15-MINUTE CAREER MOVES FOR BUSY AUTHORS

58 CES
CONFEREN
FOR EVERY
WRITER

CREATING FULLY
DEVELOPED
CHARACTERS
(THAT ARENT
SECRETLY YOU)

BUILDING
BELIEVABLE
FICTIONAL
WORLDS

TRANSITIONING
FROM WRITER
TO AUTHOR

10 QUESTIONS
TO ASK BEFORE
HIRING A BOOK
EDITOR OR SCRIPT
CONSULTANT
MFA in
WRITING
Work in close collaboration
with faculty who are also
active, distinguished writers
ction
poetry
creative nonction
science ction/fantasy
2017-18 FACULTY INCLUDES
Jo Ann Beard Paul La Farge
Vinson Cunningham Jeffrey McDaniel
Melissa Febos Dennis Nurkse
Carolyn Ferrell Stephen OConnor
Suzanne Gardinier Daniel Jos Older
Aracelis Girmay Martha Rhodes
Garth Risk Hallberg Vijay Seshadri
Cathy Park Hong Joan Silber
Marie Howe Martha Southgate

CONTACT
BRIAN MORTON Director, MFA in Writing
mfawriting@sarahlawrence.edu
sarahlawrence.edu/writing-mfa
 How to Publish Your Book
Taught by Jane Friedman
PUBLISHING INDUSTRY EXPERT AND EDUCATOR
LECTURE TITLES
TIME O
ED F 1. Todays Book Publishing Landscape
IT

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2. Dening Your Fiction Genre

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3. Categorizing Your Nonction Book
4. Researching Writers Markets
off 5. What to Expect from a Literary Agent

31
RD

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E R BY J UL 7. Writing Your Novel or Memoir Synopsis
8. The Importance of Author Platform
9. Researching and Planning Your Book Proposal
10. Writing an Effective Book Proposal
11. Submissions and Publishing Etiquette
12. Networking: From Writers
Conferences to Courses
13. Pitching Your Book
14. Avoiding Common Manuscript Pitfalls
15. Hiring a Professional Editor
16. How Writers Handle Rejection
17. Overcoming Obstacles to Writing
18. The Book Publishing Contract
19. Working Effectively with Your Publisher
20. Becoming a Bestselling Author
21. Career Marketing Strategies for Writers
22. The Self-Publishing Path: When and How

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24. Beyond the Book: Sharing
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IMAGINE
WRITE
PUBLISH
July 2017 Volume 130 Number 7

FEATURES
16
This week
on Extreme
Hoarders:
Dr. Victor
Frankenstein
Creating fully developed fictional
characters (that are not secretly you).
BY SUSAN PERABO

22 28
Reading, writing, Going from
& romance writer to
Three literary power couples share author
their secrets of collaborative success. Congratulations, you wrote a book!
BY MELISSA HART Now what?
BY JONI B. COLE

26
Reinventing a 30
writer HELP: I need
Poet Virgil Surez on craft, career, and somebody!
perseverance and why politicians The 10 questions every writer needs
should be required to read poetry to ask before they hire an editor or
and bake bread at least once a year. script consultant.
BY RYAN G. VAN CLEAVE BY JEFF LYONS
 DEPARTMENTS IN EVERY ISSUE
8 BREAKTHROUGH
Building the foundation
4 From the Editor

Fast-moving plot: Check. 5 Take Note

High stakes: Check. But did
you do enough to ground
readers in your novels
fictional world?
BY LYNNE CONSTANTINE
Brent van Staalduinen,
Rion Amilcar Scott, and more.
42 Markets
47 Classified advertising

10 The 15-minute writer

WRITER AT WORK
48 How I Write
Move your career forward in Robin Stratton: Writers are
minutes a day. inspired when they are in the com-
BY DENA DYER pany of other writers;the energy
and enthusiasm makes them want
7 to go home and write.
12 WRITING
Cut the fat
ESSENTIALS

