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  1. 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 and 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. ________________________
  2. 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.
  3. 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.
  4. - Donna Rubino (The Camaraderie of Conference) - Halie Fewkes, signed by Andrea Hurst - Jim Smith, 9/14 Pitch - Kim Van Alkemade, signed by Harper Collins - Christopher Lee / Criminal Defense Attorney - Bonnie Carlins, writer and author - Dave McMenamin, Signed by Talcott Notch Literary Agency - Kelley McNeil, signed by Writers House - Amy Reichert - Sandra Glynn
  5. Reviews of Algonkian Writer Conferences - NY Write to Pitch NOTE: we do not simply list writers who have been published following attendance at our events unless we have received a communication from them advising us of the connection. Legendary agent Adam Chromy has signed MARKERS UNKNOWN, a tech-thriller by writer O.E. Soderberg. In her own words: "I signed with Adam Chromy yesterday! It is a total dream come true, and I can’t thank you enough for everything. Your conference is truly one of a kind and has taught me so much more than just how to pitch. It has turned me into the writer I want to be." Audrey Woods sold her short story, Miss Suspicious, to Brendan Deneen at Blackstone, whereupon the film rights were sold to Universal Studios. Hollywood is beginning to notice the Write to Pitch Conference, and we're going to keep it that way. Carola Lovering's best selling novel, TELL ME LIES, has been turned into a successful TV show on Hulu, now going into its second season. The Write to Pitch Conference made it all possible back in 2018. Great to hear from you, Carola! I signed with my dream agent in late June of this year. My experience at the New York Write to Pitch conference in March '23 was a worthwhile investment that gave me the extra push I needed to fine-tune my manuscript with a deeper insight and clearer vision for my story. The pre-event assignments were key in guiding my revisions before and after the workshop, and the personal attention Susan provided in the classroom was invaluable. - Wendy Tatum The Corviserio Literary Agency just signed Melissa Mohalla's SFF, SYMPHONY OF CHAINS, for representation after meeting at the Algonkian NYWP. Congrats to all those who made a new six-figures-in-auction possible! Fingers X'd for a great novel. A Life-Changing Experience - Leading to a Book Deal. If I could capture my experience at the New York Write to Pitch Conference in a single word, it would be "transformative." It's a unique blend of a supportive writing community and insightful mentorship that sparked a revolution in my writing approach. The preparatory reading assignments alone were worth their weight in gold. They stretched my understanding of narrative structure and character development, reshaping my own work. I can't emphasize enough the value they added to my writing journey. - Crystal Rivera The Cindy Bullard Agency as recently signed three new clients from Algonkian events, including A DEADLY GAME by Gayle Brown, and new novels by Scott Fleuter and author Nina Smith. Congrats to Gayle, Scott, Nina, and Cindy! Assignments sent out the weeks preceding the event are a priceless expedition through your own story... By the time you get to your destination–be it Monterey or New York–you know the lingo, you have attempted a pitch (which they help to perfect) and you have a much deeper understanding of the story you’re trying to tell. - Mindy Halleck Moveable Type Managment has signed several NYWP and Algonkian authors since 2022 for commercial publication. Among them are Gregory Carpini Jr. and his historical novel SHINEY POWDERED FACES; Jennifer Ericson and her cozy mystery series CURIOSITY RESCUED THE DATE; Jody Gerbig's postpartum horror novel TAKE CARE; and Gerri Lewis' obituary writer mystery THE LAST WORD sold to Tara Gavin at Crooked Lane. Just wanted to let you know I signed with Bob Diforio from D4EO literary with the novel we workshopped! You guys really helped me boost the concept to the next level, and btw, thanks again for the great new title, SECRET OF KILCHULLEN HOLLOWS." - Samantha Schinder We just learned a pleasant surprise on the fly, namely that Talcott-Notch agency's Amy Collins has signed a total of five writers from Algonkian events over the past three years, most recently Joseph Hall's SF novel, STEEL HOUND, now making the rounds at major imprints. On the other side of the city, Algonkian writer Shola Adedji was signed by Blackstone Publishing to write a new SFF series called SHADOWMAN. He and his editor, Brendan Deneen, met at the NYWP. You guys have clearly worked very hard to develop a terrific event for upcoming writers. It's exactly what people need: support in producing a commercial idea, plus contacts to help sell it.... It was brilliant, and great to get to know you and Audrey too. I'm so glad I flew over from England or it. - Harper Collins Author, Annabel Kantaria I know three people who've attended [New York Pitch]. I went to one of the after parties with one of those people. It's definitely worth doing. One of those people got a six-figure book deal out of it, the other two got very serious offers. Prepare yourself to have to rewrite the