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Below are partitioned criteria for engaging in critique of novel-length fiction. This will help guide your writer's group and make the critique more focused and less arbitrary. Premise and Plot Does the premise or story concept sound high concept? Original? If so, why? Defend your conclusion. What makes it unique when compared to published novels or nonfiction in the genre? You must effectively argue this case for or against. If against, present examples why it might not be sufficiently original to capture the interest of an agent or publisher. Are you able to discern the primary source of dramatic tension and complication that creates the major plot line(s)? Can you or the writer create a conflict statement for the novel that demonstrates, for example: The Hand of Fatima A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinni who joins the mage to confront a danger that threatens their entire world. Part II Is the first major plot point that changes the course of action and begins the second act of this novel clearly defined? Can you state it? Keep in mind that the first major plot point begins the plot line noted above, i.e., the rising action of the story as a whole. Insofar as you know, does the story as presented to you display the mandatory tropes of the genre? If so, how? Be inclusive with your response. Demonstrate knowledge of your genre and its tropes. Does the author do anything to present or frame the tropes in a unique manner? Does the novel possess a setting and/or unique world that works to high-concept the novel, or at least make the story much more interesting and unique? If so, what features of this setting do you find unique or valuable to the story when compared to others? Do specific circumstances or characters evolve from the setting that make it valuable? If so, what or who are they? What novel(s) published in the last few years does this story most closely compare to? Why? This must be supportable with specifics and not general statements. Does it compare favorably? Is it sufficiently unique despite the comparison? If so, why? Why is this story, as presented, one that publishers will buy? To put it more simply, why is this story one that readers will pay to read? Respond to this with clarity and detail. Narrative, Scenes and Style How does the story read? Each one of the following bullet points must be addressed. Is the prose itself completely free of errors and ambiguity? Does the writer say more with less or is she/he wordy? Are the verbs sufficiently active or too much variation of "to be"? Also, is the writer good at description? Not sure? Ask them to provide examples of description of objects, events and people. Is the reader oriented spatially or do characters feel disembodied? If this narrative were film, would it make sense? Is the narrative sufficiently engaging? If yes, what makes it engaging? If no, what should be done to make it engaging? Be specific. Does the narrative include, as a whole, the three primary levels of conflict, i.e., internal, social, and plot related? If so, list them one at a time, and their context. If not, what should be done to include them? Part II Are the scenes set properly? Do they have a defined beginning, middle and end? Do we get a clear concept of who/what/where, etc? Does the prose itself evidence mastery of the form given the demands of the genre? If so, how? If not, why? What can be done to improve it? Does the narrative present situations, issues, circumstances, characters or plots that seem too predictable or stale from overuse? Or would you term the narrative more unpredictable and original, insofar as possible given the demands of the genre? If more than one point of view, does the writer juggle the multiple POVs with skill? If so, how? If not, why not? Ask for more narrative samples as necessary. Characters The main thing here is to focus on the manner in which the characters reveal themselves in the course of the narrative, via dialogue and action. Do they feel real or simply two dimensional? Do we observe them at their best or worst in the course of performing an action? Is the author using show-don't-tell techniques to portray them or simply delivering exposition? Do you feel any sympathy or empathy towards them? Is there anything unique about them or do they feel overly stereotypical?

Barbara Zitwer specializes in discovering new writers from all over the world. They look for writers with original voices and who have commercial, international appeal, and also for books that have potential to be developed for film and television. Barbara Zitwer herself specializes in developing books and editing. She has written several books as well as the play, PAPER DOLL, about Jaqueline Susann, produced in regional theaters throughout the US. She has produced landmark films such as VAMPIRE'S KISS with Nicolas Cage, was Executive Producer on LAZARUS RISING with Columbia Tri-Star and Bernie Sofronski, and she executive produced THE FRIDAY NIGHT KNITTING CLUB with Julia Roberts. She began her career in publishing as an international scout and for 22 years has been attending book fairs in Frankfurt and London and cementing close international relationships. Her expertise is in working with new writers, editing and developing material and selling in the international market. She is known for discovering first time writers and working with translations and foreign writers. She is also known for quality popular, commercial fiction in the areas of women's fiction, satire, humor, mysteries and thrillers. BZ on Wikipedia | Truly Batshit - The Secret History of Vampire's Kiss, Craziest Cage Film INTERVIEWED BY MICHAEL NEFF OF ALGONKIAN WRITER CONFERENCES NEFF: Barbara, do you feel your agency differs in any way from other literary agencies. If so, how? B: Yes, I specialize in discovering new writers from all over the world who have never been published before. And, I work very closely with each author I represent for the long haul - for years sometimes, while a book is being written. I take on authors who have written, maybe a five page proposal, and help them through the entire writing process both with development and editing, way before we even present the work to a publisher. I also work with writers from every country and sell books in foreign languages and really have become an international agent who is based in NYC. I sell more work and rights in the foreign market than America and often I sell books in the foreign market before America. I also deal directly in Hollywood, which is different than most. My agency has a film production division and so I have a personal experience with filmmaking, Hollywood studios and an inside track. ________ NEFF: Where do your tastes run? What types of work do you feel comfortable representing? B: My forte is commercial fiction and narrative non fiction and I like writing that has a strong, unique voice and point of view. I am attracted to writers who tell bigger than life stories of ordinary people, if you know what I mean and who have a sense of humor, a wry way of writing. I like writing that is lean and might appear simple, yet is actually complex, metaphorical and has universal appeal. I am intrigued by unusual yet accessible stories from all over the world - work that can speak to someone in Ho Chi Minh City as well as St. Petersburg and NYC. I think the authors I represent do have international qualities and think in terms of issues and ideas that all people grapple with - one way or another - you can see that because I am successful at selling authors' foreign rights all over the world. ________ NEFF: In this tough fiction market, what criteria do you use to select manuscripts by first-time authors for possible representation? B: Firstly, I read everything that comes in to my agency, myself - no one reads for me. I have an open mind to anything -- so, I might have some pre-conceived ideas of what I would take on, but then I simply fall in love - if I read and I fall in love with what I am reading - I will take on the author. That's my first and most important criteria. Then I have to think about, if the work is very literary and small such as Daniel Wagner's A MOVIE AND A BOOK, which I sold to Knopf, which editor would love this? What publisher will publish this book? If a book is very unusual and might have a small market and I love it, the biggest challenge is to find a powerful enough editor or publisher who will publish the work. Otherwise, I am always looking for a really smart thriller or mystery, women's fiction, literary fiction, narrative non fiction -- travel memoirs. ________ NEFF: What makes this market for first-time authors especially challenging? B: Today, authors and/or agents have to create a hook( real or imagined- it's a marketing tool) , a platform- meaning - does anyone in the world or blogosphere know the author and if not, you must spin a first time author in a special way, package a book, do a marketing and sales pitch, create and tell the publishers how to sell the book, sometimes do mock-up of the cover-art, create a website and blog etc. Writers can also try and get reviewing jobs for major newspapers and magazine and review other books and get their name in print. Authors can try and sell short stories, write essays or pieces and get published. They can teach, attend writing workshops, go to literary functions and participate and MOST IMPORTANT OF ALL: Know and visit all the bookstores where you live and where your book will be sold. Make friends with the people who are going to put your book in someone's hand - bookselling is still a big word of mouth business. In order to really succeed in selling books, it is essential for the author to become personally involved in the selling of it - there are exceptions to every rule today but most authors have websites, hire their own publicists and pay for their own authors' tours. I, as the agent, have to help a writer, package themselves and their book and position it in the marketplace so that the publishers will say YES and they can go to their corporate board and other colleague in sales and marketing and publicity with a book that has many elements there already. It is very difficult today to just send a ms: unbound , double spaced, typed pages on numbered paper and say it's a great book. Every editor will ask - who wrote it? What do they do? What do they look like? Do they have a column, a website, are the movie rights sold and is the movie in production, etc. etc. etc. Any first time author can be made to look "fabulous" -- it's all about how an agent, author and publisher present the author. Every author has a background and a story, which can be told to the booksellers and public in a boring way or a way that is spectacular. It all depends on who is "packaging" the author and how they are making something out of what the author's real life and experiences are. If the work is good, then that is what matters and the cosmetic presentation that publishers so desperately want is really easy to create. That's why GOD invented Madison Avenue and advertising! One just has to apply it to authors and their books today. No matter what book is considered - the pressure and insistence by publishers for "known quantities and already discovered work" makes it much more difficult. So, what I try and do is create a package, buzz, excitement, sometimes foreign sales, and a movie sale for a first time book and I get involved in helping in many ways to make a first time book stand out and be accepted. ________ NEFF: Many of us in the business think it horrible that a writer can spend many years on a project only to have it "rejected" by an intern whose job it is to "flush the slush" at the end of the day. Do you feel it is beneficial or hazardous for agencies and publishers to use young readers or interns to be the point guards on the pile? B: Usually hazardous, most especially with agents... I read everything myself because only I can know what is good and only I have the vision to read 5 pages of something and talk to a writer and know that his/her book can be great and worth taking on. The same goes for editors and publishers, which is why I try to only work and submit to editors that I have relationships with and who personally read the books I send them. Again -- I don't represent quantity so I can read everything and work with authors...and when I submit a book - an editor can know that if I give it my stamp of approval, it is probably worth them looking at themselves. It is preferable if an agent works with the top tier of publishing executives and has long standing relationships so that their books are looked at quickly and with priority, not delegated to a first time intern. But sometimes, actually, again -there are first time editors low on the totem pole like David Gernet, who bought John Grisham's first book - the rest is history; he became the head of Doubleday and finally Grisham's agent. So, you never know... interns can discover something and make something happen too. ________ NEFF: If you represent a first-time author who is dropped by the publisher because he or she did not earn out on his or her first novel, what is the strategy at that point? Is this circumstance happening more often than ten years ago? B: I would definitely take on a writer with a second book if I loved it. Just because their book didn't earn out , doesn't mean the 2nd, 3rd, or 4th or 5th book won't be a breakout bestseller. The truth here is that most books don't earn out. Most publishers earn their rent on one or two big books. The truth is that most first, second, and third books don't earn out. The issue is how much did the publisher pay for the book and how much did they lose. If a publisher bought a book for 5 million dollars and it sold 12 copies -- yeah, it will probably be difficult to sell book 2. On the other hand, another publisher might think: "Hey, publisher #1 paid 5 million so it must be good and they did a terrible job of publishing." So when the agent comes to them and agrees to sell book 2 for 1 million or even $300,000 to keep the authors career going, the new publisher might think book 2 is better and they are getting a big bargain. So, the issues of earning out on a first book is not really a big issue frankly. It's something publishers say when they want a way out of doing an author's book. That's my opinion. Publishers will go to bat and continue publishing writers who never earn out because they love the work -- and they believe that one day this one author will break through. There are many many examples of writers like this. ________ NEFF: Who are your favorite contemporary authors? Who would you recommend to young writers as sources of inspiration? B: I think we must find our own inspirations. What inspires each of us is very personal. But, Graham Greene is my favorite author and I never get tired of reading him, thinking of his characters and stories and imagining myself in one. ________ NEFF: What is the future for Barbara Zitwer? B: BZ will hopefully find many, many new and exciting authors to represent from all over the world. She is developing the film producing arm of her work, and acting as a producer of some of her clients' books and also working on her own film projects. She is also developing and co-writing books with authors, which have originated from her own ideas.

