Tag Archives: education

Sharing What You Know and Making Some Dough

By Katriena Knights

As writers, we often find ourselves focusing on our writing as our sole source of income. While this is understandable, it can also prevent us from seeing other opportunities to add income streams, have some fun, and help other aspiring writers—or even other folks—while we’re at it.

If you’ve been writing long enough to have experienced some success, then you undoubtedly know some things you could pass on to other people who are trying to break into the business or who just want to improve their skills. You probably have other skills, too, that you could share with others. So why not teach a class?

There are many venues where you can teach, whether you want to strut your knowledge in front of a live audience or prefer to hide behind your computer screen. Some are specifically aimed at writers, while others offer classes of all kinds. Some pay after your teaching session, while others allow you to put a class online and earn a cut of the cost each time a student purchases it. Some don’t pay at all, but might serve as a good practice field before you jump into paying venues.

Places you may—or may not—have thought about for presenting classes include:

  • Your local library
  • Your local rec center
  • Chamber of Commerce meetings
  • Local writers’ groups
  • Community colleges
  • Conferences

Some online locations include:

  • Savvy Authors
  • Udemy
  • Our own RMFW
  • Online writers’ groups
  • Online conferences

And one of our RMFW members has even posted a series on how to get a job teaching classes on cruise ships. Of course, nobody is interested in getting a free cruise to the Bahamas or whatever, so your mileage may vary.

Many of these places have websites where you can find a place to apply to teach a class. Some online places, like Udemy, allow you to upload your own classes and determine your own pricing. Most will have to approve your class before it goes live, though.

To propose a class, you’ll usually have to provide a general synopsis, a more detailed outline, a biography, and a list of your credentials, including other classes you’ve taught before. If you’re interested in pursuing this type of work, taking some extra time with your proposals will help give you the best possible chance to have your workshop chosen.

And don’t limit yourself to writing workshops. If you’re looking into your local library, take an inventory of your skills and see what you might be able to contribute. Branch out! Most writers have a wide variety of skills, so don’t forget about them. Our local Chamber of Commerce offers a monthly program discussing business skills like how to make effective presentations—many writers could provide a workshop on writing white pages or ad copy that would probably be well received in this venue. Use your imagination—get out a piece of paper and start brainstorming on what you might be able to offer for an individual venue. And after you’ve given a workshop a few times, you might consider converting your materials into an ebook, thus providing another source of income after you’ve taught people “live.”

Now that I’ve given you some ideas about how to spread your wings into teaching, I’d like to indulge in a moment of Blatant Self-Promotion. I’ll be teaching How to Write Memorable and Meaningful Sex Scenes at Savvy Authors starting tomorrow. They’re still taking registrations, so if you’re interested, drop by savvyauthors.com.

In the immortal words of Bartles & Jaymes (does anybody remember those commercials?) “Thank yew for yer support.”

 

August RMFW Workshop Announcement: Homicide 101 (For Writers, Not Criminals)

August RMFW Workshop
Homicide 101 (For Writers, Not Criminals)
Saturday, Aug. 23
1 to 3 PM
Sam Gary Branch Library
2961 Roslyn St., Denver (Stapleton neighborhood)

Presented by: Tracy Brisendine

One of the most fascinating and feared crimes is murder—it can completely immobilize a community and tear a family apart. It can also make for some really great writing.

The life and death of your story can depend on the authenticity of your detail, so step beyond the crime scene tape and get it right! Learn basic homicide investigative techniques, motives that induce a person to kill, commonly used cover-up methods, and the importance of physical evidence at a death scene.

Do you know the fundamental characteristics of gunshot wounds, stabbings, and blunt force trauma? What about the tell-tale signs of an asphyxiation death? You will after this class.

So if you plan on offing someone, fictionally of course, don’t miss this free program.

About Tracy:

Tracy Brisendine’s invisible pet dinosaur landed her in the principal’s office in second grade, and it was downhill from there. In order to protect her mental health, she allows some of her ideas to bleed out onto the page. When she is not battling demons of deviance, she serves as RMFW’s Publicity Chair.

