All Online Workshops


Upcoming 2014 Online Workshops



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April

No Backstory for 40 Pages
Presented by Beth Henderson
Dates: April 1-25, 2014

Course Description:

We spend hours working out why our characters act the way they do, think
the way they do, and let our readers glean hints through characters
thoughts or confessions to other characters, and what happens?

An editor tells you there is too much introspection, that the story isn’t
grabbing them, that nothing much has happened in the opening chapters, and
that, well, they’re going to pass on this one.

Worse yet, a respected agent says that the best stories are those that have
absolutely no backstory visible – not told, not uttered, not referred to -
for the first 40 pages.

Enough to send you screaming down the halls, isn’t it? Or bashing your head
into a brick wall. Neither, of course, is constructive.

So let’s get constructive and re-evaluate those opening chapters! That’s
what this month is about. Editing and rewriting those first 40 pages,
trimming out backstory and still making the story interesting enough to
read AND keep readers from constantly saying “Why?” or “Huh?” along the way.

It isn’t easy. It’s a struggle. But there is light at the end of the
tunnel. The more we work at this the more sense it will make and future
manuscripts will benefit as well.

If you have a current manuscript that has been in the shoals rather than
landing at the contract dock, stripping out backstory from the first 40
pages could be the equivalent of dumping ballast or, to switch metaphors,
just the facelift needed.

This is a workshop with lots of feedback – from other participants as well
as the presenter – as the strip outs and reworking of pages will be
encouraged throughout the month. Each participant will have a personal
“thread” to post their efforts for all to see and comment on. The Challenge
is to successfully shed details of the backstory while keeping the story on
track, and having a variety of readers asking questions or giving
suggestions or kudos will be a bonus.

Of course, you’ll need to rewrite the rest of the tale after that to fill
in the blanks a bit more along the way, but that’s on your own time.
Shedding backstory from the first 40 pages will be like enduring a month
under Jillian’s whip to lose weight. But isn’t that what this is? A lean,
trim, fascinating opening should be the goal.

Instructor Bio:

Beth Daniels (aka Beth Henderson, J.B. Dane, and a few other names) has been a workshop presenting fixture in a number of RWA Chapter online classrooms for a number of years now.

Her career as a published writer is entering its 24rd year and there’s an accumulation of published material cluttering up her home (28 novels, 5 non-fiction books, a novella, short stories, articles, from her own pen, and far more research books than she’ll ever use). She’s worked with editors at seven different publishing houses (Berkley, Harlequin, Kensington, Dorchester, Simon and Schuster/Aladdin Paperbacks, M. Evans, and an e-book publisher that sadly closed its doors before the real e-book boom appeared). She’s gone the Independent publishing route in getting backlist titles in circulation once more and has numerous projects in process from romantic-comedy to historical adventure to mystery to Steampunk, urban fantasy and Gaslamp Fantasy.

She hated teaching English Composition in the college system, though did so for 12 years, and loves connecting online with people who WANT TO WRITE Fiction.

Visit her at www.RomanceAndMystery2.com, www.Muse2Ms.com, www.WritingSteampunk.com, @BethDaniels1 on Twitter, or her Blog www.2write2write2write.blogspot.com.

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Writer’s Block
Presented by Hillary Hutchinson
Dates: April 1-25, 2014

Course Description:

“Resistance movement” is defined as a group trying to thwart foreign occupation. That’s what you need to do to, thwart the neural pathways in your brain that are trying to shut down your writer’s brain. Start by reminding yourself, resistance is normal. Resistance is not the full-blown fearful condition of absolute paralysis that grips some people, but that’s what all writers dread. In this forum, I’ll talk to you about the different forms of resistance, and what is actually going on in those neural pathways, then we will explore ways to jump those tracks and get going again.

You will learn:

1) Brain system basics

2) What happens when the limbic system takes over

3) The bad/good news about neuroplasticity

4) Self-care for the brain…and body…and mind

5) ) “How To” let go of the “Why”
…and more!