Dear Writer, Thank you for leaving a review of the 2023 New York Write to Pitch. Best, AAC Admin

The following are major pre-event assignments, readings, and guides (not including Part IV - Algonkian Novel Development Program) for Algonkian workshops and other events. Downloading, forwarding, or copying these assignments without the prior approval of Algonkian Writer Conferences is not permitted, however, routine utilization of the content in its extant form is permitted. Parts I, II, and II Pre-Event (includes eBook) Execution of the Pitch Model Assignment Recap and Dramatic Act Structure The Necessity of Publisher's Marketplace Prep for Agent Query Process NOTE: this is an information forum, not a response forum. Utilize the appropriate forums for posting necessary responses. _____________________________________ PART I Pre-event work as follows. This is Part I of four parts. We include a seven short assignments forum that will persuade you to consider several crucial and foundational aspects of your commercial novel project. Think of them as a primer. Complete them at your convenience and post the responses. Your responses to these assignments will be reviewed by faculty with an aim towards achieving a better understanding of your project and its current stage of development. We recommend writing down the answers in a separate file and then copying them into the forum to prevent any possible loss of data. To enter this forum (Algonkian Author Connect), click on the “Sign Up” link, top right and follow the instructions regarding password, email, etc. Once done, click on the assignments link above. ____________ PART II The second instance of pre-event necessity as follows. Read carefully and complete in the proper order as noted. You might become a bit astonished from time to time but push through. It all makes perfect sense. Now comes the Algonkian eBook. If you do not wish to utilize Amazon, the same booklet is found here as a PDF. In either case, you must faithfully absorb everything beginning with the first chapter, “Writer Ego and the Imaginary Bob,” and continue through “Settings are 60%.” This is vital to your potential success. It places emphasis on all the crucial core elements of novel development and editing that *will* be discussed in formal sessions. If you arrive at an Algonkian event not knowing the difference between a plot point and a pinch point, you will be swimming upstream from the first day and thereby seriously disadvantage yourself. Avoiding the study of proper technique won’t get novels published much less developed in a manner both artful and professional. Okay, much to do! Is it ever enough? No, but don’t recoil or hesitate if portions of the e-Book fail to comport with what you’ve been told elsewhere (writer groups, conferences, chat boards, etc.) because the odds are extremely high that what you’ve been told is wrong, if not potentially ruinous. Keep in mind, we all stand on the shoulders of those magnificent and capable authors who’ve preceded us. And remember too, there are no great writers, only great rewriters. ____________ PART III Quite often, after scoring well in a pitch session, the faculty person will ask us, “But can they write?” Premise and plot prod the necessary attention, but so many writers don’t cross the line because their actual prose narrative is not as competitive as it should be. Fact. In response to this circumstance we’ve created an online forum that serves two purposes. First, to demonstrate the best methods and techniques that should rightfully be considered when it comes to the creation of competitive narrative regardless of genre. Second, to act as a place where editors and agents will see the quality of your work up close. Use one of the two links above to get started asap. Simply open the topic linked above, read the guidelines and all the examples linked to Novel Writing on Edge, then edit your own opening hook accordingly. Once done, post at least 500 words by replying to the topic post. If you cannot include first pages at this time another good sample will suffice. Btw, you should already have an Author Connect member login if you’ve opened and utilized the Part I assignment (Seven Assignments). If you have not, please do so at the first opportunity. ___________ The Execution of the Pitch Model Like so many other things, this is crucial to your success. Before you can sell a viable commercial novel to a publishing house, you must work towards the goal of writing a viable commercial novel while simultaneously learning how to artfully pitch it. You will have a minute to deliver the actual pitch, and if you think this is not enough time, think again. It is more than enough. The idea is to communicate clearly and hook your listener. Your pitch must include a SCENE SET (as necessary), a focus on your PROTAGONIST (tell it through their point of view), sufficient PLOT TENSION deriving from a PLOT POINT (an event/circumstance/action that significantly changes the course of the story), and finally, a wrap with a CLIFFHANGER. So what's a cliffhanger? Regardless of the genre, literary or thriller or SF, the cliffhanger begs the ultimate question, and it’s always the same in one way or another: WILL BECKY SAVE THE FARM AND LIVE TO TELL THE STORY? Once done, you want the conference editor or agent to ask for more. Please review the following guidance at Novel Writing on Edge where you’ll find two pitch models and further elaboration. You will be using this model at the Algonkian event: https://www.novelwritingonedge.com/2013/11/algonkian-writers-conference-first-prep.html _____________ Assignment Recap and Dramatic Act Structure By this time, you should have in your possession three main assignment mails, namely, Part I (Seven Assignments), Part II (Development eBook), and Part III (Prose Narrative Enhancement). These assignments serve two purposes: to enable you to conceive and write a more perfect novel, one that might actually sell; and secondly, to instill within you with a language and knowledge base that will make meetings with publishing and tv/film professionals far more productive. Now, the following statement should sound familiar. If a member of the faculty asks you to define your first major plot point, inciting incident, or last major reversal before climax, you must comprehend the nature of these plot elements (for starters!), and deliver the response in a manner that demonstrates you are a professional. Amateurs *always* stick out, and they say “um” a lot, thereby failing to live up to our motto: From the heart, but smart. Besides displaying a high concept premise, the faculty also expect your genre or upmarket tale to be creatively developed using a certain approach and structure—one also utilized by screenplay writers—namely, the dramatic act structure. Whether the novel is a single, coherent plot line, or a parallel plot line with two major protagonists, the overall story progression manifests a readily identifiable endoskeleton, so to speak, i.e., an array of familiar points and notes along a story arc from beginning to end. There is more than one version of this, but they all achieve pretty much the same results: the Three Act, Nine Act, and the Six Act Two-Goal. A very good example can be found here. The above is included with your assignments and its importance cannot be over stressed. One of THE biggest reasons novels by unpublished writers fail is because the author is not sufficiently adept at plotting. A novel with a great start but a “saggy middle” always results from an inadequate understanding of how plot must work in order to satisfy the needs and expectations of readers, agents, and editors. Quite often, writers will bring stories and pitches to the NY event that are nothing other than circumstances, sets, and characters mixed into a quasi-amorphous stew, whirlpooled into forced fusion like fragments of a television season. A sign this is the case can almost always be found in the pitch itself. Acquisition editors, experienced agents, and other professionals usually don’t expect to get much traction out of the usual writer conference, but our events always surprise them. We mean to keep it that way. Our reps are on the line, and the better you look, the better we look. The more subs requested, the more contracts cut, the more willing our faculty are likely to return. No question. We also love the publicity and energy generated when the contracts flow. Btw, if the information above doesn’t square with what you’ve been told up until now, then choose the wise path of change. Rewrite as necessary. _________________ The Necessity of Publisher's Marketplace You are well advised to join Publisher’s Marketplace. Why? Because it lists recent sales by agents to publishers broken down by genre and provides a neat story-hook line (log line) for each sale that serves as a potential model for you. PM shows precisely what type of work is now being published in your chosen genre, thereby providing a comparison for your own work, and as a bonus, you learn the identities of productive “in the loop” agents (good to know regardless of circumstances). All in all, if commercial publication is your goal, PM is invaluable. The search feature is efficient and fairly straightforward. Membership is around $20 per month, but well worth it. The type of knowledge PM provides will give you a distinct edge over the competition. _________________ Prep for Querying Agents Though addressing the query-agent stage of your long, hard slog to becoming a published author might seem premature at this point, questions concerning this process nevertheless always arise at Algonkian events. Rather than await the next round of probes on this matter, we’ve decided to link you to the article below. It succinctly covers the critical prep steps you must take prior to sending anything like a query to a commercial agent (if and when it comes to that). Also, it effectively overrides the usual incomplete and/or foolish advice on this matter which currently infects the Internet like an electronic pox. With these answers already in hand, further questions at the conference, in theory, should be more informed, and therefore, the answers more productive. ____________________________________