Tracy lives in Denver, Colorado with her husband and snaggle-tooth dog named Max. She worked in law enforcement for seven years and has a bachelor’s degree in Sociology, with a concentration in Criminal Justice, from Colorado State University. Currently, Tracy works as a locate investigator for the City of Denver, and writes urban fantasy as TJ Valour.

Follow Tracy on Twitter: @WolvesCanEatMe
On Facebook: http://www.facebook.com/AuthorTJValour

Writing for TV – Then and Now … by Trai Cartwright

I love Downton Abbey. I love House of Lies, House of Cards (both UK and USA), Orange is the New Black, Black Orphan, Girls, and I especially love The Walking Dead.

I’m a TV junkie, have seen since I was parked, along with the majority of my Generation X co-horts, in front of a TV rather than sent to after-school programs. My babysitter was Wonder Woman and reruns of One Day at a Time.

To this day, I don’t need bowls of macaroni and cheese or a glass of wine after a hard day – I need a marathon of The X-Files.

When I first moved to Hollywood in the 1990’s, I had a yen for TV writing, but it just felt insurmountable. I’d never even seen a teleplay, much less had any idea of how to write one. But Buffy the Vampire Slayer was on TV and I had dozens of Buffy episodes dancing in my head. I knew I needed to write TV spec scripts, because that’s how writers got started in TV.

But what exactly was a spec script? How did I write one? And what did I do with it when done?

I got lucky. My temp agency sent me to be the writer’s assistant for a legendary TV writer named Jay Tarses. He wrote for The Bob Newhart Show, and that infamous clown funeral episode on The Mary Tyler Moore Show? That’s him.

His first and best writing lesson to me was this: “See that bookshelf packed with TV scripts over there? Start reading.”

So I did. I spent the summer transcribing his notes into teleplays (he still wrote longhand, four hours every morning), answering his phone, making him coffee, and eavesdropping on all the meetings for his new show. And I read. And read and read and read.

Then I started writing. I loved it—just loved it. Something about the way Act Breaks formed the structure and how every episode followed a pattern that pleased rather than bored audiences.

I was hooked. I wrote a dozen spec scripts (turns out, this meant I wrote sample episodes for a range of shows on “speculation” – the speculation being that an agent would see talent and send me out to interview for the writer’s staff of a show. Not the show I loved, see, that’s not how it worked—any show that was willing to talk to a baby writer.)

That summer was blissful, and I thought my future was sealed: I’d be Jay’s assistant on the show I was transcribing scripts for, I’d get to learn TV on the set and in the writer’s room, and eventually, I’d get a chance to write an episode for that show, and boom! zang! I’d be a TV writer.

It didn’t work out that way.

The show was a sitcom about a police vice squad, and as it turns out, no one found sexual assault funny. We didn’t even make it past the pilot.

I shook hands with Jay at the end of the summer and he said, “You got talent, kid, keep at it.” I swooned.

I kept at it, but I never could get those writer’s room interviews. I wrote pilots no one would look at without it being packaged with a prominent show runner. Hacking into TV was damn near impossible back then—assisting a show runner like Jay really was my best shot, and I never got another shot like that again.

Meanwhile, the siren’s call of feature length film was louder than ever, and hacking into films was way easier than TV, so I walked away from my dreams of TV.

Still, every now and again, I’d get an idea for a TV pilot and couldn’t help myself—I’d dash it out with a mad gleam in my eye.

Now that I live and teach screenwriting in Colorado, I’ve had an audience-member’s seat for the radical, unprecedented changes in the TV business model over the last few years. TV is no longer a tiny pipeline you could only squeeze into if someone on the other end was yanking you through.

TV has been democratized, and the old rules (and rulers) are dead. Love live TV!

Now anyone can create a series, and there are dozens of “distribution outlets” awaiting—from Netflix to the internet, from cable to Amazon.com, for goodness sake. The pipeline is so vast that there is a desperation for content I haven’t seen since the indie film revolution of the 1990’s.

You don’t need showrunners, you don’t need season bibles, you don’t need an agent making magical phone calls. What you need is an amazing idea for a TV series.

That, and some teleplay writing skills.

So welcome, TV lovers and dreamers, to RMFW’s first ever Writing for TV class in Denver. 8 weeks to pilot. $225 for RMFW members. Begins May 13.

