Conference Workshops
Thursday, September 22, 7 - 9 PM
I Finished the Book! Now What?
You’ve done the hard part, now the work starts. There’s a long road between typing “The End” and seeing your book in print. This offers a quick primer on the main paths to publication and their pros and cons.
Presented by John G. Hartness
How to Pitch Agents, Editors, and Publishers
Pitching an agent face-to-face is a golden opportunity to bypass the slush pile. When done well, you can sell the agent on your project within minutes and get real-time feedback that simply isn’t available in the querying process. In this workshop, we will break down how to prepare, how to start, what to say, how to hook and be remembered, what they might ask and how to respond, and, perhaps what you want to know most, how not to keep yourself from melting into a puddle of nerves. We will steel those nerves with knowledge of what to expect and real-time pitch practice.
Presented by M. M. Finck
Point of View and Voice
Point of view may well be the most important tool a writer has at their disposal. It is the nexus of storytelling, the place where character, plot, and setting meet. It is also quite often the key to problem solving when we run into issues with our manuscripts. In this session, we will explore different approaches to point of view and the establishment of voice, and discuss ways in which point of view can help us overcome common narrative pitfalls. The class will include lecture, discussion, and writing exercises.
Presented by David B. Coe
Using Archetypes to Create Characters and V is for Villain
In this two-hour workshop, learn what are character archetypes with examples from literature, film, and television. Learn ways to make your protagonist or villain three-dimensional with motivation, backstory, and inherent traits.
Presented by Cate Hart
Friday, September 23, 10:45 AM - 12:15 PM
How to Perfect Your Query
An in-depth master class on perfecting your query letter and demystifying the querying process. You’ll learn what to include in your letter to agents and what to skip, how long it should be, how to find agents, how to find comps, what to say if you don’t have many (or any) writing credits, and more. A selection of the letters* submitted prior to class will be used as examples and part of the instruction. The final thirty minutes of the class will be used exclusively for receiving personalized feedback on as many of your query letters as possible. If you would like to be sure that MM (“Peggy”) has the opportunity to read and consider your letter, please email it to the conference at HRWriters@cox.net no later than September 14th.
Presented by M. M. Finck
Character Development and Arc
Characters are the bread and butter of what we do as writers. Exciting plots and glitzy settings are great, but ultimately stories are about people. In this class, we will work on developing rich, multi-dimensional characters with complex backgrounds and personalities. We will discuss ways in which point of view and dialog help us build and advance our characters so that their arcs and the flow of our narratives coincide and reinforce each other. The class will include lecture, discussion, and writing exercises.
Presented by David B. Coe
Big, Medium, Small, or Self: What’s the Right Publishing Option for You?
The good news is that today’s authors have more options than ever before. But choices inevitably come with costs and getting one thing means giving up something else. This workshop will explore the pros and cons of various book publishing options, helping to guide participants toward whichever one is best for their respective work. The answer might surprise you, because it can vary not just from author to author, but from book to book.
Presented by Edmund R. Schubert
From Query to Contract: Becoming a Paid Magazine Writer
If you have a passion, hobby, or keen interest in just about anything, there’s a market for that! Online and print magazines are constantly looking for contributing writers. Learn where to find potential markets, the skills you should hone, how to write query letters and pitches, and the process of negotiating payment and contracts. Did you know these kinds of paid writing gigs can also help build you into a more successful fiction writer? We’ll talk about how the discipline of magazine journalism can help you develop a platform and brand, increase your discipline, and prepare for the ups and downs of the publication process.
Presented by Ann Eichenmuller
(POETRY) Page to Stage
Some poems refuse to stay on the paper; some poems demand to be heard out loud. Discover how to bring your poem to life, taking it from written word to performance piece. Learn memorization techniques, how to identify “actable” moments in poems, and stage presence.
Presented by Jorge Mendez
Friday and Saturday (September 23 - 24, 2022)
Publishing – 10 Things I Hate About You(r Book)
In this class, you will learn about the mistakes you’re making with formatting, presentation, and writing that will keep you from making it past the first wave of rejections.
