Outcome: You will create a manuscript and submit it to an agent or publisher!

What's Inside the Course:

Module One: Voice

‘Voice’ is a catchall word that captures that elusive quality of writing that draws one in to a story. It’s about so much more than word choice, it’s your individual style—think Jane Austen vs Dr. Seuss. Everyone has one. In this module you’ll learn how to develop yours.

Module Two: Story Structure

Even with the best ‘voice’ if you don’t have a good understanding of how stories are structured you’ll end up floundering. This module focuses on how to build your story, like the framing of a house, so you give the reader a sense that you know where you’re going and the story is worth their while.

Module Three: Character

Without believable and interesting characters there’s no one for your reader to invest in. From your hero to your villains, the reader has to be able to care. This module delves into how to develop interesting characters.

Module Four: Setting

Often overlooked, setting can be a dynamic part of any story. It’s not just the physical place where the story happens, but it’s also the cultural paradigm they inhabit. In this module you’ll see how setting can dictate both the physical and emotional stakes your characters face.

Module Five: Plot

Plot is a lot more than what happens in your story. It’s an integral part of a compelling story. In this module you’ll learn the seven basic plotlines that almost all stories fall into and how to ensure your plot arises organically from the choices your characters make.

Module Six: Theme

Theme is what your story is really about. It’s the ‘why’. Without an interesting theme your story will be easily forgotten. It requires a light touch. In this module you will learn how to infuse your story with meaning.

Module Seven: Writing Groups

If you’re serious about getting published, you will need to join a writing group. These are like minded writers who are also serious about getting published—people who will give you honest feedback in order for you to improve. J.R.R. Tolkien and C.S. Lewis were part of one. In this module we’ll explore the do’s, the don’ts and the pitfalls to beware of.

Module Eight: Query Letters

This module will guide you in the process of marketing your work. You will put aside your sensitive writing side and turn into a salesperson. Where do you even start? How do you get past the gatekeepers? What even makes a good query letter?

Module Nine: Agents

In this module you will learn how to find a suitable agent, why you need one and what to beware of.

Module Ten: Finding a Publisher

In this module you’ll learn how to approach publishers and editors even without an agent. You will also receive insights into establishing your writing career.

Module Eleven: Don’t Forget to Have Fun!

Writing is an introspective process. Ultimately if you’re having fun, your reader will be having fun too! And conversely if you get bored—so will your reader. So keep it ‘fun’.

What you will Learn:

Module One: Voice

·       Style—keeping it authentic and consistent ·      Orienting the reader ·        Write what you know ·        Understanding your villains ·        What characters say vs what they don’t say ·        Using observation to enrich your writing ·        Acquiring a repertoire of archetypal characters ·        Letting characters tell the story ·  ‘Natural’ writing perspectives, first vs third etc. ·        Dealing with reader’s objectivity·        Hearing ‘voices’ ·        Voice appropriation ·        Writer’s block ·        Finding the theme of your story ·        Trusting the process

Module Two: Story Structure

·        Beginning: characters, setting, problem ·        End: Solve the problem ·        Dealing with the Middle ·        Scenes as steps your character needs to take ·        Analysis of story structure ·        Orienting the reader ·        P.o.v. ·        Setting up problems while showing characterization ·        Symbolism ·        Covering ALL the bases ·        Show don’t tell

Module Three: Character

·        Main character has to carry your story ·        Main character traits ·        Flaws that don't alienate the reader ·        Antiheroes ·        Character inconsistency ·        Accessing your own experiences to access your character’s ·        Inhabiting every character including the villains ·        Artistic rules can be broken ·       People of color and 'bitterness' ·        Zeitgeist—ie #metoo movement ·        Character trends·        Trends of similar stories ·        Making interesting characters · Not trying too hard ·        Authors writing avatars of themselves ·    Basing characters on people you know ·        Writing to discover ·        The older you get, the more you have to say ·        Understanding different points of view ·        Impact of plot on character, character on plot ·        Reverse engineering a character ·        Letting characters speak authentically ·        Trusting the story ·        Main characters vs secondary characters·         Character sketches·        Developing an ear for how people speak ·        Developing a repertoire of characters ·        Emotional stakes in 'quiet' stories

Module Four: Setting

·        Setting can be like a character in the story ·        Cultural trappings vs underlying personalities ·        Cultural paradigms as aspects of setting·        All stories are set in a cultural paradigm ·        Universal values vs priorities ·        Beware getting the name of the cot right but the way they think wrong ·       'default' culture ·        Freedom of Speech vs Cultural Sensitivity ·        Historical fiction—dealing with cultural paradigms over time ·        Modern readers and hindsight ·       Seeing our inconsistencies ·        Stories can make sense in one cultural paradigm but not in another ·        Establishing the cultural paradigm ·        White room syndrome ·        Using language that mirrors the tone of the book ·        Descriptions that characterize ·        Back stories as part of a character's setting ·        Individual cultural paradigms ·        Examinimg one's cultural assumptions ·        The intersection of setting/cultural paradigm and characterization ·        Pausing during a scene to focus on setting· Observations that mirror theme ·        Using all five senses

