i major morning tracks
CHRISTIAN WRITERS CON FERENCE HEADSTART TRACK CONFERENCE MARCH 25–27, 2015
MARCH 27–31, 2015
CONNECTED
i 2015 mount hermon writers conference
The difference between the right word and the almost right word is the difference between lightning and a lightning bug. —Mark Twain
i major morning tracks We hit the REFRESH button on the Major Morning Tracks i NEW TOPICS i NEW VOICES i New and Improved Format! i Six Major Morning Tracks to choose from and each
one is designed with three parts packed with benefits
In an attempt to eliminate brain freeze and alleviate information overload, participants in all six of the Major Morning Tracks will receive instruction and have an opportunity to apply some of the principles in their own writing during the morning sessions then receive the added bonus of working with their instructor and a published mentor in an afternoon critique group. That’s right! Everyone who participates in a Major Morning Track will reap the benefit of having a mentor. Choose one of six tracks designed for writers at every skill level for your Major Morning Track—Saturday, Sunday, and Monday.
i major morning tracks God’s Discruptive Invitation Into Creative Intimacy
ALLEN ARNOLD Ransomed Heart Ministries
Bring a blank journal or spiral notebook for class activities.
The creative mystery and intimacy of writing with God
Go on the journey with God
i 2015 mount hermon writers conference
i major morning tracks Taking Your Story to the Next Level
DAVIS BUNN Novelist with main or featured selections with every major US book club
OVERVIEW
This fiction track is designed to help bring aspects of your writing into harmony and balance. Too often, commercial success is impeded by over–emphasizing strengths and ignoring weaknesses. A series of questions will be presented which you, the author, can use as a means to locate areas which may need work. The goal is to achieve a higher level of artistic flow, as well as greater confidence in your abilities. This class is intended to allow you, the author, to set down your barriers and your fears, and face your goal of commercial success with a clearer vision. Each issue will be covered individually, and then fit into a cohesive whole.
DAY ONE
Over the past twenty years, a series of books have been written by senior people within the publishing industry. Some of these leaders refer to the goal as blockbusters, others as breakout novels. Yet their focus has all been on answering one question: How can you take your story and make it truly stand out, both to the publisher and to the reader? On the first day we will look at five points which all of these authors, every single one, consider vital.
Following this, we will examine four concepts which tend to trouble many early works of fiction: ii How can I strengthen my point of view? ii What is ‘voice’, and how do I attain this? ii What is a story’s ‘tonal quality’, and how can I make this work for me? ii What makes for a dynamic opening sequence?
DAY TWO
Following on Day One’s final question, we will break the initial part of the novel into its individual components: First sentence, first paragraph, first page, first chapter, second chapter. This is a vital issue when it comes to commercial success. Every editor is looking for an opening sequence that is so strong they can take the first ten pages into a story conference and come out with your contract in hand. They also want to be assured that the reader will be hooked, and stay hooked.
We will then move into the story’s dramatic power. This will lead into an examination of the following issues: ii High concept. ii Story arch. ii Sub–plots. Dilemmas, protagonist, antagonist, and how to make them dance to your tune. This discussion will flow naturally into the structure of characters.
i 2015 mount hermon writers conference
i major morning tracks Taking Your Story to the Next Level
DAVIS BUNN Novelist with main or featured selections with every major US book club
In order to help identify strengths and weaknesses, we will break this down into four essential components: ii What does it mean to create a three–dimensional character, and how is this achieved? ii How can you strengthen your characters through dialogue? ii What makes for a successful description? ii How can you deepen your characters without interrupting the story’s natural flow?
DAY THREE
Following on with this theme, we will begin with an examination of outlining. ii What are the goals? ii What can you expect to attain from this? ii How can you successfully outline and still keep the flame of fresh creativity burning brightly enough to power you through the first draft? At this point it is important to revisit the issue of the story arch. We have set up a series of vital components. Now we need to begin to weave them together, and create a strong and balanced story.
Following on this, we will look at several crucial components of story strength: ii Plot tension. ii Dramatic action. ii Mounting drama through conflict. ii The amazing power of irony. ii We will finish today by examining the role that research plays in strengthening your story. How can you establish a strong grounding in your era and region, without drowning yourself and your reader in detail? Our final hour will include an overview of the classical hero, and what is meant by story archetypes. This is a vital issue for authors who wish to build a high moral concept into their work, because a hero’s primary purpose in fiction is to point the way. Because we live in a strictly post–modern world, we will examine how to successfully weave these classic concepts into stories that fit with the modern readers’ expectations. This will lead to an examination of the spiritual and moral structure within a strong, successful work of commercial fiction. How can you build mystery and appeal into the message? How can the spiritual concept driving your work actually strengthen your story’s commercial potential?
This will be followed by an examination of how to successfully finish your work. ii What makes for a solid climax? ii What is meant by story resolution? ii How do you build a strong finish, yet leave room for a sequel? The day will be concluded by a final weaving together of the various components we have examined together, and seeing how they created a balanced and appealing story: That is, how do you achieve a breakout novel.
i 2015 mount hermon writers conference
i major morning tracks Writing Your Passion In Many Short Forms
DEAN NELSON Dean Nelson, Director of the Point Loma Nazarene University journalism program
DAY 1 What are we doing? Why are we doing it? What is the message? What is the best method to deliver that message?
DAY 2 What do you know? Who do you know? Where do good ideas come from? How much work is involved?
DAY 3 What do writers really do all day? What do we mean by “craft?” How do I get others to take me seriously? How will I know when I’m a “writer?”