Teleplays have their own formatting and structural secrets, and the range of approaches are numerous. From sitcoms to network procedurals to mythology series to straight up dramas, we’ll discuss the most current techniques in putting your show to paper. This class will help you to identify and develop the storytelling elements at the core of every episode, every series, and every pilot. Don’t have a pilot in mind but want to start building a spec portfolio? No problem—come with an episode of your favorite show in mind.

See ya on the small screen!

Register here.

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Trai-Cartwright-HeadshotTrai Cartwright, MFA, is a 20-year entertainment industry veteran and creative writing specialist. While in Los Angeles, she was a development executive for HBO, Paramount Pictures, and 20th Century Fox. A new Denver arrival, Trai currently teaches creative writing, film studies and screenwriting for Colorado universities, MFA residencies, writers groups, conferences, and one-on-one as an editor for fiction and screenplays. Learn more about Trai and her work at her website.

Spicing Up Your Stories

by Katriena Knights

Sex sells. We all know this. Not everybody wants to leap off the edge right into steamy erotica or even romance, and that’s fine—it’s not for everybody. But relationships are an important part of any story, and adding a little spice to those relationships can give you another tool to expand characterization, plot, and other important elements of storytelling.

Work It, Baby…

Like any scene in your story, a sex scene—or love scene, nookie scene, or scene where all the characters are naked anyway so you might as well take advantage of it—has to pull its weight or it doesn’t belong in your final draft. No matter how explicit or non-explicit, that scene has to provide plot impetus and character development. As much as we all might be in favor of it in real life, gratuitous sex has no place in a well-written story. Instead, any intimate encounter between your characters should perform one or more of the major tasks demanded of any scene in a story. It should:

  • Introduce plot points
  • Propel the story forward
  • Contribute to character development

This might seem like a large burden to put on a scene many people would consider extraneous fluff, but it isn’t. Every scene should do at least one of these things, and preferably two or all three. Intimate scenes between characters should show us something about those characters that contributes to their story. The same can be said for a fight scene or a scene where people eat dinner. Every scene in a story has to work for its right to be in that story, so be sure you’re loading those smoochie scenes with details and story elements that keep your plot toodling along and keep your reader reading rather than skipping pages.

No Two Scenes are Alike

There’s a perception, especially among those who don’t care for explicit fiction, that all sex scenes are alike. Some people even skip them, assuming nothing important is going to happen and they can get along to the plot. Your job as a writer is to make sure this isn’t true. Every scene—no matter what happens in that scene—should be unique to the book and the characters you’re working with. No two people are going to say the same things to each other as they tip over the edge from affection to intimacy. No two couples are going to have the exact same experience, the same feelings. If you know your characters well—and you should—you’ll know what about that encounter will touch them most deeply. You’ll know which of their buttons to hit to make the scene ring with emotion rather than dry anatomical details.

Even if your encounter isn’t explicit, it’ll pack a punch if you keep these things in mind. I’ve read well-written, well-integrated scenes that were only a couple of sentences long that were more sensual, erotic, and meaningful than five or six pages of mechanical details that didn’t drag me into the scene or make me care for the characters.

Sure, you can write an entire book without sex scenes. You can also write an entire book without fight scenes or scenes where people eat dinner. This isn’t a judgment call on the types of scenes you choose to put in your story. It’s a reminder that every scene, no matter what the context, should always work its little words off to do its job. And that job is to entice, involve, and hook your reader.

I’ll be teaching an online workshop starting March 3rd that will help you add this kind of punch to any sensual, romantic, or sexually explicit scenes you might want to write. Even if you just want to add a touch of spice to a story rather than diving into the deep end of the explicitness pool, you’ll learn how to ensure those scenes drive the story and are meaningful for the reader. Join me for “Writing Meaningful and Memorable Sex Scenes” and find out ways to enrich your readers’ experience.