Below are elements that all would-be narrative fiction artists should consider, regardless of genre - prior to fingers touching the keyboard, and while the fingers are tapping. These elements should be used in this forum for helpful critique as well as writer editorial purposes. Keep in mind, that aside from the notes which follow, a great story premise with a strong plot and excellent characters will keep reader eyes on the page most effectively. All else is extra but necessary recipe - cliché but true. => For those about to post a sample of their prose narrative, this forum will serve you best if you post a three or four page scene taken from your opening pages. Make certain to include dialogue, preferably at least 30 lines. Note at the top of your post where this scene takes place in the context of the plot line, and the purpose it serves, for example: OPENING SCENE - Introduces antagonist, setting, tone, and a foreshadows the primary conflict. => However, if you wish to begin this process by posting a preliminary 500 words or so, feel free to do that. Again, it's preferable if these are your first five hundred. And please SINGLE SPACE. No one here is writing notes between the lines and no one on Earth reads double-spaced pages in published novels. NARRATIVE ENHANCEMENT CHECKLIST Don't Neglect Energizing Dialogue - Nothing like great dialogue to create a page turner, especially if the characters are important to the story, and to the reader. Make it crisp, snappy, and relevant. When in doubt, dose with conflict. Dialogue - Never a Gratuitous Word or Boring Moment WWW.NOVELWRITINGONEDGE.COM Utilization of Artful Hyperbole in Dialogue or Interior Monologue - Surreal descriptions, provocative statements, e.g., suggestion that an unusual or dangerous event might occur; and what about objects that manifest a fearful or mysterious quality? "The tips of her fingers are a funny orange, like the tip of a soldering iron." "You are at a nightclub talking to a woman with a lightning bolt on her nose." "A homeless child with crazy green eyes was threatening an old woman on the subway." "It's even worse than you expected." Matters of Scenes and Sets - Have you chosen in such a manner that verve and uniqueness are potentials by default? Are they capable of producing provocative or interesting imagery? Consider a single best setting for the most energetic scene. Settings Are 60% - Maximize Opportunity WWW.NOVELWRITINGONEDGE.COM Quality of Description - Nuances and Shimmers. What will be the most vital, provocative, or unique image in any given scene? Imagine it. Be aggressive. Consider proper similes and metaphors. Also, what is the best way to render vivid descriptions, whether static or dynamic? This an art form that many fiction writers fail to master. Again, keep in mind your choice of scene and set in the first place. Articles to read: Experiments in High Impact Narrative / A Great Damp Loaf of Description / Prose Narrative Enhancer Tool Quality of Narrative in General Brilliant Fiction Narrative in Four Stages WWW.NOVELWRITINGONEDGE.COM Ruminations and Imaginings - Does the point-of-view character abstract, comment, muse, daydream? And btw, what are the TRIGGERS for these states of mind? Allow the POV character to ask questions of themselves, to doubt, to rationalize. Is the character also flashbacking to the past, fantasizing a scenario that involves them, perhaps in the future? A sexual fantasy? A fantasy of revenge, a memory of a past love, a dream world? The "setting" of the mind can often inject verve on the page if the scene set is a bit quiet. The Power of Event - Is there a defining or powerful event taking place, one capable of having impact on all present? Has a building collapsed and blocked traffic? Is a fight or argument taking place nearby? A parade, a protest? Car accident? What makes sense for your time and place? Minor Complications - Miscellaneous things that trip and confound. The immediate energy of a good minor complication cannot be overstated when it comes to overall narrative verve. Classic Authors and Irritants of Minor Complication WWW.NOVELWRITINGONEDGE.COM Protagonist Sympathy Factors in the Hook - The below is a tangent to this topic, but an important tangent. Why? Because the elements above must be devoted, in part, to the early development of the protagonist. If you're going to be posting narrative samples from the beginning of the novel (which is most beneficial) then you must take this issue into consideration. Protagonist Sympathy Factors in the Hook WWW.NOVELWRITINGONEDGE.COM Novel Writing on Edge is a time-tested and trusted source for all genres on the topics of novel writing, development, editing, and publishing.

Am I a murderer? Many Republican lawmakers would claim that I am. Since the U. S. Supreme Court overturned Roe v. Wade in June, already 18 states have criminalized abortion and elected leaders in over half the states are attempting to do so. “Personhood” laws in Alabama, Arizona, Georgia, Kansas, Missouri, and Texas make an embryo eligible for child support and tax credits. Many in our government acknowledge no distinction between a human toddler and fetal matter, attached by an umbilical cord to someone else’s uterus. Abortion, these lawmakers insist, is homicide. In the spring of 2010, I had an abortion eight weeks into an unwanted pregnancy. I was a healthy 25-year-old student working on my Ph.D. dissertation, with secure housing and plenty of financial support. I knew I wanted to become a parent eventually. And I knew, as clearly as I’d ever known anything, that I didn’t want to continue that pregnancy. About one in four American women has had an abortion. Most of us have family members, friends, and doctors who helped us make that decision, drove us to appointments, and provided care. Fetal “personhood” laws make all of us murderers and accessories to murder. In this country, we punish convicted murderers. We put them in cages, locked away from their loved ones, ostensibly to deter other would-be murderers and protect the rest of us. Most states where abortion is a crime currently uphold the death penalty. Indeed, last year in Texas, five male lawmakers authored a bill that would have made getting an abortion punishable by death. Should the government punish this enormous portion of our population? If so, to what end? Certainly not for the sake of community safety; abortion access is directly linked to a decrease in crime rates. Abortion-havers and abortion-seekers pose no threat to any other citizen’s existence. Whose existence, then, is at stake when we dare to claim our reproductive power, to prioritize our educational and creative goals, to plan our families, to make health-related and economic decisions for ourselves? What do we threaten? The answer could have been written by James Carville, if he’d been a feminist advising Hillary’s campaign instead of Bill’s: It’s the patriarchy, Stupid. Patriarchal norms have long dictated what counts as homicide and how to punish offenders in this country. In colonial New England, an old British statute declaring all husbands to be “natural lords” over their wives meant that a woman who killed her husband was guilty of “treason” against the state. Many convicted women were burned to death rather than hanged based on this technicality. For much of this country’s history, an enslaved woman who self-managed an abortion was guilty, by law, of destroying someone else’s future “property.” Abortion is freedom. Without authority over our own internal organs, we become the property of the state the moment we become pregnant. Reproductive Justice means our bodies belong to us, and it depends on abortion access for all. The fates of people who become parents against their will is a main theme in my novel, NIGHT, FORGOTTEN. My protagonist Julie marries a man whose Catholic mother-in-law believes abortion is murder and works for a so-called “crisis pregnancy center,” where she impersonates a medical professional and lies to people who are already scared and confused. This behavior is alarmingly typical at the over 2,530 real-life fake clinics around the country, many of which receive federal funds. For me, the choice to have an abortion and the procedure itself were both straightforward. Other people face hurdles at every step, depending on their age, race, class, where they live, and the type of support they receive. In my research for NIGHT FORGOTTEN, I learned just how complicated the decision can be. My protagonist Julie was the victim of a rape that resulted in pregnancy, but she’s unable to prove the crime. Many anti-abortion advocates hold up “rape exceptions” as a compromise, without acknowledging the societal and bureaucratic barriers that prevent the vast majority of rapes from ever being prosecuted. The very concept of a rape exception implies a false dichotomy between victims of sexual violence who earn an “exception” to forced parenthood through their suffering, and women who deserve to be punished for enjoying non-procreative sex. After the abortion, I finished my dissertation and founded a non-profit to help at-risk girls. I met the man who would become my husband, with whom I’m now raising two lovely children. I’m grateful for the circumstances that allowed me to build the family and life of my dreams, but those circumstances should not be rare. Abortion itself should not be “rare,” necessarily, given the frequency of unwanted pregnancies combined with the enormous health risks of giving birth. Nearly two-thirds of people who get abortions in this country are already mothers with existing children to care for. Most are living in poverty. About a quarter identify as Catholic; some even return to the same clinic the next day to protest other people’s access to abortion. That last group might be hypocrites, but they are not murderers. None of us is. *** View the full article

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page. ________________________

Handing your writing over for feedback always sounds good in theory, but when it comes right down to it, it takes courage and confidence to hear others criticize our stories without complaint, even when the comments are helpful and constructive and kindly given. Even we know they’re right. Maybe especially when we know they’re right. That said, learning to take the good feedback, leave the bad, and get on with the hard work of revision is crucial to becoming a career author. Whether you’re reading your story aloud at Bread Loaf or exchanging notes with your best writing buddy, you need to develop a skin thick enough to deflect the slings and arrows of harsh assessment and permeable enough to absorb the wisdom of relevant observation. Developing this thick skin is so important, according to my pal Michael Neff, poet, author, and founder of the esteemed Del Sol Review, that he prepares the writers who attend his acclaimed New York Write to Pitch Conference by giving them what he calls THE THIN SKIN TEST (see below). Note: I often serve as a workshop leader at this quarterly conference, so I’ve seen firsthand the direct feedback from agents and editors that participants receive. It’s invaluable, but it’s also intense. I can see why Michael created this. And I asked him if we could reproduce it here, as I believe it could benefit any and all of us as we take in criticism from teachers, editors, agents reviewers, readers, and our fellow writers. Fair warning: Michael’s approach is not for the faint of heart. But then neither is a career as a writer. - Paula Munier _____________________________ THE THIN SKIN TEST By Michael Neff In case you’re not sure if your skin qualifies, we’ve developed a few skin test questions below. Feel free to respond to yourself as you read each one. We desire to work exclusively with writers able to take fair and direct critique from the professionals, and we also wish to avoid time-wasting instances of Offended Writer Syndrome (OWS) which often take place in writer workshops all across America. Has any writer ever prefaced their critique of your work by first saying to you, “Don’t hate me, please? Do you sense that writers who unfavorably critique your work are “loading the gun” and taking aim? Do you rush to defend your work when a reader gives you criticism rather than absorb and weigh it carefully? Do you feel a need to say unkind things about a writer’s work if you perceive she or he was unkind to you first? Have you ever chastised any writer for what you consider to be improper or incorrect critique of your work? Have you ever been in writer workshops and reacted to criticism of your writing or story by demanding the other writer defend their decision in such detail that it served your purpose of making certain they never gave you unfavorable critique again? Do you receive critique you oppose in good humor, but routinely seek the negation of it from those you know will agree with your version of reality? Do you feel a bout of OWS coming on after reading the above questions? If you answered yes to two or more of the above questions, the New York Write to Pitch Conference is definitely not for you.

(courtesy of Ted) I. Overview Describe your book in two or three paragraphs (500 words or less). What is the title and subtitle? Who is the target audience and what makes your book unique and worthwhile for them? Think of this as the copy that would go on the back cover of your book or in the publisher’s catalog, or as the brief review that you hope to see in Publishers Weekly or the NY Times Book Review. II. Target Audiences Who is your core audience, the most likely purchasers of this book? How big is that market, and how can they best be reached? What other groups and types of readers will also be interested? III. About the Author Your credentials and experience. What makes you uniquely qualified to write and promote this book? What other media outlets do you regularly appear in? IV. Comparable Titles List and summarize the major comparable titles and explain why yours is different from each. You are trying to accomplish two things with this section: prove there is an audience who would find your book interesting, as demonstrated by earlier, successful books, while making clear how yours is different enough to compel those readers – and others – to buy it. V. Marketing and Promotion What is your comprehensive plan to actively promote the book? Where should publicity be focused? What are the magazines and other media outlets that your target audience pays attention to? Where should you and your publisher work especially hard to get the book reviewed? Blurbs: What “name” people would be willing to contribute a blurb? Can you get their commitment before the manuscript is completed? Media and Speaking Appearances: Does this book or your prior experience give you credentials to speak on any current topics in the media? What are the topics and target outlets? Beyond book stores, what other types of groups and organizations would be interested in having you speak to them? Serialization: What parts of your book lend themselves to excerpting in magazines and journals? List the appropriate excerpts and the 5 or 10 most important publications in which they could appear? Describe additional promotional opportunities you will pursue: Retaining a speakers bureau to book speaking opportunities. Retaining an independent publicist. Organizational connections? Mailing lists? Workshops? Tours? Does the book have series potential? Opportunities for regular updating? Other “legs”? Think creatively, think big. VI. Detailed Table of Contents Include the full Table of Contents, with detailed summaries of each chapter. This section could be anywhere from three to 20 pages – it needs to give a comprehensive, detailed map of what the book will contain. VII. Sample Chapters Include the first one or two chapters – not the introduction, but sample chapters that offer an accurate sense of the style, substance and structure of the book.