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 1: SATURDAY, 9:00–10:30 AM THE ALL–IMPORTANT FIRST PAGE OF A SPECULATIVE STORY A. Boundaries of Speculation and Faith
B. Worldbuilding Complicates the First Page
C. Subgenres: A Fast Tour
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
THE ALL–IMPORTANT FIRST PAGE OF A SPECULATIVE STORY D. What the first page must accomplish
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
THE ALL–IMPORTANT FIRST PAGE OF A SPECULATIVE STORY E. The speculative temptation
F. Showing more with fewer words
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
THE ALL–IMPORTANT FIRST PAGE OF A SPECULATIVE STORY G. First page examples for analysis
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 2: SATURDAY, 11:00–12:00 AM EXTRA SPACE FOR FIRST-PAGE ANALYSIS
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 3: SATURDAY, 4:30–5:30 PM CRITIQUE AND DISCUSSION NOTES
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 4: SUNDAY, 9:00–10:30 AM STORY CRAFTING AND WORLDBUILDING FOR SPECULATIVE FICTION A. The MICE Approaches to Speculative Writing ii Milieu
ii Idea
ii Character
ii Event
ii B. Subgenres in Further Detail
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
STORY CRAFTING AND WORLDBUILDING FOR SPECULATIVE FICTION B. Continuing with the Subgenres
C. Worldbuilding for the Subgenres
1. Science
2. Technology
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
3. History/Politics
4. Culture
5. Religion
6. Genre factors
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 5: SUNDAY, 4:30–5:30 PM CRITIQUE AND DISCUSSION NOTES
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 6: MONDAY, 9:00–10:30 AM VIEWPOINT, HUMAN AND ALIEN A. Person, Depth, Tense
B. Where the Action Truly Takes Place
C. Story Time
D. To Establish Viewpoint in One Paragraph ii Step One ii Step Two ii Step Three
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 6: MONDAY, 9:00–10:30 AM VIEWPOINT, HUMAN AND ALIEN E. Threats to Story Time
F. Putting on the Viewpoint Character’s Glasses
G. Story and Character
H. Setting
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 6: MONDAY, 9:00–10:30 AM VIEWPOINT, HUMAN AND ALIEN I. Threats to Story and Setting
J. The Antagonist’s Viewpoint
K. Skillful Speaker Attributions
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 6: MONDAY, 9:00–10:30 AM VIEWPOINT, HUMAN AND ALIEN K. Extra space for Speaker Attributions
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 7: MONDAY, 11:00 – 12:00 AM Extra space for refining viewpoint
i 2015 mount hermon writers conference
i major morning tracks Writing Fantasy And Speculative Fiction
KATHY TYERS GILLIN Author of two licensed Star Wars novels
WRITING FANTASY AND SPECULATIVE FICTION SESSION 8: MONDAY, 4:30 – 5:30 PM Critique and discussion notes
For further information – e.g. if you’d like me to email handouts
[email protected] www.kathytyers.com i 2015 mount hermon writers conference
i major morning tracks No–Excuses Nonfiction: A Boot Camp for Serious Writers
LYNN VINCENT Author of Heaven is for Real
The F–Word: Overcoming Fear
Why Do I Subject Myself to This Torture?
The 3 P’s: Procrastination, Perfection, Paralysis
Project Life Cycle
True Grit
Banishing the “Muse:” Writing on Demand
Writing as an Act of Faith
Social Engineering
New Math
The One Thing: Honoring Your Calling as a Writer
Curly Washburn: Cowboy Genius
Defining Your “One Thing”
i 2015 mount hermon writers conference
i major morning tracks No–Excuses Nonfiction: A Boot Camp for Serious Writers
LYNN VINCENT Author of Heaven is for Real
Bunker Mentality
Writing for Story
The Bible Tells Us So
How Narrative Drives the World
Conflict, Conflict, Conflict
The (Story) Gospel According to Robert McKee
Is This a Good Story? (How to Tell)
Is This an Article or a Book? (How to Tell)
Reversals of Fortune
Finding Your Act Structure
The Next Level
Working with Scrivener
i 2015 mount hermon writers conference
i major morning tracks No–Excuses Nonfiction: A Boot Camp for Serious Writers
SUSAN MAY WARREN Winner of the Christy, RITA, and Carol Awards
MAJOR MORNING TRACK
Novel Therapy: How to Revise & Self–Edit Story Equation The ONE Question to Rule them all…What is your Dark Moment?
ii Breakup (romance) ii Black Moment & ii Epiphany ii Internal ii External ii Conflict ii HEA Ending ii Final Battle ii Sacrifice ii (character change) ii (Ch ii Goal ii (Noble Quest) What can your character do at the end that he couldn’t do at the beginning?
What can your character do at the end that he can’t at the beginning? (Final Battle!)
i 2015 mount hermon writers conference
If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.
—Toni Morrison
AFTERNOON WORKSHOPS One–hour workshops take place Saturday, Sunday, and Monday afternoons. You choose your focus–– craft, marketing, genre (fiction, nonfiction, children's, screenwriting, devotional....), indie publishing, blogging, etc. Workshop summaries and instructor bios are available at writers.mounthermon.org/program/afternoon–workshops Please note that the workshops listed are subject to change.
CHRISTIAN WRITERS CON FERENCE HEADSTART TRACK CONFERENCE MARCH 25–27, 2015
MARCH 27–31, 2015
CONNECTED
WORKSHOP I
SATURDAY // 1:45–2:45pm
i Writing
MAGNIFICENT MEMOIR ALICE CRIDER
A discussion about what it takes to write compelling memoir, who reads it and why, and what publishers want to see.