How to make your writing

lean and clean.
BY GAIL RADLEY

14 WRITE STUFF
Wide web
A writers guide to
internet safety.
BY TRIONA GUIDRY

36 LITERARY
Uncanny
SPOTLIGHT

This three-year-old literary

journal is breaking new
ground in science fiction
16 and fantasy.
BY MELISSA HART
Put our free e-mail newsletter
to work: Check out our weekly
38 CLASS
DIY MFA
ACTION newsletter, which offers highlights
from our website and the
This online, self-guided
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Writers vast archive. Find the
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Newsletter Signup box on our
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40 CONFERENCE INSIDER
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writermag.com The Writer | 3
FROM THE EDITOR
S
ometimes I wonder if I missed my calling as a boot-camp
drill instructor.
Anyone who has ever met me knows this is laughable: My
voice is Minnie Mouse-high, as unbearably chipper as a pre-dawn
songbird. I likely remain the only person in the history of gym class
who couldnt muster a single chin-up. I detest camouflage; Id like
combat boots a whole lot better if they came in turquoise.
And yet my dreams of opening a Writer Boot Camp remain. DROP
AND GIVE ME 50 PAGES! Id yell to my eager recruits. THE WRIT-
ING WILL CONTINUE UNTIL YOUR CHARACTERS IMPROVE!
I WANT FIVE BOOKS READ BY SUNDOWN! NO, CHARLES, GO
DOG GO DOES NOT COUNT!
YOU THINK THIS IS HARD? WRITING POSTMODERN LITER-
ARY THEORY IS HARD! YOURE JUST TRYING TO WRITE A
HAIKU ABOUT A SANDWICH!
In the end, all my recruits would emerge with a shiny, finished
manuscript in hand. Id pin miniature book deals to their lapels. Star-
ships Nothings Gonna Stop Us Now would blare from the loud- SALES & MARKETING
speakers. Wed be ready to face the publishing world together.
I meet so many writers each year who have a novel inside them. But
each book is a mountain, and there are so many hurdles hiding in the
ascent: Time. Motivation. Plot holes. Writers block. Revision. Fear.
So though my boot-camp dreams may never come true, I do hope
this issue helps serve as your own personal drill sergeant, pushing you
to reach the very top of that mountain. Whether your novel needs
more time (page 10), more setting (page 8), more believable characters
(page 16), or just more professional help (page 30), may you find the
inspiration, information, and motivation you need within these pages.
And if all else failsgive a loved one a megaphone, and make them
use it whenever you whine about your unfinished novel.
Now go get em, tiger.
We believe in you.
Keep writing,
Nicki Porter
Senior Editor
4 | The Writer July 2017
IMAGINE
WRITE
PUBLISH
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#BecauseSocial
Stepping away from social media and back
into whats most important.
BY BRENT VAN STAALDUINEN
A
few weeks after I log off social
media, Truth arrives at our
plastic-covered kitchen table
in the form of a glue gun, accompa-
nied by the smell of heated steel and
melted things, and sounding like a
childs pretend-world monologue.
Alida, the baby, has selflessly decided
to take a long nap, leaving me and
Nora, our 3-year-old, with enough
time for serious crafting. This morn-
ing its sculpture time, digging into an
old bucket of spiral nails and hot-glu-
ing them together to form a tiny
framed building and a fearsome,
upright reptile.
Zhitkov Boris/Shutterstock
After about an hour and a half,
which includes two pee-breaks for
Nora and snacks for both of us, the liz-
ard is almost done. Just a few carpet
tacks to glue in place as teeth and
There are no rules in writing. There are useful principles.
Throw them away when they're not useful. But always
know what you're throwing away. Will Shetterly
claws. I feel a cool little hand on my
forearm and hear a 3-year-old telling
her daddy that shes having fun. And
that she loves him.
#Thatmomentwhen youre allowed to
see one thing clearly.
i logged off early in the new year. I
didnt delete my accounts, but I did
remove the Facebook and Twitter apps
on my iPhone, got rid of their buttons
from my browsing bar, and unselected
all the settings that kept my devices
perpetually connected to my feeds. I
wrote a nice note to my friends and
followers, a kind of reassurance that
my hiatus wasnt permanent. This does
have value. Ill be back.
It was important to me that no one
see me as a fanatic, one of those people
who logs off and makes sure
everyone knows it before retreating
into a self-righteous world of fixie
bicycles, waxed beards, and locally
sourced hemp footwear. Nor was I
hopelessly addicted what writer
Geoffrey W. Cole calls a diaper-wear-
ing individual working that one lucky
slot machine and in need of detox.
Ill find that perfect balance.
No, really.
Because, like, social.
late in 2016, I found myself
exhausted, physically and emotion-
ally. The U.S. election had fractured
many real and virtual relationships,
the Steven Galloway scandal in the
Canadian literature scene had savaged
the rights of everyone involved and
caused deep division amongst the rest
of us, and a vicious bacterial pneumo-
nia in late summer left me short of
breath through December. And, with
a baby in the house, sleep was pre-
cious and elusive.
Then these words, from a cousin-
in-law with whom Id enjoyed a lively
online dynamic, in response to, as I
recall, an exchange about the value of
socialized medicine, appeared in my
Facebook feed:
Pot. Kettle.
Two simple words. Directed at me,
rather than to me. I sat back from my
laptop, perplexed and weary. Until that
point, Id tried to present a nuanced
view of the issues that confronted us
online. Not perfectly, of course, and
from time to time I waved banners that
I should have proofread more care-
fully, but the goal was always to be
civil, never personal.
Im all like, I need a break.
you can download your entire Face-
book or Twitter history with a couple
of clicks. Seeing an entire social media
life laid out so nakedly, from my first
awkward post to the last embarrassing
writermag.com The Writer | 5
thing I said before logging off, is a sur-
real experience. But valuable, also, if
only as a digital reminder about how
much time Ive spent and, yes,
wasted coughing up pieces of my life
to display online.
Given its relatively young age, social
medias ability to act as a force for
change is nothing short of a wonder. I
joined Facebook on April 1, 2007 at
4:12 pm, as a way to connect with
friends and family while I was teaching
in Kuwait. Oct. 16, 2010, saw me tweet
for the first time. I did join a number
of other emerging services between
then and now, but Facebook and Twit-
ter are the only two that stuck.
GIVEN ITS RELATIVELY YOUNG AGE, SOCIAL
MEDIAS ABILITY TO ACT AS A FORCE FOR
CHANGE IS NOTHING SHORT OF A WONDER.
What draws me to both is their
words-first approach: you start with an
empty text box, type something out,
and into the feed it goes. This makes
sense to me as a writer. Even as Twitter
and Facebook have evolved, adding
photos and videos and advertising and
the trillion other bits that distract us
from the real world, I still prefer the
simplest of interactions: Let me share a
thought with you. I look forward to
your response.
But what do you do when those
genuine interactions happen less and
less frequently, lost in a tsunami of
cut-and-paste drivel and commercially
driven content? Ive been openly criti-
cal of the algorithmic approach to
socializing for some time what
Andrew Forbes, author of What You
Need, calls the corporate ownership
of the human desire to connect but
Ive maintained my online presence,
mostly to promote my writing (or so I
6 | The Writer July 2017
tell myself). Staying connected has
become secondary all those gifs,
memes, cat videos, and GoPro she-
nanigans keep me scrolling past 95
percent of what appears in my feed
and on my wall.
Looking for meaning and connection
online #belike
hence the hiatus. A chance to
refresh and perhaps reestablish some
of the analog habits that have suffered
for almost a decade. Reading. Playing.
Building. Not to mention writing. And
for the most part Ive not looked back
with anything other than satisfaction,
because filling that reclaimed time
with more active and meaningful
activities has been a blessing in every
sense of the word.
Yet a few days ago I found myself
back in my Twitter and Facebook
accounts, posting about winning a
short story contest and seeing the
resulting story in print. Precisely the
kind of good news Id promised to
share. The positive response was
encouraging, so I logged in again and
again, thanking and liking and posting
and sharing as though Id never been
away. Or, in the words of award-win-
ning The Bone Cage author Angie
Abdou, I was back to channel-surfing
my social media feeds.
I felt an immediate distance
between my re-immersion in social
media with the epiphany I experienced
in the moment with my daughter and
that glue gun. Id promised myself I Brent van Staalduinen is an award-winning
wouldnt be fanatical about my retreat,
but the guilt was still profound, as
though I lost something like faith.
Ayelet Tsabari and Liz Harmer, two of
the wisest writers I know, talk about
the worry of losing presence in their
lives and with their families, and this
weighed on me, too.
I felt, as they say, #Allofthefeels.
and then, life.
Back in January, to help Nora
develop a sense of external responsi-
bility, we bought her some fish. Gup-
pies. She names and feeds them, I
take care of the tank. The learning
curve has been steep weve lost a
few along the way but yesterday, the
female (Nora called her Victory, a
name so perfect it makes me emo-
tional) had babies. Twelve perfect,
tiny fry scooting around the tank try-
ing to survive on nothing more than
goggly-eyed instinct. This morning,
Im mesmerized by those tiny fish,
and oddly proud.
You know where this is headed. The
digitally primal urge to snap photos
and jump online and share with mem-
bers of my tribe. Facebook might still
be logged on, a few seconds to connect
is all I need, this isnt giving in, its just
a moment, right?
No.
Not now, anyhow.
My iPhone stays on the counter. I
call Nora over and help her count the
fry. She asks why we need to count
and I tell her that sometimes fish will
eat their own babies. She thinks thats
pretty weird. I agree. We watch the
fish for a while. Nora is rapt, and I
become secondary. I spend the next
few minutes in this brief digital vac-
uum, listening to my eldest daughter
talk to the fish and herself, creating a
world only she can see, jumping
between the actual and pretend as
effortlessly as breathing.
All #IRL, of course.
novelist and short story writer from Hamilton,
Ontario, Canada. Find out more at brentvans.com.
 Don't use words too big for the subject. Don't say infinitely
when you mean very. Otherwise you'll have no word left when
you want to talk about something really infinite. C. S. Lewis

WRITERS ON WRITING read at least a poem a day even

though I no longer write poetry. Right
Rion Amilcar Scott now, Im reading a collection called
Let It Die Hungry by Caits Meissner.
Rion Amilcar Scotts debut story Some poets I return to are:
collection, Insurrections, won the Gwendolyn Brooks, Langston
PEN/ Robert W. Bingham Prize for Hughes, Martn Espada, Derek
Debut Fiction and was selected for Walcott...there are more. Oh, and
The Rumpuss book club. His writing [Pablo] Neruda. Neruda always.
has appeared in publications
including Fiction International, The HOW HAS THIS HELPED YOU
Kenyon Review, Crab Orchard Review, AS A WRITER?
[PANK], The Rumpus, and The Toast, Reading poetry every day makes your
and he received a notable mention in language more fluid. It makes you
Best American Essays 2015. He more attuned to the weight of words
received an MFA from George Mason and more conversant with image and
University, and he currently teaches metaphor. I once watched in horror at
English at Bowie State University. the stiffness of my sentences until
Rebecca Aranda Photography

Eilbert that read in part: Youre only
WHAT IS THE MOST IMPORTANT as good a writer as you are a reader
THING YOUVE LEARNED AS A of poetry. That, put succinctly, is the
WRITER? most important thing Ive learned
I saw a tweet the other day by Natalie about writing. Its the reason that I
this little trick thoroughly remade me.
Gabriel Packard is the author of the novel The
Painted Ocean and the associate director of the
creative writing MFA program at Hunter College in
New York City.

X-RAY READING
WITH ROY PETER CLARK

The first week of August hangs at the very top of summer, the top of
the live-long year, like the highest seat of a Ferris wheel when it pauses
in its turning.
From Tuck Everlasting by Natalie Babbitt.
Submitted by Suzanne Rimmer.

What makes this sentence great?

