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Announcements New FREE On-Demand Video: Prayer in the Plotline with Stephanie Spann
- By RJ Garside
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Instructor Spotlight: Jodi Henley
- By alexj
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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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Instructor Spotlight: Beth Daniels
- By alexj
- Announcements
- 0 Replies
How long have you been writing?
The first thing I wrote was when I was 12. My two best friends and I had run out of Louisa May Alcott’s stories with Jo March and our available supply of Nancy Drew, so I wrote something. All I remember about it was that I used “foliage” in it and one of my friends wanted to know what that was. I have to admit, at the time I thought, “I have dumb friends.” I wrote longer things in high school, and the few times I’ve gone to high school reunions someone always says, “you’re the writer!” The first novel length story was written when I was out of work in my late twenties. But my first book to get a contract was when I was 42. Publication was a long time coming. Obviously, I had a craft to learn.
What do you wish someone would’ve told you about writing or publishing?
You won’t get rich doing this.
What is the biggest lesson that you learned about writing or publishing?
Perseverance. I rewrote the first three books for over a decade, often starting from scratch based on comments in rejection letters. But once the first book got a contract, the others followed shortly behind it.
What piece of information do you want to pass on to authors?
There is no one way to write fiction, there is only the way that works best for you. I’m a pantser. In school I never could write an outline for an essay without writing the essay first. That’s still what works best for me. Just start the movie in my head and write what I “see” and “hear”. Oddly enough, I heard that when Nora Roberts got her start and Silhouette wanted a synopsis, they were surprised at how fast she got a completed manuscript to them after they green lighted it – because she was writing the book first, then the synopsis.
Why do you like teaching authors?
I taught English Composition at the college level for over a decade, a compulsory course for all Freshmen. They didn’t want to write essays. Both newly published and pre-published authors WANT to write. That makes it such a pleasure to connect with them in workshops.
What can students/registrants expect to takeaway from your workshop?
I hope they have that “I Can Do This!” state of mind, because they can! The hardest part is sitting down and actually writing. It’s not the writing itself, but the sitting in front of the monitor that’s the trick. Imposter syndrome is a myth if you’re writing and rewriting, improving. It only applies if you’re calling yourself a writer but not writing anything.
What’s your core philosophy when it comes to teaching writing?
If you want it bad enough, you can do this, but that also means going through several drafts. A coach doesn’t tell a player the first day of practice, “That was great. See you for the first game.” He says, “Good. Now do it again another fifty times then we’ll move on to improving a different part of your game.” I’m the coach suggesting that students try something a different way and explaining why that makes more sense. Yes, it’s fiction, but logic still rules.
What do you believe is the most important thing a writing student should walk away with?
More confidence that they can write characters to life and send them on one heck of a trip than they had the first day they wafted through the virtual classroom door.
How do you approach giving constructive feedback without discouraging a student?
I’m an idea girl. I can dream up so many other ways a story can go, so when I comment back, I offer suggestions and explain what a change will do to benefit the story and satisfy a reader. Usually, it’s an expansion or a clarification. So far, the writers in my workshops claim this makes perfect sense and are eager to run with it.
Is there a common writing “rule” that you think is okay to break—and why?
Perhaps these aren’t quite “rules” but things some editors discourage: I like inventing my own words (my students will be familiar with mentions of not just secondary characters, but thirdendary ones) and breaking the 4th wall, which I do more than once in each book in my latest series.
How has teaching writing changed your own work or perspective as a writer?
I launched off into genre niches I’d never considered before. My first books are nothing like those I write today. And actually, I think they are better and more creative now.
BIOGRAPHY
Beth Daniels made the decision to be a novelist when she was in the 7th grade. It took another 30 years before she got her first contract, and a lot of rewrites – from scratch! – along the way, but she’s now been a published novelist for 35 years and is still writing. She goes by many pseudonyms. Beth Henderson writes historical romantic mystery, romantic comedy, contemporary romance, and cozy mystery. J.B. Dane writes urban fantasy PI mystery comedy, dabbles with extraterrestrials and rewrites fairy tales into comedy tales. Nied Darnell writes Weird West Steampunk and 1920s Dieselpunk. She holds a BA in History and an MA in English Composition, taught at the college level and jumped on the online fiction writing workshop bandwagon in 2010, when it was shiny and new.
Find her on Facebook at Log into Facebook for Beth Henderson; Log into Facebook for J.B. Dane.