book, though. The people there will tell you what edits you'll need to make in order to sell the book to them. - Eleanor Konik I received a contract from Harper Collins in 2021 as a result of an agent I met at the NY Pitch Greatest Show on Earth circus. I say "circus" not in a derogatory way, but as a good metaphor to utilize when describing the creative and delightful social chaos of the event itself. The studios are the equivalent of circus rings, each with their own culture, ringmasters, and applause. The hallways brim with entertainment art like a maze between the tents, echoing with the sounds of audition. Mouths are open, eyes are big, tears and laughter are real, and I'm going again, even if just to watch. And on top of everything else, I learned more about good fiction writing than in three years of groping for an MFA. - Marion Clark (Bestseller3) Bombarded with offers from agents at the New York Pitch Conference in 2022, Nan McCann finally agreed that agent extraordinaire, Paula Munier, should be the right one to represent A MAN OF TWISTED WORDS. Congrats to all! Agent Amy Collins of the famous Talcott Notch agency just signed SFF writer Sandra Kruse to a two book deal. According to Amy in a note to us, "My first time at the New York pitch as an agent and I was blown away by the quality of talent assembled there, and I signed not one, but two authors. I can't believe it." And it was actually Sandra's second visit to the event. As she says in an email, "I learned so much the first time that I came back six years later with a different book and, this time, came away with an awesome agent. Thank you! Thank you!" Randy Denmon's new nonfiction about rediscovering the other side of America in an old Ford truck was just signed by NY faculty member, literary agent Barbara Zitwer following a meeting between the two at the June 2021 NYPC. Randy's novels and nonfiction have won the Western Writers of America Spur Award, the Faulkner-Wisdom Award, and he has been a finalist for the Ben Franklin Award. He is also the author of THE FORGOTTEN TRAIL TO APPOMATTOX. A couple of big projects at the NYPC were recently signed by the renowned literary agency, Moveable Type Management (MTM), for representation to both book and film markets. These include the WW II historical fiction pitched at the 03/21 NYPC, THE LAST AIRMAN by Roy Qualls, and A MILLION MILES TO DAISY by Sam Nahins, a novel about a military drone pilot out of Vegas seeking redemption by struggling to save his mother from a corrupt and brutal nursing home--pitched at the 12/20 NYPC. The December 2020 New York Pitch Conference was empowering. In the group, there were a number of neat writers with good work under their belts, no one ups-man-ship, no snarkies, just plain good and very intelligent people with a common purpose. I had never talked to an agent or publisher before. But they exhibit all the attributes that qualify them as direct, caring, and compassionate, although they are to the point because they have a lot of people to work with within a very short time. But we learned the ropes, how to compose a pitch and give that pitch without choking up! - Jerry Mollenhauer at Writer's Block I attended The New York Pitch Conference in December 2020 and, because of Covid, the conference was via Zoom. The conference exceeded my expectations. The conference leader and associate went above and beyond in their creative generosity, willingness to be available at ungodly early hours to help with reworking the novel and sharing professional insights as to what worked and didn't work in the pitch. For my specific genre, I had the opportunity to pitch six times, each time learning how my pitch was or wasn't of interest to the agent. I came away from the conference with a better understanding of the publishing world, a sharper picture of what will potentially make a novel commercial, and a submission request. If you are interested in selling your manuscript, I highly recommend attending the New York Pitch Conference. - Maureen Meegan Thanks to knowledge and skills learned through the Algonkian NYC Pitch Conference (March 2018) and participation in the Novel Writing Program, I am happy to report the following contract: DEAD ALREADY, a thriller worked during the pitch conference and the follow-on novel Algonkian writing program, published in November 2020 by TouchPoint Press. - Michael Krentz Dear Michael and All, Thank you for a great conference. I feel empowered to go forth, rewrite and query. I know this was extremely difficult to put together virtually, and that there were many issues as we went along, with people getting lost in the ether. I was impressed with how these were handled calmly and efficiently. A shout out to Bud, who rescued many a waylaid writer. The experience of meeting with so many agents, and getting their feedback and various perspectives was extremely useful. I also enjoyed hearing what they had to say about everybody else's query. An education in four days. Many thanks for all of your hard work, attention to detail, and extreme care as you shepherded us through this process. I can see what you meant by "no writer will be left behind." I will certainly recommend your conference! - Alison Hubbard It's hard to fathom that over a decade has passed since Rosemary DiBattista (Rosie Genova) and I attended the