Presented by John G. Hartness
How to Eliminate Distant Characters and Talking Heads Syndrome from Your Writing
Submitting a perfected manuscript with well-developed characters to agents can make the difference between being signed and being rejected. Talking heads syndrome is when the author relies too heavily on the dialogue to tell the story, leading to a lack of character development, which in turns hinders an emotional response from the agent. This class teaches how to fully flush out your character’s so that they are not distant and so an agent will connect with your character, your voice, and your writing. This includes knowing how to incorporate a balance of your character’s thoughts, feelings, motivations, desires, and goals strategically throughout the entire manuscript. It also covers the importance of character movements, scene setting, inner monologues, and descriptive passages.
Presented by Kelly Thomas
Who Needs an Editor?
You do. Whether the goal is a traditional publishing contract or fame and fortune as a self-pubbed author, every writer needs an editor. Once you find one, what happens next? Should you pay? Can you find someone to edit for free? What about writing workshops and groups? Learn the ins and outs of navigating what can be one of the most important relationships of a writer’s life.
Presented by John Robert Mack
Where to Begin: How to Write Your Memoir
Do you want to write your memoir, but you’re not sure where to begin? In this session we will examine what makes a compelling memoir and explore methods for plumbing the richness of your memories. Interactive activities will cover topics from how to choose slices of your life to techniques for capturing the essence of your experiences. You will leave this class with new direction and vision for beginning to tell the greatest story of all—your own.
Presented by Ann Eichenmuller
(Poetry) Small But Mighty: Using Caesura, or Silence, in Your Work
Understanding the 10 types of caesura, or ways to create rest in a poem, can control both pacing and energy in a piece. Caesura are one of the most powerful tools in both poetry and prose, yet many times writers only use a habitual few. In this workshop we will look at the textures, psychological underpinnings, and pauses caesura can provide when used to their full range. We will look at work by Frank Bidart, ee cummings, Sappho, and other poets who used caesura well, as well as doing a generative exercise to start thinking about how to maximize caesura in our own work.
Presented by Kelly Morse
Making Book Marketing Fun
Does marketing and promotion fill you with dread? Do you want to up your game when it comes to marketing your books? Then this is the workshop for you. In this interactive workshop you will learn tried and true marketing methods and develop your marketing plan.
Presented by Wendy H. Jones
Building Big From Small: A View of Novellas-In-Flash, Flash Novels, and Micro Novels
Flash fiction is an exciting new form, but what can you actually do with it? Believe it or not, you can build longer works with these small stories. This workshop will show you how to use this intriguing form to develop longer story arcs.
Presented by Ran Walker
TROPE TALK: How to Use - and Not Use - Tropes
We’ve all heard that there are no more original stories and all characters fall into one of twelve archetypes. How is this possible? You don’t want to think that of your stories nor your characters. Your work is unique and imaginative. It is. In this class, we’ll learn about tropes - both character and story - and how they can be used to elevate the resonance of your work.
Presented by M. M. Finck
A Thin Line Between Fact and Fantasy: The Differences and Similarities Between Historical Fiction and Historical Fantasy
Participants in this class will take a broad look at the historical subgenre focusing with a special note on historical fantasy.
Presented by Nicole Glover
Harness Your Muse
How many times have you sat at a blank screen hoping, praying for inspiration to strike? What if I told you that you don’t need to wait for the Muse to dance on your shoulder and whisper in your ear. Harnessing your creative side is a skill you can learn and implement when you choose, no waiting or praying necessary. Of course, a little prayer never hurt anyone.
Presented by John Robert Mack
The Poetic Form of the Ghazal
Learn the cultural significance of this ancient Indian poetry form. Study examples of this tricky and challenging poetry form, learn to construct a strong “refrain”, and become familiar with the form rules to help you write your own Ghazal.
Presented by Jorge Mendez
Effective Public Speaking
As writers we often shy away from public speaking and yet it can open up many doors. This interactive workshop will outline some key skills which can be used to help you develop as an effective public speaker.
