Master Classes are in-depth teachings on a specific topic. Each class is four hours in length and costs $50. Advance registration is required. Registration closes August 31st, 2014. Space is limited.
Entries for 2014 Master Classes
|So You Want to Write a Series||Susan Spann||08:00 am||
This master's class examines the series as a whole. The first hour focuses on establishing a "series world" and building it effectively. The second hour topics include creating protagonists, believable foils, and other supporting characters. The third hour topic is "plotting the larger series through" - including both overarching series arcs and the arcs for each individual novel. The fourth hour topics address continuity, keeping the details straight across a series, and how to weave secondary characters through various novels within the series. without creating gaps or plot holes.
|How to Plot a Bestseller Using a Logline and a Beat Sheet||Nina Bruhns||08:00 am||
In this workshop you'll learn the secret to plotting and weaving a compelling story with primal conflicts and rich characterizations using Blake Snyder's proven techniques of a beat sheet and logline. Award-winning author Nina Bruhns will share what she learned while working with Blake himself, and subsequently in her job as a senior editor for Entangled Publishing.
|Format, Publish, and Distribute via Smashwords||Mark Coker||08:00 am||
Mark Coker will take you step-by-step through formatting your manuscript specifically for Smashwords. He will take you through the Smashwords’ publishing process and explain distribution in detail.
|Beginnings||Sharon Mignerey||08:00 am||
Participants are to bring the first two chapters of a WIP to work on during this hands-on class that is designed to help writers sort through the conflicting advice to create the compelling opening chapters that draw readers into a story. That conflicting advice includes: Introduce a compelling character in an inciting incident. Or wait … aren’t you supposed to show that compelling character in his or her ordinary world? Then, make the reader care but avoid the backstory. And setting!—world building that anchors characters and readers is vital. But don’t do anything that stops the forward momentum of the story. Set up the conflict and the story problem and establish the tone for the rest of the story. It’s all enough to make a writer’s head explode when all (s)he wants to do is tell the story. This workshop helps writers do that—tell the story—while also identifying the elements needed for their specific story that keep a reader turning the pages.
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