concerned with the character’s internal journey. So, the book ended when my main character transitioned from spoiled, self-centered twit to taking responsibility for the greater community, and before the promisDavid Farlanded big battle.  A lot of the comments I received was that “nothing happened” in the story. So, books one and two became book 1. But I still had what I called a “pacing” problem. I didn’t know how to fix it. Hence, the trip to the book doctor.

The book doctor of choice and the stated course of therapy? David Farland’s Novel Rewriting Seminar. Dave is a New York Times Bestselling writer who has been translated into many languages and trained a number of #1 New York Times bestsellers, like Brandon Mull, Brandon Sanderson, and Stephenie Meyer.  His latest novel, NIGHTINGALE, has won eight awards. So, the ability to hear him speak, much less take a class from him, is an amazing opportunity.

This seminar focuses on editing. In order to attend, you have to submit a sample to Dave and be accepted. You’re committing to a lot of homework, both before and during the workshop. We had a reading list which ensured all participants were starting with the same base knowledge.

All participants send in the first 100 pages and a synopsis of their stories. Part of the pre-seminar homework is to read the first 20 pages and synopsis of the other workshop stories. Getting to read and critique other stories, when you do so honestly, is a learning experience. What do I mean by “critiquing honestly”? I mean not cutting down a story just to cut it down. Your plan should always be to help the writer improve the story. realizing that your comments are just your opinion and you’re not any smarter or better than any other writer. Use critiquing as a way to help someone, but also as a means of seeing what you are doing that might be hurting your own writing.

The work doesn’t end when you get to the workshop. This isn’t a seminar where you can sit back and zone out. Each day, we went over two or more of the workshop stories, discussed story structure and elements, and were given homework that applied the topics discussed. We each left with 10 other perspectives on our story. Another fabulous excercise we did was disecting the story-telling elements in The Hunger Games movie. Many of the workshop participants would go out to lunch or dinner together. We built a community there.

Each participant meets with Dave to go over his comments on the first 100 pages of your novel. I have to say the time spent with Dave was worth far more than the price of admission. Not only is he a genuinely wonderful person, but he has so much insight and experience over the entire entertainment industry. I could have spent hours talking to him about everything from game design to movie making to publishing, and barely dipped my toes in the well of information and experience that he has.  Dave pointed out some of the things I knew needed work – my descriptions of places and people were thin. But he also articulated the bigger problem I was having, and a way to address it.

What was the best thing about the workshop? That’s a hard question. The people I met there are wonderful. The knowledge I gained was invaluable. But, I have to say the best thing about the workshop was leaving knowing what I had to do, and that I could accomplish it.

Dave has a workshop for whereever you are in your writing career. He has a host of new writing classes scheduled for 2013 available at www.davidfarland.com/writing workshops.  These range from his new Short Fiction Master’s Class, to his Million-Dollar Outlines, Novel Revision class, and Fiction Mastery Class. While there is some overlap between the seminars, each focuses on a different aspect of the craft of writing. I can’t wait to attend some of the other ones.

As if the workshops weren’t  cool enough, if you go to to any of his workshops and mention that “I heard about it through the Fictorians,” Dave will buy you a free dinner with him (if time allows), or he’ll give you $20.

If you have the choice between dinner with Dave or $20, take the dinner. Every time.

So please check out his workshops here.

Sail To Success – a unique Writing Workshop

Conventions Craft & Skills Frank Morin Publishing 2 Comments

Any of you trying to decide whether to take that cruise to the Bahamas or attend a writing workshop?  Well, now you can do both!  The Sail to Success writing workshop combines the awesome vacation experience of a Bahamas cruise with a professional level writing workshop.

I attended this year’s first-ever workshop, and it was well worth the cost, which was higher than some other venues, given that we combined a vacation with a small group workshop with top talent.

When I heard about the Sail to Success writing workshop, I had to go. Not only was the venue uniquely enticing (I’d never cruised before), but the line-up of faculty presenting to the small group was outstanding. Presenters included:

Wow. And the reality lived up to the expectation.

The workshop proved extremely productive, although being on a cruise ship proved to be a challenge as well as a great benefit.  It was a little difficult to focus on class time while the ship was docked in Freeport or Nassau.

The class schedule was intensive: from 8 AM to noon, and from 6 PM to midnight most nights. We managed to slip ashore in the afternoons, but lacked the time for extensive excursions like scuba diving (we had to return to the ship by 4:30). Luckily, my wife came along since the purchase included cruise for two, and she vacationed for both of us while I sat in class.