Presented by Wendy H. Jones
Holding up a Microscope to Your Fiction: Microfiction and the 100-Word Story
Can you really tell a good story in under 500 words? Well, there are people telling stories in as few as six words. In this workshop, we will focus on shaping your story ideas to fit the 100-word story, in particular.
Presented by Ran Walker
Talk to Me: Lessons from a Playwright on How to Create Dialogue that Works
This workshop will cover both general concepts of what makes dialogue come alive and the details of how to use dialog tags, beats, and inferences to move the conversation forward. We will also discuss internal monologue and how to use live thought to effectively relay a character’s thoughts without interrupting the narrative flow.
Presented by John Robert Mack
Realism in My Fantasy Novel: What Are We Saying When We Want SFF Stories to be Realistic
A talk about how a warped view of realism can undermine fantasy worlds and limit a writer's imagination.
Presented by Nicole Glover
Notes from Behind the Editor's Desk
So many elements go into editing decisions, from story considerations to business considerations; from guiding new writers through their first publication to managing established professionals and their egos. With ten years as head editor of an online magazine publishing short stories, two years as executive editor of a regional business magazine, and four years as managing editor of a specialty women’s business magazine, Ed Schubert has walked more than a mile in these very interesting shoes. Join him as he tries valiantly (and possibly vainly) to make sense of it all.
Presented by Edmund R. Schubert
Unwritten Contract: Structuring Poems So That They Elicit Trust and Intrigue in a Reader
Each poet or prose writer sets up a "contract" with their reader in the first few lines or paragraphs of a piece, whether the maker knows it or not. Understanding the metrical and sympathetic contracts you are offering your reader can be the difference between the reader engaging in the work or moving on to something else. In this workshop we will look at different ways poets and prose writers establish stable contracts, and then how to complicate and push against them so that the reader stays surprised yet trusts in the work. Participants will walk away with a metrical contract checklist they can use to analyze and revise their own work.
Presented by Kelly Morse
How to Hook and Hold a Reader
We all know it. We all say it. “There’s too much out there. There are too many entertainment options. How can we get a reader’s attention?” This one-hour presentation will look at how to structure a book to grab a reader by the throat and pull them on a ride that doesn’t end until the last page.
Presented by John G. Hartness
I Wrote It. Now, What Did I Write?
Whether it’s for your work-in-progress or your upcoming project, we will talk about the hallmarks and conventions of different genres - word counts, subject matter, audience, including how to find the ever-elusive comps and agents who want it.
Presented by M. M. Finck
How to Create an Effective One-Page Synopsis
This class teaches all the elements that makes a synopsis successful in a very small space, including the organization of content to concisely fit onto one page, without being redundant or verbose. A synopsis needs to encompass all the plot points in a story arc: introduction, rising action, climax, falling action, and resolution. It should include brief descriptions of the character’s motivation and evolution throughout the story, as well as clearly identifying the conflict and challenges that they face in order to achieve their goals or overcome their obstacles. The stakes need to be laid out, using carefully chosen words and powerful action verbs to both describe the premise of the story and entice the agent.
Presented by Kelly Thomas
Business Terms Every Writer Should Know
Given that a writer’s basic tools of the trade are words, it’s ironic how many business terms need explaining. Are you writing a query letter, or query about a submission you’ve already made? They’re not the same. And does the magazine you’re querying accept multiple submissions, simultaneous submissions, both, or neither? This workshop will review the multitude of business terms a writer will encounter at some point in their career, because when these terms show up in the submission guidelines, you need to know what the publisher is asking for, and when they show up in your contract, you’d best know what you’re signing your name to.
Presented by Edmund R. Schubert
Using Old Stories to Create New Stories (Mining the Public Domain…and Beyond)
Whether it’s The Lion King or Clueless, many modern works have drawn heavily from older works. In this workshop, we explore how to write new stories by tapping into older stories, including those that are in the public domain.