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Katriena Knights wrote her first poem with she was three years old and had to dictate it to her mother under the bathroom door (her timing has never been very good). Now she’s the author of several paranormal and contemporary romances. She grew up in a miniscule town in Illinois, and now lives in a miniscule town in Colorado with her two children and a variety of pets. For more about Katriena, visit her website and blog

Old Writer, New Tricks

By Mary Gillgannon

I’m what I call an intuitive or “into the mist” writer.  I have a general idea of what the story is about, but I don’t really plot. I’m also a linear writer. I start from the beginning and keep going on the rough draft until I reach the end. Between “non-plotting” and writing straight through, I usually end up with a complete mess and then have to go back and rewrite extensively to get a coherent and compelling story. It was pretty typical that for a 120,000 word novel, I’d write about 30,000 extra words. For my 160,000-word historical novel, I probably wrote 300,000!

About five years ago, I decided I wasn’t up to all that floundering and struggle and wasted words. I was going to learn to plot. I attended workshops, read books and talked to other writers about their plotting process. It all sounded good to me… until I sat down and tried to do it. Nothing happened. No story ideas came. My mind went blank and my muse refused to speak to me.

So, I went back to “writing into the mist” and writing linearly. I seemed to be getting better at it with my romances. But when I tried to write a fantasy series, I ended up with a 200,000 word book that needs to be about half that. Not to mention, I can’t market the series yet because I don’t know what happens in the second book, let alone the third and fourth. (I know. George R.R. Martin probably doesn’t really know where his series is going either. But he’s clearly better at this stuff than me.)

The feeling that there has to be a better way keeps gnawing at me. And maybe, just maybe, I’ve found it with my latest project. It’s a fantasy romance that I first started years ago. Because I was trying to sell on proposal back then, I actually wrote a very rough synopsis for this book. I started writing based on the synopsis, and after a few chapters, inevitably, the plot began to change. But then I did something different. I didn’t keep writing. I went back and started revising the synopsis to fit the story. As I did that, I realized there were lots of story questions I hadn’t addressed. So I went back and rewrote parts of the first few chapters. In the process, the whole story became clearer to me. For once, I wasn’t writing “into the mist”. I could actually see where I was going.

I’ve decided I would keep up with this new technique with this book. I’m beginning to think that maybe the problem isn’t that I don’t plot, but that I keep writing forward even when I don’t know what I’m doing. Maybe if I try to plot as I write the book and fix things as I go along, I won’t end up with such a disaster at the end.

I’ve been writing novels for over twenty years. It would be really exciting if I finally figured out a better way to do it!

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Mary GillgannonMary Gillgannon writes romance novels set in the dark ages, medieval and English Regency time periods and fantasy and historical novels with Celtic influences. Her books have been published in Russia, China, the Netherlands and Germany. Raised in the Midwest, she now lives in Wyoming and works at public library, where she she has the enviable task of purchasing adult fiction. She is married and has two grown children. When not working or writing she enjoys gardening, traveling and reading, of course! For more about Mary, visit her website and blog. She can also be found on Facebook.

Scriptnotes…Do You Think in Movies?

By Mark Stevens

Do you think in movies?

Can you see your work in progress scene by scene, playing out on the screen?

I do.

I’d be surprised if you don’t.

I’d be surprised if you don’t cast your story. Yes, I happen to think Hilary Swank would make a great Allison Coil. Or Amy Adams.

Go ahead, shoot me for dreaming.

As long as the actress knows her way around a horse, I’d be fine.

I’m interested in story-making, no matter the medium. Novels are my thing. I could never write a play or screenplay. Or epic poem, for that matter.

And this brings me to Scriptnotes, the best podcast you might be missing.

Why?

Because John August and Craig Mazin understand what makes a story work. Each week, for free, they talk about specific issues. Sometimes they spend time on mildly interesting inside-Hollywood industry stuff, but the meat of Scriptnotes is the nitty-gritty of screenplay writing itself. I give you the recent extended conversation over “Frozen” (not just another animated feature!) or the brilliant deconstruction (Episode 73) of “Raiders of the Lost Ark.” But every week has something good.

August and Mazin have serious screenplay credentials. For August, it’s “Go,” “Charlie and the Chocolate Factory” and “Frankenweenie,” to name a few. He also writes musicals and develops apps. He’s a cool geek and tends to take things a bit more seriously than Mazin. But if I’m not mistaken, Scriptnotes was August’s idea and the pairing with Mazin was a great choice.

Mazin—“Identity Thief,” “The Hangover Part II” and many others—brings the attitude, maybe a touch of venom every now and then, and a strong point of view. Dig it. From what I can tell, he takes nothing seriously. He might be the loud one at the dinner party, but you’ll probably die laughing. Okay with me.