What is a memoir?
A well–crafted story about a crucial, often exceptionally difficult, time in someone’s life.
Memoir vs. Autobiography and Narrative Non–Fiction ii Autobiography covers every detail of the author’s life. ii Narrative non–fiction is usually written by a journalist from an omniscient point of view. ii Memoir intimately covers a specific period of time or an experience in the author’s life.
Who reads memoir and why? ii People who want to learn from example rather than being told ii People who want to be transported to another place and experience something beyond their own life
What sets memoir apart from other genres? ii A memoir can be powerful, and full of emotion, and stick with you unlike a book from any other genre. ii Personal connection between author and reader ii Takes readers into a time and place apart from their own life ii A good memoir is a lively, engaging, and share–worthy story ii Contains elements that go beyond “who cares?”
Three basic guidelines for writing memoir:
1. Tell the truth. 2. Create tension. Every page must drive your story forward. 3. Don’t bore the reader. Just because something happens, doesn’t make it interesting. ii Identify strong opening and closing points ii Find and develop a strong central hook that readers can relate to ii Structure your memoir to maximize readability ii Use dialogue and pacing to enhance intimacy ii Approach with honesty and truthfulness ii Build a successful author platform around your memoir What do agents/editors/publishers want to see? ii A query with a strong hook ii A complete, compelling proposal—include sample chapters ii Excellent, vivid writing—an absolute must ii A sensational or highly emotional story ii A considerable platform and/or media attention Suggested Resources Writing & Selling Your Memoir by Paula Balzer The Memoir Project by Marion Roach Smith Writing Down the Bones by Natalie Goldberg Read several different memoirs. Consider joining or starting a memoir book club.
i 2015 mount hermon writers conference
i Writing YOUR BOOK PROPOSAL FROM CONCEPT TO DEAR EDITOR PART 1 (OF 3)
SHARON ELLIOTT
YOUR BOOK PROPOSAL FROM CONCEPT TO DEAR EDITOR – PART 1 OF 3 NOTE: This is a hands–on class. You will use your own book idea and to craft much of your actual book proposal. The class will stick as closely as possible to the day–by–day plan, but the dynamics of each of the first two days may warrant slight changes in all that is covered. Participation in part one is crucial to your understanding of and full inclusion in parts two and three. By the end of our three hours together, you can turn the swirling plan in your head into a solid proposal in your hand that’s ready to submit to a publisher.
Day One ii Welcome! ii The Magic of Storyboarding (History, Benefits, Needs, Technique, Rules) ii Performing the Magic ii Topic ii Objectives ii Benefits ii Distinctives ii Audience ii Author ii Chapter Headings
©2015 Sharon Norris Elliott www.LifeThatMatters.net
[email protected]
i 2015 mount hermon writers conference
i WRITING CRAFTING A CLEAR AND COMPELLING CHARACTER MOTIVATION
SUSAN MEISSNER
What does your protagonist want? (internal and external goals)
Why does he/she want it?
Who or what is opposing him or her?
What will happen if he/she doesn’t get what he/she wants?
What will happen if he/she does?
What is his or her greatest strength?
What is his or her most debilitating weakness?
What does she fear the most?
i 2015 mount hermon writers conference
i Marketing
USING GOOGLE TO FIND YOUR AUDIENCE ONLINE
AMANDA LUEDEKE
THE BOOK ii Title: ii Genre: ii One–liner: ii Major themes:
Major hobbies, pastimes or items of interest that show up in the book:
THE AUDIENCE Is my ideal reader a male or female? How old? Marital status... Education... Denomination/Religion... Political Affiliation… Occupation... What hobbies do they have?
i 2015 mount hermon writers conference
i Marketing:
USING GOOGLE TO FIND YOUR AUDIENCE ONLINE
AMANDA LUEDEKE
What hobbies/life activities of theirs show up in my book?
Are they the ones typically buying the book? (If not, repeat the exercise with the actual book buyer in mind)
PUT KEYWORDS TO USE! Identify your keywords…
USE KEYWORDS FOR: PPC Marketing Copy Metadata Tags Titles (book/blog) Proposals Hashtags Finding your audience…
PAIR KEYWORDS WITH THE FOLLOWING: Message board Forum Book club Blog Tumblr Twitter Goodreads Group Yahoo Group Book Review Women and/or Men Reader(s) Enthusiast(s) Hobbyist(s) Hobby
Amanda Luedeke:
[email protected]
i 2015 mount hermon writers conference
i Marketing
CREATE A BUSINESS PLAN DAVE SHEETS
CREATE A BUSINESS PLAN– THE HIDDEN HAZARDS OF A FIELD OF DREAMS STRATEGY PART 1 Authors have two choices when they write and publish a book…they can either give it away or they can sell it. In any business, one of the first requirements is to have a business plan. Entrepreneurs can’t get venture capital without one. Established companies need one to continue moving in the right direction. What is a business plan? Why does an author need to consider one? How does an author put one together and how might it affect how a traditional publisher might look at their book? ii What is a business plan?
ii Giving books away versus selling them.
ii What are the key components of a business plan?
ii Why is a business plan important?
ii How does an author use a business plan?
ii Business plan case study
ii Does a business plan matter if I am going to be traditionally published?
ADDITIONAL NOTES: authors can impact how their books are sold.
Dave Sheets President/CEO BelieversPress
[email protected]
i 2015 mount hermon writers conference
i Business Sense
LANDMINES IN YOUR BOOK CONTRACT
WENDY LAWTON
A book contract is a legal binding agreement.
Understand what you’re reading.