INTERVIEW WITH LEGENDARY AGENT AND BEST SELLING AUTHOR, PAULA MUNIER.

An absorbing conversation about "sensitivity reading" and the extreme absurdities resulting from the SR rationale.

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

NARRATIVE AND PROSE ENHANCEMENT DRILLS (“prose drills” for short) As a prose writer, if you cannot yet consider your style rightfully defined as a cross between Toni Morrison and Ray Bradbury, then you should work on developing a more powerful literary voice. After all, if you're going to try to become published, you might as well write as well as possible No? But do you have what it takes? Consider, all writer styles and voices are in a very large part a fusion of past immersions into good (or bad) literature. It‘s so true that you only write as well as you read. The writing of great authors soaks into you, becomes part of you, defines your ability to peel the onion and render each sliver. The point of the following prose drills is to dramatically speed up this natural process. The selection of writers and their prose is diverse, beginning with a little Shakespeare (of course!) and evolving gradually to lit more contemporary (with a dose of Plath). The names of all the writers isn't important, only their prose. So how to write prose drills and accomplish miracles? Is it easy? No. Can it become tedious? Yes, but you must persevere. The pain will be worth it. Let’s get started. Each of the following blocks of narrative is to be written in long hand only, not typed. Don’t ask us why. It just works this way and not the other way. Steps as follows: Step I: Choose three to four of the first narrative blocks. Step II: Using a pen, methodically write the first block of prose onto paper, not rushing, stopping now and then to repeat the words in your head as you go. Step III: Once done, read the entire passage you’ve written. Speak it out loud or hear your voice in head speak it, the words and sentences spoken with varying pause and rhythm (not a dull robot drone). Pretend as if you are reading this passage to an audience and it must sound good! Step IV: Repeat the process of writing out the block and reading it. Repeat this for each separate block of prose for a total of three times. Step V: Move on to the next three or four passages. Repeat the process above, and so on, until all have been written and read. The more times you accomplish the above, the more it will become a part of you. You will be astonished at the results. Truly. And btw, you can create your own set of prose drills borrowed from several authors (at least five) in your genre, authors you would love to emulate. Or you can mix a selection of your authors with the works of these authors. That's what author Anje Goodwin did. Regardless, see you at the National Book Awards! _____________ This is the excellent foppery of the world, that when we are sick in fortune - often the surfeit of our own behavior - we make guilty of our disasters the sun, the moon and the stars, as if we were villains by necessity, fools by heavenly compulsion; knaves, thieves and trechers, by spherical predominance; drunkards, liars, and adulterers, by an enforced obedience of planetary influence; and all that we are evil in, by a divine thrusting on - an admirable evasion of whoremaster man, to lay his goatish disposition to the charge of a star! Our last king, whose image even now appeared to us, was, as you know, by Fortinbras of Norway, thereto picked on by a most emulate pride, dared to the combat, in which our valiant 'Hamlet - for so this side of our known world esteemed him - did slay this Fortinbras, who by a sealed compact, well ratified by law and heraldry, did forfeit, with his life, all those his lands which he stood seized of to the conqueror. Let me not burst in ignorance, but tell why thy canonized bones, hearsed in death, have burst their cerements; why the sepulchre, wherein we saw thee quietly inured, hath opened his ponderous and marble jaws to cast thee up again. What may this mean, that thou, dead corpse, again, in complete steel, revisit thus the glimpses of the moon, making night hideous, and we fools of nature so horridly to shade our disposition with thoughts beyond the reaches of our souls? Her clothes spread wide, and mermaid-.like a while they bore her up - which time she chanted snatches of old tunes, as one incapable of her own distress, or like a creature native and imbued unto that element; but long it could not be till that her garments, heavy with their drink, pulled the poor wretch from her melodious lay to muddy death. So here I am, in the middle way, having had twenty years - twenty years largely wasted, the years of the wars, trying to learn to use words, and every attempt is a wholly new start, and a different kind of failure because one has only learnt to get the better of words for the thing one no longer has to say, or the way in which one is no longer disposed to say it. And so each venture is a new beginning, a raid on the inarticulate with shabby equipment always deteriorating in the general mess of imprecision of feeling, undisciplined squads of emotion. And what there is to conquer by strength and submission, has already been discovered once or twice, or several times, by men whom one cannot hope to emulate - but there is no competition - there is only the fight to recover what has been lost and found and lost again and again. But perhaps neither gain nor loss, For us, there is only the trying. The rest is not our business, I can only say, there we have been, but I cannot say where. And I cannot say, how long, for that is to place it in time. This is concentration without elimination, both a new world and the old made explicit, understood in the completion of its partial ecstasy, the resolution of its partial horror, Time past and time future allow but a little consciousness, To be conscious is not to be in time but only in time can the moment in the rose garden, the moment in the arbor where the rain beat, the moment in the draughty church at smokefall be remembered, involved with past and future, Only through time is time conquered. Only a flicker over the strained time-ridden faces distracted from distraction by distraction, filled with fancies and empty of meaning, tumid apathy with no concentration, men and bits of paper, whirled by the cold wind that blows before and after time, wind in and out of unwholesome lungs time before and time after. In my beginning is my end. In succession houses rise and fall, crumble, are extended, are removed, destroyed, restored, or in their place is an open field, or a factory, or a by-pass. In that open field on a summer midnight, if you do not come too close, you can hear the music of the weak pipe and the little drum; and we see them dancing around the bonfire, the association of man and woman in daunsinge, signifying matrimony - a dignified and commodious sacrament. Two and two, necessary conjunction, hold each other by the hand or the arm which betokens concord. Round and round the fire, leaping through the flames, or joined in circles, rustically solemn or in rustic laughter lifting heavy feet in clumsy shoes, earth feet, loam feet, lifted in country mirth, mirth of those long since under earth, nourishing the corn. Trampling its granite; their red backs gleam under my window around the stone corners; nothing more graceful, nothing nimbler in the wind. Westward the wave- gleaners, the old gray sea-going gulls are gathered together, the northwest wind wakening their wings to the wild spirals of the wind-dance. Fresh as the air, salt as the foam, play birds in the bright wind, fly falcons forgetting the oak and the pinewood, come gulls from the Carmel sands and the sands at the rivermouth, from Lobos and out of the limitless power of the mass of the sea, for a poem requires multitude, multitudes of thoughts, all fierce, all flesh-eaters, musically clamorous bright hawks that hover and dart headlong, and ungainly grey hungers fledged with desire of' transgression, salt slimed beaks, from the sharp rock-shores of the world and the secret waters. You remembered a day in August when it was foggy and sleet struck the front of your jacket with little ringing sounds and then a blue hole in the clouds opened wider and wider, like the rainbow ring that you had seen around the sun on the day before the mist had poured down from the ridges like some cold-glaring white liquid; and now the blue hole got bigger and sun came out and it was exactly 32 degrees F and you could see across the river valley again to the low brown ridge of gravel with the blue sky behind; and the wind was chilly and between the rocks grew green wet ribbons of tundra and the arctic was so beautiful that all at once you knew that you could live and die here. Snowdrifts lay steeply against that ridge, corrugated by wind rain, and the river flowed down the sand in dark blue braids. No bird sang; no sound of life was heard, but a black little spider crawled feebly in a warm spot on the mud. The peacefulness is what the dead close on, finally; I imagine them shutting their mouths on it, like a communion tablet. It is Russia I have to get across, it is some war or other. I am dragging my body quietly through the straw of the boxcars. I am stepping from this skin of old bandages, boredoms, old faces. The moon is no door. It is a face in its own right, white as a knuckle and terribly upset. It drags the sea after it like a dark crime; it is quiet with the 0-gape of complete despair. They're out of the dark's ragbag, these two moles dead in the pebbled rut, shapeless as flung gloves, a few feet apart. One, by himself, seemed pitiable enough, little victim unearthed by some large creature from his orbit under the elm root. The sky's far dome is sane and clear. Leaves, undoing their yellow caves between the road and the lake water, bare no sinister spaces. Already the moles look neutral as the stones. Their corkscrew noses, their white hands uplifted, stiffen in a family pose. I enter the soft pelt of the mole. Light's death to them: they shrivel in it. They move through their mute rooms while I sleep, palming the earth aside, grubbers after the fat children of root and rock. By day, only the topsoil heaves. I shall never get you put together entirely, pieced, glued, and properly jointed. Mule-bray, pig-grunt and bawdy cackles proceed from you great lips. It's worse than a barnyard. Perhaps you consider yourself an oracle, mouthpiece of the dead, or of some god or other. Thirty years now I have labored to dredge the silt from your throat. I am none the wiser. Scaling little ladders with gluepots and pails of Lysol I crawl like an ant in mourning over the weedy acres of your brow to mend the immense skull-plates and clear the bald, white tumuli of your eyes. All morning, with smoking breath, the handyman has been draining the goldfish ponds. They collapse like lungs, the escaped water threading back, filament by filament, to the pure Platonic table where it lives. The baby carp litter the mud like orangepeel. Southbound cars flatten the doped snakes to ribbon. I think of the lizards airing their tongues in the crevice of an extremely small shadow, and the toad guarding his heart's droplet. The desert is white as a blind man's eye, comfortless as salt. Snake and bird doze behind the old masks of fury. We swelter like firedogs in the wind. The sun puts its cinder out. Where we lie the heat-cracked crickets congregate in their black armorplate and cry. In this country there is neither measure nor balance to redress the dominance of rocks and woods, the passage, say, of these man-shaming clouds. The horizons are too far off; the colors assert themselves with a sort of vengeance. Each day concludes in a huge splurge of vermilions and night arrives in one gigantic step. These rocks conceive a dynasty of perfect cold. In a month we'll wonder what plates and forks are for. I lean to you, numb as a fossil. Tell me I'm here. The Pilgrims and Indians might never have happened. Planets pulse in the lake like bright amoebas, the pines blotting our voices up with the lightest breeze. Despite her wild compulsion to talk and despite the frightened ravenous curiosity of her dormitory clique whom she awakened by sobbing over their beds, Melanie wasn't able to say clearly what finished happening half an hour ago. She remembered the Turk suddenly abandoned English and raved at her in furious Turkish ' and she told them about that and about the obscene tatoo flashing on his chest when she ripped his shirt open, and that he stopped the car on a country road, and there was a tall hedge, maples, sycamore, and a railroad track nearby, and a train was passing, passing, and passing, and beyond her moans, and later an animal trotting quickly on the gravel. a mysterious nightscreech, the sound of moon, and then, with no discontinuity, the motor starting it's cough and wretch and a cigarette waving at her mouth already lighted as if the worst were over and someone had started thinking of her in another way. But Mrs. Gruenwald all this time was rising and sinking like a whale, she was in a sea of her own waves and perhaps of self-generated cold, out in the middle of the lake. She cared little that Morgana girls who learned to swim were getting a dollar from home. She had deserted them, no, she had never really been with them. Not only orphans had she deserted. In the water she kept so much to the profile that her single pushing-out eyeball looked like a little bottle of something. It was said she believed in evolution. Nina stood and bent over from the waist. Calmly, she held her cup in the spring and watched it fill. They could all see how it spangled like a cold star in the curling water. The water tasted the silver cool of the rim it went over running to her lips, and at moments the cup gave her teeth a pang. Nina heard her own throat swallowing. She paused and threw a smile about her. After she had drunk she wiped the cup on her tie and collapsed it, and put the little top on, and its ring over her finger. With that, Easter, one arm tilted, charged against the green bank and mounted it. Nina felt her surveying the spring and all from above. Jinny love was down drinking like a chicken, kissing the water only. It was the kind of hospital you'd walk into and see an old orderly mapping barefoot - with an Aztec face straight out of the Anthropology Museum - stringmop mopping the waiting room, and held stop to watch you all the way down the hall, even though you'd know they must see plenty of Americans in there. Then there'd be the woman in the business office - young and pretty but with one smaller arm, with maybe something wrong with it, dangling half-hidden under her sweater. She'd be wearing a crucifix just like Dona's - the old cook back at the house - and she'd look suddenly up at you in such a way that at first you'd think she was going to start wailing like Dona did, the night before when you arrived - wailing in Spanish, over and over again the same thing - saying, "Oh, when will you bury him, Senora, when will you bury him, for he wanders in this house and calls out to me every night like before!" That pavement that had in it a little lump that went right across the middle, almost like a little small curb-type thing that would cause a something that was rolled over it to bump as it went over. I did not tell about that, and I also did not tell about the sheet - white and thick and longer, it seemed to me, than the kind of sheets you would see on beds back at the house - and about the way that sheet hung down so limply - almost wetly - on all sides from the humanish shape with the sticking-straight-up-feet on one end that trembled as they pulled out the cart and rolled it toward where I was standing out there. The orderlies pulled back that sheet at the same time they were rolling the cart along toward me both at once, in this long graceful motion - so that the cart was rolling forward at the same time that the sheet was being pulled back, so that the body seemed to be merging toward me like a something being pushed forward out one end of a something else sliding away all in one smooth motion. The mouth is a permanent fixture in the back of my mind. But there is nothing I can think of to say that will convey to you the look of that thing that seemed impossible to have ever been a mouth - that made it seem to me unthinkable that this would be what a human mouth could ever be reduced to - that I couldn't help but feel made it absurd to think that mouths exist at all. That that mouth could have uttered that hoarse weeping we heard ... And right in that moment I was seeing that mouth-thing, that half-open scissors-cut in a faceless bag of salt, the thingness of that bag-thing - its blind cartoon X's for eyes - like a being that wanted to cry out. As I think of it now, we talked about our weaknesses. We were clothed in the darkness and a little drunk and tired. How I hated being weak. That was my confession. We had tried to put up hay that day, and the bales were wet. I could lift them off the ground but couldn't muster enough strength to pitch them up onto the rack. Steve - Steve worried loneliness. It was a little puzzle. He only felt it after people had come to visit. After they were gone after a few days, he didn't notice he was alone again. But if friends visited because they thought he needed the company. He wanted them to come but hated the loneliness they brought with them and left behind. He found it curious that he didn't miss people more. That feeling frightened him. It was a wonderful conversation that contained all kinds of emptiness. The silences of one who really is getting out of the habit of speaking. The natural pauses. The silence of not knowing what to say. The desire to say nothing that will fill up the silence. It was the talk of people who knew they should be sleeping and say only enough to keep the conversation going. Above us, that night, I like to think the sky was expanding, is still expanding. Another vacuum. ___________