At Pinterest at https://www.pinterest.com/bhendbks/
The first thing I wrote was when I was 12. My two best friends and I had run out of Louisa May Alcott’s stories with Jo March and our available supply of Nancy Drew, so I wrote something. All I remember about it was that I used “foliage” in it and one of my friends wanted to know what that was. I have to admit, at the time I thought, “I have dumb friends.” I wrote longer things in high school, and the few times I’ve gone to high school reunions someone always says, “you’re the writer!” The first novel length story was written when I was out of work in my late twenties. But my first book to get a contract was when I was 42. Publication was a long time coming. Obviously, I had a craft to learn.
What do you wish someone would’ve told you about writing or publishing?
You won’t get rich doing this.
What is the biggest lesson that you learned about writing or publishing?
Perseverance. I rewrote the first three books for over a decade, often starting from scratch based on comments in rejection letters. But once the first book got a contract, the others followed shortly behind it.
What piece of information do you want to pass on to authors?
There is no one way to write fiction, there is only the way that works best for you. I’m a pantser. In school I never could write an outline for an essay without writing the essay first. That’s still what works best for me. Just start the movie in my head and write what I “see” and “hear”. Oddly enough, I heard that when Nora Roberts got her start and Silhouette wanted a synopsis, they were surprised at how fast she got a completed manuscript to them after they green lighted it – because she was writing the book first, then the synopsis.
Why do you like teaching authors?
I taught English Composition at the college level for over a decade, a compulsory course for all Freshmen. They didn’t want to write essays. Both newly published and pre-published authors WANT to write. That makes it such a pleasure to connect with them in workshops.
What can students/registrants expect to takeaway from your workshop?
I hope they have that “I Can Do This!” state of mind, because they can! The hardest part is sitting down and actually writing. It’s not the writing itself, but the sitting in front of the monitor that’s the trick. Imposter syndrome is a myth if you’re writing and rewriting, improving. It only applies if you’re calling yourself a writer but not writing anything.
What’s your core philosophy when it comes to teaching writing?
If you want it bad enough, you can do this, but that also means going through several drafts. A coach doesn’t tell a player the first day of practice, “That was great. See you for the first game.” He says, “Good. Now do it again another fifty times then we’ll move on to improving a different part of your game.” I’m the coach suggesting that students try something a different way and explaining why that makes more sense. Yes, it’s fiction, but logic still rules.
What do you believe is the most important thing a writing student should walk away with?
More confidence that they can write characters to life and send them on one heck of a trip than they had the first day they wafted through the virtual classroom door.
How do you approach giving constructive feedback without discouraging a student?
I’m an idea girl. I can dream up so many other ways a story can go, so when I comment back, I offer suggestions and explain what a change will do to benefit the story and satisfy a reader. Usually, it’s an expansion or a clarification. So far, the writers in my workshops claim this makes perfect sense and are eager to run with it.
Is there a common writing “rule” that you think is okay to break—and why?
Perhaps these aren’t quite “rules” but things some editors discourage: I like inventing my own words (my students will be familiar with mentions of not just secondary characters, but thirdendary ones) and breaking the 4th wall, which I do more than once in each book in my latest series.
How has teaching writing changed your own work or perspective as a writer?
I launched off into genre niches I’d never considered before. My first books are nothing like those I write today. And actually, I think they are better and more creative now.
BIOGRAPHY
Beth Daniels made the decision to be a novelist when she was in the 7th grade. It took another 30 years before she got her first contract, and a lot of rewrites – from scratch! – along the way, but she’s now been a published novelist for 35 years and is still writing. She goes by many pseudonyms. Beth Henderson writes historical romantic mystery, romantic comedy, contemporary romance, and cozy mystery. J.B. Dane writes urban fantasy PI mystery comedy, dabbles with extraterrestrials and rewrites fairy tales into comedy tales. Nied Darnell writes Weird West Steampunk and 1920s Dieselpunk. She holds a BA in History and an MA in English Composition, taught at the college level and jumped on the online fiction writing workshop bandwagon in 2010, when it was shiny and new.
Find her on Facebook at Log into Facebook for Beth Henderson; Log into Facebook for J.B. Dane.
At Pinterest at https://www.pinterest.com/bhendbks/
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Announcements Workshops starting May 19!
- By RJ Garside
- Announcements
- 0 Replies
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