Summer Writing Intensive

by admin on July 1, 2010

There’s nothing quite like it. That feeling of walking into the bookstore and seeing your name on the cover of a new release sitting there on the shelf. It’s pretty damn magical, if I do say so myself.

But there’s also nothing quite like the feeling you get when, after waiting for weeks, sometimes months, you finally get a response from the editor or agent to whom you submitted your latest work and…it’s another rejection. Even worse, there isn’t any helpful feedback – no sense of where you went wrong or what you can do to make it better. How are you supposed to improve if no one is telling you what you’re doing wrong? How are you supposed to make yourself stand out from the thousands of other submissions they are receiving?

I know, you say to yourself, I’ll sign up for one of those live workshops. One taught by a team of successful authors. Surely they can help me, you think. But every workshop you look at costs hundreds of dollars per session, never mind what it will cost to travel and stay in the hotel for the week. By the time you’re done you’ve spent well over a thousand dollars. Who can afford that?

There has to be a better way. You know what? There is.

It’s called the Summer Writing Intensive and it’s taught by two successful authors, Jon F Merz and Joe Nassise, who have sold more than thirty books between them in the last eight years to publishers such as Simon & Schuster, Harlequin/Gold Eagle, Kensington, St. Martin’s Press, HarperCollins and Tor.

You want to be confident the next time you submit your work. You want that submission to generate interest; for that editor or agent to sit up and take notice. Ideally, that interest will turn into an offer of publication and eventually, later on down the road, you’ll be the one walking into that bookstore looking for that first sight of your new book on the shelves, waiting for a legion of crazed readers to buy it.

The Summer Writing Intensive can help get you there. Best of all, you can do it from your own home at a fraction of the cost of other writing retreats.

The workshop consists of eight live webinars; each focusing on a key element of the writing craft that you need to know in order for your manuscript stand out from the rest and to make your career what you want it to be.

Each webinar session will be an hour long and will include handouts and real-world examples to illustrate the point of each lesson. As a participant you’ll be able to ask questions and interact during all of the sessions, allowing you the opportunity to learn from your fellow participants as well as from the instructors. Transcripts of each session will be available after the workshop for you to refer back to at a later date, so you’ll always have the material on hand when you need it.

Here’s a quick look at the sessions and what you’ll be focusing on in each one:

Story Structure: Crafting a Plot that Begs the Reader to Keep Reading

In this lesson you’ll learn:

  • How proper structure is necessary for a story to work
  • Why conflict is the key to any story, regardless of genre
  • The three pillars of plot that support your story
  • The best ways to build complications that make sense and increase the conflict

Living, Breathing Characters: Make Your Heroes and Villains Come Alive

In this lesson you’ll learn:

  • Techniques to design and execute character arcs in your stories
  • How to give your heroes larger-than-life qualities
  • The proper use of backstory and how to provide context to your characters’ actions
  • How to create villains that your readers love to hate

Pacing: Getting to the Climax is Just as Important as Having a Good One

In this lesson you’ll learn:

  • How to craft an effective hook to open your story
  • The importance of adding tension to every page
  • Why so many books sag in the middle – and what you can do to prevent it from happening to yours
  • Five ways to craft a knock-out ending

Action Scenes: It’s a Gun Fight not a Ballet

In this lesson you’ll learn:

  • The basics of a fight: emotion, adrenaline, and tactics
  • Armed and unarmed fighting for writers
  • Structuring your fight scene so it leaves the reader breathless
  • Does it make sense? Understanding anatomy and how the body responds to being punched, pulled and crushed

Revision: Sharpen that Knife, Baby!

In this lesson you’ll learn:

  • How proper structure can keep your revision work to a minimum
  • Specific techniques to organize your revision work so that you don’t waste unnecessary time
  • How to know what to revise and what to leave alone
  • Ways to polish the good stuff to make it great

Proposals: In Order to Sell, it has to Sing

In this lesson you’ll learn:

  • The three key elements of a great proposal
  • How to write a synopsis that grabs them by the throat and won’t let go
  • How to write a query letter an agent or editor will actually read – then act upon!
  • Ways to craft a proposal package that will have your editor or agent wanting more

Social Media Marketing: Using Facebook, Twitter, and LinkedIn to Build Your Career and Promote Your Work

In this lesson you’ll learn:

  • What’s behind the Facebook craze and why it’s important to you
  • The difference between a solid Twitter presence and a poor one
  • How using LinkedIn can enhance your career and provide opportunities you might have otherwise missed
  • How to measure and monitor your social media impact

Digital Editions: Stop Leaving Money on the Table

In this lesson you’ll learn:

  • What you need to know before putting digital editions of your work up for sale
  • Tips and tricks to properly format your book for sale on the Kindle
  • How to get format and upload your book for sale on the iPad
  • Ways to promote and publicize your digital editions to make the most of your offerings

The techniques Joe and Jon will be teaching in the workshop have helped them write and sell successful novels in a variety of genres – here’s just a sample of what they’ve published recently:

Better yet, the workshop has been designed with the would-be author’s pocketbook in mind. You get:

  • Eight sessions focused on improving your craft
  • Handouts and real-world examples to help you put the techniques into action
  • A written transcript of each session
  • Feedback and advice from two bestselling writers

All for just $125.00

The workshop begins July 21st and runs through Sept 8th, meeting each Wednesday night. Sessions start at 9:00 pm EST and run for an hour. (If you have to miss a session, the workshop transcript and materials can be sent to you following the session.)

If you’re thinking about submitting your work in the next few months, you don’t want to miss the Summer Writing Intensive. We’re limited to 100 slots, so get your registration in early!


{ 0 comments }

Konrath, Amazon, and the Coming Future

by Joe Nassise on May 18, 2010

Yesterday, fellow writer Joe Konrath announced that the next book in his Jacqueline “Jack” Daniels mystery series, Shaken, would be published through the Amazon Encore program.

What makes this interesting, for those of you who might not be familiar with Joe’s career, is that the last six books in the Jack Daniels series had been published in hardcover to a fair degree of success by Hyperion. Joe is also an author who has taken advantage of the ability to make his backlist available to readers via the Amazon Kindle and has been having great financial success with that strategy, earning royalties of more than $4000 per month as a result.

Having already had success taking matters into his own hands with regard to his backlist, Joe apparently decided to pursue the same course when New York passed on the eight book in his popular series. As he says on his blog, “Traditional publishers had a chance to buy Shaken last year. They passed on it. Their loss. Their big loss. Their big, huge, monumental, epic fail.”

As far as I know, this is the first time that the Amazon Encore program has been used to publish original fiction, Previously, it has republished works that had been previously self published by the authors themselves.

Joe has been vocal in his stance that publishers need to change in order to keep up with the changing face of publishing, given the rise of ebooks, ereaders, and the many ways authors now have to bring their works to the readers who enjoy them. While he won’t discuss the specifics of the deal itself, Joe does say “that my terrific agents have been involved from the very beginning of negotiations, and have been essential in getting me a very favorable contract. I couldn’t be happier.” Given what he publicly admits to making with his self-published Kindle books, I imagine Amazon must have cut a nice deal with him for him to say he “couldn’t be happier.”

I admit I’m intrigued by this development. I’d certainly love it if my Kindle books would sell as well as Joe’s are selling currently and I suspect that this move will really boost his sales, both for his current titles and for Shaken itself. Being on the front end of a big new wave is always a good thing. Is it sustainable? I don’t know. Will Joe do this for the rest of his books? I don’t know.

I do know it will be interesting to watch and see.

Tell me, what kind of implications do you see resulting from something like this?

{ 0 comments }

Digital Short Fiction from Orbit

by Joe Nassise on April 15, 2010

Update 11:15 PST: Tim Holman, Publisher of Orbit, responds to questions similar to those I proposed on a post at John Scalzi’s blog, Whatever. I’ve copied his answers at the bottom of this post for those following along here.

Yesterday Orbit, the science fiction and fantasy imprint of Hachette Book Group, announced a digital short short fiction program for their authors that would begin later this year. To quote from the press release

Orbit (US) has offered to publish digital editions of all original short fiction written by its authors. The digital editions will be distributed widely through major retail channels, for reading on a variety of devices. Authors will be paid a royalty for each story sold, rather than the flat fee more common in the short story market.

Tim Holman, Orbit VP & Publisher, said: “We know that writing short fiction is important for many of our authors. By offering to publish their short fiction – and to publish it quickly – we will be providing a new way for them to connect with readers. The initial response from our authors has been great, and we are looking forward to launching the first stories later this year.”

I’m a big fan of Orbit. They publish some of my favorite writers – Lilith Saintcrow, Mike Carey, Kate Griffin, Charlie Huston – and always produce first rate books. But I have to say that I can’t sing the program’s praises yet.