Grant of Rights
Option Clauses
Out of Print
i 2015 mount hermon writers conference
i Software
USING SCRIVENER TO WRITE AND PUBLISH A BOOK
JAMES SCOTT BELL
Creating
Organizing
Compiling
i 2015 mount hermon writers conference
CHRISTIAN WRITERS CON FERENCE HEADSTART TRACK CONFERENCE MARCH 25–27, 2015
MARCH 27–31, 2015
CONNECTED
WORKSHOP II
SATURDAY // 3:15–4:15pm
i Writing Online
HOW TO HOOK TODAY’S INTERNET USERS
JAMES WATKINS
An article on the BBC’s Web site warns we’re all “turning into digital goldfish.” Internet users now have their attention span of only nine seconds. The article quotes an American Web surfer admitting, “When I’m on the Internet, my attention span is shorter for each thing because there are so many things to choose from.” Another has labeled this syndrome as “Internet ADD” (Attention Deficit Disorder). Recognize the challenges
Write for goldfish
Use great bait
Write with plenty of attitude
Keep the water fresh
Go where the fish are biting
Get a fishing license (Laws of libel and copyright do apply to the Web)
Find more writing resources at: jameswatkins.com |
[email protected]
i 2015 mount hermon writers conference
i Writing
LAUNCH YOUR WRITING CAREER WITH HOW–TO ARTICLES
SALLY STUART
Easiest article to write and sell.
Defining the how–to article.
Some examples.
Openness of the marketplace.
What do you have to offer?
Matching your topic to the right publications.
VII. Discovering sources of ideas.
Specialize or diversify?
Collecting ideas.
Guidelines for various types.
i 2015 mount hermon writers conference
i Writing
LAUNCH YOUR WRITING CAREER WITH HOW–TO ARTICLES
SALLY STUART
Craft–type how–to articles; how to select.
Understanding guidelines.
Importance of proofreading.
Recognizing style issues.
What about sidebars?
Writing how–to/self–help books.
Questions & answers.
A look at some samples.
To obtain a handout prior to the conference, e–mail Sally at:
[email protected].
i 2015 mount hermon writers conference
i Marketing
PLANNING YOUR BOOK LAUNCH: Q & A
DAVIS BUNN
JANET KOBOBEL GRANT
LAURA CHRISTIANSON
Q & A with Davis Bunn, Janet Kobobel Grant, and Laura Christianson You have a book in the works. When should you reveal the cover? What should you include on your author website? Do you have to be engaged on several social networks? Hire a publicist? Run contests with big-ticket prizes? During this panel discussion, you’ll learn insider secrets for planning a successful book promotion.
The Big Shift in Book Marketing ii Why you need to take the lead in marketing your book(s). ii Ideal readers and ideal book buyers are not necessarily the same person. ii What it means to “invest in your readers.”
Your Book Marketing Plan ii What a marketing plan is and why you need one.
Audience Q&A Potential questions you may wish us to address: ii How long before my book comes out should I build my author brand: website/blog, e-mail list, social networks, and direct mail pieces? ii What key elements must I include on my author website? ii How important is public speaking to building my author platform? ii When do I reveal my book’s cover? ii What should I do to promote my book? ii Should I hire a publicist? How do I find the right one? How much should it cost? ii How many Amazon and Goodreads reviews should I shoot for? How do I get people to write reviews? ii What kinds of online book launch activities (contests, giveaways, Kickstarter campaigns, scavenger hunts, etc.) work best? ii How can I establish a good working relationship with the marketing team at my publishing house? What’s “kosher” to ask for and not ask for, in terms of marketing support?
CONTACT THE FACILITATORS: Janet Kobobel Grant Books & Such Literary Management booksandsuch.com/
[email protected] Davis Bunn (aka, Thomas Locke) davisbunn.com tlocke.com/
[email protected] Laura Christianson Blogging Bistro, LLC bloggingbistro.com
[email protected] 425.244.4242
i 2015 mount hermon writers conference
i Writing
BRAINSTORMING YOUR BOOK KAREN BALL
Bring your WIP (Work–in–Progress).
Ground Rules for Powerful Brainstorming
i 2015 mount hermon writers conference
i Screenwriting
THE MECHANICS OF WRITING FOR THE SCREEN
RENE GUTTERIDGE
THE MECHANICS OF SCREENWRITING ii What is a screenplay? ii The Four Building Blocks of a Screenplay ii Shot Heading ii Interior or Exterior ii Location ii Type of Shot ii Subject of Shot ii Time of Day ii Direction ii Introductions ii Descriptions of Characters ii Sounds and Sound Effects ii Visual Effects ii Camera Direction ii Dialogue ii Name of character who is speaking ii The words spoken ii Parenthetical direction ii OS and VO ii Beats ii Transitions ii Dissolves, Fades, Wipes ii Rules to Remember ii Short scenes ii You’re the writer only, not the director, actor, etc. ii Follow the Three Act Structure ii Establish tone, main character, world, theme and situation in first ten minutes ii Movies move visually ii Consider the cost and budget ii Consider artistic choices as well as practical choices
i 2015 mount hermon writers conference
i Screenwriting
THE MECHANICS OF WRITING FOR THE SCREEN
RENE GUTTERIDGE
BARB NICOLOSI’S RED FLAGS FOR SCREENWRITING (USED WITH PERMISSION) Red Flag #1 – Cover page not properly formatted. Red Flag #2 – Anything at all attached to the inside of your screenplay Red Flag #3 – Anything other than your screen story Red Flag #4 – Formatting Red Flag #5 – Mistakes in Grammar and Spelling Red Flag #6 – Consistency errors Red Flag #7 – Trying to do the job of other people in the production process Red Flag # 8 – Ripping off any other movie or book or turn of phrase Red Flag #9 – Don’t give the reader any information that the viewer won’t have. Red Flag # 10 – Using the dialogue to parrot the images and advance the narrative Red Flag # 11 – Adverbs Red Flag # 12 – Writing too many scenes/shots than we need to follow the story
TOOLS OF THE TRADE ii Final Draft $170 ii The Hollywood Standard by Christopher Riley ii Blog by Barb Nicolosi, patheos.com/blogs/churchofthemasses/ ii Act One of Hollywood ii Save the Cat by Blake Snyder NOTES:
Contact Rene at
[email protected] | Renegutteridge.com | On Facebook and Twitter
i 2015 mount hermon writers conference
i Agents
THE NEED FOR AGENTS & HOW TO ACQUIRE ONE
WENDY LAWTON
EVERYTHING YOU EVER WANTED TO KNOW ABOUT WORKING WITH A LITERARY AGENT Why Work with an Agent:
What Should You Look for in an Agent?