This sentence reminds us of the power of comparison, which can take
the form of metaphor, simile, analogy, even juxtaposition. At its best,
comparison helps us see something unfamiliar or theoretical or abstract
in a way we can understand by holding it up against the more familiar.
Here it is, the experience of season, the way August hangs at the very
top of summer. As a Floridian, I dont quite get that, because our
summer lasts half a year. But the comparison to the Ferris wheel feels
perfect. Where do such apt comparisons come from? Probably from
words like hang and very top of, where the writer starts to ask
herself: Whats that like?
Roy Peter Clark has taught writing at the Poynter Institute since 1977. He has
authored or edited 18 books on writing and journalism, including Writing Tools and
The Art of X-Ray Reading.

writermag.com The Writer | 7

BREAKTHROUGH
BY LYNNE CONSTANTINE
Building the foundation
Fast-moving plot: Check. High stakes: Check. But did you do
enough to ground readers in your novels fictional world?
I
ts never easy to see the flaws in our own work. After
toiling for years on a project, generating draft after
draft, were so proud of ourselves when we finally
reach the end. It is finished.
Or so we think.
Enter the editor. When I sent my editor the final version
of my thriller, The Veritas Deception, I waited expectantly
for her congratulatory note on the originality and commer-
cial viability of my book. Instead, she returned a 44-page
letter with her suggested changes. I expected edits, of
course, but less substantial ones, more akin to polishing
not excavating. But after reading through her suggestions a
second time, I knew she was right.
It wasnt finished yet.
I needed to work on what she called world building.
She explained that while my novels pace was break-neck
and the tension high, I hadnt done enough to ground my
reader in the world Id created.
If I want to engage my reader, I cant
overlook the details that turn the story
world from far-fetched and fantastical
to grounded and realistic.
First, we talked about each characters backstory. I
thought I had done my job by knowing where theyd gone to
school, what their first jobs were, where they lived. Id cre-
ated a complex backstory about their relationships and
resulting emotional baggage. But she asked: How did they get
their jobs? What were their day-to-day lives like? How
quickly did they move up through the ranks in their careers?
One of my protagonists lived in New York. Where? She
wanted to know. What kind of building? Did he have a door-
man? I realized many of these concrete details were glaringly
absent. Even if these bits of information would never make it
into the final story, being fully versed in them would make
all the difference in creating a believable cast for my novel.
I went back to the drawing board, did more research, and
8 | The Writer July 2017
fleshed out their educational backgrounds, their job
descriptions, their career trajectories, and how they had
developed special skills in the years before appearing in my
book. I thought about the specific encounters they had had
as children that would affect their behavior as adults.
Next came the setting. It was great to say that my protag-
onist lived in an enormous estate. But what was the archi-
tectural design? What did the rooms look like? How was it
perceived through the eyes of others? And while it was
exciting that my characters escaped their pursuers through a
crazy-cool getaway device in their garage, how exactly did
that gadget work?
Another missing thread was showing my journalist pro-
tagonists actively involved in investigating. It was implied
they were on the run, trying to figure out who was behind a
conspiracy but the reader needed to see them actively
searching online, figuring things out, and solving puzzles.
This was another case of not simply telling the skills they
had, but showing them in action.
The last part was changing the details from vague to spe-
cific: Other scene-setting things that were subtle, yet equally
important. Instead of saying they were drinking wine, what
kind of wine? When a character cooked an omelet, what was
in it? Was someone reading a book? What book? These extra
details added depth to the story and made it more realistic.
Im a fiction author, and I can tend to sacrifice substance
for form. We want those pages turned, the tension high, the
read fast-paced. But Ive learned fast is not always better.
And if I want to engage my reader, I cant overlook the
details that turn the story world from far-fetched and fan-
tastical to grounded and realistic. Still skeptical? Heres a
look at some of my before world-building and after
world-building passages. Decide for yourself.
Lynne Constantine is a coffee-drinking, Twitter-addicted fiction author
always working on her next book. She likes to run her plots by Tucker, her
golden retriever, who never criticizes them. Her next book, The Last Mrs.
Parrish, will be released in 2017 by HarperCollins under the pen name Liv
Constantine. She is the author of The Veritas Deception and the co-author
of Circle Dance. Lynne is also a monthly contributor to Suspense Magazine
where she shares her social media expertise. Web: lynneconstantine.com
 1.
BEFORE
The sun was setting when
he pulled into her driveway.
He had never been to the
house she shared with Mal-
colm Phillips. When he
pulled up to the imposing
stone estate, his eyes wid-
ened. Where was the moat?
He could never live in a for-
tress like this, and he found
it hard to believe that Taylor
could. It had to be her hus-
bands doing.
AFTER
The sun was setting when
he pulled up to the house.
The massive black iron
gates were closed, and he
had to get out of the car to
swipe the card reader. He had never
been to the house Taylor shared with
Malcolm, and when he pulled up to
the enormous French colonial estate,
his eyes widened. There were five
stone arches illuminated by large
round light fixtures above them. A
second-story balcony ran across the
entire front of the house. This house
was over the top. He hadnt realized
senators made that much money.
Had Taylor dipped into her trust
fund, or did Malcolm have money of
his own? He remembered reading
something about it a while ago in
Town and Country; it had its own
basketball court, indoor pool, and
home theater. Suited Malcolm per-
fectly, but Taylor? Maybe she had
changed over the years.
2.
BEFORE
Aleks Melnik/Shutterstock
He started the car and turned to Tay-
lor. Is there another way to get out of
here?
Drive around to the back of the
house.
He pulled out and closed the garage
door, hoping it couldnt be heard on
the street. He followed the curve of the
driveway around to the back and then
down a steep incline until they reached
another set of gates.
Do you have a key?
She shook her head. The gates will
open as the car approaches.
Seconds later, they were on the
road, and Jack was grateful for the
blanket of darkness.
AFTER
Jack flew into action. We have to
leave. Now. Get in my car its in the
garage. He pulled out his gun in case
there were any surprises waiting for
them in the garage.
I have to get my stuff.
He could hear something ramming
against the door. Theyd be in the
house any second.
No time. Lets go.
But
Taylor, please!
The dog started whining.
He started the car, not turning on
the headlights. I dont
know how were going to get
past them.
She pressed her index
finger onto the fingerprint
reader pad on the alarm
panel, grabbed a key ring
from the hook on the wall,
and then got in the passen-
ger seat. He watched in
shock as the ground in front
of the car opened into a
black void that ultimately
revealed a downward ramp.
What the
Its an underground tun-
nel. Installed by the previ-
ous owners.
This was something new.
He pressed on the gas and
slid the car into the dark
opening. It led them about
a mile from the house still her
property, apparently until they
came to what looked like a solid con-
crete wall that was stained red from
years of ground water rusting the
concretes rebar.
Now what?
She took the key ring with a small
LED flashlight attached and illumi-
nated the wall until she found the
embossed star on the face of the con-
crete. When she held the proximity
sensor on the key chain against the star,
the muted sound of mechanical move-
ment commenced. The wall slowly
opened as if it were a garage door.
Jack drove through and cast a side-
long view at Taylor. Seriously? Was
the previous owner regularly hunted
by assassins or something?
She was a former head of state. Its
one of the things that drew Malcolm to
the house. He thought it was cool. Like
the bat cave or something. She bit her
lip. I always thought it was ridiculous.
Never thought Id need to use it.
Jack was relieved to see that theirs
was the only car on the road.
writermag.com The Writer | 9
WRITER AT WORK
BY DENA DYER
The 15-minute writer
Move your career forward in minutes a day.
W
riting, re-writing, researching, and pitching
take time, yet time is one of our most
guarded commodities. Most writers dont
have the luxury of uninterrupted hours at
the keyboard. In fact, all the freelancers I know have day
jobs, families, or both. Im one of them: I have two sons and
began pursuing publication before both of them were born.
However, in the midst of daily life and various pay-the-bills
jobs, I managed to net several book contracts and hundreds
of magazine credits.
Its not easy to carve out a writing career while juggling
work, family responsibilities, and the rest of life. However,