Don’t get me wrong – I think it is terrific that they’re trying to find new ways to put writers and readers together and that they’re using a digital medium to do it. But the announcement left a lot of unanswered questions rolling around in my head and I guess I’m a bit too jaded to believe that the answers to those questions will end up falling on the writer’s side of the equation.

For starters, the press release states that authors will be paid a royalty for each story sold, rather than the flat fee that is the current norm in the short fiction arena. In other words, the writers will be providing content without being paid for it – the promise of potential payment is not fair exchange for the work involved in writing the story. Yes, long term the writer might make more from a royalty based approach, but at the same time there should be some payment for the time and effort spent in producing the story. If Orbit were to offer some kind of advance on that royalty, I would feel much better about their proposed approach.

And speaking of royalties, how much will it be? 75%? 50%? 25%? How will it compare to the royalty percentages offered by other digital retailers, such as Amazon.com? Will it be paid on a monthly, quarterly or semi-annual basis?

For that matter, what kind of support will the authors participating in the program receive from Orbit? Will the stories go through some editorial process? Will Orbit accept all stories offered by its writers or will there be some kind of selection process in place to assure the quality of the content being offered to consumers?

As you can see, a lot of questions still need to be answered. Since I’m not an Orbit author (though I’d like to be!) it doesn’t impact me directly today, but it has the potential to do so in the future as more publishers follow suit and create such programs. Getting the details right from the beginning will help prevent precedents from being set, precedents that are not mutually beneficial to both the author and the publisher.

So, kudos to Orbit for stepping out and trying something new, but there is still a long way to go in ironing out some of the details it seems. I’ll reserve my judgment (and hopeful praise) until more information comes to light.

Tim Holman’s response:

The program is likely to be royalty-only. This might not be attractive to some, but I believe it may well be beneficial to authors. Again, perhaps not all authors, but that’s what can happen in a marketplace. I like the principle of creating a direct relationship between the popularity of a story and the revenues received by author and publisher. I also like the idea of giving readers the opportunity to pay for short fiction if they are prepared to do so, and think that doing so adds an interesting dimension to the short fiction market.

Orbit will be handling editorial and marketing for the stories. We like to work with our authors on some aspects of marketing, but there will be no onus on any author to provide any service related to this publishing program.

DRM-free is unlikely.

Matters relating to royalty rates and accounting, and the grant of rights, have been outlined to our authors and their agents, but before we make any final decisions we are giving ourselves the opportunity to process feedback from them. If this publishing venture doesn’t make good sense to enough of our authors, it won’t make good publishing sense for us.

It wasn’t asked, but I can also say that we’re expecting individual stories to be priced at $1.99.

Tim Holman

{ 0 comments }

Writing Drama

March 26, 2010 Craft of Writing

While digging around online yesterday doing some research for a new project, I came across a letter David Mamet wrote a few years ago to his writing staff on the CBS show, The Unit.  The letter discusses the art of writing drama, specifically for television, but I think it holds a lot of instruction for [...]

Read the full article →

Formatting an Email Query

March 22, 2010 Craft of Writing

With the digital age upon us, agents and editors have started to accept email queries.  Like with any submission, proper formatting is important when submitting a query via email.  Curtis Brown agent and blogger Nathan Bransford wrote a terrific post this week showing you exactly how to do this by using his post as a [...]

Read the full article →

Special Coaching Offer

February 9, 2010 Craft of Writing

If you are currently getting ready to send your book or proposal out on submission, I’ve got a special coaching offer designed just for you.
My Book Proposal Review service will give you a comprehensive review of your proposal, from the cover letter to the sample chapters, and help you feel more confident that you’ve got [...]

Read the full article →

Come along with me on The Mirror’s Road

January 18, 2010 Insider's View

I’ve always been a fan of both diversification and experimentation when it comes to my writing career. From my soon-to-be-launched cell phone project to making my work available in a variety of digital formats, I’ve tried to examine different ways to bring my writing to the people who value it the most – my [...]

Read the full article →

Rejections

January 8, 2010 Selling Your Novel

Two wonderful posts this morning that are very enlightening with regard to understanding why some books get rejected.
In the first, literary agent Janet Reid of Fine Print Literary Management breaks down the 124 full manuscripts she requested this year into offers (2!) and rejections and then breaks the rejections down again into groups showing why [...]

Read the full article →