Module Five: Plot

·        Plot—what happens·        Thinking logically ·        Writing oneself into a corner ·        Anticipating reader’s objections·        Plot holes and the credibility of a story ·        Answering all questions--eliminating plot holes ·        Plots that arise organically from the choices the characters make ·        Character driven stories vs. plot driven stories ·        Choices characters affecting plot and plot affecting character ·        The worst thing that can happen ·        For character driven authors not ending the story when emotional issues are resolved ·        Looking at all possibilities ·        Discarding the first plot idea ·        Plot with no characterization vs Characterization with no plot ·        Balancing between plot and character ·        Writing yourself into a corner ·        Keeping an exit in mind ·        More than just an interesting way to kill a villain ·        The seven basic plotlines

Module Six: Theme

·        Theme--the gem at the center of the story ·        The point of all the tumult and chaos your characters face ·        Series literature and generic themes ·        Truth sits in the middle and we go around and around it ·        Letting the theme arise from the story ·     Having an inkling what the story is about ·       Unconscious focus ·        Letting the theme arise/manifest itself ·        Writing with ‘pure’ motives ·        Resisting any ‘tacking’ it on   

Module Seven: Writing Groups

·        Don’t know what you don't know ·       Innovative vs derivative ·        Discarding the first idea ·        Writing in a vacuum ·        Critique partners ·        Finding people whose opinion you respect and trust ·        Writing is a subjective process ·       Being too close to the process ·        Identifying characters behaving inconsistently ·        Picking up on subtle things that don’t work ·        Importance of reading other people’s work ·        Constructive criticism vs comments you can ignore·        Finding solutions·       Dealing with contradictory feedback·        Danger of writing groups·        Importance of covering letters ·        Etiquettes of critiques ·       Things to remember about writers groups·        Changing your writing to please the group ·        Professional jealousy ·        Being happy for others ·        Publishing journey·        Digging deep·        Choose someone who’s not afraid of you ·        Focusing on what’s weak so you can fix it ·        Developing a thick skin·        Purpose of critique·        Proving your story ·        When it's ready to send ·        Yes! Yes! Yes!

Module Eight: Query Letters

·        Pushing aside sensitivity·        Looking at your story as something you’re trying to sell ·        Writing a good query letter·        Selling yourself as an author to invest in ·        Agents and publishers·        Putting in the work--developing your craft ·        When to begin submission process·        Getting past the gatekeepers ·        Where to find agents who represent your genre ·        Enticing an agent to request your manuscript ·        Loglines ·        Successful query letter ·        Dealing with agent likes and dislikes ·        Following format ·        Why agent formats vary·        Technical lingo with respect to genre ·        Housekeeping: your book’s genre/category, word count, title/subtitle ·        The story's hook·        Writing your Bio ·         Thank you & closing ·        Keeping it brief ·        Mentioning anything trendy·        Only need one yes

Module Nine: Agents

·        An agent is a business associate not a therapist ·        What you need in an agent ·        Knowing the industry ·        What’s reasonable ·        Pitfalls to watch for ·        Relationships with publishers ·        Foreign and subsidiary rights·        ‘Getting’ you ·        A bad agent vs no agent·        Boilerplate contracts ·       An agent's job ·        Commitment and finances·        Agents' rights·        Honesty·        Due diligence ·        Any agent that asks for a fee to read your work—run ·        Agents and editorial advice ·        Legitimate Agent charges ·        International contacts · International book fairs ·        Author debuts ·        Making mistakes in strategies·       Writing your way up ·        Writing a book that is someone else’s idea·        When an agent asks you to leave·        Being a ‘small fish in a big pond’ ·       Dealing with publishers ·        It’s not 'personal' ·        When to part ways with an agent ·        A lack of a working relationship ·        Avoiding hard feelings ·        Agent should be a cheerleader ·        Finding an agent is like ‘dating’—a lot of rejection ·        When a deal falls through ·        The many kinds of rights associated with a book·        What is a good agent·        Writing up ·        Developing your craft ·        Staying professional ·        Being a pleasure to work with ·        Establishing a good reputation

Module Ten: Finding a Publisher

·        Approaching traditional publishers ·        The big five ·        Genres ·        Writing organizations and conferences ·        Submissions ·        Elevator pitchs ·        Agents ·        Smaller and intermediate publishers ·        Big five vs smaller publishers ·        High powered agents ·        Following your heart ·        Getting a publisher/agent by developing a following ·        Writing competitions ·        Publishing credits