Presented by Ran Walker
One Man Band: Using the Five Principles of Music in Poetry
We will look at five main principles of music: melody, harmony, rhythm, timbre, and intensity, and how they can be translated into one's poetry. All of these aspects help create patterns and sonic contours to a poem, and when used consciously can make both metered and free-verse poetry pleasing to the ear. Understanding how the five principles are translated from music to verse, like how grape terroir translates into a wine's taste, can help poets avoid some of the pitfalls of coming from being a listener of lyrics to being a writer. We will look at poems that demonstrate these ideas, along with some generative exercises of these five principles.
Presented by Kelly Morse
Having Fun with Research
Yes, there is more to research than google. This talk will cover all the different methods you can use research to take your writing to a new level. Be prepared for anything.
Presented by Wendy H. Jones
Tips for Bettering Your Chances of Winning a Writing Contest
It is frustrating to submit work to a contest, only to find out that you did not place. Tapping into his experience of winning multiple national competitions, Ran Walker outlines a series of points that can help to elevate you into the later rounds of a contest—and possibly winning it all.
Presented by Ran Walker
Eliminating the Excuses
Have you ever said, “I could write a novel if only . . .” No matter the reason, it’s an excuse and it can be overcome. Learn how to avoid the horrors of the blank page, how to overcome writer’s block, and how to find time to write every single day. Bring questions and your writing medium of choice. While you will be asked to write spontaneously, you need not share a word of what you write. See? Two excuses already eliminated.
Presented by John Robert Mack
Loglines, Hook Lines, and Pitches, Oh My!
Confusion exists even amongst writers on which is which. We’ll clarify once and for all and learn how to write them, using examples of each - done well and not - because it’s important to be able to recognize both.
Presented by M. M. Finck
Retold Over and Over: The Appeal of Retelling Old Stories with a Twist
Fairy tales, myths, and stories from the Western canon find new life in retelling and imaginings. But why? This class will highlight a few selections and talk about the vast appeal of retelling old stories.
Presented by Nicole Glover
Poetry is a Defense Mechanism
Art has the power to heal emotional wounds and writers can be healers. Explore examples of the use of poetry as therapy and learn ways to use writing as a coping mechanism. The goal is to find catharsis in the art of writing poetry.
Presented by Jorge Mendez
Three Acts, Saving Cats, Chekhov’s Rifle, and How to Build a Novel from Scratch
There are million books telling people how to write books, but most of those are written by people who don’t write commercial fiction. Learn some of the tips and tricks John G. Hartness has developed after nearly 40 novels to get the most out of your book’s structure, and how to make your outline work for you instead of the other way around.
Presented by John G. Hartness
What’s My Genre?
Defining genre and reader expectations. In this one-hour workshop, come away with a better understanding of the leading fiction genres, how they are defined and the reader expectations that come with them
Presented by Cate Hart
The Essentials of World Building
World building may be the defining element of speculative fiction — fantasy, science fiction, horror, paranormal, etc. It is also a far more complex endeavor than many believe. Our created worlds are more than backdrops for our stories. They shape our characters and our plots and they demand constant maintenance and attention as we write our stories and novels. In this class we will explore the creation, care, and feeding of our worlds.
Presented by David B. Coe
Showing, Not Telling: How to Move Your Narrative Forward Without Putting Your Reader to Sleep
Whether it’s fiction or nonfiction, no writer wants to be accused of having “boring” sections in his or her book. This session will present writers with a toolkit of techniques to reveal character, fill in background, or move the narrative forward while maintaining pace and dramatic tension. We will also discuss how to analyze our own writing for segments that should be cut or rewritten to create a tighter piece of writing.
Presented by Ann Eichenmuller
(Poetry) Little Rooms: How to Make the Most of Stanzas
Stanzas are a basic organizing principle of poetry, but often poets underestimate their potential for revision, flow, and underlying symbolism. Looking over a variety of examples of these "little rooms" participants will see how stanzas can be used to maximize how energy flows through a poem. For this workshop participants will be asked to bring a laptop or some form of technology where they can quickly change the stanza format of a draft to see how manipulating stanzas and white space opens up new possibilities for a poem.
