New member looking for authors who write urban fantasy and the fantasy genre
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Announcements Did you know there are genre groups at SavvyAuthors?
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Instructor Spotlight: Steve Shrott
- By alexj
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What started you on a path to publication?
When I was going to school, I used to make my friends laugh, and I thought maybe I could write humor. So I sent jokes out to many comedy performers. Over time I sold a lot of material.
I wanted to expand what I could do so I began writing short stories. The first ones were just funny. But unfortunately there were few publications that published funny tales. Since I read mystery, horror and sci-fi, I decided to combine those genres with humor. That worked, and I’ve since sold a lot of those types of stories. as well as many serious ones. Eventually, I delved into other areas such as screenplay writing and novels.
What is the biggest lesson that you learned about writing or publishing?
I always thought that if you wrote something that one person loved, then that meant everyone would love it. But I soon learned this was not the case. Publishing is based on opinion and not everyone will have the same idea about what makes a great story. I remember a magazine rejected a tale I wrote and sent it back with many comments about what was wrong with it.I disagreed with most of what the publisher said so the next day, I sent it to a higher level publication. It sold!
What’s your core philosophy when it comes to teaching writing?
My core philosophy is that you learn by doing. Yes, you can read one of my lectures, and have some knowledge about a strategy that I teach. However, in my opinion, the way you really learn, is to do an exercises that I have at the end of each lecture. This will cement the technique into your mind, and also allow you to know if it’s useful for your future writing.
What can students/registrants expect to take away from your workshops?
I teach seven courses for Savvy Authors from, humor writing to, how to write a page-turning novel. My goal with every course is to make them as interesting and fun as I can. But I also try to make them practical.
I think a key element that students take away from my workshops is that if you want to improve you have to write a lot. The author, Malcolm Gladwell has said it takes ten thousand hours to be an expert at anything. To me, this applies to every aspect of writing. If you are trying to come up with ideas for a novel or short story, you should write as many as you can. Generally, the more creative ones will appear at the end.
The same holds true in writing short stories and novels. Try different versions of the scenes you’ve written, as well as the opening, and ending. Maybe you can make them better. Of course this idea of 'writing more,' also applies to the number of short stories or novels you write. When you do more of them the quality improves. If you examine the first novel of an author and a more recent one, you can definitely see the difference.
How do you approach giving constructive feedback without discouraging a student?
I never want anyone to be discouraged in my classes and I try to create a very positive atmosphere. Learning anything new is difficult so if someone just attempts one of the exercises, I feel it’s a win. When I review student’s work I always explain what they did right, and what might require a little improvement. Then I give them examples of how I might do the assignment.
Is there a common writing “rule” that you think is okay to break—and why?
To me, writing is about experimentation and rules can sometimes hold you back from attempting something different. On the other hand, I also believe that you shouldn't throw out rules just because you don't like them. One rule I personally don’t believe in is 'writing only what you know.' To me that is very limiting. How would we write a book about angels or what it’s like to be on a planet where everyone has six arms? Of course some stories do require you to do research. But, nowadays, with the internet, and the library, that’s easily done.
Website: Steve Shrott Mystery and Comedy Writer - Home
Facebook: Log into Facebook
Goodreads: Books by Steve Shrott (Author of Crime & Mystery Short Stories)
Steve Shrott is an award winning short story writer whose tales have appeared in Sherlock Holmes Mystery Magazine, Mystery Weekly, and Black Cat Mystery Magazine. In Flame Tree Press's hard cover volume, Steve's story, The House, appears alongside tales by Author Conan Doyle and Charles Dickens. His work is also in the Anthony Award-winning 2021 Bouchercon Anthology, This Time For Sure, as well as in the recently released Malice Domestic Anthology, Mystery Most Humorous. Two of his comedic mystery novels have been published (Audition for Death and Dead Men Don't Get Married,) and some of his jokes are in the Smithsonian Institution. Steve has also worked in several other areas of the entertainment industry.
When I was going to school, I used to make my friends laugh, and I thought maybe I could write humor. So I sent jokes out to many comedy performers. Over time I sold a lot of material.