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Avoid the Rough: Turning Your Story Idea into a Workable Plot with a Broad Strokes Outline
Presented by Cathy Chant
Dates: April 7-25, 2014

Course Description:

Do you have a story idea but aren’t sure what to do next? Have you started writing a story, but now find your plot stuck in a corner? Have you lost interest in your story idea because the plot became boring? Whether you’re a plotter who loves to outline or a pantser who prefers to hit the open road without a map, a broad strokes outline can help you avoid the pitfall of the unworkable plot.

Avoid the Rough (or as I like to call it Avoiding the “Rough” in Rough Draft) guides you in creating a broad strokes outline at the “idea” stage, so you get the “big picture” of the story right away and can more easily spot and correct plot problems, such as the sagging middle or superficial conflict, before they become writing roadblocks that waste your time. If you’re stuck in a story, the broad strokes outline can help pinpoint where you might have taken a wrong turn and guide you back to the right course. You don’t necessarily need to write a bad “rough” first draft. A little planning can save you a lot of time during revisions. And a broad strokes outline, which only hits the high points of the story to keep you on track, won’t bog you down with so many details you feel stifled. You can still write by the seat of your pants, if that’s your style, but the outline offers you some boundaries so you don’t disappear into the weeds and have to start all over.

And as a bonus, your outline quickly converts into a brief synopsis with only a little editing and gives you a head start on your query letter.

The instructor will give feedback on all homework and offer students the opportunity to submit homework privately if they don’t feel comfortable sharing their plot ideas in a public forum. Students who complete all the exercises will have a broad strokes outline and a draft of a brief synopsis completed by the end of the workshop.

Lesson topics include: Story Idea, Main Characters, Character GMC and Story Problem, Conflict, Inciting Incident, Turning Points, Black Moment, Resolution and Character Arc, and Turning the Outline into a Brief Synopsis, with a bonus lesson on writing a logline for queries or conferences.


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Black Velvet Seductions Title: Engage Your Reader with Attention-Grabbing Prose
Presented by MM Pollard, editor
Dates: April 1-24, 2014

Course Description:

Your story lives or dies on the sentences you write to tell it. Do your sentences give your story life and breath, or do they strangle the life out of your story with boring, same-old, same-old sentence structure?

Remember, variety is the spice of life — for your story. In this workshop, MM Pollard will cover basic sentence structure and give you concrete ways to vary that structure to engage your reader’s interest. She will share what a writer needs to know to write spectacular sentences that make the reader want to continue reading.

You’ll have plenty of chances to practice the many ways to vary sentence structure; in other words, you’ll have homework. MM will give you feedback on every homework assignment you post. Because she was an English teacher for fifteen years, she’ll even tell you how to punctuate your new sentences.

Reward for doing your homework: MM’s personal feedback on every assignment. Think of homework as an opportunity for mini-edits by MM.

Workshop lesson outline:

Lesson 1: The Building Materials of a Sentence

Lesson 2: Make Sure You Have the Necessary Supplies or Else

Lesson 3: Use Concrete Nouns and Strong Verbs to Build Your Reader’s
Interest

Lesson 4: Use Sentence Structure and Sentence Length to Give Your
Prose Some Style and Rhythm

Lesson 5: Play with Word Order to Solve the Problem of the Boring Sentence

Lesson 6: Build the Unusual Sentence to Grab Attention

Lesson 7: Review and Putting It All Together

Lesson 8: MM’s Last Comments
Instructor Bio:

As an English teacher for fifteen years and, currently, as acquisitions editor for Black Velvet Seductions, MM Pollard has had the mission to find and correct ungrammatical grammar, misused usage, problematic punctuation, and poor writing in others’ work.

MM has helped many writers improve their language and writing skills through her fun workshops. Yes, the basics of English composition can be fun! She has presented workshops on Writers Online Classes, Savvy Authors, Orange County RWA, Passionate Ink RWA, and Celtic Hearts RWA, just to name a few. She is sure she can help you, too, master the fundamentals of English composition.

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May

Bigger Stories
Presented by Peter Andrews
Dates: May 5-30, 2014

Course Description:

Fire up your readers with twists, turns, shock, and awe. Learn how to demand more from your characters and to create endings that buzz. Don’t hold back. Find out how to take you stories from good to great.