An Interview With Anje Goodwin Michael Neff, director of the New York Pitch Conference, talks to aspiring author, Anje Goodwin, about her leaps in narrative evolution and prose style after working with the NAPE Drills (pronounced "nap"). - A Sample of Anje's Latest Work Q: Angie, you are one of the AWC alums; we reconnected in January about some systemic issues found in a sample of your prose submitted to the forum. We discussed that a prose drill exercise could help with the problems you were facing; can you tell us a little about your expectations? And what difficulties you might have faced during the exercise. A: I’ll start by saying that you warned me that the prose drills wouldn’t be easy, and I think going in I half-hoped you were joking. The first day was admittedly the roughest, the work I knew I had to do felt daunting, and I would say that’s really where the difficulty of the exercise lay. A lot of it was just forcing myself to keep at it, which took a lot of patience on my part; I’ve always been the go-go-go type, and patience, even with myself, was never really something I excelled at, but the prose drills sort of demand it. I have a few projects in the works currently and at the time, knowing that I had to put them on hold to work on the prose drills felt a lot like punishment. I just wanted to finish my projects NOW, and that is where the difficulty of the prose drills came in. It’s not a forgiving exercise if you’re not willing to give it the time it needs; it meant/means putting my current projects aside, working on something unpleasant repeatedly, allotting a specific time for it, and sticking to it for a month maybe longer. It’s a difficult thing to do, and that’s where being patient with myself really came in. After the first week of being patient with myself and trying to find the right combination of word jumbles that felt right or felt like “me” the difficulty just sort of melted away, and it was just repetition from there. Q: It sounds like you had a bit of a rocky start, but would you say the prose drills were overall helpful to you? A: Oh, Absolutely! I worked on the prose drills in an old notebook that had the workings of another project sprawled in the first quadrant, occasionally when I would take a break from the exercise and read fragments of that project to myself and I would notice those systemic issues you mentioned in our call; I would make mental notes of where I would put a comma or how I would restructure specific sentences. I think looking at those old pages now, like you, I wouldn’t be able to tell you exactly what was wrong, just that the problems were systemic. Q: Did you find that they made any significant change in your writing? If so, can you tell us some of the changes you’ve noticed in the tone of your writing? A: Actually, I did; I knew my writing was going to change, the changes were the whole point of the exercise, but I was completely unprepared for just how apparent and drastic those changes were going to be. Before the drills I would say that the tone of my writing was equal parts whimsy and monotony; while I loved concepts and events in my project looking at them now, I can see that they lacked energy. After rewriting the first quarter of my manuscript, I can say that the tone is completely different; the monotonous film that washed over everything is gone, there’s a seriousness, and an urgency weaved into the tone that wasn’t there originally; chapters feel shorter and punchy, and reading things back feels less like something I must slog through, and more like something polished. The changes are stark, but my work is better for it. Q: How have you dealt with those changes? A: I like to think I’ve accepted them; at the time of starting the prose drills, I was going through the process of rewriting my manuscript to make it query-ready, but working on the exercises meant that I had to stop. When I came back to my manuscript, the tone of my writing was very different, so I took all the work I had already done and essentially scrapped it and started on another rewrite so that the whole of the manuscript would be written in the new tone. It was admittedly a bit of a headache, but there is, unfortunately, no easy way to “perfection.” Q: By the way, you told me you were working on rewrites. Can you walk us through a little of your writing process? A: Sure! There are quite a few steps to it, so bear with me; I came up with this process a few years ago to make something that would help me stick to a strict deadline, and so far, its helped. I start things off with the obvious stuff, planning, figuring out my characters and their goals; Remeus wants to rescue her friend and family, Thaige is on a revenge mission, I chart out the details I already know are going to happen: Remeus receiving a fragment of the blade, the reveal of Morgul, and the capture of Thaige, act as anchor points, which allow me to map out the chapters between them. I say map things out because in a way, that’s what I’m doing; my anchor points are like destinations for my characters, and I have to figure out how they got there. Arguably, for me, this is the most important part; there's nothing that sets you back more than not knowing what happens next; it’s natural to get stuck on chapters: sometimes our characters and stories have a way of getting away from us in unexpected ways, and it helps to have a way to steer things back on track so to speak. And then, at last, the part where I actually write! I do my writing by hand, and I don’t edit. Occasionally when I think have a new idea THAT ABSOLUTELY MUST GO IN, I jot it down on a post-it note, slip it into whichever part of the chapter it belongs to, and continue writing. I do this until the story is finished; I filled two and a half moleskins this way. When the handwritten manuscript is finished, I begin typing it up, adding in my post-it note alterations; I must stress that I personally use a retro word processor with minimal editing capacity; I think it’s crucial to use a device or computer program that won’t allow you to edit. As writers it becomes all too easy to fall victim to over-polishing fragments of our stories before they’re complete, working and re-working certain parts until we’re left with a project that resembles Frankenstein’s monster more than it does a legible story. When everything’s all typed out, I do a basic line edit, cleaning up typos and inconsistencies before printing out the whole manuscript; I separate everything by chapter, which makes the workload seem less daunting, and from here the process seems to start all over again, chapters are rewritten by hand, typed out, and combed through once more. Lastly, the final part, I like to use the text to speech option available in Microsoft Word to tidy everything up and catch all those mistakes that are hard to notice when you’re only reading something. And that’s it! As I said before, my whole process is a little much, but it’s served me well so far. Q: Considering the tenacity and effort needed for both this lengthy process of yours and the prose drills would you recommend them? What would be your advice to people looking to try either? Honestly, I would, though I can’t say that my process would work for everyone; like with all things, people can and should take bits and pieces of my process and either add it to their own or change it in a way that better suits them, though it would make me over the moon if even one person started using this process for themselves. As for the prose drills, I would doubly advise anyone who, like me, thinks they’re done with rewrites to please give them a try when you think your book is finished, you’ve combed through your manuscript, and it feels ready to you, I would say, that’s the perfect time to set your story aside, and try the prose drills for a month. When you return to your work, it will be with fresh eyes and a changed writing style. Trust me, your manuscript will thank you for it. _______