Here’s what I like: these two care deeply about what makes stories work and that passion comes through.

My favorite segments involve the “Three Page Challenge.”

Bold podcast listeners and would-be screenwriters submit the first three pages of their screenplay-in-progress and August and Mazin have at it (the three pages are posted online so you can read along, too).

When the pages work (which happens), August and Mazin dole out praise and encouragement and we learn what works—and why. When the pages don’t work (the majority of the time), it’s like attending a forensic exam of a corpse with Temperance Brennan as your guide.

Remember that great workshop (“The Agent Reads the Slush Pile”) at the last Colorado Gold conference where two agents, Kristin Nelson and Sally Harding, dissected the openings of novels in progress? Insightful—and brutal. “The Three Page Challenge” is along those same lines. Character, pacing, action, plot, setting—what is tripping up your story?

I’m always picking up something from August and Mazin. I listen while walking the dog or working out and I can’t begin to tell you how many times an idea has surfaced while listening to them chat about movies and screenplays.

The last 20 episodes are available for free but for a whole whopping $1.99 you can get access to the entire back catalog.

I highly recommend Scriptnotes. A different point of view, perhaps. But it’s all about storytelling and, you know, it’s all good.

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Mark StevensMark Stevens is the monthly programs coordinator for Rocky Mountain Fiction Writers and the author of the Western hunting guide Allison Coil mysteries Antler Dust and Buried by the Roan. Book three in the series, Trapline, will be published by Midnight Ink in November 2014.

Awesome Events Ahead from Rocky Mountain Fiction Writers

Attend a Class

Online Class
Editing and Revision
for Fiction Writers
Presented by Cindi Myers
3 Week Course

Start Date: Monday, February 3
End Date: Sunday, February 23

$35 Members – $40 Non-Member

Register

E.B. White said “The best writing is rewriting.” No matter how much care you put into your first draft, only when you’re done and you’re able to see the book as a whole will you be able to give the work the polish it needs. If you’re a rough draft writer like Cindi Myers, the editing and revision process is where the real magic of creating a book happens. Cindi will share her process and techniques for taking a story from a messy rough draft to a polished gem ready for submission. Exercises and class interaction will help you address your particular editing and revision problems and learn techniques for making the daunting task of editing a complete manuscript more manageable.

In Person Class
RMFW Screenwriting 101 with Trai Cartwright
Tuesdays, 6:00 P.M. – 9:00 P.M.
Start Date: March 4
End Date: April 22
2369 Trenton Way, Suite M
Denver, CO 80231

$225 Members – $250 Non-Member

Register
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Submissions for 2014 Conference Workshop
Submit Workshop Proposal
RMFW is now accepting workshop proposals for Colorado Gold through March 31, 2014.

If you have any questions, email Susan Brooks at conference@rmfw.org.

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RMFW Anthology 2014 Submission Guidelines
Download PDF of Theme and Guidelines
Anthology Theme: Crossing Colfax
Submissions are due by March 14, 2014.

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Attend the 2nd Annual RMFW Writers Retreat

With Special Guest, Agent Kate Schafer Testerman
Organized by Angie Hodapp
March 16-21, 2014
Table Mountain Inn,
Golden, CO
REGISTRATION CLOSES FEBRUARY 15TH

The 2013 writers retreat was a smashing success! It’s back in March of 2014 and will become an annual spring event. How much does it cost to attend the retreat? We are pleased to introduce flexible registration options. Attend for two days (minimum), three days, or all four days, and pay only for the days you attend. How do I register? Go to the RETREAT EVENT PAGE for more information and the link to register.

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New events and other announcements are available on the Home Page of the Rocky Mountain Fiction Writers website.

RMFW Spotlight on Nikki Baird, Anthology Chair

Our second spotlight of the month features Nikki Baird who is serving as anthology chair. Nikki was happy to join in the fun because she wants to see a large number of RMFW members at her workshop tomorrow and is hoping for lots of great member story submissions for Crossing Colfax, the first RMFW anthology since 2009.