I wanted to expand what I could do so I began writing short stories. The first ones were just funny. But unfortunately there were few publications that published funny tales. Since I read mystery, horror and sci-fi, I decided to combine those genres with humor. That worked, and I’ve since sold a lot of those types of stories. as well as many serious ones. Eventually, I delved into other areas such as screenplay writing and novels.
What is the biggest lesson that you learned about writing or publishing?
I always thought that if you wrote something that one person loved, then that meant everyone would love it. But I soon learned this was not the case. Publishing is based on opinion and not everyone will have the same idea about what makes a great story. I remember a magazine rejected a tale I wrote and sent it back with many comments about what was wrong with it.I disagreed with most of what the publisher said so the next day, I sent it to a higher level publication. It sold!
What’s your core philosophy when it comes to teaching writing?
My core philosophy is that you learn by doing. Yes, you can read one of my lectures, and have some knowledge about a strategy that I teach. However, in my opinion, the way you really learn, is to do an exercises that I have at the end of each lecture. This will cement the technique into your mind, and also allow you to know if it’s useful for your future writing.
What can students/registrants expect to take away from your workshops?
I teach seven courses for Savvy Authors from, humor writing to, how to write a page-turning novel. My goal with every course is to make them as interesting and fun as I can. But I also try to make them practical.
I think a key element that students take away from my workshops is that if you want to improve you have to write a lot. The author, Malcolm Gladwell has said it takes ten thousand hours to be an expert at anything. To me, this applies to every aspect of writing. If you are trying to come up with ideas for a novel or short story, you should write as many as you can. Generally, the more creative ones will appear at the end.
The same holds true in writing short stories and novels. Try different versions of the scenes you’ve written, as well as the opening, and ending. Maybe you can make them better. Of course this idea of 'writing more,' also applies to the number of short stories or novels you write. When you do more of them the quality improves. If you examine the first novel of an author and a more recent one, you can definitely see the difference.
How do you approach giving constructive feedback without discouraging a student?
I never want anyone to be discouraged in my classes and I try to create a very positive atmosphere. Learning anything new is difficult so if someone just attempts one of the exercises, I feel it’s a win. When I review student’s work I always explain what they did right, and what might require a little improvement. Then I give them examples of how I might do the assignment.
Is there a common writing “rule” that you think is okay to break—and why?
To me, writing is about experimentation and rules can sometimes hold you back from attempting something different. On the other hand, I also believe that you shouldn't throw out rules just because you don't like them. One rule I personally don’t believe in is 'writing only what you know.' To me that is very limiting. How would we write a book about angels or what it’s like to be on a planet where everyone has six arms? Of course some stories do require you to do research. But, nowadays, with the internet, and the library, that’s easily done.
Website: Steve Shrott Mystery and Comedy Writer - Home
Facebook: Log into Facebook
Goodreads: Books by Steve Shrott (Author of Crime & Mystery Short Stories)
Steve Shrott is an award winning short story writer whose tales have appeared in Sherlock Holmes Mystery Magazine, Mystery Weekly, and Black Cat Mystery Magazine. In Flame Tree Press's hard cover volume, Steve's story, The House, appears alongside tales by Author Conan Doyle and Charles Dickens. His work is also in the Anthony Award-winning 2021 Bouchercon Anthology, This Time For Sure, as well as in the recently released Malice Domestic Anthology, Mystery Most Humorous. Two of his comedic mystery novels have been published (Audition for Death and Dead Men Don't Get Married,) and some of his jokes are in the Smithsonian Institution. Steve has also worked in several other areas of the entertainment industry.
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Announcements New FREE On-Demand Video: Prayer in the Plotline with Stephanie Spann
- By RJ Garside
- Announcements
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Instructor Spotlight: Jodi Henley
- By alexj
- Announcements
- 0 Replies
What do you wish someone would’ve told you about writing or publishing?
I was at the NY RWA conference when Amazon was refused space and had to do its presentation in a coffee shop in the basement. I wish someone would have told me to jump on the bandwagon. I mean, they "did" but I wasn't listening. What is the biggest lesson that you learned about writing or publishing?