I didn’t mind. The classes were excellent. Not only did we receive excellent instruction on craft from Nancy Kress, but we learned from these long-time, successful professionals about the nuts and bolts of the publishing business.

The highlights of the class were the critique sessions from Nancy Kress and Toni Weiskopf. Nancy reviewed samples of our writing from an editor’s perspective, and provided wonderful feedback. Toni reviewed other samples from her perspective as a purchasing editor. What a rare opportunity to sit with a publisher and see exactly how they look at your work. It proved enlightening, and a little scary.

Toni receives over a thousand manuscript submissions per month. When she considers those submissions, she’s not looking for reasons to like a manuscript. She’s looking for any excuse to stop reading, and to give that submission the dreaded “red mark of doom’. It might come in the first paragraph if she sees it’s not the type of story they’re looking for, or it might come on page two when she finds herself confused, or sees too many grammatical mistakes. If she can’t find a reason to throw the manuscript away quickly, then it just might be a work she’d consider reading further.  Of the fifteen students in the class, only three of us earned that distinction, which was a rare moment of validation.

The only complaint about those critique sessions was the lack of time. Given the time constraints, feedback was limited to 7-10 minutes per manuscript. It just wasn’t enough time.  However, in 2013 the program will be structured slightly different.  Each student will select if they want a critique from Nancy or from Toni, not both, although all students will get to sit in on both critique sessions and hear the reviews of all of the submitted works.  That should allow for more time per submitted work.

So overall, this workshop proved well worth the investment in time and money, and I strongly recommend it to anyone who’s a serious aspiring writer.

 

Who Wants to Go to Worldcon?–Me, Me, Me!

Conventions Leigh Galbreath Publishing The Writing Life WorldCon 2 Comments

lonestarcon3So, we’ve been talking about workshops, seminars, and conventions this month, and we couldn’t possibly go without mentioning Worldcon. With the World Fantasy Convention (WFC), this is one of the big ones for writers starting out. There is no cap for Worldcon, as there is for WFC, so this convention has a higher guest count and a much higher fan to writer ratio. It’s not as intimate an atmosphere (if you can call 750 people in one hotel intimate), but it’s a very good place to go for new authors.

At a workshop I went to a few years ago, Pyr editor, Lou Anders, said that if you’re looking for a publisher and/or agent, go to WFC. Once you get a publisher and/or agent, go to Worldcon.

I’ll be honest. I’ve never attended a Worldcon in the past, but this year, it’s in my back yard, so to speak, so I’m totally planning to go. In addition to the huge amount of programming they have every year, there are plenty of parties to attend and lots of pros to meet running around the place.

Hugo Award winning author Mike Resnick wrote a great guide for beginners attending Chicon7 (this past year’s Worldon). It’s a really good read for those, like me, who will be attending for the first time, no matter what year you’re going. The official site also has some advice for first time goers here.

Here’s the skinny on Worldcon 2013, or as it’s been titled, LoneStarCon3:

  • This year, the convention will be in San Antonio, Texas, August 29-September 2, 2013.
  • Membership is $200 for an adult attending membership until April 30, 2013. More info can be found on their membership page.
  • There are two host hotels right on the San Antonio Riverwalk. Bookings opened on the website today, January 21, 2013. The Riverwalk is a major tourist attraction, so the prices can be a little high for many people ($154 for single/double occupancy; $175 for triple/quad). But there are plenty of other hotels in the vicinity that are a little more affordable, and it’s always a good idea to bring a friend or two to cut costs.
  • Programming isn’t up yet, of course, but there’s always a huge amount to see and do. On the programming page there are links to the programming from previous Worldcons. Check it out to see what you might be looking forward to.
  • In addition to the programming and parties, there’s also a writer’s workshop, if you want spend some time with a couple of pro authors working on your craft while you’re at the con. According to the workshop page, there’s a fee of $15 to reserve a spot. Reservations open in July.

As for me, I have to say, I’m already kinda jazzed to go this year. Since it’s open to everyone, I can actually convince some of my friends who don’t write to go with me, and the wealth of pros going is always a great draw. And since it’s only a few hours drive from my house, I won’t have to shell out big bucks for airfare, which is always a plus. Honestly, just taking a look at the official site makes it seem like there’s entirely too much to cover everything, but we’ll surely have a ton of fun trying.

So, anyone gone to a Worldcon before or going this year? Share what you’ve enjoyed in the past and/or are looking forward to this year. Help us first-timer’s figure out what to get ready for.

See ya there!