The workshop is called Short Story Breakdown: Prepping for Anthology 2014
Saturday, January 25
1:00 P.M. to 3:00 P.M.
Bel Mar Public Library
555 S. Allison Parkway
Lakewood, CO 80226
Members Only

The deadline for submitting to the anthology is March 14th. For more information and the submission form, go to the anthology page on the RMFW website.

nikkibaird1. Nikki, tell us what you do for RMFW and why you are involved.

I am the anthology chair, which means that I shepherd the production of RMFW’s short story anthology. The organization has produced 3 collections so far, and this will be our fourth – and my first in this role. But it will also be the first anthology produced in this wild west of self-publishing, which is very exciting.

It’s been awhile since RMFW has produced an anthology, and I’ve increasingly realized the importance of short stories both in advancing a writing career as well as advancing craft. So I became passionate enough (or just plain crazy enough) to decide that a) this is something that RMFW should do again and b) I will volunteer to lead it. So here I am!

2. What is your current WIP or most recent publication, and where can we buy a book, if available?

I’m actually in the process of putting out my own short story collection, as a way to dip my toes in the water of self-publishing. The collection is called Uncanny, and I hesitate to give a publication date because every time I do that, life gets in the way big time. But I’m in the process of designing covers right now, so it should be available “very soon.”

3. We’ve all heard of bucket lists — you know, those life-wish lists of experiences, dreams or goals we want to accomplish– what’s one of yours?

To go to St. Petersburg, Russia and experience a white Russian night. I was a dual-major in college, and Russian was the second major (which is a really long story all on its own), but I never got to spend a semester there because that happened to be right as the Soviet Union fell apart and it became very inadvisable to travel there. Would’ve definitely helped my language skills. But St. Petersburg is a city with a fascinating history, built by one of the most enigmatic leaders of Russia, and it is absolutely on my list of things to see in my lifetime.

4. Most writers have an Achilles heel with their writing. Confess, what’s yours?

Saying the same thing twice. Granted, I say it differently each time, and I usually like both ways – which is why I end up leaving it in on the first pass. I’ve had to learn to give myself some time to let the love fade, and then I can go back and ruthlessly delete all my over-writing. Either that, or my wonderful critique partners will not hesitate to point out the repeats.

5. What do you love most about the writing life?

When my story surprises me. I think I will never know if the connections that suddenly emerge out of nowhere were actually planned long ago deep in my sub-conscious, or if I really did only just see the opportunity, but I love that little jolt of “Of course that’s what should happen next! How did I not see that before?”

6. Now that you have a little writing experience, what advice would you go back and give yourself as a beginning writer?

Get over the whole grammar over-reaction (you know, the mind-numbing high school lectures on sentence structure followed by the verbal beatings and grades when it was clear I absorbed nothing). The vocabulary of grammar can be confusing and challenging, but every craftsperson should know the tools of their trade, and grammar is the tool of the writing trade. I resisting learning the language of my chosen profession for too long, and I would say it prevented me from quickly learning the “why” behind a lot of the rules out there. It, to be repetitive, slowed me down.

7. What does your desk look like? What item must be on your desk? Do you have any personal, fun items you keep on it?

You really want to see this? Just remember, you asked!

The first thing you should know is that, yes, I have a treadmill desk. I just found out that I walked 1,722 miles in 2013, which also wasn’t a full year of walking because I didn’t set it up until February. I will confess that most of my heavy writing is not done on the treadmill – it’s hard to walk, think, and type all at once and I’m always worried I’ll mess at least one of them up if I try all three. So the treadmill is only running a couple hours a day, not all day, and usually when I’m thinking or checking email, not when I’m writing.

Baird Desk1.jpgThe very colorful picture leaning against the wall is a wax art piece created by my son, and the larger black & white drawing is one my husband made in high school.

Baird_Desk 2A.jpgThe second thing to know is that the image above is missing its usual occupant, which is the family cat, Katara (named after the Water Tribe girl from the Avatar cartoon series). Next to her is the one thing I always have on my desk, which is a picture of my husband sticking his tongue out at the camera (in the heart frame). It is a reminder not to take myself too seriously.

8. What book are you currently reading (or what was the last one you read)?

I am reading The Atlantis Gene, by A.G. Riddle. I’ve recently bought or downloaded a bunch of different fantasy/scifi/horror e-books on Amazon at different price points to see what the quality of each price point is. This one is pretty good – I will definitely finish it.