How Do a Tell a Good Agent from a Bad Agent?
Before you ask a single question, you should:
i 2015 mount hermon writers conference
i Agents
THE NEED FOR AGENTS & HOW TO ACQUIRE ONE
WENDY LAWTON
What Questions Should You Ask an Agent?
What Will Your Agent Expect of You?
© Wendy Lawton | booksandsuch.com
i 2015 mount hermon writers conference
i Devotionals BREAKFAST WITH YOUR READERS
CHRIS TIEGREEN
WRITING EFFECTIVE DEVOTIONALS I. Before you write ii A. Remember the specs — topic, voice, style, scripture version, etc. ii This not only makes your editor happy; it can actually help your content. ii B. Write when you’re inspired — why writing on assignment isn’t always best. ii C. Remember the goal: a lot of impact in a little space.
II. Keys to effective devotionals ii A. Make one major point — evocative, not informative. ii B. Speak in pictures — God’s favorite language. ii C. Search for “aha moments” — how to make it fresh. ii D. Don’t underestimate your audience — cast a vision, stretch the reader. ii E. Avoid churchy language — words that feel fresh. ii F. Mine good material — the burden of “new truth.” ii F. Ask rhetorical questions — provoking thoughts that linger. ii G. Cultivate depth and insight — you can’t impart what you don’t have.
III. Helpful techniques ii A. Phrasing, rhythm, punctuation, and repetition— dictate the reader’s pace. ii B. Emphasis through questions — “saying” without saying. ii C. Impact statements — sealing a thought in the reader’s mind. ii D. Unexpected directions — keeping readers’ attention with well–placed speed bumps. ii E. Conversational tones — connecting with the reader’s heart.
[email protected] | chris–tiegreen.com
i 2015 mount hermon writers conference
CHRISTIAN WRITERS CON FERENCE HEADSTART TRACK CONFERENCE MARCH 25–27, 2015
MARCH 27–31, 2015
CONNECTED
WORKSHOP III
MONDAY // 1:45–2:45pm
i Writing
HOW TO AVOID A SAGGING MIDDLE IN YOUR NOVEL
SUSAN MEISSNER
Maintaining a high–interest level in the middle of your novel can be a challenge. It’s too soon for the climax and the opening hook is far behind you. Let’s look at some tried–and–true methods for shoring up your novel’s interior structure so that your reader will eagerly keep turning those pages. Here are five key reasons the Middle tends to sag, what to do avoid them and what to do fix them: 1. Weak plot structure
2. Loss of dramatic tension
3. Loss of emotional bond between your characters and your reader
4. Too many bunny trails and fillers
5. Absence of surprises
“Every scene has an EVENT. Every scene has a FUNCTION in the narrative. Every scene has STRUCTURE: a beginning, middle, and end. Every scene has a PULSE.” Sandra Schofield, The Scene Book: A Primer for the Fiction Writer
i 2015 mount hermon writers conference
i Writing YOUR BOOK PROPOSAL FROM CONCEPT TO DEAR EDITOR PART 2 (OF 3) SHARON ELLIOTT
SHARON ELLIOTT
NOTE: This is a hands–on class. You will use your own book idea and to craft much of your actual book proposal. The class will stick as closely as possible to the day–by–day plan, but the dynamics of each of the first two days may warrant slight changes in all that is covered. Participation in part one is crucial to your understanding of and full inclusion in parts two and three. By the end of our three hours together, you can turn the swirling plan in your head into a solid proposal in your hand that’s ready to submit to a publisher.
DAY TWO ii Exploring the Magic ii Focus Group Activity ii Evaluating Books and Titles ii Demystifying the Magic – Writing the Proposal Sections ii Cover Sheet ii Contact Information ii Title Suggestions ii Objective/Mission ii Unique Selling Proposition (Benefits/Distinctives) ii Overview
©2015 Sharon Norris Elliott | LifeThatMatters.net |
[email protected]
i 2015 mount hermon writers conference
i Going Indie HOW TO PRODUCE A WORLD–CLASS E–BOOK WHEN YOU DON’T KNOW DIDDLY
RANDY INGERMANSON
We’ve all heard that indie authoring is hot, but it can be terrifying to newbies. How do you actually produce your e–book? In this practical workshop, we’ll discuss the four main tasks an indie author needs to get done that a traditional publisher would normally do: Editing the book, designing the cover, formatting the e–book, and uploading it to online retailers. By the time we finish, you’ll know exactly how to do these tasks yourself—or how to hire them out to qualified professionals. You’ll be ready to produce your first e–book and start reaping the rewards.