by breaking all-consuming tasks (marketing, research, writ-
ing, networking, querying) into manageable chunks, you
can make consistent progress in your career.
Intrigued? Here are 10 steps you can take to move your
writing forward, minute by important minute:
1 Email a favorite writer. Reach out to someone whose
work you adore and tell them so. Who knows? You might
make a new friend. Freelancer Awanthi Vardaraj says, I
10 | The Writer July 2017
read a best-selling book and started a Facebook fan page for
the author, who found it a few years later. The fan/author
dynamic morphed into a friendship and mentoring rela-
tionship. Now, shes helping me with my novel writing,
Vardaraj says.
In a similar vein, journalist and translator Julie Schwiet-
ert Collazo advises, Read and promote another writers
work. I like to go on Twitter and thank a writer, linking to
the piece so others can read and enjoy it.
2 Respond to a message. Has someone gushed about your
work? Let them know how much you appreciate the
encouragement. Freelancer Molly Brown relates, I received
an email from a reader, and we became friends. Later, she
promoted my work to an editor, and the editor contacted
me and gave me an assignment.
Renee Sylvestre-Williams adds, When I accept a Linke-
Anna_leni/Shutterstock
dIn invite, I send the person a quick note, which reads: Hi,
thanks for the invite! How are you and how can I help? Ive
had some interesting conversations and phone calls. Its also
resulted in new work.
3 Take a power nap. Author Sam
Van Eman explains, I remember
being stuck editing the same para-
graph, over and over. No amount of
willpower could shake me toward clar-
ity. Finally, I took a nap. Later, I came
back to the page and saw it as if for the
first time. It was like a writing miracle.
Ive done the same kind of thing
with walks and showers. Something
can often get unstuck when we quit
trying so hard and instead let our sub-
conscious take over.
4 Draft an op-ed piece. Because
opinion editorials come from a
place of deep conviction, theyre often
easier to draft. Ive written the initial
draft of more than one op-ed in 20
minutes. The Op-Ed Project
(theopedproject.org) is a terrific
resource for this kind of writing.
Writing professorSusan Shapiro,
whos the author of 10 New York Times
best-sellers, once had an op-ed pub-
lished in 21 different newspapers. She
encourages her students to pitch well-
crafted essays to online platforms with
several iterations (for example, Hearst
owns Elle, Cosmo, Esquire, Redbook, and
Good Housekeeping): There are ways to
make it more likely your piece will be
taken and go viral, she says. Be very
timely, be provocative, write a great title,
be revealing, and have either a universal
twist or a slant on a universal theme.
Fiction writers, take note: You, too,
can write op-eds. Tie the theme into
the book youre working on (or are
currently promoting) to generate inter-
est and, hopefully, sales.
5 Call or text a writer friend. Because
the creative life can be so solitary,
its important to make time for connec-
tions with real people. In fact, Ive
found that one of the best parts of
writing professionally is the relation-
ships Ive built. Set up a time to meet
with a kindred spirit in your area and
put it on your calendar.
Freelancer Farah Joan says, I love
meeting for coffee or lunch with writ-
ers and journalists I admire. Ive also
found an article that spoke to me,
looked up the writer, and asked them
if I could pick their brain. You
wouldnt believe how warm and open
most people are.
Not sure where to find such folks?
Novelist Jolene Underwood says, Find
other authors to network with by look-
ing for those whose messages are con-
sistent with yours. When you develop
authentic relationships via social
media and website engagement, it
opens the door to connection and new
friendships. Im not looking for famous
people just those whom I can relate
to because we share common goals and
interests. Its a way to develop and
grownot just to get something from
someone else.
6 Subscribe to a writing newsletter
or magazine (like The Writer).
Instead of reading writer magazines in
one sitting, I try to limit myself to one
article at a time. Then I reward myself
during my set lunch breaks with read-
ing for a bit. It resets my brain and
gives me a much-needed boost, espe-
cially when Im on a stressful assign-
ment or under the gun of a deadline.
7 Write as many words of your WIP
as you can without stopping.
Says Joan, The consistent piece of
advice other writers gave me is to write
a little bit every day. Even if its just a
few things while you have your morn-
ing coffeejot down ideas about a
blog, an article, or a short story. And
save everything to use later.
8 Register for a writers conference.
I try to budget for one conference a
year, and while Ive gone back to the
same ones at times, I find it helps
expand my circle (and my mind) when
I mix things up. This year, I applied to
teach at a fiction writers conference
on the subject of this article and met
folks I wouldnt have met otherwise. I
also came away with some unique
marketing ideas and further inspira-
tion on a screenplay idea.
Author/speaker Paula Moldenhauer
notes, Attending a good writers con-
ference not only speeds up your learn-
ing curve, but it helps you network
with professional editors, agents, and
your fellow authors.
9 Read a draft of a short piece out
loud. Van Eman explains: I print
off the latest section of my writing.
Its one thing to read it on a screen,
but if I want to see what progress Im
actually making, I have to print it off
and read it out loudin a different
location. The kitchen worksso does
the bathroom.
10 Market your books. Carol
Round does at least one thing
every day on social media to promote
her work. She also advises authors:
Keep copies of your book in your car
or tote. In addition, when its appropri-
ate during a conversation with strang-
ers, dont feel shy about mentioning
that youre a professional writer. You
never know where it might lead.
A visit with her physician led to
teaching and speaking opportunities
for writer Stephanie Gangi: I am part
of the breast cancer community, so
now Im leading writing workshops at
the hospital that treats me. I pitched
the idea to my doctor! Ive also been
asked to work with another organiza-
tion and am considering doing work-
shops in my home. Think about your
challenges and try to find ways to mine
those challenges, so they can inform
and improve your work.
Dena Dyer (denadyer.com) hails from Texas but
loves traveling to other parts of the U.S. and the
world. Shes a speaker, musician, writing coach,
collaborator, and the author or co-author of nine
books and hundreds of articles.
writermag.com The Writer | 11
WRITING ESSENTIALS
BY GAIL RADLEY
Cut the fat
How to make your writing lean and clean.
N
o, this article is not a check on the progress of
your New Years resolution. Its a reminder that
our writing, too, can get a littlepaunchy. Eng-
lish lends itself to wordiness. And as word lov-
ers, we are often tempted to trot out our favorite vocabulary
and loath to let any of it go. But when it comes to writing
as with so many things a little dab will do. Or, as I tell my
students, readers will thank you for lean, clean writing. No
one wants to slog through entangling vines, no matter how
pretty. Here are some common offenders.
Subject delayers
These are the simple constructions there is, there are, it is
that push the subject further down in the sentence. Some-
times we want this for effect; most often, these expressions
spill unconsciously onto the page. So, rather than write the
previous sentence as There are some times when we want this
for effect, I began with Sometimes.
Prepositional phrase pileups
After writing, as you ponder the words that have fallen from
your brain to the page in wordy constructions, you discover
ways through which you might tighten the prose through
eliminating the abundance of prepositional phrases. Whew!
That was an awfully plodding sentence, wasnt it? Check out
the prepositional phrases in that first sentence: 1) After
writing, 2) as you ponder the words that have fallen 3) from
your brain 4) to the page 5) in wordy constructions, you
discover ways 6) through which you might tighten the prose
12 | The Writer July 2017
7) through eliminating the abundance 8) of prepositional
phrases. More simply stated, and with fewer prepositions,
we have: Tighten your prose by eliminating unnecessary prep-
ositional phrases. Weve gone from eight prepositional
phrases to one and from 36 to just eight words!
Redundancies
Microsoft Word has a handy option called Find (in most
versions, its on the far right of the Home tab). When you
enter and into the search bar, it will highlight every occur-
rence of the word in your manuscript, allowing you to
search for unnecessary pairings of words. Long ago, English
speakers began adding foreign words to their speech. They
thought it elevated the language; unfortunately, it rarely
added meaning. Some common examples linger on; for
example, first and foremost. The Oxford English Dictionary
refers to this as a strengthened phrase. Thats fine for the
16th century, but to modern readers, it is simply redundant.
Each and every is another. If you are to pick each strawberry,
you must pick every strawberry. True and accurate has a
similar problem: Can something be true but not accurate?
Mtsaride/Shutterstock; domnitsky/Shutterstock
Another doubling of ideas often comes with unnecessary