Viewing the World as a Writer

By Sean Curley

As part of my efforts to publish a professional-level book independently, I went back to school at the University of Denver for a graduate degree in Creative Writing. One of the concepts school tried to teach me was to view the world as a writer. I didn’t understand that for a long time. However, as my craft grew I began to see the nuances in writing all around me. I had just not been paying attention.

One key moment for me was while I was sitting at a Sting concert one evening. He was playing at the Red Rocks Amphitheater (the best venue in the world) with the London Philharmonic. The wind was whistling through the rock formations and the lights of Denver scintillated in the background. Part of the way through the concert, I actually lost track of the music for a while as I sat pondering the words and their hidden meanings. And then, I started to see how the music presented a mood to go along with and enhance those meanings. Of course, it helps that Sting is an intelligent person and writes complex, almost 3-dimensional, music.

After that, I started paying attention to the subtleties and the art of the written word. I saw it in posters and advertisements, on the sides of buses, in lyrics and speeches, in lectures and well-done movies. Sometimes, I even found it in casual conversation and wondered if the speaker knew how clever his/her statement was.

It also completely changed how I read books and possibly not for the better. Now, I tend to notice a word here or a phrase there and how they change the feeling of the writing. Poorly written books also annoy me more than they used to. Reading as a writer is improving my writing, but I think in some ways it has lessened my pleasure in reading because now I am as much critic and student as I am reader.

As I see it, viewing the world as a writer is one step in the journey to becoming accomplished at our craft. Each time we see the subtleties in how others form their words, sentences, and paragraphs, we improve our own writing.

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    About the Author:
Sean Curley - Author Photo

Sean Curley, Author

Sean Curley (1961-) was born and raised in California. His Catholic upbringing shifted to Philosophy and Computers during college. Others have referred to him as a Renaissance man because of his diverse educational background in Computer Science, Philosophy, Management, Space Studies, and Creative Writing. He is frequently found speaking on diverse topics such as Humanism, management, parenting, separation of church and state, and religious history. He has published one non-fiction book, Humanism for Parents, and one novel, Propositum – A Novel. He is currently working on two more novels. Mr. Curley lives in Colorado with his children.

Exciting Events Ahead from Rocky Mountain Fiction Writers

Attend the 2nd Annual RMFW Writers Retreat

With Special Guest, Agent Kate Schafer Testerman
Organized by Angie Hodapp
March 16-21, 2014
Table Mountain Inn,
Golden, CO
REGISTRATION CLOSES FEBRUARY 15TH

The 2013 writers retreat was a smashing success! It’s back in March of 2014 and will become an annual spring event. How much does it cost to attend the retreat? We are pleased to introduce flexible registration options. Attend for two days (minimum), three days, or all four days, and pay only for the days you attend. How do I register? Go to the RETREAT EVENT PAGE for more information and the link to register.

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Attend an Online Class

Heroes, Henchmen, and Sidekicks:
The Characters-First Approach to Plot
Presented by Angie Hodapp
2 Week Course
Start Date: Monday January 6
End Date: Sunday, January 19
$25 Members – $30 Non-Members
MORE INFO

Editing and Revision
for Fiction Writers
Presented by Cindi Myers
3 Week Course
Start Date: Monday February 3
End Date: Sunday, February 23
$35 Members – $40 Non-Members
MORE INFO

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Attend a Free Program in January

Denver
Short Story Breakdown:
Prepping for Anthology 2014 Crossing Colfax
Presented by Nikki Baird
Saturday, January 25
1:00 P.M. – 3:00 P.M.
Bel Mar Public Library
555 S. Allison Parkway
Lakewood, CO 80226
MEMBERS ONLY
MORE INFO

Western Slope
Writing the First Pages of Your Novel
Presented by Shannon Baker
Saturday, January 11
8:45 A.M. – 1:00 P.M.
Grand Junction Business Incubator
2591 Legacy Way
Grand Junction, CO
Please RSVP to Vicki Law at vruchhoeft@gmail.com
MORE INFO

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New events and other announcements are available on the Home Page of the Rocky Mountain Fiction Writers website.