There is a scene towards the beginning of Midnight Run in which the two main characters have their first in-depth conversation. Bounty hunter Jack Walsh (Robert De Niro) and his captured fugitive, an embezzler with a heart of gold named Jonathan Mardukas (Charles Grodin), are seated across from one another in the dining car on a train that’s speeding west from New York to Los Angeles, where Walsh must bring his charge. Jonathan is watching in silence as Jack gnaws on a chicken wing. Eventually he speaks, in a low, grave voice. He asks Jack, “Familiar with the word arteriosclerosis?” Jack stares back, shoving the meaty end of a drumstick into his mouth. Jonathan continues, in the same quiet, serious tone: “Cholesterol?” Jack still says nothing. “If you want, I can outline a complete balanced diet for you.” Finally Jack responds. “Mail it to me from C-block,” he says, but Jonathan remains undeterred. After a moment he asks, slightly more emphatically, “why would you eat that?” If this seems like surprising conversation between a bounty hunter and his prisoner, it is because it is, but Jack is determined not to seem taken aback by Jonathan’s questions. As normal as he might present, Jonathan is slippery. He is in this mess in the first place because, while working as an accountant, he had discovered that his firm was a front for the Chicago mob. Wanting to do something good after the years he unwittingly spent helping a sinister outfit, he has stolen $15 million from their accounts, given most of it to charity, and then vanished. Jack has located him rather easily, but he still has to drag him across the entire country in only a few days, and Jonathan is clear that he plans to subvert this plan as best he can, knowing that he will be killed by mob hit-men as soon as he arrives in LA. “I’m gonna have to give you the slip,” he tells Jack matter-of-factly while aboard the train. It is the story of a pitch-perfect, once-in-a-lifetime friendship doomed by circumstance to be nothing more than a fleeting encounter. The conversation in the dining car encapsulates the entire dynamic of the two men: Jack’s veneer of tough-guy disaffection and Jonathan’s incessant, slow, slightly-smug undermining of it. It’s clear that Jonathan will soon get under Jack’s skin, if he hasn’t already. In fact, Jonathan is already in more control over his journey towards captivity than Jack would like; they are on a train in the first place because of Jonathan’s severe “aviophobia,” which manifested in an spectacular panic attack after they boarded a plane to LA. After Jonathan’s screaming protests get them booted out of JFK, they journey to Grand Central. Jonathan smiles lightly as they walk towards the train platform; “I love to travel by train,” he calmly tells the frazzled Jack, as if nothing out of the ordinary has driven them to this point. Jonathan is stretching out their trip, looking for ways to trick Jack and escape. But he also is fascinated by the bounty hunter, a man who is his exact opposite but with whom, he realizes, he shares a sense of ethics. He is curious about him. Neither man can deny their instant connection, although they do try hard for a while. Midnight Run is, in the words of the great critic Alan Sepinwall, “the Casablanca of buddy comedies”; it is a road-trip odd-couple action-adventure but it is also, first and foremost, a tragic love story. It is the tale of a pitch-perfect, once-in-a-lifetime friendship doomed by circumstance to be nothing more than a fleeting encounter. The special thing about Midnight Run is that “friendship” isn’t merely something that happens to them because of the genre they’re in; it’s something they each really need. Each of them is alone (technically Jonathan has a wife and a dog he loves, but he is also a wanted man who must spend his life in hiding, not the greatest social scenario in the world). That they wind up being pursued by a rival bounty hunter, a gaggle of gangsters looking to kill Jonathan, and the FBI (led by the inimitable Yaphet Kotto as Special Agent Alonzo Mosely), means that for the first time, they also get to experience solidarity against the rest of the world—a beautiful thing, since, until now, both men had been up against all the forces out to get them, by themselves. Midnight Run was written by George Gallo and directed by Martin Brest in 1988, and was released to critical success. The New York Times film critic Vincent Canby wrote that the film itself was “perfectly serviceable” and that it “might have remained a perfectly forgettable action-comedy if somebody hadn’t had the inspiration to cast Mr. De Niro and Mr. Grodin in the leading roles.” Canby is a little hard on the plot for my money (what’s so wrong with a formula if it’s followed well?), but he is right about where the film burns brightest. De Niro and Grodin have the best platonic chemistry I’ve ever seen on film, and they each alternate in the “straight man” and “lunatic” roles, making the film a true give-and-take. Grodin, as I’ve written, was a master of the “straight man” shtick, delving so far into the persona of calm normalcy that he revealed the madness inherent in it. Here, though, he starts off as the film’s neurotic foil, with De Niro’s sarcastic, pissed-off bounty hunter the reigning Bud Abbott of the duo. But the two switch in and out of these stock parts, especially once it’s clear that Jonathan, and not the bounty hunter Jack, is the one really calling the shots. Despite its frequent laughs, the film’s greatest joy is watching the two men acknowledge their feelings for one another. Grodin, all the while, plays it cool; his constant comedy comes from his subtle, straight-faced, annoying remarks, peppered with the occasional psychotic outburst. The great fun of Grodin as an actor is that it is never clear when his characters are going to blow. De Niro is a particularly good casting contrast to him because he has made a career out of playing equally pent-up characters, only his have a much wider blast radius than Grodin’s on the off chance they do explode. He creates tension by keeping his cool in circumstances where any other man would easily lose his mind, which is often far scarier a move. Throwing together two such time-bomb performers, as Midnight Run does, doesn’t yield bombast as much as balance… Jack and Jonathan never go off at the same time. And, since Jonathan is ultimately revealed to be more of a desperate lunatic than Jack, there’s a greater meta-comic payoff in watching De Niro’s Jack flounder haplessly for a few moments, whenever Jonathan does get the better of him. Despite its frequent laughs, the film’s greatest joy is watching the two men acknowledge their feelings for one another. In the middle of the second act, Jack gets on the phone with Eddie Moscone (Joe Pantoliano), the slimy bailbondsman waiting for them in LA, and yells at him for a double-cross. He shouts that he’s going to screw Moscone by killing Jonathan (thus preventing Moscone from getting a payout from the price on Jonathan’s head). But as he’s yelling this into the receiver, he looks up at Jonathan while shaking his head and frowning, reassuring Jonathan that he would not do such a thing. There are numerous little moments like this—promises, gestures between the two men that cement what they are already starting to realize, which is that they care for one another. It’s part of the film’s uniqueness that both men actually do understand that they are, of all things, soulmates. They clearly feel themselves being transformed by the presence of the other, forming a bond despite (or perhaps because of) their opposing personalities and secretly-similar worldviews. The film’s beginning suggests a reluctant friendship, but the most of the ensuing misadventures actually represent a very symbiotic collaboration. By the end of the film, they don’t want to leave each other. Although they never tell one another directly what they feel, they do allow it to become subtext when they talk. “I think… under different circumstances,” Jonathan tells Jack on another train ride, towards the film’s end, “you and I probably still would have hated each other!,” a joke which sends both men into a fit of laughter, because of course they don’t hate each other at all, they just drive each other nuts. This connection is foreshadowed in the first dining car conversation, as Jack attempts to turn the tables on Jonathan and pester him with questions for a while. Jonathan explains why he’s in this mess in the first place and why he’s kind of okay with it: “taking $15 million of mob money and giving it to charity was good for a lot of people.” Jack doesn’t buy Jonathan’s goody-goody answer, shooting back, “so you pissed off a mafioso killer just to be loved by a bunch of fucking strangers? That makes a lot of sense.” Jonathan, always determined to destabilize Jack, asks intensely, baldly, vulnerably, “don’t you want to be loved?” Jack is startled by this, averting his eyes, and deflecting quickly by saying, “lots of people love me!” And when Jonathan hears this, he, who will become the first person to love Jack Walsh in many years, pauses for a second, tilts his head, and then asks, “really?” View the full article