adjectives. Have you ever had an impersonal opinion?
When its the courts opinion, say that; when its an individu-
als, its simply an opinion. Ever plan for the past? Of course
not: All plans are future plans. Heard any true facts? Advance
warning, free gifts, general public the list goes on. Adjec-
tives may also state the obvious. We expect green grass and
blue sky, so no need to state color unless the grass is citrine
and the sky indigo. Superfluous
adverbs are also problematic. Consider
carefully scrutinize, identically alike,
and originally created. Despite what
our elementary school teachers
insisted, packing in lots of adjectives
and adverbs is more likely to create
cluttered writing than descriptive lan-
guage. Strong verbs and nouns usually
do a better job.
Two categories of adverbs and
adjectives require special attention.
Joseph M. Williams and Joseph Bizup
call them hedges and intensifiers Give readers credit for understanding.
in their book, Style. Hedges, aka quali-
fiers, are words and expressions that
water down (I almost wrote tend to
water down, but that would be a
hedge) your message. Usually, possibly,
and perhaps are examples of these
adverbs. Adjective examples include
most and many; verbs include could
and might. Obviously, these are some-
times needed to help us avoid over-
statement. But often they are little
more than verbal tics signaling a reluc-
tance to make a stand. No one is sort
of pregnant. Say what you mean with-
out hiding behind these modifiers.
Like hedges, intensifiers do the job
their name suggests. Without them, I
couldnt have written Obviously above.
Like hedges, they come not only as
adverbs (very, of course, and my can-
didate for the most abused word of the
year actually) but also adjectives
(basic, major) and verbs (prove, show).
When youre full, adding completely
doesnt make you more full. I find I
write very all through my manuscripts;
before publishing, I edit nearly every
one out. Its essential to discover your
own tics as a writer and then use stating the obvious, the need to revise
Find to ferret them out.
Prepackaged phrases
Stephen Foster struck a chord with In
the merry, merry month of May in
1862, but today it sounds flat. If you
cant come up with something fresh, at
least be lean. You may have noticed
how familiar many of the above
phrases seem, as if they could be
plucked from the air and plunked into
your masterpiece. They feel right and
true to your ear. Resist. Readymade
phrases are usually both clichd and
wordy. In light of and due to the fact
that can both be replaced by because.
In the event that is better replaced by if.
Dont waste your readers time with
four words when one will do.
Stating the obvious
They like to participate in constructing
meaning; when we rob them of the
opportunity, we insult their intelligence.
For example, in a previous piece I wrote
for The Writer (Through the Looking
Glass from the April 2017 issue), I
dropped the ending of my original first-
draft phrase, sometimes that tongue is
so deep in the cheek sleuthing is
required, to make it sometimes that
tongue is parked deep in the cheek. I
realized readers would understand
from the context that Im advising them
to examine sources for credibility.
Similarly, I dropped in their fields
from the end of these articles have
been examined by experts, because
where else could they be experts? Next,
I cut the passive voice to tighten it fur-
ther: experts examine these articles
made for much tighter writing.
Then I caught myself stating the
obvious in the phrase What scientists
believe is true today, when I realized
I could simply say What scientists
believe today. Its just as unnecessary to
call June a month or blue a color. Para-
doxically, even though the problem is
such passages may not be obvious
weve become so accustomed to hear-
ing redundancies that its hard to
identify them in our own work.
Another word on wordy phrases
Having to adhere to a strict word
count is helpful as it forces you to
question each word and phrase. (So,
by the way, does writing poetry; I rec-
ommend it as an exercise even if it
isnt your preferred genre.) Cutting
excess may allow for more ideas. Even
when you dont have a word limit,
challenge yourself to cut 300 words
from a manuscript of 1,000 without
losing content. Make it a rule to sub-
stitute a word for a phrase and be
sure that word is necessary. In
Through the Looking Glass, I
changed You and I see the same
movie to We see the same movie. I
cut the sentence We may choose not
to believe it all we wish; we might even
start a movement arguing that Dodg-
sons pseudonym was Louis XIV in
two places. First, I dropped all we wish
because it is empty and clichd. Sec-
ond, I used the substitution rule to
replace start a movement arguing with
campaign. The result: We may choose
not to believe it; we might even cam-
paign that Dodgsons pseudonym was
Louis XIV. Stronger, yes?
Targeting and removing excess is
an essential revision activity but
worrying about it as you compose can
choke the flow of thoughts. Because
we are used to speaking, seeing, and
writing excess, it usually takes multi-
ple passes to notice and cut the fat in a
manuscript. These passes are best
done over several days, so each scan
feels fresh. If you can set the manu-
script aside for a month, all the better.
You will naturally become sensitized
to some of these problems over time
and commit fewer of them. But every
manuscript needs careful combing.
Ask any editor.
Gail Radley is the author of 24 books for young
people and numerous articles for adults, includ-
ing, most recently, Ponder Your Words from
the June 2017 issue of The Writer. Recently, she
stepped away from teaching English full-time at
Stetson University in order to devote more time
to freelance writing and editing.She lives in
DeLand, Florida.
writermag.com The Writer | 13
WRITE STUFF
BY TRIONA GUIDRY
A writers guide to internet safety.
T
he internet may be a wealth
of information for writers,
but it can also be a heap of
trouble. Your productive
workday can easily derail thanks to a
sneaky computer virus, a rogue link, or
an infected ad.
Todays internet viruses are more
aggressive than ever, commandeering
your computer and charging cash ran-
soms for removal. Financial fraud and
identity theft run rampant, fueled by
hijacked social media accounts. Pre-
vention is the key to keeping your data
accessible when you need it. By using
strong passwords and secure networks,
you can stay safe while getting your
work done.
Have you ever received a message
from a friend that seemed suspicious?
Maybe they claimed they were over-
seas and in need of help, or perhaps
they urged you to click a strange-look-
ing link. These are
examples of account
hijacking, when
hackers break in,
change the pass-
words, and then start
sending viruses and
spam. Not only is it a
nuisance, it can be a blow to your pro-
fessional reputation. Imagine having
to explain to your editor that a hacker
hijacked your account and is sending
them malware!
Strong passwords are critical when
protecting your accounts from hijack-
ing. Passwords should be at least 12
characters long. They should contain a
mix of upper- and lowercase letters
with at least two numbers and two
14 | The Writer July 2017
Wide web
symbols. Even more important, your
passwords need to be different for
every single account. That may seem
overwhelming, but password manage-
ment tools such as 1Password, Last-
Pass, and KeePass can help. These
programs create secure password
vaults and will help you generate
strong passwords.
Now is a good time to change your
passwords, as there have been a num-
ber of recent incidents at major sites.
Dont just rotate through the same
two or three passwords, though.
Choose passwords that are brand new.
Again, password management tools
can help.
You should note that password
management tools themselves are not
invulnerable to hackers. Always keep
written backups of your passwords in
a locked place. Always install any
updates to your password manage-
ment software, and sign up for
announcements so you can find out if
the company has suffered any recent
security incidents.
Unfortunately, passwords arent the
best method of protecting data no
matter how strong they are. Thats
why sites are turning to two-factor
authentication (2FA) or two-step veri-
fication (2SV). Two-factor authentica-
tion requires two methods of
verification: your password, plus a
one-time numeric code that is typi-
cally texted to your smartphone.
Experts recommend using two-step
authentication where available. If you
enable it, be sure to store any backup
codes in a safe place.
Many writers rely on public Wi-Fi
when working at coffee shops or other
public spaces, but open networks can
be filthier than open sewers. You dont
know what viruses could be lying in
wait in the network,
ready to infect your
computer the moment
you connect. Worse,
someone sharing that
network could be a thief
running a so-called net-
work sniffer. Thats a
program that sniffs out and records
anything that isnt encrypted, including
usernames, passwords, credit card
numbers, and, yes, even your writing.
To avoid this, you should either
encrypt your connections or avoid
using public networks altogether.
One option to protect your infor-
mation is to use a virtual private net-
work, or VPN. A VPN creates a
private channel between you and
lenoleum/Shutterstock
your destination website. While VPNs
work well, theyre not always easy to
configure or troubleshoot. And it
doesnt change the fact that youre still