1) Introduction ii Give me your email address and I’ll send you a PDF file with my full PowerPoint presentation for this talk. Or email me at
[email protected]
2) Editing your book ii What can you do yourself? ii The macro edit ii The line edit ii The copy edit ii Proofreading
3) Designing your cover ii Should you do–it–yourself? ii Where to find graphic designers ii How to get the best from a graphic designer
4) Formatting your e–book ii Why wouldn’t you do it yourself? ii The direct–from–Word option ii Scrivener ii Calibre ii Indesign
5) Uploading your e–book to online retailers ii Amazon ii Apple iTunes ii B&N ii Kobo ii Distributors
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i Marketing
REACHING READERS THROUGH THE PUBLIC LIBRARY MARKET
JUDY GANN
INTRO: THE PUBLIC LIBRARY AUDIENCE CONNECTING WITH PUBLIC LIBRARIES ii In Your Neighborhood ii Locating Libraries Outside Your Area
DRESS FOR SUCCESS: HOW TO RISE TO THE TOP OF LIBRARIANS’ SLUSH PILES (handout) INSIDE THE MATERIALS SELECTION PROCESS ii Selection Criteria ii Ordering Seasons
LIBRARIES AND INDIE PUBLISHING PARTNERING WITH PUBLIC LIBRARIES ii Keys to Successful Author Events ii Authors for Libraries (ALA)
TRENDS IN LIBRARY PURCHASING
[email protected]
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i Marketing
CREATE A MARKETING STRATEGY
DAVID SHEETS
Create a Marketing Strategy The Hidden Hazards of the Field of Dreams Strategy Part 2 Authors generally want to sell their books once they are published. How does a book get marketed? How does an author create a plan or help augment the plan that their publisher has built to sell their book? What are some of the hidden hazards to book marketing in today’s changing marketplace. In this session, we will look at some case studies and tactics that every author should consider, whether traditionally or independently publishing their books. What is a marketing strategy?
How does it differ from a business plan?
What are the key components of a marketing strategy?
Why does an author need a marketing plan?
What does ‘discoverability’ mean?
Doesn’t the traditional publisher take care of all of this?
What are some of the Hidden Hazards of marketing books?
Additional notes:
Dave Sheets President/CEO BelieversPress |
[email protected]
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i Blogging
I BLOG, THEREFORE I AM CHRIS TIEGREEN
MAINTAINING YOUR EXISTENCE IN YOUR READERS’ MINDS I. My story ii A. Years of resistance to blogging, social media, web sites ii B. My change of heart — why I blog now ii C. Choices about frequency, purpose, brand
II. Why blog ii A. The market has changed — publishers and publicity ii B. Audiences are transient — but want to be loyal ii C. Reading is relational — developing a connection with your readers ii D. You’re a messenger first, writer second — why you do what you do ii E. It doesn’t have to be difficult — the pace of your conversation
III. How and when to blog ii A. Frequency — how often, how regular, how ii B. Format — tools, platforms, delivery — and what if you aren’t tech–savvy? ii C. Brand — deciding what fits you and what doesn’t ii D. Audience —what do they want? ii E. Content — how to develop material and leverage current events and issues ii F. Guest posts — helping each other out ii G. Creative alternatives when you’ve run out of things to say
IV. What to do with your blog ii A. Audiences are like a mustard seed ii B. Putting yourself out there ii C. Carrying the conversation forward ii D. Building for the future — those names and email addresses matter
[email protected] | chris–tiegreen.com
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i Publishing
BOOK PUBLISHING FROM A TO B (ACQUISITION TO BOOK SIGNING)
ALICE CRIDER
An inside view of book publishing processes from Acquisition to Book Publication. And why traditional publishing is the best idea for most authors (in my opinion!). Alice Crider, Sr. Acquisitions & Development Editor, David C. Cook
What does the acquisition process look like? ii Submissions
ii Waiting for a Response
ii Dealing with Rejection
ii Somebody Wants Me!
ii Contract Offer
Once you accept an offer for publication, then what? ii Contract Negotiations: Advances, royalties, and subrights ii Manuscript Due Date: Diligence, prayer, and caffeine required ii Revisions: red ink, death to adverbs, new brain cells ii Book Cover Designs: visual realities ii Marketing Plans: this little piggy… (if only it was that simple!) ii Publicity Preparations: make way for Oprah (or not)
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i Publishing
BOOK PUBLISHING FROM A TO B (ACQUISITION TO BOOK SIGNING)
ALICE CRIDER
ii Manuscript Proofs: down to the last comma ii Galleys and ARCs: Influencers, endorsements and reviews ii Due Date: the day your baby arrives on your doorstep ii Publication Day: entrepreneurial endeavors and the “narrow window” ii Self–publishing vs. Traditional Publishing: how many hats do you want to wear?
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CHRISTIAN WRITERS CON FERENCE HEADSTART TRACK CONFERENCE MARCH 25–27, 2015
MARCH 27–31, 2015
CONNECTED
WORKSHOP IV
MONDAY // 1:45–2:45pm
i Writing
WOMEN WRITING FOR WOMEN PART 1 (OF 2)
KIM BANGS
Women Writing to Women:
What does God want women to be, to become?
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i Writing
YOUR BOOK PROPOSAL FROM CONCEPT TO DEAR EDITOR PART 3
SHARON ELLIOTT
NOTE: This is a hands–on class. You will use your own book idea and to craft much of your actual book proposal. The class will stick as closely as possible to the day–by–day plan, but the dynamics of each of the first two days may warrant slight changes in all that is covered. Participation in part one is crucial to your understanding of and full inclusion in parts two and three. By the end of our three hours together, you can turn the swirling plan in your head into a solid proposal in your hand that’s ready to submit to a publisher.