Sometime later, I got a job as an acquisitions editor for a small press. Until that point I'd been head down, studying, devouring books, workshops and lectures, talking to anyone who could possibly help me get better and more importantly, get published. Then I opened my first query letter and my head exploded. The biggest thing I've learned about writing is like the late, great editor, Hilary Sares of Kensington once said, "writing by committee makes everything sound homogenous.
What piece of information do you want to pass on to authors?
Know how things work, then trust yourself. Alpha and beta readers, editors and critique circles are only as good as their skill sets, and can sometimes have internal prejudice, or a strong preference for the way they think things should be. At a certain point, you need to be true to yourself even if how or what you're writing isn't on trend or doesn't fit current best practices. Every query letter I read when I was working for that small press--and I literally read hundreds of them--started with a question. That's like every contemporary romance featuring a secret baby, or every space marine going on a "bug hunt'. Yes, readers want secret babies and bug hunts, but not all of them.
Why do you like teaching authors?
Craft of writing is my passion. It's what I like, it's what I do, and it's why I got into editing. I'm an INTJ. I dissect and work with systems for fun. I teach to learn and understand, and I've been teaching for a long time. I love the mechanics behind it all and it makes me happy when I can share how things work and see people use it as a part of their own systems.
What’s your core philosophy when it comes to teaching writing?
I can tell you. And most of the time I'll try to show you. But no teaching method is universal. Sometimes there is a disconnect, either in the way I'm teaching because it doesn't sync with you. Or I'm assuming knowledge you don't have, or something just doesn't click. But I never, ever want to be that person who puts up a workshop and drops by to say "Great job!" I want to know you know. I want to see you understand. And I want you to see how well the tools work based on "your" input. If that means I need to write a ten page answer or put each tool through its paces so you understand the mechanics, I have no problems with it. From the minute I presented my first workshop back in '09, I promised myself that I would never give a low effort answer, because I took workshops, and I remember what it's like to be on the receiving end.
What do you believe is the most important thing a writing student should walk away with?
Whatever they came for. That's why I always ask. And if they answer, I try to make sure they get it. Workshops are a two way street. The more you interact, the more you get.
How do you approach giving constructive feedback without discouraging a student?
I work with a lot of complex concepts, and I "know" they're complex. I also know understanding something and applying it are totally different. That's why I appreciate even a half-hearted attempt, because it lets me see where the disconnect is, and it gives me some of their work to create an example. People work better when they understand WIFM, or what's in it for me, and how to get from point A to point B, not with generic examples, but with their own work. I never say something is wrong or bad or isn't meeting expectations. I show how they can use the tool and whatever they've done up to that point to get to the next step or the end. Sometimes it's a conversation (or a long conversation) and that's okay too.
How has your own writing influenced the way you teach?
I like to think it's more the workshops I took that influenced how I teach. I remember getting a one word answer in the first workshop I ever paid for, and I remember getting no response in many others. Yes, I'm a talker. I tend to ramble and tell really long stories to explain my points, but I'm trying to model the behaviors I wish I could have seen from my instructors when I first started out. I am a character-driven writer, so I tend to look at writing through the lens of character, conflict and structure rather than plot, but I try to be self aware and keep myself out of what's in a student's best interests or preferred writing styles.
Is there a common writing “rule” that you think is okay to break—and why?
I think there are a lot of common writing "rules" that are okay to break. Nothing I teach is a rule, because I don't believe in rules. I believe in tools, and if one doesn't work for you, I believe you should use a different one. Rules put constraints on writing, whereas tools help you to accomplish a task. I do think you need to follow the rules of grammar, for the most part. But in general, it's like vampires. You know how back in the day it was all Bram Stoker, and everyone "knew" vampires meant Dracula and evil blood-sucking monsters who came in through the window unless you had garlic or a crucifix? Then Christine Feehan came along and said, "No. Vampires are brooding, incredibly hot Carpathians trying to find their mates and have children so they can save their species from extinction. And it was like that for a very long time, until Kenyon came along and said, "Vampires are ancient warriors who live in New Orleans and were cursed by the goddess Arttemis. They aren't trying to have children, but they are fighting an eternal war against the Daimons." Then still later, J R Ward came along and said, "No! Vampires dress in black leather, drive Escalades and listen to rap." Rules are only rules until they're not. Pick the ones that work for you and ignore the rest.