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How to Promote Your Book Online
Presented by Karen MacMurray
Dates: May 5-30, 2014


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Dialogue Class
Presented by Beth Marrow
Dates: May 5-30, 2014


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Advanced Plot Techniques
Presented by Kat Duncan
Dates: May 5-30, 2014

You’ve heard about plot devices and literary techniques but you’re not sure exactly what they are or how you could use them. This workshop explores more than a baker’s dozen literary devices and plot techniques in simple, easy-to-grasp terms. After looking at examples from modern novels and doing exercises to give you practice with some of the techniques, you will walk away from this workshop with a raft of ways to move your next plot along into new dimensions. Includes lessons on alternate plot structures, genre-specific structures that work, subplots, exploiting plot twists, and applying motifs and symbolism. Every lesson emphasizes how to move your plot along for a fast-paced read.


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June

Microsoft Word for Writers
Presented by Cathy Chant
Dates:June 2-27, 2014

Course Description:

Microsoft Word for Writers focuses on teaching you the aspects of the Word program that are most useful for writers.

Lessons include: proper manuscript formatting, creating headers/footers, working with page numbers, creating a manuscript template, customizing the toolbars, understanding/ customizing the Auto-Correct feature, and using the Work menu or Recent Documents menu as a shortcut to work with multiple documents at the same time.

Other subjects that will be covered include: formatting the query letter, creating a query letter template, creating envelopes and SASE labels, using Track Changes to work with critique partners, and backing up your computer files.

This workshop is geared toward both Windows and Macintosh users with any version of Microsoft Word between 1997 and 2013.

Pre-requisites: A copy of Microsoft Word and basic knowledge of how to open the program, create a file, save a file, print a file and type words on the screen (very BASIC Word commands); the lessons in the workshop will teach you how to use those MSWord commands related to novel writing in a step-by-step fashion.


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Man Talk
Presented by Barbara Bins
Dates: TBD

Course Description:

Fellow XX chromosome authors, are you interested in a class that will help make your male characters less feminine or stereotypical? Do you want tips and techniques on ways to create youth and adults that readers think act and talk like real men? MAN TALK is designed to help writers make their male characters talk and act in a more believable on the page.

Schedule (two lessons each week)

Week 1, building our men from the inside out: Lesson 1 – The Male Brain Lesson 2 – Male Archetypes

Week 2 – Lesson 1 – External influences, including culture Lesson 2 – The importance of his backstory

Week 3 – Lesson 1 – Things that make him appear feminine Lesson 2 – How he displays emotions
Note, during week 3, critiques of short excerpts of student writing are offered)

Week 4 – Lesson 1 – Friendship, fights, and love Lesson 2 – What are romance readers looking for in the man on the page (i.e. how real should you be)


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FLIPPING THE DUST BUNNIES!: REWRITING AND RECYCLING THE ABANDONED MANUSCRIPTS HIDING UNDER YOUR BED AND ON THE FLOOR OF THE CLOSET
Presented by Beth Henderson
Dates: June 2-27, 2014

Course Description:

Everyone has them…or will have them. Story ideas that were started, made it through a few chapters before being abandoned, or completed manuscripts that were turned down so often all hope was lost.
All this happened before your prose improved to its present level, right? These were written before you knew what you know now about the publishing world.
I don’t think there is any such thing as a bad story idea. There are simply poor presentations, manuscripts that don’t match current market interests, and giant writers’ block walls that appeared insurmountable. All of these can be overcome with some serious rethinking.
FLIPPING THE DUST BUNNIES is about finding the redeeming elements and jettisoning those that bog things down. It’s about rethinking, rewriting, reconstructing, reworking, and flipping those once discarded ideas into publishable manuscripts.
“Flipping” works for do-it-yourselfers when it comes to taking a house in need of tender care and turning it into a desirable property once more through simple remodeling tasks. When it has achieved all of this attention it turns into a home for someone else, and at a profit for the “flipper.” So why can’t the concept work on any and all manuscripts gathering dust in closets, file boxes in attics or garages, or communing with the dust bunnies under the bed?
It can. And this is the place to begin reevaluating, tearing apart, and rebuilding a more desirable manuscript from the shell of that uncompleted or tired out manuscript.