Presented by Kelly Morse
So You Want to Write Nonfiction?
They say everyone has a book in them. Author Wendy H. Jones takes this further and says everyone has a non-fiction book in them. This interactive workshop will provide techniques to brainstorm ideas and to start the process of outlining the structure of your book. It will also cover writing articles for publication.
Presented by Wendy H. Jones
The Neuroscience of Story
People don’t turn to stories to escape from reality, they turn to stories to help them navigate it. On a variety of levels, stories are powerful tools, and only in the past few decades have we begun to see how much the art of writing can be appreciated and improved by the ever-increasing body of science that's focused on understanding the way stories impact the human mind.
Presented by Edmund R. Schubert
Creating the Fictional Dream
In this workshop, participants will learn how to create and maintain a vivid and continuous fictional dream. Ever read a book you simply couldn’t put down because you lost track of reality? It’s not magic. Anyone can learn to write captivating stories that hold the reader in a dream state from start to finish. Live exercises will be led, but participation is voluntary.
Presented by John Robert Mack
Putting Hollywood into Your Stories: How Analyzing Movies Can Help Your Writing
In this class, attendees will use well-known movies to help improve their own writing. By breaking down characters, we can understand motivation and goals and how we can fit those lessons into our own stories. Let the magic of the movies work for you.
Presented by Jonathan Rosen
You Have to Outline and Other Hard Truths about Writing
Advice and anecdotes about writing that you might not want to hear.
Presented by Nicole Glover
Horror in "Poe"try
Examine the use of horror as metaphor through the works of Edgar Allan Poe and others. Explore how horror can be used as a vessel to discuss human fears and how we navigate them in our day to day lives. Learn how to apply horror to poetry artistically and thoughtfully to expand your writing versatility.
Presented by Jorge Mendez
Pacing and Narrative Arc
Pacing our novels and stories is both deeply challenging, and, when we get it right, incredibly rewarding. Pacing is also a difficult topic to approach, and one that can present different issues depending on whether we are writing stand-alone novels or series installments, short form or long. In this class, we will approach pacing from conceptual and practical perspectives, in order to best explore a nuanced subject.
Presented by David B. Coe
Creating Dynamic Characters
Round or flat, static or dynamic, believable or unconvincing? Creating and maintaining full, human characters throughout the length of a novel or a series can be a daunting task. This workshop will cover the different types of characters and why developing individual backstories is important even though the backstories might not appear in writing. We will explore methods for fleshing out characters through description, seemingly minor details, dialogue, internal monologue, and action.
Presented by Ann Eichenmuller
Maintaining the Fictional Dream
In this workshop, we will discuss how to avoid bumping the reader out of a story via authorial or narrative intrusion, clumsy writing, deviation in real-time linearity, telling rather than showing, improper internal monologue presentation, and many other things. We will do a few writing exercises that participants may share with the group or not.
Presented by John Robert Mack
Philosophy and Story
Most people know the old saying, “Everyone is the hero of their own story.” This workshop will investigate the ways that, while this statement is true, it is also only the beginning. Viewing your plot as well as your characters, your heroes and your villains, through the philosophical concept of thesis-antithesis-synthesis, writers will find a powerful tool for constructing tales that resonate with readers in a meaningful and deeply satisfying way.
Presented by Edmund R. Schubert
First Pages Pitfalls
In this one-hour workshop, learn common mistakes and clichés and how to fix them and the elements that make a great first page and novel.
Presented by Cate Hart
The Poetry Rap Music
R.A.P. stands for Rhythm In Poetry. Rap is an often neglected and unspoken of form of poetry. Examine some of the most socially relevant rap lyrics of the last 4 decades and learn about the rhyme techniques such as slanted rhyme, internal rhyme, and multi-syllabic rhyme as well as how cadence of delivery impacts meaning.
Presented by Jorge Mendez