Bio
Jodi has been an editor since 2009 and a developmental editor since 2011. After editing more than three hundred stories, She's put theory into practice for almost two decades.
I was at the NY RWA conference when Amazon was refused space and had to do its presentation in a coffee shop in the basement. I wish someone would have told me to jump on the bandwagon. I mean, they "did" but I wasn't listening. What is the biggest lesson that you learned about writing or publishing?
Sometime later, I got a job as an acquisitions editor for a small press. Until that point I'd been head down, studying, devouring books, workshops and lectures, talking to anyone who could possibly help me get better and more importantly, get published. Then I opened my first query letter and my head exploded. The biggest thing I've learned about writing is like the late, great editor, Hilary Sares of Kensington once said, "writing by committee makes everything sound homogenous.
What piece of information do you want to pass on to authors?
Know how things work, then trust yourself. Alpha and beta readers, editors and critique circles are only as good as their skill sets, and can sometimes have internal prejudice, or a strong preference for the way they think things should be. At a certain point, you need to be true to yourself even if how or what you're writing isn't on trend or doesn't fit current best practices. Every query letter I read when I was working for that small press--and I literally read hundreds of them--started with a question. That's like every contemporary romance featuring a secret baby, or every space marine going on a "bug hunt'. Yes, readers want secret babies and bug hunts, but not all of them.
Why do you like teaching authors?
Craft of writing is my passion. It's what I like, it's what I do, and it's why I got into editing. I'm an INTJ. I dissect and work with systems for fun. I teach to learn and understand, and I've been teaching for a long time. I love the mechanics behind it all and it makes me happy when I can share how things work and see people use it as a part of their own systems.
What’s your core philosophy when it comes to teaching writing?
I can tell you. And most of the time I'll try to show you. But no teaching method is universal. Sometimes there is a disconnect, either in the way I'm teaching because it doesn't sync with you. Or I'm assuming knowledge you don't have, or something just doesn't click. But I never, ever want to be that person who puts up a workshop and drops by to say "Great job!" I want to know you know. I want to see you understand. And I want you to see how well the tools work based on "your" input. If that means I need to write a ten page answer or put each tool through its paces so you understand the mechanics, I have no problems with it. From the minute I presented my first workshop back in '09, I promised myself that I would never give a low effort answer, because I took workshops, and I remember what it's like to be on the receiving end.
What do you believe is the most important thing a writing student should walk away with?
Whatever they came for. That's why I always ask. And if they answer, I try to make sure they get it. Workshops are a two way street. The more you interact, the more you get.
How do you approach giving constructive feedback without discouraging a student?
I work with a lot of complex concepts, and I "know" they're complex. I also know understanding something and applying it are totally different. That's why I appreciate even a half-hearted attempt, because it lets me see where the disconnect is, and it gives me some of their work to create an example. People work better when they understand WIFM, or what's in it for me, and how to get from point A to point B, not with generic examples, but with their own work. I never say something is wrong or bad or isn't meeting expectations. I show how they can use the tool and whatever they've done up to that point to get to the next step or the end. Sometimes it's a conversation (or a long conversation) and that's okay too.
How has your own writing influenced the way you teach?
I like to think it's more the workshops I took that influenced how I teach. I remember getting a one word answer in the first workshop I ever paid for, and I remember getting no response in many others. Yes, I'm a talker. I tend to ramble and tell really long stories to explain my points, but I'm trying to model the behaviors I wish I could have seen from my instructors when I first started out. I am a character-driven writer, so I tend to look at writing through the lens of character, conflict and structure rather than plot, but I try to be self aware and keep myself out of what's in a student's best interests or preferred writing styles.
Is there a common writing “rule” that you think is okay to break—and why?