Instructor Bio:

Beth Daniels (aka Beth Henderson, J.B. Dane, and a few other names) has been a workshop presenting fixture in a number of RWA Chapter online classrooms for a number of years now.

Her career as a published writer is entering its 24rd year and there’s an accumulation of published material cluttering up her home (28 novels, 5 non-fiction books, a novella, short stories, articles, from her own pen, and far more research books than she’ll ever use). She’s worked with editors at seven different publishing houses (Berkley, Harlequin, Kensington, Dorchester, Simon and Schuster/Aladdin Paperbacks, M. Evans, and an e-book publisher that sadly closed its doors before the real e-book boom appeared). She’s gone the Independent publishing route in getting backlist titles in circulation once more and has numerous projects in process from romantic-comedy to historical adventure to mystery to Steampunk, urban fantasy and Gaslamp Fantasy.

She hated teaching English Composition in the college system, though did so for 12 years, and loves connecting online with people who WANT TO WRITE Fiction.

Visit her at www.RomanceAndMystery2.com, www.Muse2Ms.com, www.WritingSteampunk.com, @BethDaniels1 on Twitter, or her Blog www.2write2write2write.blogspot.com.


Register for this Workshop

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July

You Are What You Say
Presented by Kat Duncan
Dates: July 1-28, 2014

Course Description:

This workshop examines the elements needed to reveal character through dialogue. Using character development techniques you already know such as goals, motivations, and backstory, learn how to reveal strong characters through their words and connect those words to other elements in your story. Successful novels have an increasing amount of dialogue over narration, forcing dialogue sequences to do more and more of the work of telling the story. Learn how to reveal important information about characters, turning thoughts, appearances, and actions into spoken words. Workshop includes lessons on using dialogue to build tension and anticipation, reveal story secrets, enhance setting and hit readers in the gut with emotion. Includes lessons on dialogue tags, and blending dialogue with narration. Examples from bestselling novels offered as models.


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Writing from the Male POV to Create Stronger Heroes
Presented by Sascha Illyvich
Dates: July 1-28, 2014

Course Description:

In this workshop, learn the ins and outs of character creation from a side of romance we rarely hear from, the male romance reader/writer! Erotic Romance author Sascha Illyvich shares with us tips on how to create more memorable heroes, avoid some common pitfalls and have more fun with our writing!

What you’ll learn from this class

•Male Archetypes and how they affect our characters

•How (il)logical men think and why they act the way they do

•How to take any male character from any movie/story and modify him to fit your story

•How to get your man to express his true “self”

•What men REALLY care about and how to work with that for your characters*

•A man’s self view*

•The GAY MALE Viewpoint*

•The Male Cycle of Emotions and how it compares to the female cycle of emotions

•A man’s journey in life

•What men really think

A few extras

Using character creations sheets (don’t groan!) that have all the relevant information you’ll need, you’ll be able to craft male characters that are just as deep as your female characters. Getting inside the heads of your male characters is the most important aspect of “how to write” them.

Cross gender writing can make or break an author’s career if they cannot portray the opposite gender clearly and accurately. With the growing popularity of M/M romances, it’s becoming increasingly important for males to be portrayed in the proper light! We’ll cover all that here and a lot more over the next week.


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Resonance: weaving words for a complex and satisfying story symphony
Presented by Pat Hauldren
Dates: July 1-28, 2014

Course Description:

Here we’ll learn how to make deep, complex, and echoing stories by weaving our words and subplots using layers, metaphors, similes, twists, characters, plot, and every level of your story, into a symphony of a story that will satisfy your reader and have them coming back for more. Prerequisite for this class: none, though some basic story structure will help and will be discussed.
Instructor Bio:

Myths worldwide have the same underpinnings, they reveal a universal motif of adventure and transformation. In this class, we will look at the common theme, the myth and the mythic structure, to learn how to make our stories resonate with our readers. We will study both common myths and our own myth that we are writing.


