Upcoming Classes

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Writing A Winning Contest Entry
Karen Duvall

Contests, such as the coming Colorado Gold, are an important part of the writer's journey. Contests provide the author with exposure and oftentimes, the final entries are judged by agents and editors. This two week online class will review the various elements judged in the Colorado Gold Writing Contest as well as offer participants a chance to submit samples of their work for feedback.

Lessons will include:

  • Selecting the correct genre for your entry
  • Characterization
  • Point Of View
  • Scene Craft
  • Storytelling
  • Narrative/Voice

Whether you choose to enter contests or simply improve your writing skills, this is the class for you.

Karen Duvall lives in the Pacific Northwest with her husband and five incredibly spoiled pets. Harlequin Luna published her Knight’s Curse series in 2011 and 2012, and her post- apocalyptic novella, Sun Storm, appeared in Luna’s ‘Til The World Ends anthology in January 2013. Her self-published novels include Desert Guardian (romantic suspense), and Demon Fare (urban fantasy).
Karen serves on the board of Rocky Mountain Fiction Writers as co-chair for the Colorado Gold Writing Contest. She’s a member of Women’s Fiction Writers of America and is one of three finalists for women’s fiction in the Emma Merritt Contest, sponsored by San Antonio Romance Authors, with her unpublished novel, Unforgettable.
Karen is represented by the McIntosh & Otis Literary Agency in New York City.

April 2 - 15, 2017
Members: $30
Non-Members: $35

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The Dreaded Synopsis Workshop
Sharon Mignerey

Sure some people like to write a synopsis. For most writers, the task is about as appealing as jumping into a frozen lake during sub-zero weather--even though some people like that, too. How is a writer to choose among all the conflicting rules, such as a synopsis should be no longer than 3 / 5 / 8 /10 pages (would somebody please decide)? Condensing this much from a whole long novel seems impossible, right? You may be thinking, why not simply read the story?

This workshop helps participants identify the elements required to put together a solid synopsis without it feeling like stuffing a king size foam mattress back into that tiny plastic bag that it arrived in. Workshop participants leave with a workbook that provides concrete reminders of the steps and the techniques that help deconstruct a story to reveal the elements that should be included in a synopsis. The class will end with participants final project writing … the not-so dreaded synopsis

Sharon Mignerey has always known that she wanted to be a story-teller from the time she learned in second grade that spelling words could be turned into stories. She has been a member of RMFW since 1984 and says she became an “instant success” in 1995 when, within 30 days, she sold two books and won RWA’s Golden Heart award for unpublished writers. Since then, her career has had the usual ups and downs typical for most writers, which has culminated in 11 published novels and several more under submission. She regards RMFW as her writing home and loves giving back to the organization. She is a well-known and sought after speaker on the craft of writing and motivation. She has an MFA in Writing Popular Fiction and has had articles published in the Writer Magazine.

April 16 - 29, 2017
Members: $30
Non-Members: $35

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Past Classes

Been There Done That: Writing Effective Flashbacks
Karen Lin

We’ll define backstory, why, when and how to use it through dialogue, dramatic narrative, and flashback. We’ll also address the grammar and the “politics” of flashbacks. We’ll discuss the decision to bring insight from past to present using flashback technique. Flashbacks for the character’s sake--adding depth to character, for the story’s sake-filling in gaps, for the writing sake--creating a fully realized story world, instances when a flashbacks work, instances when flashbacks won’t work, dos and don’ts when writing flashbacks, making the grammar work, setting up for the flashback, and we’ll offer examples of flashback triggers and devices - match cutting, use of senses, etc. We’ll also address longer vs. shorter flashbacks, how early is too early for a flashback, editors’ and agents’ attitudes toward flashbacks, and what to do if you are told to nix your flashback. We’ll discuss examples offered by “attendees.”

Karen Lin is a freelance editor for award-winning and best-selling authors. She's a pitch coach, produced screenwriter, script doctor, speaker (cruise ships, conferences, retreats) and an award-winning author of screenplays, novels, narrative nonfiction, literary cookbooks, shorts, essays and articles for magazines. She’s a blog columnist and has worked with top New York agents on projects ranging from novels and literary cookbooks to celebrity ghost projects. Through a Hollywood agent, her award-winning screenplays have been considered by Barry Sonnenfeld, James Cameron, HBO, Showtime, and the Sy-fi channel.

Find out more at www.karenalbrightlin.com

March 12-25, 2017
Members: $25
Non-Members: $30

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