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

First of all, let's look at what a pitch should never be. This is a modified example from a past pitch conference. Despite the fact that this writer received our pitch models in advance, the following is what they produced for the first day of the conference. The title and author's name are withheld for privacy reasons. As follows: Sixteen-year-old Warren’s grandfather was his world: Chicago firefighter, Marine, master builder, musician, upstanding Polish-American man. Now Warren’s a stranger in his own house. His mother, a doctor, is guilty and distant; his father, a fire chief, means well but fails. His siblings seemed to get all his grandfather’s gifts: discipline, heroism, talent, craft. Warren tries his best to mimic their feats – swimming, piano-playing, building, firefighting – battling in spirit to take his grandfather back. He tries, and he fails. He resents and fears his awesome big brother, who guards the family heritage like a hero of yore; he envies and resents his kid brother’s grandstanding and musical gifts. Warren’s part of the family and not, home but not home, with no one and nothing but his grandfather’s picture – his one guiding light – to call his own. In the end, shame and pride drive him to dream of revenge: unable to belong in his grandfather’s world, unwilling to accept the world that he’s left, will Warren set this house on fire? Before you compare the above example to the examples below, you'll note that this pitch contains an ample amount of set-up. We learn about the kid and his life circumstances. Okay, great, and a wrap statement in the second paragraph. But what is missing? Consider, we know zero about the plot. There is no hint of it, not a sign. The writer leads us to believe the kid will lead towards a revenge of some kind, but what kind? He apparently has no journey to undertake, no challenge to overcome, no complicating obstacle as far as we can see. What must Warren do? What will Warren do? Who knows? And it's the failure to answer these questions that cuts the heart out of this pitch. The professional hearing it, or reading it, will immediately see there is no plot evident. Not exactly a good idea. We recommend instead the following as effective models for a novel pitch session. Keep the core body of the pitch to 150-200 words. Note too that your pitch is a diagnostic tool that helps professionals determine the strong and weak points of your novel, thus enabling productive discussion on matters of premise, character, and plot development. Take special note of inciting incident, protagonist intro, setting, stakes, plot points, and cliff-hangers. SURVIVING THE FOREST by Adiva Geffen Historical Women's Fiction (PROTAGONIST INTRO AND SETTING) Shurka is a happy young woman who lives a fairy tale life with her beloved husband and their two young children, in a pretty house in a village in Poland. She believes that nothing can hurt them. Or so she thinks. Then, World War II breaks out (INCITING INCIDENT) and the happy family quickly understands that their happiness has come to a brutal end. The family is forced to flee and find shelter in a neighboring ghetto (STAKES AND FIRST MAJOR PLOT POINT) where they discover the Gestapo is taking Jews away on trucks every night, never to be seen again. Backs against the wall, the family makes the brave and very difficult choice to flee into the depths of a dark forest (EXTENSION OF FIRST MAJOR PLOT POINT). There, surrounded by animals, they know this is their only chance to escape the real beasts. They have no idea what will await them, but they know that doing nothing is not an option if they wish to survive. (CLIFF-HANGER: WILL THEY SURVIVE? WHAT PRICE MUST BE PAID?) ______ GIRL IN CABIN 13 by A. J. Rivers Detective Murder Mystery (PROTAGONIST INTRO AND SETTING) FBI agent Emma Griffin is sent undercover to the small sleepy town of Feathered Nest to uncover the truth behind the strings of disappearances that has left the town terrified (STAKES AND INCITING INCIDENT). To Emma there is nothing that can lay buried forever. Even though her own childhood has been plagued by deaths and disappearances. Her mother’s death, her father’s disappearance, and her boyfriend’s disappearance--the only cases that she hasn’t solved. Her obsession with finding out the truth behind her past was what led her to join the FBI. Now, she must face what may be her biggest case. In Cabin 13 there lies an uneasy feeling. The feeling of her movements being watched. When a knock on her door revealed a body on her porch and her name written on a piece of paper in the dead man’s hand. Suddenly her worlds collide. (FIRST MAJOR PLOT POINT) With the past still haunting her, Emma must fight past her own demons to stop the body count from rising. The woods have secrets. And this idyllic town has dark and murderous ones. Either she reveals them or risk them claiming her too. (CLIFF-HANGER AND ADDITIONAL STAKES - WILL SHE SAVE THE "FARM" AND LIVE TO TELL THE STORY?) _____ Now, go and write the pitch for your novel following a thorough analysis of the above examples, and please, take your time. Once done, put it aside for a few days then read it again and ask yourself this question: WILL THIS MAKE SOMEONE WANT TO BUY MY BOOK? _________________________________________________

The name may not ring a bell to those who aren’t criminologists, but Tony Parker greatly contributed to the literature and representation of criminals. In 22 books, this unassuming British gentleman chronicled all sorts of criminals—murderers, sex offenders, con men, and more—as well as underdogs and outsiders, from single mothers (In No Man’s Land) to miners (Red Hill), to people living in housing estates (The People of Providence) and small towns (A Place Called Bird). His method: to step aside and let people speak for themselves. It sounds so simple, but Parker excelled at it. Whenever he talked to someone for a book, they would inevitably relax and tell their life story. By using this technique, his work resembles Studs Terkel’s oral histories (his last book was on the Chicagoan, whom he admired; he died shortly after finishing it at the age of 73), or Frederick Wiseman’s self-effacing documentaries, except Parker neither had a slant nor exclusively took institutions as his subjects. Individuals concerned him more. Parker was raised amid comfortable surroundings in Stockport, Cheshire. He was born into a middle-class home on June 25, 1923. Bookish and sensitive, he started his writing career as a teen poet, whose talent and craft were nurtured by a correspondence with Edith Sitwell. However, he wasn’t sheltered; he learned hard life lessons quickly. His mother died when he was four. At 18, he was enlisted in the military, where he identified as a conscientious objector. Relieved of his duties after persuading a board of his beliefs, he went to work in a mine for 18 months, reifying his socialist views and stowing away the experience for a book many years later, Red Hill (1986). In 1952, Parker had his life shaken up. While supporting his wife and child as a publisher’s representative, he read about two teens convicted of shooting a police officer during an attempted robbery—Christopher Craig and Derrick Bentley. At the time, murder was a capital offense in England and Wales for criminals over 18. Craig being a minor, Bentley—who was mentally impaired and wasn’t the one to shoot the cop—was hung. This horrified Parker; he took a stance against capital punishment and became a regular prison visitor. His trips to penitentiaries and his conversations with inmates lead to Parker producing a feature for Paul Stephenson, a BBC Radio producer whom he knew. It was a program on the life of Robert Allerton (a pseudonym for this self-avowed professional criminal), which Parker then fleshed out, turning the program into a book he co-wrote with Allerton, The Courage of His Convictions (1962). This portrait lays down the foundation and form for his subsequent interviews and books. When Parker talked to people for his book projects, he would handle them with, as director Roger Graef put it, “a gossamer touch.” First, he would cast a wide net using the connections he cultivated throughout the years, granting him access to institutions and people typically unreachable for others. Once Parker knew who he wanted to talk to, he would not conduct interviews but start conversations—they could ask Parker anything. He had all sorts of methods to make the recorded conversation as smooth and pleasant and comfortable as possible. He would try to sit at a vantage point in which the other person was higher than him. He would act as a luddite, feigning how to work a tape recorder (which was placed conspicuously) and asking the other person to hit a button that would make the device record. And at any time, he told them they could press this other button—the “pause”—to stop recording. During these sessions, Parker would remain still and listen intently, only ever so slightly nudging the other person with a well-phrased question. To protect their privacy, he would alter names and places. By the end of projects, people would often continue their relationship with Parker, keeping in contact with him through the years. Parker’s preferred tapes were TDK D90, and he would use 200–300 of them for each book. And yet there’s no archive dedicated to him—that’s because he would incinerate the tapes after each book. What remains are the completed projects. Finishing these works required patience and dedication, for Parker would spend hours upon hours listening to his tapes before transcribing them in longhand. His wife Margery would type up the transcripts. Then began the editing process, which, according to Parker’s son Tim, could take another four to six months. The finished text would eliminate all of Parker’s questions and would be a distillation of the conversation. So finely honed, the text would capture the essence of the person. Parker had his detractors too. Michael Davies, an inmate sentenced to death before receiving a reprieve, and the subject of Parker’s The Plough Boy (1965), said in a BBC Radio 4 program that he doesn’t think Parker “can really gather from interviews just what these people are like.” It’s one thing to talk to criminals and another to experience the criminal life the way someone like Allerton and Davies had. Stephenson, the man who gave Parker his first big break, considered him too deferential and permissive—never calling into question or taking to task the people he talked to, many of whom made serious offenses. Judgement and criticism never factored into Parker’s works, however. They weren’t a part of his M.O. Rather, Parker wanted the humanity in these criminals to shine through by giving them room to narrate their life course, all the steps taken that had led them to the moment where they are now. He didn’t just publish collections of interviews—that would be diminishing his legacy. There was an art to what he was doing, for he practiced and executed his craft with sensitivity and care, making his books transcend their visage of documentary realism. Parker rendered people as they were by letting them tell their narratives. He saw murderers, thieves, lighthouse keepers, and the homeless not as categories but as flesh-and-blood humans. View the full article

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

There comes a moment in every long-running series character’s journey to step out of time to join the pantheon of the greats and live forever. So why has author Lee Child denied Jack Reacher—the current King of Crime Fiction—immortality? Like everyone else in the free world, I’m a fan of Lee Child’s Jack Reacher series. Reacher is a modern-day Conan, roaming the land without attachment or possessions, stumbling into trouble then moving on the second he’s crushed it into dust. Child injects just enough hard-boiled metaphor into his lean, mean prose to keep us aware that while the author has chops, he’s sparing with the hatchet. Before the Jack Reacher series became the juggernaut we know today, Child made the decision to age Reacher in real time. Which leads to one of the unintentional problems caused by lasting success: Jack Reacher is on his way to becoming a senior citizen. In the Beginning When the series got its start with The Killing Floor in 1997, Jack Reacher was thirty-five. Child has turned out a new Reacher yarn every year since (and two in 2010!). Decades passing isn’t an issue for a less imposing protagonist, but Reacher is a hulking monolith of epic proportions. Pushing sixty, Jack Reacher is transitioning genres from crime’s hard-boiled genetic anomaly into the realm of science fiction. Other authors have confronted this same issue. How did the prior King of Crime Fiction deal with these mortal stakes? Robert B. Parker had to address the same issue with Spenser. (As an aside, Spenser has no first name. Jack Reacher has no middle name. If Child could do it all over again, I wonder if it would be Reacher, first name unknown.) In his maiden voyage, Spenser is also in his mid-thirties. Fifty years later, Spenser has outlived his creator and his double-jab-cross combo hasn’t lost any snap. Parker’s solution to the time problem was ignoring it, which led to some unusual continuity issues. For example, the longer Spenser states he and Susan have been together, the younger they become when they first meet, which was in the second Spenser novel. By then, Spenser has served in the armed forces, gone to college, boxed, and worked for the district attorney’s office. The Spenser character is mostly unaffected by the passing years, though he lost the progressive edge he had in the 1970’s. Now instead of ahead of the times, Spenser is firmly in step, or perhaps even a little behind. Spenser paid for eternal life in relevance. Other characters—James Bond for example—lost context on gaining immortality. Comic book characters are forever locked in time. Not only does their readership accept it, they demand it. When creators attempt to replace the heroes with a younger generation, the changes are soon undone. The difference is that Spenser and Reacher occupy less fantastic settings, though we know their world isn’t ours. In our world, no one lives forever. Before the Beginning The many adventures series characters live elevate them to mythic status. Not only in quality, as the stakes rise, but in sheer quantity, as the corpses they leave in their wake also stack up. With Spenser, it begins to strike strange that the Boston Police Department is not concerned with a man with a triple-digit butcher’s bill. Jack Reacher’s body count is easier to digest. Much like a successful serial killer, Reacher is nomadic by nature, with little connection to the events. Reacher by nature is unbothered by killing, unlike early Spenser, who becomes physically ill after luring two of Joe Broz’s goons into a trap. Within a few books, Spenser is no longer bothered. Once immortal, death becomes an abstract concept. But as a series character’s adventures rise to mythic levels, his origins must be revised to match. For Spenser, he began as a boxing contender whose championship run stopped at Jersey Joe Walcott (born 1914). But as the years passed, once having faced off against Joe Walcott now inched towards elder abuse, and the detective’s origin changed. Spenser no longer left boxing because he lacked what it took to win a championship title, but rather due to corruption. Gone was any implication he couldn’t have been the best of the best. In Sudden Mischief, the twenty-fifth novel, Spenser feeds Susan Silverman’s ex-husband a left hook Spenser is sure would have won him the belt, had he mastered the blow back then. Jack Reacher began as a military police investigator, but over time this became beneath someone who, among other accomplishments, is the only non-Marine to win the Wimbledon Cup. Thus Child conceived the 110th MP Special Investigations Unit—a secret, special forces division of the military police. In the early books, Reacher left the army during a force reduction. But such a mundane reason does not befit a budding immortal. In the sixteenth Reacher novel, The Affair, the circumstances of Reacher’s resignation are altered to suit his mythic evolution. Before The Affair was released, I was curious if Child would pull Reacher out of time. The way Batman has always been Batman for around ten years, Reacher might now permanently always be a decade out of the army, forty-five years young forever. On reading the book I was surprised that while the circumstances of Reacher’s resignation changed, the date of it did not. Child had passed on the chance to immortalize his creation. Perhaps part of the decision is Lee Child’s fascination with the Cold War. He wanted a Reacher who was active in the 1980’s so he could scratch his itch to tell those stories. So again like Conan, the Reacher novels slide back and forth in the character’s timeline. This solution allowed Child to tell us tales at any point in Reacher’s life, but it doesn’t remove the point of his inevitable death. Right now, Reacher, who could fold me into an elegant swan, is around the corner from a discount at Denny’s. If he had an address, his mailbox would be packed with AARP invitations. If Reacher continues to age in real time, he’ll be collecting Social Security in 2024. Readers likely won’t mind. I will happily suspend my disbelief if it means reading a Reacher book on my deathbed. But the situation raises an interesting question. We all hope to create a character that outlives us. Now that the series has changed authors, will Jack Reacher take that step? Once more, we can turn to Spenser. When a character is passed from the creator to a new author, some changes are inevitable (thank you, Ace Adkins, for not moving Spenser into an abandoned firehouse). Now that Jack Reacher has been passed to Andrew Child, we should expect some transformations. Within one book, Reacher has already gotten better looking and more tech savvy. With an Amazon television series around the corner—whose showrunners have stated each season will cover the contents of a single novel—immortality beckons. My prediction: Long will live the King of Crime Fiction. *** View the full article