New York Pitch Conference. There we were-two aspiring writer-hopeful, and yet frozen in terror by how completely out of our element we were. One look at each other, and we realized we were both in the same aimless boat, sailing across perilous waters. Rosemary was my lifeline that week, and the bond was as immediate as it was lasting. It has been a long, sometimes thorny journey. But we made it to the other side, both of us having now published three books... So thank you for giving us the opportunity and the jump-start that we needed to launch. - Loretta Marion I recommend attending the conference if you're open-minded about your work and, most importantly, willing to change it. The four-day event is an emotional rollercoaster. Be prepared for honest feedback. Comments about your novel will not be sugarcoated. You may be asked to add characters, ditch a point-of-view, or even switch genres... You'll be peppered with questions. Don't defend. Rather, listen to ideas from those in the industry. - Tracey Kathryn - J.P. Gownder - Cate Holahan - Carman Curton - Robin Stuart - Sandi Ward - Amanda Greenfield - Britt Staton - Roger Johns - Stacy Suaya Post by New York Pitch Conference Review. - Donna Rubino (The Camaraderie of Conference) - Halie Fewkes, signed by Andrea Hurst - Jim Smith, 9/14 Pitch - Kim Van Alkemade, signed by Harper Collins - Christopher Lee / Criminal Defense Attorney - Bonnie Carlins, writer and author - Dave McMenamin, Signed by Talcott Notch Literary Agency - Kelley McNeil, signed by Writers House - Amy Reichert - Sandra Glynn Reviews of Algonkian Writer Conferences - NYC Pitch - Luke McCallin - Rosemary DiBattista NY/PRNewswire: "On Maggie's Watch" NY/PRNewswire: "Lipstick in Afghanistan" - Susan Moger - Kim Boykin (Interview with Kim Boykin) - Author Natasha Bauman - Author Pamela Binder - Roberta Gately, author of Lipstick in Afghanistan Suite 101 Review Reviews of Algonkian Writer Conferences - NYC Pitch - Author Kate Gallison Three out of four publishers asked for my work, and one, has been helpful to me in suggesting agents, and is happy to discuss the book with any who are interested. This is a result beyond my wildest expectations, and thanks to the hard work of you and your team (especially Rachel Sherman!) in putting on these conferences. Thank you. Keith Lord The Algonkian Conference assignments helped me to refine the organization of my novel, and see it in context of the actual market. The intensive pitch workshops were brilliant for learning to see work from the publisher's point of view. The agents were very generous with their time and gave thoughtful feedback to everyone. I also attended the New York Pitch Conference and can say that these two conferences have filled in the blank left by my MFA: how to actually get published. Kari Pilgrim I am arrogant, manipulative and intelligent, but not unrealistic. The New York Pitch Conference was exactly what I needed - a reality check. I learned what publishers look for and shy away from, and gained a deeper understanding of the unlikely odds of becoming one of the few that get published. I walked away with a lot of work to do - reworking parts of my novel and studying my genre. Three months and many, many hours later, I have "almost" completed my editing. The 79,000 word novel is nearly perfect, far better than I thought I could make it - well, except for the last chapter, which currently sucks. I would not have accomplished this but for you and your conference. I can't tell you how grateful I am for that. Terri-Lynne Smiles Thank you for your wonderful conference where I met wonderful people and which led to acquiring my agent, Sally Wofford-Girand, which led to getting this dream to come true. Sujatha Hampton This is one e-mail I have been dying to send--this week I signed with Kim Lionetti at Bookends. If it weren't for the conference, it would not have happened. Many, many thanks! Rosemary DiBattista Four months after the NYC June pitch conference - I want to thank you so much. I've gone back to Eros and Omissions (thanks again for the title!) with all the advice in mind. From 50,000 words it's on a trajectory for 80,000. I feel that it's a much richer, more developed work, with a strong opening, backstory dramatized ... Thanks again for your help with the pitches and your wisdom re writing generally. This Algonkian Writer Conference is unique among writing seminars. I've since highly recommended it to many of my writer friends. Warm regards, Carol Polizzi I am thrilled to share the news that my novel GRACE AT WAR, a 14-year old girl's account of her brother's re-entry into the world after a year in combat in Vietnam, has won first prize in the Maryland Writers Assoc. (MWA) 2008 Novel Contest in the mainstream/literary fiction category. According to the MWA letter that accompanied my prize, GRACE AT WAR received "exceptional scores" from the judges "in a very competitive" field of entries from all over US and Canada-- so I'm feeling "exceptionally" motivated to move Grace to the next steps: professional editing and finding an agent. Attending the Pitch and Shop Conference in December 2006 in NYC was instrumental in advancing my novel to this point. Susan Moger And I can't brag enough on Susan Breen, our intrepid group leader. She was fantastic and a the perfect guide for our little