using a public network. If theres a
bug in your VPN software or its con-
figured incorrectly, you could still be
transmitting private data. Be sure to
read the instructions carefully, make a
backup of your computer data, and
take note of your original network
settings before you change them. And
watch out for malware pretending to
be VPN software. Only use legitimate
VPN programs, and download
directly from the manufacturer or app
store to avoid lookalike fakes. Even if
you use a VPN, you should never
access your bank accounts or use your
credit card over a public network. Its
a risk thats just not worth taking.
One alternative to using public net-
works is to use a private Wi-Fi
hotspot. Sometimes called a wireless
tether, a personal hotspot is your own
wireless network-on-the-go. Your
smartphone may already have the
capability to set up hotspots, although
you may need to pay extra for the ser-
vice. You can also purchase a separate
device to create a hotspot. When you
use a personal
hotspot, you dont
have to use public
networks at all. You
dont have to won-
der if the place
Many writers rely on public Wi-Fi
when working at coffee shops
or other public spaces, but open
networks can be filthier than
open sewers.
where youll be working has
public Wi-Fi. Youre not sharing
your connection unless you want
to although you should dou-
ble-check to make sure your
device isnt doing so by default.
Another dilemma is how to
do online research without get-
ting infected by computer
viruses. Normally I recommend that
people avoid clicking on links they
dont know, but writers often have to
do this in the name of research. So
how can you mitigate
your risks?
First, I suggest using
a different web browser
for research than the
one you use for your
bank accounts, and a
separate third browser
for social media. This
divides your online
activities and protects
your more vulnerable
financial accounts. The default Win-
dows browser is Internet Explorer or
Edge, and on Macs, its Safari. You
could use your default browser for
research and, say, Chrome for banking
and Opera for social media. You still
need good antivirus software, but
using multiple browsers will help you
avoid account hijacking and bad links.
The research browser is your
throwaway browser. Set it to open
links by default, and dont log into
your other accounts from it. It should
be configured to use private windows,
limit ad tracking, and automatically
clear browsing history when you exit
the program. Check your browsers
support site for details on how to
maximize the programs security
settings.
But no amount of technology can
replace our human ability to spot
something fishy. When in doubt,
dont click. These days, sometimes
you dont even need to click to be
infected. Simply visiting the wrong
page at the wrong time can infect
your computer. Legitimate sites can
be infected by malware-laced ads,
which is why its so important to
maintain your com-
puters antiviral
defenses. Dont forget
antivirus for your tab-
let and phone, too:
Viruses can strike any
device, any time.
The computer you
use for research should
have all system and
app updates installed.
If you have an old
Windows XP or Vista computer, or an
older Mac, your risks increase. These
systems cant be protected from mod-
ern threats, so use them with caution.
Never access your financial accounts
from an older computer if you can
help it.
Lastly, keep a clean offline backup
of your data. If you become infected
by some of the nastier computer
viruses, that backup may mean the
difference between preserving your
manuscripts or losing them forever.
Grab a spare hard drive and copy
those files, test to make sure you can
recover them, and then store the drive
somewhere safe.
I urge you: Why not take a few
moments to assess your internet
safety strategy now? To protect both
your writing and your professional
reputation, its well worth the time
and effort.
Triona Guidry is a freelance writer and com-
puter specialist based in Chicago.
writermag.com The Writer | 15
patrimonio designs ltd/Shutterstock
 THIS WEEK ON
EXTREME
HOARDERS:
DR. VICTOR
FRANKENSTEIN
Creating fully developed fictional characters*
*that are not secretly you.