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August

Power Writing – From Ideas to Plots to Pages
Presented by Rebecca Martinez
Dates: Aug 4-15, 2014

Course Description:

Writing a book is not as easy as just saying that is what you want to do but given some thought and a little bit of time, you can begin to write a book, and lots more after that first one. This class can help beginning writers and even intermediate writers move from their initial story idea to developing characters, setting and plot and then learn what it takes to begin writing their book. Among the topics we will cover in class:

Turning Ideas into Storylines

After coming up with story possibilities, we’ll start to learn how to take those vague ideas and turn them into actual stories by providing characters, setting and the beginnings of a plot. For those who want to come up with stories, we’ll look at some simple ways to gather story ideas.

Developing Your Setting

No book goes anywhere without great characters. This class provides a look at why they are so important and then takes steps to help writers develop their characters beyond cartoon figures into realistic people that will come alive on the page.

The Plotting Process

Ideas are great, but they need to go beyond a story line that is out there in the ether. Writers will learn how to take their story line and begin to develop it into a cohesive plot that moves along in a logical fashion with plenty of action and internal reaction

Turning plot points into Scenes

Once a writer has developed a plot, there comes the hard part – bringing that scene to life. We’ll look at how to put those plot lines and characters onto the written page so you can begin telling your story. We’ll cover writing scenes, hooks and dialogue as we begin the writing process.

By the end of the month, the writer should have an idea of how to plan their stories for the future, from that beginning idea to actually fashioning scenes.


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Creating Diversity in Writing
Presented by Barbara Bins
Dates: Aug 4-29, 2014


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Are We There Yet
Presented by Susan Palmquist
Dates: Aug 4-29, 2014

Course Description:

Are you just about ready to send out that manuscript to an editor or agent? This course will cover a basic checklist for getting your manuscript in tip-top shape. I’ll cover some of the biggest problems found in manuscripts, everything from head-hopping to flat sounding dialogue. How to look at your work with a new set of eyes. The workshop will also touch upon getting a synopsis and cover letter together.


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September

Myth, Madness, & Mayhem: A heroic romp through mythology an dhow we can use it to improve our writing
Presented by Pat Hauldren
Dates: Sep 1-26, 2014

Course Description:

Joseph Campbell gave us The Hero’s Journey, chronicling the essence of story for human consumption. Christopher Volger gave us The Writer’s Journey: Mythic Structure for Writers.

The common theme in developing great fiction is myth. Over the eons, humans have learned how to tell a story to its best effect.
Myths worldwide have the same underpinnings, they reveal a universal motif of adventure and transformation. Mythology is mankind’s way of interpreting their world, from the unexplained to the unimaginable, from stories around a campfire to stories on the silver screen.
In this class, we will look at that common theme, the myth and the mythic structure, to learn how to make our stories resonate with our readers. We will study both common myths and our own myth that we are writing.
Instructor Bio:

Myths worldwide have the same underpinnings, they reveal a universal motif of adventure and transformation. In this class, we will look at the common theme, the myth and the mythic structure, to learn how to make our stories resonate with our readers. We will study both common myths and our own myth that we are writing.


Register for this Workshop

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BDSM for Romance
Presented by Sascha Illyvich
Dates: Sep 1-26, 2014

Course Description:
This workshop is for authors particularly in the romance genre who dabble BDSM in any form, be it writing spanking stories, light bondage, or like myself, heavier darker things.
Many folks think that once a book is written the author’s job is done. Not so. As any seasoned author knows, once we finish writing, we have edits, cover art choices, more edits, and of course the hype. Marketing, promotions. PR Hell as it is known in some circles. That’s the toughest part of any author’s job IMO and will make or break any author dumb enough to rely solely on the publisher. Our job as authors is a business and needs to be treated like such, even if we DO get to have a little more fun than any corporate schmo.
So, in order of author responsibilities:
Establish the Brand (I’m Sascha Illyvich, paranormal erotica/BDSM romance author)
1. Maintain the Brand (Primarily through PR, I write about wolves, fae, vampires, but you’ll never see me write a western!)
2. Grow the Brand (I write paranormal romances, which puts me in with the anime crowd who likes dark fantasy!)
This workshop will focus on Number 3: Grow the Brand. What authors often fail to realize is that in including different elements like spanking or light bondage that they are writing for their normal audiences but with a little more effort could target not just the fringe readers; those who are closeted about their darker desires, but those who are a little open with their darker desires.