group: part mother hen/part ninja. (Of course I bought her book immediately and just finished reading it...and I loved it.) I don't know if this happens in every session, but our group really bonded into a unit over the days of the conference and we've been emailing like crazy since it ended. We've even set up a Yahoo group to make it easier for us all to stay in touch. A lovely side benefit of attendance at this Algonkian conference. Anna Lefler I am drawn to telling stories about women who discover their inner strength through great adversities ... The workshops gave me an opportunity to review the overall structure of my novel. Refining the pitch forced me to isolate the major plot points. By focusing on the sources of conflict and suspense, I gained a clearer picture of changes that needed to be made. Barbara Marquart I was beginning to get discouraged in the "find an agent game." I'd managed to wrack up a more than a few rejections on the queries I'd sent out. Then at the conference, with the help of an amazing workshop leader, I was able to improve my pitch. Three out of four editors at the conference requested my manuscript. That and the enthusiasm of my fellow attendees gave me heart. With an improved pitch and the editor interest to back me, I jumped back into the fray, Now, a few months later, I've signed with Emily Sylvan Kim of the Prospect Agency. Thank you, Algonkian Writer Conferences. Amy Ester Fischer Perhaps coincidentally, I found doing the New York Pitch Conference and then following up with an Algonkian Writer Conference most effective. In any case, it is what I did. The pitch shop highlighted problems while the follow up looked into solutions. It's pretty hard to point to any single thing that helped the most since all parts of a novel are critical simultaneously. You must have plot but not at the expense of character but neither really work without paying attention to creating interest and tension throughout the writing. Maybe that's your answer: a more sophisticated view of the entire book. Alex Keto I wanted all of you to know that I had about a 95% positive response rate on the query I worked out with the group at the conference. At the time Brick House Literary Agency asked to represent me, I had 6 agents reviewing my ms. I began querying on Sept. 20 and one week later, I had 6 agents request the ms. I landed an agent less than one month after I began querying. This is largely due to the contacts I made, the information we shared, and the feedback I got from the Pitch conference. Sujatha Hampton This is a relatively small conference - 60 people - which made it possible for us to get to know one another, share information, and for the editors and workshops leaders to give us individual attention. Being grouped by genre (such as women's fiction) was very effective as it gave us a sense of identity, and meant that the information we received, and the discussions we had, were all specific to our genre. Most conferences try to do and be too many things, causing the writer to feel scattered and overwhelmed. Christine Stewart From John Ford (five figures for young adult fiction - THE MORGUE AND ME - Viking) The New York Pitch and Shop Conference offered direct access to major publishing houses, great mentors, and a community of supportive writers. The editors drew me to the conference, but the bigger benefit for me was the invaluable instruction in honing my pitch. The intensive workshops force you to crystalize the appeal of your manuscript. That helps greatly in the pitch sessions, but also -- maybe more importantly -- in drafting query letters and in editing the novel itself. It's no coincidence that such a large proportion of our small group found publishing success after Charles Salzberg helped us identify and focus on the strengths of our work. From Susan Breen (five figures for women's fiction - THE FICTION CLASS - Plume) I am the person who sold my novel at the New York Pitch Conference. I met with an editor from Plume, pitched the idea and she liked it and after several weeks, and rounds of discussion and so forth, she made an offer. Meantime, Michael Neff helped to set me up with my agent, who is a lovely person at Trident Media. So I can honestly say that going to that conference changed my life. #2 Post Let me just share my experience here. Before I went to the New York Pitch Conference, I had been to a number of more traditional conferences--Bread Loaf, Antioch, Writers @ Work and so on. When I saw the ad for New York Pitch Conference, I had just finished my novel, The Fiction Class, and I was about to embark on a search for an agent (which is a long story in itself) and I was thinking I would apply to a conference. Then I saw the ad and I liked the fact that it was different than anything I had done. Quite honestly, I was at a point in my career where I thought I needed to do something different. I knew it was a long shot, but I was going to spend the money on one conference or another and I figured it was worth giving it a try. I had met agents before at other conferences, but I liked the directness of this one. The whole purpose was to try and sell my novel; there was no pussy footing around. Also, I just liked the idea of meeting an editor face to face. If you are not in publishing, you just do not run into editors and since these