I think there are a lot of common writing "rules" that are okay to break. Nothing I teach is a rule, because I don't believe in rules. I believe in tools, and if one doesn't work for you, I believe you should use a different one. Rules put constraints on writing, whereas tools help you to accomplish a task. I do think you need to follow the rules of grammar, for the most part. But in general, it's like vampires. You know how back in the day it was all Bram Stoker, and everyone "knew" vampires meant Dracula and evil blood-sucking monsters who came in through the window unless you had garlic or a crucifix? Then Christine Feehan came along and said, "No. Vampires are brooding, incredibly hot Carpathians trying to find their mates and have children so they can save their species from extinction. And it was like that for a very long time, until Kenyon came along and said, "Vampires are ancient warriors who live in New Orleans and were cursed by the goddess Arttemis. They aren't trying to have children, but they are fighting an eternal war against the Daimons." Then still later, J R Ward came along and said, "No! Vampires dress in black leather, drive Escalades and listen to rap." Rules are only rules until they're not. Pick the ones that work for you and ignore the rest.
Bio
Jodi has been an editor since 2009 and a developmental editor since 2011. After editing more than three hundred stories, She's put theory into practice for almost two decades.
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Instructor Spotlight: Robin Jeffrey
- By alexj
- Announcements
- 0 Replies
How long have you been writing?
I’ve been writing with an eye to publishing for about fourteen years, but I’ve been a scribbler of stories ever since I was a little kid! Whether it was my own Nancy Drew mysteries or short stories about murderous neighbors, I’ve been writing every chance I can get throughout my life. I just can’t seem to stop! Thank goodness.
What piece of information do you want to pass on to authors?
I think the information I most want to pass on to authors is that you’re never too late. It’s never too late to start writing, to improve your writing, to try writing something new, to try your hand at publishing, at querying – whatever it is you’re thinking of doing in the writing space, it is NOT too late. The only time it’s too late is when they’re lowering the lid of your coffin. Until then, seize the moment! Try the thing! You have nothing to lose and everything to gain!
What does your day-to-day writing career look like? Where and when do you write, describe your desk and what you can see out the window, or do you write in cafes or hotel rooms or on the bus? Do you listen to music? Are you distracted sometimes, and if so, what is it that distracts you?
I try to write for at least a half hour every day at my kitchen table. The half hour comes whenever I can fit it in, though lately it's been happening during my lunch hour or right after I get off work. I've developed a ritual for my writing sessions that seems to help me get the words onto the page. Darkness is key for me; I have to work in a dark room. I turn on a local radio station for background music. Then, the final touch: I light a candle. Depending on what I'm working on, I have different candles I will light. Certain projects require certain smells to help me get in the right headspace. During the actual session, I start with a ten-minute writing sprint and then focus on one of my pieces for the remaining time. For the sprint, I just do a stream of consciousness writing style, typing out whatever thoughts come into my head. I used to get distracted often by my phone, so I've started putting it in a separate room while I write, so I can't even hear it if it goes off. That's really helped! Not having the device to reach for when I get blocked forces me to work through the problems on the page.
Do you have a book that you read again and again (and maybe underline passages)? What book? How does it inspire you? How and where did you come across it? What kind of condition is it in?
I do have such a book: Terry Pratchett's Reaper Man. I'm not much of one to write in books, but I have read Reaper Man somewhere between ten and twenty times since I first came across it in college. I discovered Terry Pratchett's Discworld series as a teenager after devouring Douglas Adams' Hitchhiker's Guide to the Galaxy and looking for something similar, but in the fantasy genre. Reaper Man has always stood out to me from the rest of Pratchett's work because of the way it deals with themes of death, rebirth, and exploring humanity's place in the universe. I myself as a writer have been drawn to exploring these same themes and I'm always impressed by how deftly Pratchett tackles these immense topics. I actually own two copies of the book. One is in pristine condition - a hard cover, whose spine I've never even cracked. The other, my original paperback copy, is in pretty sorry shape! But I would never part with it.
What do you believe is the most important thing a writing student should walk away with?
I believe the most important thing a writing student should walk away from any class with is a sense of excitement. Excitement to try new things and excitement for what the future of their writing holds. If you don’t leave a class (of mine or any others) feeling a certain spring in your step and an eagerness to try out what you’ve just learned, I think something is missing!