Various interviews and reviews over the years conducted with writers who attended the New York Pitch Conference (Ripley Greer Studios). Reasonably detailed. A few meander but they contain sufficiently good advice for neophyte writers. Halie and Lee Ann walk down the New York Pitch Conference memory lane, talking about how it turned them around as writers, and helped make them friends for life. The above is from one of the older conferences with more limited programming, however, even at that time we utilized pre-pitch workshops to conduct novel analysis and go forward with edits.

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") Since the antagonist in nearly all successful commercial fiction is the driver of the plot line, what are the odds of you having your manuscript published if the overall story and narrative fail to meet reader (and publisher) demands for sufficient suspense, character concern, and conflict? Answer: none. But what major factor makes for a quiet or dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind, rather like a fist hitting a side of cold beef? Such a dearth of vitality in narrative and story frequently results from the unwillingness of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page (esp in fiction), at all times, and the best way to accomplish this is to create (or find them in your nonfiction story) conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. And now, onto the PRIMARY CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling: Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter") and the antagonist (a more recent term), corresponding to the hero and villain. The outcome of the contest cannot be known in advance, and, according to later critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS Consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

The novel writing, development, editing, and pitch forums are for utilization by New York Write to Pitch and all other Algonkian alums, as well as AAC members and guests. This is the primary focal point for polishing, rewriting, or beginning a new genre or literary plot-driven manuscript. Novel Development Forums, Programs, and Events Novel Writing and Editing - Concept to Query Platitudes, entitled amateurism, popular delusions, and erroneous information are all conspicuously absent from this collection of detailed novel writing guides and maxims. The goal is to provide you, the aspiring novel author, with the skills and knowledge it takes to realistically compete in the commercial book market of the 21st century. Best to begin the journey with Labors, Sins, and Six Acts which includes an overview and linkage to the best of AAC and Novel Writing on Edge. This forum grouping also contains the critical "Bad Novel Writing Advice" designed to assist writers in avoiding counterproductive contamination; "Art and Life in Novel Writing" (insightful reviews of books on novel writing, among other things) that provides a balance of important advice from varying perspectives; the 16-Part "Algonkian Novel Writing Program" for editing or writing the genre novel in "six act" stages, as well as the Algonkian Writer Conferences forum, FAQ, and all other things related to Algonkian. __________ ACC Writer Info Forums and Video Critiques Reviews, Commentary, and Plenty of Controversy Entertaining literary book analysis in Audrey's Corner with an aim towards helping aspiring novel writers; Writing With Quiet Hands, a new novel writing advice column by legendary agent, Paula Munier; Unicorn Mech Suit, a diverse collection of SFF interviews and insights; plus Cara's Cabinet collection of ravels and unravels, combed feed, and worthwhile nuggets of information culled from AAC essays and articles. And don't neglect our most popular forum of all wherein our resident geniuses dissect and discuss novel writing videos from a number of sources--unquestionably worth a rant or two. Just ask Stephen King who hates plotting! __________ Narrative Critique Forum New York Write to Pitch and Algonkian Perspectives A forum for New York Write to Pitch alums to post samples of their scenes and prose narrative for detailed critique based on AAC guidelines. Emphasis on choice of set, narrative cinema, quality of dialogue, metaphor, static and dynamic imagery, interior monologue, general clarity, tone, suspense devices, and routine line editing issues as well.

What is the Purpose of Algonkian? To give writers in all genres a realistic chance at becoming published commercial or literary authors by providing them with the professional connections, feedback, advanced craft knowledge and savvy they need to succeed in today's extremely competitive market. What is Your Strategy for Getting Writers Published? - A model-and-context pedagogy that utilizes models of craft taken from great fiction authors and playwrights, thereby enabling the writer to pick and choose the most appropriate techniques for utilization in the context of their own work-in-progress. - Emphasis on providing pragmatic, evidence-based novel writing guidance rather than encouraging multiple "writer group" opinions and myths that might well confuse the aspiring author. - Our insistence that a writer's particular genre market must first be thoroughly understood and taken into consideration when it comes to the planning of the novel, and on every level from narrative hook to final plot point--thus clearly separating us from the MFA approach found at university programs like Iowa and Stanford. - Our conviction that you were not born to be a good or great author, but that you stand on the shoulders of great authors gone before. Their technique and craft are there for you to learn, and learn you must as an apprentice to your art. Every success you achieve is based on hard work and evolving your skills and knowledge base. - Our instructional and workshopping methods, as well as our pre-event novel writing guides and assignments which are the best in the business. How are Algonkian Events Unlike Many Other Workshops and Conferences? - More than sufficient time for productive and personal dialogues with faculty. No "speed" dating-like pitch sessions. - Critical MS and prose narrative critique provided by faculty only, not attendees (no MFA methodology). - Comprehensive 86-page novel-and-fiction study guide. - Extensive pitch prep before events with agents or publishers. - As noted above, unique and challenging pre-conference assignments that focus on all major novel elements. - An event focus on market-positioning, high-concept story premise, author platform, and competitive execution. - Emphasis on pragmatism and truth telling. No false flattering or avoidance of critical advice to spare the writer's feelings. Thin skins need to go somewhere else. - No tedious lectures, pointless keynotes, or bad advice. - Faculty chosen for wisdom as well as compassion - no snobs or bad attitudes. How to Know When My Novel is Ready for a Program or Event? When is it not? The novel-in-progress, even if only a concept, is ready to be examined and properly developed no matter the stage because the process always entails approaching story premise and execution in a manner that is productive. In truth, it's a process that should have begun as soon as the work was conceived. Therefore, the stage of the novel or number of years working on it is irrelevant. Any time is a good time to begin doing it correctly. Do you Have Success Stories? Comments, Careers, and Contracts Which Events or Programs to Attend First Novel Writing Program online and/or one of the workshop retreats followed by a New York prep seminar followed by the New York Pitch Conference OR the Novel Editorial Service (MTM) followed by New York prep seminar and New York Pitch, in that order. These are best case scenarios wherein money isn't tight. We will provide an overall discount of 26% on all events in either string if payment is made upfront for the entire grouping. Contact us for more information. What Genres do You Work With? Upscale and literary, memoir and narrative non-fiction, mystery/thriller and detective/cozy genres, urban fantasy, YA and adult fantasy, middle-grade, historical fiction, general fiction and women's fiction. Our agent and publisher faculty handle all genres. How Does Algonkian Differ From An MFA Approach? Algonkian emphasizes writing-to-get-published, creation in the context of heart, wit, and market knowledge. We teach writers to think pragmatically about the development of their ms while retaining their core values for the work. Our motto is "From the Heart, but Smart." College MFA programs do not prep a writer for the cold reality of the current publishing climate. Many of our most grateful writers are graduates of MFA programs. How do Writers Interact With Agents and Publishers? The model for the pitch is a "book jacket" the writer creates with the help of the workshop leader prior to the pitch session. The process is part of a longer evolution the writer begins even before arriving at the conference. Once the pitch is accomplished, the agent interacts with the writer in a Q&A session. The workshop leader then follows up with the writer to create a plan for publication, i.e., a step-by-step post-conference process the writer must undertake in order to stand a realistic chance of having his or her manuscript published. What is the "Pre-event Work" All About? Writers are given several different types of relevant assignments, story and pitch models, as well as a considerable amount of reading on the subject of advanced craft directly applicable to their work-in-progress. The idea is to prep the writer before the event so they can hit the deck running and share with us a common language. As a bonus, the pre-event work saves us from wasting time with extra handouts. Samples of the pre-event work, readings, and guides can be found here.