people were the decision makers, I wanted to see what they were like. Everything turned out so much better than I had dreamed. I did sell my novel--not right at that moment, because there is a process. But I did sell it because I went to New York Pitch Conference. My thanks to Algonkian Writer Conferences. From H. Scott Dalton (attendee at New York Pitch Conference) Since the conference, three of our group, including Will, have been offered contracts for the books they pitched (I, unfortunately, have not had an offer yet). All three say the coaching they received at the conference helped them shop their books more effectively by tightening and targeting their queries. For myself, I decided to attend for a few reasons: It gave me a chance to meet other writers, folks serious about this craft, including some from the Big Bad Industry. It gave me an opportunity to get a reality check on my writing and my book, and help me figure out how to market it to maximize my chances. It might get me struck by lightning, get picked up and avoid the frustrating query-and-rejection cycle I'm in now (please note, though, I did not go thinking I was guaranteed a contract). Hell, it was a chance to go to New York. As it happens, all but the struck-by-lightning thing worked out. I'm still in contact with several of the folks I met there, one of them Will, and we all continue to learn from each other. Personally, I find it useful to be able to put names and faces to my fellow rookies, and have at least one common experience to look back on. And meeting one-on-one with four real live editors helped me gain a little perspective on this business; the four of them, and all the rest of you, are much more human to me now than before. For me, the conference was worth the price tag. From Will Lavender (six figure deal for his thriller - OBEDIENCE - Shaye Areheart) This Algponkian Writer Conference helped me TREMENDOUSLY. Tremendously. I did a few things in New York that were of help: I changed the title of my manuscript after it was clear that our group didn't really care for it, and the title change helped me realize some of the book's themes; I was asked to submit my manuscript to an editor at Penguin (something I put on my query letters); and I tightened my query to the point where I was 90% successful in terms of agents asking for partials or fulls. I also met some good people and some good writers there. According to their website, three of the writers in the group I was in have made deals. I'm with Shaye Areheart; another writer is with Plume; another is with Knopf. There were 16 in the group. That tells you that, while these writers may not have landed deals with editors during this conference (I didn't; the manuscript was eventually rejected by Penguin), there is some legit talent in the groups you pitch with. I can only speak for myself: it was well worth the money I paid. If they just gave you what you paid for at the New York Pitch and Shop conference - face time with serious decision-makers from the top publishing houses - it would be worth 10x what they charge. But they go further; personal guidance, encouragement, and honest evaluations of your novel. Ginger Lombardo My weekend at the New York Pitch Conference was one of the few highlights in my beginning writing career. The tutoring from the workshop leaders, the support and encouragement of my fellow writers, and especially the feedback from the editors was well worth my time and money. Three of my children attend private universities and three others are enrolled in expensive athletic programs- (that's right- six children, one husband, a mortgage and a whopping grocery bill) pennies are precious, my spare minutes are few, but I considered the conference invaluable. I shopped conferences extensively before choosing the New York Pitch Conference. Because I've a finished manuscript that has been extensively work-shopped, I wanted a conference where I received personal evaluation and critique by professionals who are top in their league. I got what I wanted and more. Kristine Tate I went to the most recent conference worrying how to juggle four editors all wanting my well-written, professionally-edited, much revised story. That was not a problem, however. I learned that my masterpiece is going to rot until I learn how to pitch and market the theme (a.k.a. premise). At another writer's conference, I had 15 minutes each with an agent and editor who, having previously read some of the manuscript, told me my writing was excellent, the humor great, etc. But they weren't interested. At the NYC Pitch & Shop conference, I learned why. If you cannot sell your novel idea within the first two minutes, the remaining time is for polite chat. That's the real world. Greg Bascom The New York Pitch Conference, as rumored, is cool, and like someone said, a little like American Idol. Writers are real tense and anxious about their meetings and the responses they are getting. Some of them cry and others storm around, but the pitch staff calm them down. They have too much stake in the process and want to quit their day jobs. I don't blame them, but ya gotta have perspective. One of the coolest things about the New York Pitch Conference is the venue at Ripley-Greer. Lots of art and cool theater people and ooooh la-la dancers of both sexes mingling and