Day Three ii Marketing Strategy ii Audience ii Felt Need and Book Mission ii Affinity Groups ii Author ii Platform (in person) ii Social Media ii Endorsers ii Manuscript Status ii Market Research ii Chapter Outline ii Book Project Timeline ii Finding a Publisher ii The Query Letter
©2015 Sharon Norris Elliott | LifeThatMatters.net |
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i Speaking
YOUR NEXT SPEAKING EVENT ROBIN JONES GUNN
Do you have the gift of speaking? Then speak as though God himself were speaking through you. Do you have the gift of helping others? Do it with all the strength and energy that God supplies. Then everything you do will bring glory to God through Jesus Christ. All glory and power to him forever and ever! Amen. I Peter 4:11 NLT 1) Invitation: Pause, Gather Information, Pray
2) Agreement: Signed Contract
3) Details: Book Table, Handouts
4) Follow up: Recording of Talk, Final Payment
5) Evaluation/Suggestions
“The need is not the call; the need is the opportunity.” Oswald Chambers
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i Children’s
INDIE PUBLISH YOUR CHILDREN’S BOOK
ANGELA HUNT
Angela Hunt ii Do yourself a favor and make sure your book is well–written. Follow the blueprints. ii Chapter Books ii Picture Books
Programs and Markets for Your Children’s Book ii CreateSpace/Kindle ii Ingram Spark ii Other, Smaller Markets
Marketing Your Children’s Book ii Social Media ii Schools ii Libraries
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i Marketing
CREATE A SALES STRATEGY DAVID SHEETS
CREATE A SALES STRATEGY – THE HIDDEN HAZARDS OF THE FIELD OF DREAMS STRATEGY PART 3: Sales is a function of marketing. How does a traditional publisher sell books? What is a sales timeline? How does retail buy books? What are the various channels to sell books and how do they work for both traditionally and independently published authors? In this session, we will talk about how this mysterious process works and how authors can impact how their books are sold. How does a sales strategy differ from a marketing strategy?
How do traditional publishers sell books?
How can indie publishers sell books?
What is a sales timeline?
What do retailers expect?
How do retailers buy books?
Are there other markets author can sell to?
Additional notes:
Dave Sheets President/CEO BelieversPress |
[email protected]
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i Screenwriting TURNING YOUR FICTION INTO FILM
RENE GUTTERIDGE
Leaving the Novelist Behind The differences between novels and scripts Embrace flexibility Fine tune the Three Act Structure Avoid these traps:
Some screenwriters are trained to Tools of the Screenwriter vs. Tools of the Novelist ii Novelist
ii Screenwriter Why Your Work Is Not Your Own Thoughts and Description vs. Sight and Sound Can It Be Filmed? The Through Line How does one take a very long book and make it fit into a 90–120 page script? Who wants what? Who or what doesn’t want him or her to have it? What to do with all that POV and Inner Monologue? Michael Hauge’s advice on the matter The Desire and Motivation must be The Ultimate Question of Cost Scenes Actors Equipment Costumes Catering Insurance NOTES:
Contact Rene at | mailto:
[email protected] |
[email protected]
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i Writing Life
STRATEGIES FOR WRITERS WITH NO TIME TO WRITE
JOSEPH BENTZ
If you can relate to the following problem, this workshop is for you: ii You are a good writer who would love to spend more time practicing your craft. The problem is, your day job keeps getting in the way—oh, and so does your family, your church responsibilities, your household chores, and the rest of a list that is too long to mention.
What can you do about it? ii Give up writing? Quit your job? Blame your spouse? Stop going to church? Quit bathing? Let the kids fend for themselves? Cry?
Or is there a better way? ii Writing can fit into even the busiest life, and this workshop will look at proven strategies to make that happen. It will help you overcome the excuses that are holding you back ii Your workshop guide is Joseph Bentz, author–father–husband–professor–Sunday school teacher–shrub trimmer–laundryman–family taxi driver.
I. What is Holding You Back from Writing?
In this section of the workshop, we examine the valid reasons and the sometimes, sneaky, malicious, and false excuses that keep us from writing: 1.
2.
3.
II. What are some strategies to fit more writing into your life than you thought possible? 1. 2. 3. 4.
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i Writing Life
STRATEGIES FOR WRITERS WITH NO TIME TO WRITE
JOSEPH BENTZ
III. How do famous writers increase their writing productivity? 1. 2. 3. IV. Is writing all that matters? How important a place should writing hold in your life? What are you willing to give up?
V. “She wrote how many pages?” How not to hate—or envy—those who write more than you 1. 2.
VI. Questions or Comments? You may reach Joseph Bentz at
[email protected]. His website and blog, Life of the Mind and Soul, can be found at: josephbentz.com.
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CHRISTIAN WRITERS CON FERENCE HEADSTART TRACK CONFERENCE MARCH 25–27, 2015
MARCH 27–31, 2015
CONNECTED
WORKSHOP V
MONDAY // 3:15–4:15pm
i Writing
WOMEN WRITING FOR WOMEN PART 2
KIM BANGS
What issues are hindering women from becoming and embracing all of God’s design?
How do I as a writer writing to women partner with the work of the Holy Spirit to be part of what the Lord uses to help them fully be His beautiful women?