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Character Development
Presented by Jackie
Dates: Sep 1-26, 2014

Course Description:
The Character Development Workshop is meant to be suitable for all writers, novice and advanced, and offers a comprehensive look at the basic nuts and bolts of characterization. We will examine how the different elements of characterization work in a fictional story, what tools are available to you in creating and using characters, and how these tools can be applied.


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Scrivener
Presented by Pat Haggerty
Dates: Sep 1-26, 2014

Course Description:
Typically, writers have a solid working knowledge of word processing. Word, Pages, Word Perfect, whatever the tool, we’ve all spent time hunched over a keyboard trying to get our thoughts down in a usable format for our teachers, editors, friends, or work partners. Word processors are effective at general document creation and formatting, but they tend to fall short when our needs turn towards structured long or short form writing.
Scrivener is the premier application for the creation of novels, novellas, and like works. This course will teach you, the writer, how to best use Scrivener for everything from planning your scenes to generating output for your critique group, e-reader, or publisher. Lectures will be presented in a video format with written summaries. One evening a week the instructor will have a live question/answer period using audio/video and screen sharing to best answer those tricky problems.


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October

NaNoWriMo Success:
Presented by Peter Andrews
Dates: Oct 6-31, 2014

Course Description:
The biggest writing event of the year, November’s National Novel Writing Month (NaNoWriMo) can help you build good habits, clarify your commitment to writing, and rediscover the joy of storytelling. It may even catalyze the creation of a wonderful book. Learn how to get the most out of this Ironman event of writing (completing a 50,000 word novel in just 30 days!) through preparation, focus, proven techniques, and attitude. And find out how you can keep the momentum going into the months and years ahead.


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Making your Characters Real – 4 weeks
Presented by Rebecca Martinez
Dates: Oct 6-31, 2014

Course Description:
Great characters are the foundation of any good story. Learn how to bring your characters to life with one of the co-authors of the popular writing book, 10 Steps to Creating Memorable Characters. Learn how to go from cardboard or wooden characters to real people with a story to tell. Lessons include:
A look at the Physical
Your characters must come alive and our first lessons begin with giving your character a name and starting to develop them physically. This is like starting with a skeleton and building from the bones on out.
Don’t ignore the Emotional
Your characters need to be unique and this lesson focuses on making them individual with human or other world emotions or quirks. Make them come alive with more than flesh by providing them with unique feelings, thoughts and weaknesses.
Remember your characters’ History
No character comes from a void. Even orphans and angels have a past. In this lesson we learn how to use that past in building your story and how to use it in your plot line to make your character more individual as well as beginning to provide motivations for your characters’ actions.
Make your character Develop and Grow
This lesson puts the various parts of your character together to show how to make them work in your story. It will also look at the Character Arc and how to make certain your characters develop over the course of your book.


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Working with your Editor
Presented by Susan Palmquist
Dates: Oct 6-31, 2014

Course Description:
Congratulations you’ve got a contract for your novel, but now comes the next hurdle, that of working with an editor. This workshop covers topics such as what is expected of you the writer in the writer-editor relationship. What questions to ask your editor. What are some of the things the editor will work on with you. Pre-editing. Following in house style guides. What to do if you run into problems. Working with an editor whose style doesn’t match your own. Checking the editor’s work.


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November

Me & Chi: Increase your creativity and health with Tai Chi and meditation for writers

Presented by Pat Hauldren
Dates: Nov 3-14, 2014


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**Cancellation and Refunds Policy: No registration fees will be refunded. All payments for a workshop must be received by the registration cutoff date. If you have trouble viewing the PayPal form, please send payment through PayPal to paypal@lowcountryrwa.com. Payments received after the cut-off date can be applied to a future workshop of the Applicant’s choosing.

In the event a workshop is canceled due to unforeseen circumstances, such as instructor inability to teach class, registration fees will be applied to a future workshop of the applicant’s choosing.

A Confirmation Letter of Payment will be sent promptly. Invitations to the workshop are sent 2 days prior to the start of class. If you pay for a workshop and do not receive a confirmation letter and an invite please contact the Online Workshop Coordinator immediately.

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