rubbing shoulders with the writers. Never seen anything like it, really. David O'Keefe I attended the most recent New York Pitch Conference and as a currently unpublished author found it to be well worth the time and expense. I travelled from North Carolina, paid for a NY hotel (at a reduced rate thanks to the conference sponsor) plus airfare. Not only was I able to refine my pitch and present it to interested publishers, but participants were able to sit in on early pitch sessions and benefit from the professional critique of other pitches. Oh, and by the way, an executive editor who has worked with the likes of Tom Clancy is currently considering my mystery-thriller manuscript for publication. How much is that worth? Guy Forcucci Before attending the conference, one ought to do one's research. From what I was led to understand, there were no guarantees. It was not advertised to be anything more than a conference for pitching to editors - face to face. I did not expect editorial help, except as related to the pitch, and I was given more than I expected. I was also given a peep-hole into the current state of affairs in fiction, and I saw what kind of a crapshoot it is - not just for writers but for editors, as well. I saw that editors who were known for taking a certain kind of fiction could be on the lookout for other kinds, so long as it met this nebulous criteria of seeming marketability. When I parted with my $500, I knew from outset that there was a chance that none of the editors might want to see my work, and even if they all wished to see it, that there was no guarantee any of them would take it. It was difficult, but it was an experience I'm grateful for. It was informative, as well as being a reality check, it was helpful in providing editorial contacts, and it was an opportunity for bonding with other writers. The people in my group and our facilitator were first rate human beings. Alice B. I attended in March. Before applying, I studied the website. I made sure I was the kind of writer who might find the experience -- and hence the expenditure -- worthwhile. It was obvious that there were no promises made regarding contracts, fame, or fortune. What you were promised was face time with 4 editors, and what was promised was ABSOLUTELY delivered. On the first day, participants were aided in developing their pitches -- a very different animal from the standard query letter -- and during the following days, we pitched and honed accordingly, all the while aided by the conference organizers and presenters. Personally, I came away with more than I initially expected. 3 of the 4 editors asked for partials and/or the entire manuscript. My novel is still under consideration by an editor I never would've reached via the slush pile. Other participants had similar success, while others still received a much needed reality check, or simply insight as to how the publishing world works. There were disappointments to be sure, but it wasn't due to the conference, it was due to the individual manuscripts. Writing is a subjective art form, like love, and like love, not everybody found a match during our "speed dating" sessions with the editors. However, everyone in my group -- regardless of their success level -- found the experience worthwhile. Most importantly, I met a lot of great people who do what I do and are at the same place in their literary pursuits. I live in the Midwest. I don't come across many people who are aspiring authors. Writing is a solitary endeavor and to have met a few colleagues, as well as another writer with whom I now exchange work and have a real and lasting friendship is, as the Mastercard ad says, priceless. Amy Hanson Like others, I came from quite a distance and found the workshop to be more than I had been able to imagine, because I had no idea that what we were going to learn was so labor intensive. I couldn't imagine how it could take three full days to perfect a one to three minute pitch. I can now, and really have a grasp of what I've taken on. This line of work--writing fiction--is no where near an easy task. Sometimes I wonder if I'm off the deep end, but I love the writing and so am willing to keep trying. I appreciated the fact that there were no punches pulled. The Shop staff were almost brutally honest when it came to my writing and that is exactly what I wanted. And, I was told what was wrong and what road to take to fix it. Again, exactly what I wanted. I was told from the first that only a certain level of writing was accepted at this 'conference', and I found that to be true. It was scary exciting and intimidating, as well as motivating to participate in this workshop. Like anything, no one thing works for everyone. Lisa Buie-Collard I came from Canada, another from the Cayman Island, others widely from across the USA. The conference offered training in how to "pitch" one's manuscript, and it offered a face-to-face opportunity to pitch to four editors. It delivered. There were days of discussion on improving the pitch, rehearsal sessions, opportunities to discuss one's work and whatever else one pleased with fellow 'wannabees.' Reduced cost hotel accommodation across the street was also arranged. I did not personally get a contract. Penguin did look at my book and rejected it -- I can't believe that was for any reason other than it