Robin Jeffrey was born in Cheyenne, Wyoming to a psychologist and a librarian, giving her a love of literature and a consuming interest in the inner workings of people’s minds, which have served her well as she pursues a writing career. She currently calls the Pacific Northwest home, where she lives happily with her husband and their out of control comic book collection. She is the author of the urban fantasy romance series The Night, as well as the author of the scifi mystery series The Cadence Turing Mysteries. When not writing, Robin teaches writing workshops in the PNW area. To keep up with Robin and her writing, sign up for her newsletter on her website.
Facebook – Robin Jeffrey Author
BlueSky - @robinjeffreyauthor.bsky.social
I’ve been writing with an eye to publishing for about fourteen years, but I’ve been a scribbler of stories ever since I was a little kid! Whether it was my own Nancy Drew mysteries or short stories about murderous neighbors, I’ve been writing every chance I can get throughout my life. I just can’t seem to stop! Thank goodness.
What piece of information do you want to pass on to authors?
I think the information I most want to pass on to authors is that you’re never too late. It’s never too late to start writing, to improve your writing, to try writing something new, to try your hand at publishing, at querying – whatever it is you’re thinking of doing in the writing space, it is NOT too late. The only time it’s too late is when they’re lowering the lid of your coffin. Until then, seize the moment! Try the thing! You have nothing to lose and everything to gain!
What does your day-to-day writing career look like? Where and when do you write, describe your desk and what you can see out the window, or do you write in cafes or hotel rooms or on the bus? Do you listen to music? Are you distracted sometimes, and if so, what is it that distracts you?
I try to write for at least a half hour every day at my kitchen table. The half hour comes whenever I can fit it in, though lately it's been happening during my lunch hour or right after I get off work. I've developed a ritual for my writing sessions that seems to help me get the words onto the page. Darkness is key for me; I have to work in a dark room. I turn on a local radio station for background music. Then, the final touch: I light a candle. Depending on what I'm working on, I have different candles I will light. Certain projects require certain smells to help me get in the right headspace. During the actual session, I start with a ten-minute writing sprint and then focus on one of my pieces for the remaining time. For the sprint, I just do a stream of consciousness writing style, typing out whatever thoughts come into my head. I used to get distracted often by my phone, so I've started putting it in a separate room while I write, so I can't even hear it if it goes off. That's really helped! Not having the device to reach for when I get blocked forces me to work through the problems on the page.
Do you have a book that you read again and again (and maybe underline passages)? What book? How does it inspire you? How and where did you come across it? What kind of condition is it in?
I do have such a book: Terry Pratchett's Reaper Man. I'm not much of one to write in books, but I have read Reaper Man somewhere between ten and twenty times since I first came across it in college. I discovered Terry Pratchett's Discworld series as a teenager after devouring Douglas Adams' Hitchhiker's Guide to the Galaxy and looking for something similar, but in the fantasy genre. Reaper Man has always stood out to me from the rest of Pratchett's work because of the way it deals with themes of death, rebirth, and exploring humanity's place in the universe. I myself as a writer have been drawn to exploring these same themes and I'm always impressed by how deftly Pratchett tackles these immense topics. I actually own two copies of the book. One is in pristine condition - a hard cover, whose spine I've never even cracked. The other, my original paperback copy, is in pretty sorry shape! But I would never part with it.
What do you believe is the most important thing a writing student should walk away with?
I believe the most important thing a writing student should walk away from any class with is a sense of excitement. Excitement to try new things and excitement for what the future of their writing holds. If you don’t leave a class (of mine or any others) feeling a certain spring in your step and an eagerness to try out what you’ve just learned, I think something is missing!
Author Bio
Robin Jeffrey was born in Cheyenne, Wyoming to a psychologist and a librarian, giving her a love of literature and a consuming interest in the inner workings of people’s minds, which have served her well as she pursues a writing career. She currently calls the Pacific Northwest home, where she lives happily with her husband and their out of control comic book collection. She is the author of the urban fantasy romance series The Night, as well as the author of the scifi mystery series The Cadence Turing Mysteries. When not writing, Robin teaches writing workshops in the PNW area. To keep up with Robin and her writing, sign up for her newsletter on her website.
Social Media Handles
Instagram - @thesidekic_igFacebook – Robin Jeffrey Author
BlueSky - @robinjeffreyauthor.bsky.social
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