In light of these discussions, I would like to write a book for women about:
Women Writing for Women, Pt. 2
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i Writing
WRITE YOUR NOVEL FROM THE MIDDLE
JAMES SCOTT BELL
The Midpoint and Minor Moment
Pre–Story Physchology
The Transformation
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i Going Indie
MAKING YOUR INDIE E–BOOKS MASSIVELY MORE DISCOVERABLE
RANDY INGERMANSON
We’ve all heard about the superstar indie authors who’ve sold millions of books. The conventional wisdom says that huge sales numbers only happen when your book is “discoverable,” but what is that supposed to mean? In this workshop, we’ll talk about four specific things you can do to make your e–books massively more discoverable. These techniques work—they’ve been battle–tested by numerous indie authors. I’ll show you the amazing results I experienced when I put these techniques into practice myself. I’ll explain why they work. And I’ll explain all the pesky details you need to know to boost the discoverability of your own e–books.
1) Introduction ii Give me your email address and I’ll send you a PDF file with my full PowerPoint presentation for this talk. Or email me at
[email protected]
2) The Two Things You Must Know About Marketing ii Success = ___________ x ___________ x ___________ x ___________. ii Marketing has three phases: __________, ___________, and __________.
3) Discoverability Tip #1 ii Nothing attracts customers like _____________. ii How an indie takes advantage of this.
4) Discoverability Tip #2 ii Nothing engages customers like _____________. ii How an indie takes advantage of this.
5) Discoverability Tip #3 ii Nothing converts customers like _____________. ii How an indie takes advantage of this.
6) Discoverability Tip #4 ii The one thing that converts customers even better is _____________. ii How an indie takes advantage of this.
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i Marketing
WHAT TO DO WHEN YOU DON’T HAVE A PLATFORM
NICK HARRISON
ii Platform defined ii Examples from known authors ii Importance 1. Book Proposal/Pub committee 2. Marketing Department ii How to compensate for lack of platform ii Prayer and the leading of God ii Subject matter (non–fiction), genre (fiction) ii Team–writing with an experienced author ii Write on assignment 1. Make connections at conferences 2. Write what you know ii Self–publishing (including e–books) ii Start your platform slowly while continuing to write ii Ideas for promotion ii Long–term planning ii Discussion and questions
For further questions or copies of the handout, contact Nick at:
[email protected]
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i The Writer
REPLENISHING YOUR WRITER’S WELLSPRING
SUSAN WARREN JUDYMAY MORROW
The result of replenishing your wellspring: new vision, fresh ideas, and rich writing. First things first: vital sources for an overflowing wellspring
1._______________________________________________
2._______________________________________________
Day by day: rich resources to fill and refresh your wellspring 1. ._______________________________________________ offering motivation
2. ._______________________________________________ more than recreation
3. ._______________________________________________ backdrop for creation
4. ._______________________________________________ ideal for inspiration
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i The Writer
REPLENISHING YOUR WRITER’S WELLSPRING
SUSAN WARREN JUDYMAY MORROW
5. ._______________________________________________ needed for restoration
6. ._______________________________________________ for cheers and consolation
7. ._______________________________________________ a place of revelation
8. ._______________________________________________ thoughtful observation
Coming full circle, we end with the beginning: first things first. The words of a man’s mouth are deep waters; The wellspring of wisdom is a flowing brook. Proverbs 18:5 (NKJV)
A treasure trove of additional resources will be available in the extensive handout.
[email protected]
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i Creativity
IMPROVE YOUR WRITING USING THE RULES OF IMPROV
MURPHY FELTON
Introduction to Improv General Common misperceptions
The rules of Improv Agree “Yes, and…” Make Statements There are no mistakes
In Depth Look and how it can impact your writing Agree “Yes, and…” Making Statements There are no mistakes
Test Run of putting it into practice Small group Improv games
Resources and Handouts will be available at the session or by emailing me at
[email protected]
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i Self–Editing
USING GOOD GRAMMAR TO HOOK AN EDITOR
DAN KLINE
Even one small goof in your opening paragraph can doom your Great American Novel to the reject pile—before the editor ever gets to the really good parts! When is the last time you studied English grammar; I mean, really nailed down those oddball rules and exceptions? Do any of them still apply…or help? Remember “I” before “E” except after “C” or when sounded as “A” as in “neighbor” and “weigh”? Does that mean “science” is misspelled? Or “financier”? What about “height” and “seize” and “forfeit”? Is there a way to remember how to spell those? What’s the difference between “affect” and “effect”? And “insure” versus “ensure”? Are “discreet” and “discrete” optional spellings, like “canceled” and “cancelled”? Is one a misspelling, or do they actually mean different things? When do you hyphenate prefixes? Is “resign” different from “re–sign,” “release” from “re–lease”? When is “3” a number and when is it a word? Is it a prefix or a word in “a 3–year residency”? Should a question mark be outside the quotes, as in that last example? And what words are important enough to be capitalized these days? Even “president” isn’t always capitalized in the modern press. Do you drop the last comma before “and” in a series? Do you space just once after a period now? What’s the deal? Whatever it is, you must know. Editors aren’t there to correct your spelling, punctuation, capitalization or other grammar errors. If you want to be published, you have to be professional, ready for The Big Time. So just how good are you at modern American grammar? Take this quick and easy one–hour workshop to learn just where you stand on grammar and usage these days. Then decide what more you will do to make sure your writing conforms to what editors expect. PS: If you take the class, please also free to catch me on campus during the conference if you have grammar questions or issues we did not have time to cover for you during the class. I’d be happy to continue to help you settle those issues once and for all; of course, it might cost you a cup of coffee if the “session” takes more than 15 minutes…
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