didn't match their requirements. Anyone signing up for this workshop should feel comfortable that they will get what they are told -- however, a guarantee of publication is NOT PART OF THE OFFER. Michael Hall I attended the latest pitch and shop and found it to be tremendously helpful. If you have honed your craft and written a saleable product you should have no problem attracting an editor's attention. You learn how to pitch in one minute. I didn't understand how that was done. I do now, and I do it very well. I recommend it highly. It was the the best writing conference I've experienced. William Holland These are my experiences with the Pitch Conference. I suppose in the back of my mind I went in hoping for some miraculous discover me at the soda fountain Hollywood story. This didn't happen but then I'm no Lana Turner. The meat of the conference was preparing the pitch. This meant giving the pitch to others in a group of about fifteen writers and listening to their pitches. This helped me focus on two things: what was my novel really about and how could I communicate that effectively in as few words as possible? These may seem like simple matters but to watch fellow writers struggle to make a compelling summary of their works was fascinating and instructional. This process was repeated and the improvement in the presentations was apparent. The pitches were presented more confidently and they were worded more confidently. We had a good group. I respected them as writers. Members of our group actively rooted for one another and we have kept in touch since. All of the ones I have communicated with shared positive stories. There are several I am hoping to see in print come some day. I saw four editors. My pitch lasted two minutes followed by the editors asking about three minutes of to-the-point questions. One asked for my manuscript. After a couple of months of mulling it over, it was ultimately rejected. The NYC Pitch Conference was an excellent experience for me. In a short time I learned how to see through an editor's eyes. I understand now how to present my creation in that one page query letter that seemingly every agent requires. Worth the money? Not if you are only hoping for that Lana Turner type moment. But it taught me what I needed to know to bridge the gap between art and business. I would consider doing it again - especially if I knew I was to have as enjoyable and affirming group as I had my first time. If I were to drop something in their suggestion box I would have the team create a conference for graduates of the first conference. If I were to return, a lot of the basics I would be learning would be redundant. BTW - the Lana Turner story is a myth anyhow. Martin Hill Ortiz I attended the June New York Pitch Conference and found it to be an amazing experience. Right off the bat there were no promises of publishing contracts. There were promises of a reality check, help in perfecting our pitches and face time with four reputable editors from major houses. They delivered 100% and then some. Our group leader, an established writer and teacher, took the time to work with us to hone our pitch, making himself available before our morning session began and it the afternoons. He sat in with us when we pitched to the editors. Our face time with the editors was not one minute, it was anywhere from five to fifteen minutes. The editors also provided helpful critiques. An executive editor from Penguin requested my ms, I would not have had the opportunity to pitch to him if I wasn't at the conference and my pitch would not have been perfect if it wasn't for the guidance I received by my group leader. Although not everyone was asked to submit their ms, we all gained valuable advice and critiques to better our work. No one in my group found the conference to be a waste of money. I also agree the conference reminds me of American Idol. We were all very nervous and very tense, but we bonded together to cheer and support each other. Most of us still keep in touch and have gotten together post conference. I've made valuable friendships and have the support of other writers and that's priceless! Robin Tauber I attended the NYC Pitch and was very happy with the conference. I learned how to write a pitch, what the editors are looking for and buying, the fact that their editorial board has to come on board, and that the markets are tough, but doable, if you have learned everything you need to learn to sell. I came to the conference with the understanding that I would learn what I needed to know to find a publisher for my novel and I now know what to do. I also came with the understanding that anything was possible, that my book might be ready by my standards but that there may be several more things I needed to learn before an editor could take it. I came away with that understanding in place, and am revising the novel currently with an agent's help. My manuscript is still out at 3 publishing houses, and I'm eager to hear what they say. If they don't take it I want to know why, and how I can revise to meet the needs of the current markets. I used my experience as a learning curve and am hard at work on what I have to do with the novel now to make it saleable. Was it useful? 