BY SUSAN PERABO

WHEN WERE TEENAGERS,
and we start writing, we normally do
so because we have one really, really
important story to tell, and that is the
story of ourselves. There is no other
story in the whole wide world as
interesting and important as the story
of ourselves, and god knows if we
could only tell it right we could once
and for all prove ourselves the author-
ity on all things on earth and in
heaven, and quite likely alter the
course of human history.
Often we persist in this notion well
into our college years, although likely by
that time weve been told that theres a
difference between fiction and memoir,
so when we write fiction we change the
name of our main character from our
own name to a name that begins with
the same letter. (I ran out of S names in
college: Sandy, Samantha, SharonIve
been all of them.) The beloved dog is
changed to a beloved cat. The cold-
hearted mother teaches French instead
of Spanish. Indiana becomes Illinois.
By the time were grownups, weve
mostly accepted the fact that there are
other interesting people in the world.
And yet, somehow, many of the char-
acters that inhabit our stories still wind
up thinking and acting remarkably like
us. In dialogue, all the characters talk
more or less like we talk, so every con-
versation sounds suspiciously like us in
conversation with ourselves. Our char-
acters struggle with conflicts that are
not so different from our own, and
face them in ways not unlike how we
would face them. Somehow, even
18 | The Writer July 2017
though we know there are other
worthwhile stories out there, were still
writing our own story.
Is there anything wrong with this?
The fact is, F. Scott Fitzgerald wrote his
own story over and over, variations on a
theme from Princeton to Hollywood.
Sometimes he did it better than others,
and when he nailed it, he nailed it. But
when he didnt quite nail it, the story in
question seemed mostly like a failed
version of something else hed done bet-
ter, either a warm-up or a knock-off.
People drank too much, someone con-
fused love with money, couples turned
on each other, and in the end a man
realized too late where hed gone wrong.
One could argue that, if you write
The Great Gatsby, who cares if you only
have one story to tell? Fair point. All Im
saying is that if youre in this for the long
haul, you might want to liberate yourself
from yourself. And thats exactly what
getting out of your own way, exactly
what telling someone elses story, can do.
This liberation can be a gradual process.
Again, even as adults, even as people
who recognize the richness and depth
and variety in the people who share this
planet with us, even then, it can still be
very difficult for a fiction writer to cut
the cord to the self. It doesnt happen all
at once, and often it happens a little, and
then un-happens, and then happens a
little again. Its not black and white, and
its not like flipping a switch. Its a con-
scious, deliberate act, artistic liberation.
And, like all liberations, its at once won-
derful and absolutely terrifying.
The beginning of my artistic libera-
tion came during my senior year of
college. Id written my way through all
the S names and had another story on
the horizon, due in a couple weeks,
and my creative writing professor
pulled me aside after class and said, I
think youre about done with this
material. And I said, What do you
mean? and he said, again, I think
youre about done with this material. I
think its about written out. I think you
should write another story. About
what? I asked, naively. (I was a senior
in college, remember. You would think
I might have known. But I really, truly
didnt.) About anything, he said.
This happened almost 30 years ago,
but I recall the exact spot on which I
stood when this conversation took
place. Thats how significant it was in
my life as a writernot to mention my
life as a person. It was like my profes-
sor had just given me a Get Out of Jail
Free card. I didnt have to roll doubles
or pay $50, I was just FREE, just like
that. New material! About anything?
Hooray! This was the wonderful part
of liberation. The gates of the prison
clanged shut behind me, the sun was
blinding, and I had nowhere to be! But
oh my god, holy shit: The gates of the
prison clanged shut behind me, the sun
was blinding, and I had nowhere to be!
Now what the hell was I supposed to
do? And where on earth would this
new material come from?
OMETIMES I CO-TEACH
S writing workshops for elemen-
tary school students. At the beginning
of the workshop my partner and I
draw a giant figure on the board with
huge eyes and ears and mouth and
nose and hands we call him the
Poetry Monster, but you could call him
the Fiction Monster, too and we ask
the kids to name the five senses, which
of course they do with great confi-
dence and exuberance. Then we say,
OK, greatbut theres one more sense
that the Poetry Monster has, one more
tool he uses when he writes. Does any-
one know what that sixth sense is?
This normally stumps them at first, but
then they start dancing around the
answer: The brain? Your thoughts? nation in service of character.
Youre close, I tell them. Let me ask
you something. Do you ever sit here in
this classroom and look out the win-
dow and think about what youd be
doing if you werent sitting in this
classroom? What are you using when
youre doing that? And now theyve done or things that have happened to
got it, of course: Imagination!
Imagination is liberation. And libera-
tion requires imagination: an active,
vivid, boundless, shameless, imagina-
tion. Of course we all possess it we all
use it when we look out a window,
thinking of what wed rather be doing
but were not working it very hard when
we do that, certainly not stretching it.
Imagination is a tool. And like any tool,
it grows dusty and dull without frequent
use. By the time my college professor
gave me my Get Out of Jail Free card, my
imagination was in pretty sorry shape.
Let me be clear: Id gotten quite good at
imagining myself in a variety of situa-
tions. What I lacked, completely, was
the ability to imagine other people
their inner lives (and not as they related
to me!), their backstories (again inde-
pendent from me!), their hopes,
dreams, fears, joys, desires, and vulnera-
bilities. Their baggage, minus MY bag-
gage. Yes, indeed, my imagination was
like a giant airport baggage carousel, but
almost all the bags on it were mine, and
the few that werent mine were touching
mine, bumping up against mine, some-
body elses tiny wheely bag squeezed
between my two giant suitcases, so it
hardly counted. I had to correct that
balance. I had to replace my bags with
the bags of others. Was this possible?
In a word: NO.
When you write fiction, whatever
kind of fiction you write, some of your
bags are going to stay on that carousel.
You simply cant take them all off.
Some of them, you can, and should,
get rid of. But others are impossible to
remove. Why?
Because they weigh 1 million
pounds.
The liberation that is crucial to a
fiction writer, then, is the ability to
weave together experience and imagi-
Im going to switch similes now.
If youre like me, and you are, your
stored experience is like a house on
Extreme Hoarders. Now this is impor-
tant when I say experience here, Im
not just talking about things that youve
you. Im not talking about your bag-
gage. Your baggage is in the house, yes,
but thats not all thats in the house. Your
baggage, in fact, is just a small fraction
of whats in the house. Your stored
experience, your Extreme Hoarders
house, includes everything youve ever
seen and everything youve ever heard,
and this includes literally everything
that literally anyone has ever told you
about literally anything. It includes
every book youve ever read and every
movie youve ever seen, every news
broadcast, every sporting event, every
single episode of Friends, and every
word of the Gilligans Island theme song
(both versions!). It includes every ges-
ture youve ever seen a stranger make,
every snippet of conversation youve
ever overheard, every smile, every hand,
every hat, every out of tune piano, every
cheerful hound dog, every bowl of luke-
warm soup. You can see why there is no
place to sit down in your Extreme
Hoarders house, why food is spilling
from the fridge, why you might break
your neck trying to negotiate the stairs.
Its everything. And I mean everything.
And all of it, every bit of it, is your
material. So when you start a story, or a
novel, that house is where you go to
find your character. Your character who
is not you. Your character who is not
anyone, until you make him someone.
You build your character from the
contents of your Extreme Hoarders
house. You are Dr. Frankenstein in
your Extreme Hoarders house, and
your problem, Dr. Frankenstein, is not
that you dont have enough material to
make your monster. Oh no, on the
contrary. Your problem, Dr. Franken-
stein, is that you have way too much
material to make your monster. Thus it
will require you guessed it! your
imagination to choose the right pieces
and put them together in just the right
way. There is practically an infinite
number of combinations in your
Extreme Hoarder house, quite literally
millions of characters that can be built
by the contents of a single room. Thats
how much crap youre storing. And its
all there waiting for you. Again, you
just have to figure out what the hell to
do with it.
But heres the best news of all. Hon-
estly, this is the greatest news you will
hear all day.
Sometimes, the work does itself.
Oh my god, its the dream, right?
The dishes wash themselves, the
papers grade themselves! The dream!
And sometimes, a monster walks out
of your Extreme Hoarders house fully
formed, ready to walk right into your
story, and you feel like you didnt do
anything to make it happen.
But of course you did. You just
didnt know you were doing it. Your
imagination has seemingly acted of its
own accord, because you have trained
it to do so.
And how do you train your imagi-
nation? How do you get it in shape?
How do you make your Extreme
Hoarders house fertile ground for
hatching a character?
First, this: You start spending a lot of
time in there. Sometimes, when you go
in, you already have a situation in mind,
a rough idea of plot that youre seeking
characters to plug into this is often
writermag.com The Writer | 19
how I write. But other times you have
nothing; youre starting from scratch.
So you go there every day, several times
a day. Instead of checking Facebook,
you sit some place quiet, maybe close
your eyes, and you knock around your
Extreme Hoarders house for 15 minutes.
You familiarize yourself with its con-
tents. You go into the rooms that are the
most unmanageable. You dig through
the top layer of stuff. Find what youve
forgotten. Toss aside the things that are
the most familiar. You look at some-
thing you havent looked at in five years,
because its a new thing now, because
youre a new you now. When you saw
that woman crying in the Kmart five
years ago, you were struck by it, but you
didnt understand it. Do you under-
The No. 1 worst thing you can do
to yourself as youre composing a
story is to start workshopping the
story as youre writing it.
stand it now? Maybe you do. Maybe it
makes a little more sense. So start with
her. You dont know anything about her,
not a damn thing except that she was
crying in the small appliance aisle at the
Kmart. But look around your house,
look at all the possibilities. Look at how
your uncle sat hunched over the silver
tray of his Banquet TV dinner. Maybe
that womans father has the same
hunch. Maybe when she walks into the
apartment and sees his hunched back,
she wishes he would die. Or maybe,
because you just stumbled across this
thing someone told you once, maybe
shes afraid her fathers going to move in
with that woman he loved in high
school, even though they just met again
last week for the first time in almost 50
years. And part of her thinks its great,
sure, in a way, even though for seven
years its just been her and her dad,
doing the daily Sudoku and eating
20 | The Writer July 2017
salami and Triscuits for lunch, and shes
gone to Kmart to buy her father and his
high school girlfriend a housewarming
present. You know what housewarming
present? That stupid bread-making
machine that your next door neighbor
got for Christmas last year and then put
out on the curb marked FREE when
there was still snow on the ground.
And now youre running to the page.
You cant get there fast enough. Youre
tripping over your own feet. Oh my
god, yes, youre turning on the com-
puter, demanding a new document.
Youre ready to go; you have your char-
acter; the storys bursting out of you.
But Im going to tell you to stop. Im
sorry. Im going to tell you to stop,
because I dont think you know enough
yet. Because I dont think your crying
woman is a character yet. And my fear
is that if you go to the page now, if you
start writing her before she really exists,
the crying woman, on page 2, may wind
up being you. Your Frankenstein mon-
ster only has one arm, a foot, and half
an ear. It cant walk out of the house yet.
You want that monster to walk out of
the house fully formed, you better let it
spend a little more time constructing
itself. Otherwise you will fill in the
empty spaces with yourself, because that
is the path of least resistance. Be strong.
Be patient. Do not go to the page.
I dont want you to write the crying
womans story until you know her well
enough to get out of your own way.
Give her time. Tomorrow, go back to
your Extreme Hoarders house. Because
youve been hanging around in the
house a lot, the crying woman might
have done some work in your absence,
might have picked up a few habits from
your college roommate or developed
your sisters fear of the ocean. Dig
around some more, hit another room.
Discover more about her. Build her
backstory with the materials at your
disposal. Maybe something you initially
thought about her was wrong. Thats
OK. Thats good, in fact. Your imagina-
tion is at work. Creation is not instanta-
neous; it is thoughtful, and deliberate.
Do not rush. Youve got time. Put back a
piece of her and pick up a different
piece to try out. Be strong. Be patient.
Do not go to the page.
At this point some people might
want to do a character exercise. They
might want to get some words down
on a page. I understand the tempta-
tion, but I think what you really need
is to just spend some more time with
this woman. I think you just need to go
about your day with her in your head,
popping in on her while youre driving,
or showering, or making dinner, or
falling asleep. You need to think about
her until she seems as real as someone
in your real life, until you forget that
she isnt. You need to think about her
until you wonder what shes up to
when youre not thinking about her.
And then, after a few weeks, maybe
several weeks, when you go to the
page, and you open the front door of
your Extreme Hoarders house, she will
be ready to walk out.
So are you done? Of course not.
Because now you actually have to get
the story down on the page, and thus
there are still many opportunities for
you to screw everything up for that
monster youve created. I think the No.
1 worst thing you can do to yourself as
youre composing a story is to start
workshopping the story as youre writ-
ing it. This is a terrible habit, but weve
all done it, especially if weve been in a
lot of creative writing workshops.
Your character, your monster, should
make this process easier, if indeed
youve given her enough time to form,
and then marinate, in your Extreme
Hoarders house. If she can walk out of
that house under her own power, then
shes the boss of your story, and you
should let her do what she wants to do,
and you should not question it. Again
if youve done the appropriate prep
work, if youve stayed away from the
page long enough for her to be fully
developed from page one the hardest
work of the story has already been
done. Still, you will be tempted to inter-
vene, to not trust your characters, to not
have faith in the imaginative work that
youve already completed. You will be
Dr. Frankenstein running after the
monster, asking Are you sure you want
to do that?
Believe me, the monster is sure. You
should know. You made him.
Furthermore, a terrible thing to ask
yourself, at any point in the first draft
of a story, is this:
What am I trying to say with this
story?
If you hear yourself think this, or
any version of it, I ask you please to
put the story away for one week and
spend some more quality time with
your character, because if youre asking
yourself this question then you are
apparently still thinking that you are in
charge of your story. Im telling you,
the last thing you need to be thinking
about, seriously, the last thing, as the
story is unfolding itself for the very
first time, as the child youve done all
this hard work conceiving and gestat-
ing is actually being born on the page,
is what you the author are trying to
say. Who cares what youre trying to
say! Just tell the damn story. There will
be plenty of time for thinking later.
I also discourage you from asking
any other kind of workshoppy question,
even if in workshop these questions are
completely justified. Again, Im talking
about while writing the first draft. Just
let the first draft come. Let the character
take the wheel. You are not driving this
car. When you get to later drafts, when
you get down to sentence work, you get
the car back. But for now, for this first
draft, your monster is in charge.
E.L. Doctorow famously said,
Writing is like driving at night in the
fog. You can only see as far as your
own headlights, but you can make the
whole trip that way. I tried to remem-
ber this when I wrote the first draft of
my new novel. Because my characters
were driving, not only was it night-
time, and thick with fog, but both my
headlights were shattered and the
characters kept screaming and trying
to wrestle the steering wheel from each
other. I sat in the passenger seat, terri-
fied. The windows were down and my
hair was blowing all over the place. My
heart was pounding. I had no idea
where we were going.
I had never felt so free.
Susan Perabo's new novel, The Fall of Lisa Bel-
low, was released in March from Simon &
Schuster. She is also the author of two collec-
tions of short stories. She is a professor of cre-
ative writing at Dickinson College in Carlisle, PA.
writermag.com The Writer | 21
 Reading,
writing,
&
romance
THREE LITERARY POWER COUPLES
SHARE THEIR SECRETS
OF COLLABORATIVE SUCCESS.