100%. Barbara Keegan First of all, the conference was a tough one. I received more honest and hard-hitting reaction than anywhere else and my novel is the better for it. I'm rewriting now and plan to attend a second NYC pitch conference by 2007. The editors were encouraging and professional, but not soft, and the workshop editors were fantastic. The whole group bonded and we're still sharing mails and work. I got just what I wanted and I've never had quite the same experience at another conference. Julie Field ------------------------------ This conference more than met my expectations. The cost was reasonable, considering the information gained. I've attended at least two writers' conferences a year for the past ten years and have taken the opportunity to I pitch my manuscript to agents and editors whenever possible. But, I really didn't know what I was doing until I attended the New York Pitch Conference. If I'd had that knowledge and experience before attending other conferences, I'd have felt more comfortable, and my pitch would've had a higher chance of success. One highlight of the conference is your interaction with other writers. I was placed in a group, many of whom wrote in my genre. We all pulled together and helped one another shape our pitches. By the end of the three-day conference, I felt a sense of comradery in my group. In fact, six months later, we continue to remain in contact. You get out of a conference what you put into it. Actively prepare and participate, and you'll be glad you attended. Richard Romfh
  6. About Algonkian Events and Workshops Haste born of impatience is a writer's second worst enemy. Hubris is the worst. - Director Michael Neff Algonkian Writer Conferences began in late 2001 on the banks of the Potomac River at Algonkian Park in northern Virginia. With its beautiful setting and cottages, it seemed a natural place for a workshop, and thus, Algonkian Writer Workshops was born. By 2004 it had expanded to include more professionals in the literary business, i.e., agents, editors, and authors, as well as more events such as the pitch conference in New York. At Algonkian events, we maintain intimate, carefully managed environments conducive to practicing the skills and learning the knowledge needed to realistically approach the creation of a competitive novel. See our Frequently Asked Questions for more details on our advantages, methods and goals. If you are beginning a novel or working on a novel-in-progress, or if you have a completed ms and require a strong reality check, you should receive professional, highly focused reaction not only to your prose and narrative, but to your entire work, including the story premise, lines of complication, plot arc, theme and character arc, and all else. There are 250,000+ first-novel manuscripts being written each year in America. What percent of those will eventually fail to be published by a major house? 99.99%... The statistics can't be denied. The job of Algonkian isn't to make this process risk free and easy. Our ultimate goal is to realistically increase your odds of becoming a published author by showing you how to inhabit that upper percentile of writers who will have their work taken seriously by professionals in the business.
  7. Algonkian Writers Conference Programs and Events - Ongoing Queue: Manuscripts to Market Editorial Service - $1500+ (Novels - Most Genres) - Ongoing Admissions: Novel Development and Editorial Program, $299 - Online Courses ___________ - April 3 - 7, 2024 : Monterey Writer Retreat, $1095 - (Map/Directions) - June 20 - 23, 2024 : Write to Pitch 2024, LIVE IN NEW YORK, $895 - (Map/Directions) - September TBA 2024 : Algonkian Park Novel Workshop, $1195 - (Map/Directions) - September TBA, 2024 : Write to Pitch 2024, LIVE IN NEW YORK, $895 - (Map/Directions) - February TBA, 2025 : St. Augustine Author-Mentor, FL. $1289 - (Map/Directions) All the above events begin before you arrive and continue after you depart with pre-event and post-event novel editorial, writing, and development forums. Additionally, all events include the Algonkian Novel Development eBook, originally created solely for the New York Write to Pitch Conference. ALGONKIAN WRITER EVENTS AND PROGRAMS They Begin Before You Arrive and Continue Upon Departure - All Genres. What does the above mean? Prior to the start of any given event, writers receive critical, publisher-reviewed assignments, readings, and must-do checklists, many of which are found in the Algonkian novel writing forums at AA Connect. Additionally, at the conclusion of events, and for manuscript polish purposes, writers are provided with a supplemental novel editorial program that includes additional faculty consultation. We know that if you are beginning a novel or working on one in-progress, or if you have a completed ms and require a strong reality check, you must receive professional, highly focused reaction not only to your prose and narrative, but to your story premise (most important), plot points, antagonist, secondary characters, conflict lines, theme, and all else. Our ultimate goal, therefore, is to increase your odds of becoming a published author by showing you how to inhabit that upper percentile of writers who will have their work taken seriously by professionals in the business. - Michael Neff, Director
  8. 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.
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