By Melissa Hart

AUTHOR AND CHEF JULIA CHILD ONCE SAID,

The secret of a happy marriage is finding
the right person. You know theyre right if
you love to be with them all of the time.
She and her husband, Paul, became
culinary collaborators she as cook and
recipe writer, he as photographer,
illustrator, taster, and kitchen designer.
What is it that enables some couples to
work together so successfully? Contributing
editor Melissa Hart caught up with three
modern-day couples who balance marriage,
day jobs, and/or cats or kids with running
small presses, literary magazines, and
writing conferences.
 Donna Talarico and Kevin Beerman:
SEPARATING PERSONAL FROM PROFESSIONAL
donna talarico and kevin beerman
met in college when she was a sopho-
more and he was a freshman. Fifteen
years later, they married. They live in
Lancaster, Pennsylvania, where they
run Hippocampus Magazine as well as
Hippocamp, an annual conference for
writers of literary nonfiction.
Donna founded Hippocampus in
2011. More than ever, women [now]
have the permission to be entrepre-
neurs and to start businesses, she says.
Kevin signed on to help when he
noticed how much time she was putting
into the magazine. I thought it would
be fun to do something together, he
says. Maybe it was even more selfish
than that I knew if I helped her with
the work, shed be done early, and we
could go hang out together.
When theyre not working, they like
to hang out at bars for trivia night or
karaoke, and play board games with
friends at home. They also adore trav-
eling to see bizarre sights like the
famed wood chipper in Fargo, N.D.,
and a Viking museum in Minnesota.
In 2015, Donna and Kevin drove
halfway across the country together
to represent Hippocampus at the AWP
Conference, which was in Minneapo-
lis that year. They took turns working
at their informational table during
the bookfair.
To have me be able to step away
from the table to walk around as the
writer me and have him hold down the
fort and talk about the magazine was
rewarding to him and made me value
him as a true partner in this endeavor,
Donna says. It solidified that were a
team. And this might sound cheesy, but
I think this is one of the things that
keeps our relationship strong.
How do you divide up the duties of
Hippocampus Magazine and the
Luckykot/Shutterstock
writing conference?
Donna: All submissions go through
Submittable, and I assign them to a
volunteering reading panel. Once we
select stories, I share them with Kevin
so he can find pictures. And then I
produce the issue. I handle the website
formatting and the marketing; for
every story, we do a couple of Face-
book posts and a couple of tweets. For
the conference, I work with the pre-
senters and do the marketing and web-
site. We use a project management
software called Asana to keep all our
tasks in order it pings us and lets us
know what we need to do each day.
Kevin: Im the king of research. I find
the MFA programs for potential confer-
ence sponsorships. I post to the literary
and local event calendars, and organize
and schedule all the volunteers. I make
sure all the rooms are set up, and if
theres a problem, Im the guy wholl run
and get water or a microphone.
Is the Hippocampus office in your home?
Donna: Our house is more like a stor-
age closet with boxes of books from
Hippocamp; its a bit overwhelming.
Our apartment is relatively small. Now
that were entering the third year of
Hippocamp, were outgrowing our
house. I rent a small office, so I have a
place to go to. Its nice to have a place
thats clutter-free. Kevin does a lot of
work at home, though.
Whats the most challenging part about
running the magazine and writing con-
ference together?
Kevin: I keep quitting every week. Hav-
ing to find a replacement is hard, so I
have to sign back on. The biggest chal-
lenge is that I dont want to disappoint
Donna as both my spouse and my boss.
Its really difficult sometimes to have a
professional relationship when its a per-
sonal relationship at the same time.
When youre working with your spouse,
its hard to separate emotions from busi-
ness. I dont want to hurt her feelings.
To be able to work with your wife is a
blessing. Its also revealing. Im learning
to cope better with criticism.
Donna: I have high expectations. Hip-
pocampus isnt a hobby for me; I have
deadlines and processes in place that I
try to adhere to. If you live with some-
one and you see that theyre watching
TV, you might tell them, You should
be looking for photos now because you
have spare time. We might bicker for
two hours, and it looks like a fight, but
then one of us will say, Hey do you
want some pizza? And the other will
say, Yeah, lets go get some pizza.
What advice do you have for other cou-
ples hoping to start a literary magazine
or a conference?
Kevin: Youve got to love what youre
doing because you have to be prepared
to give up a lot of free time for the end
result. Hippocampus is built on literary
citizenship. Youre publishing people,
cultivating and nurturing community.
It requires much more than just find-
ing and publishing stories. Once the
issue is live, your work isnt over.
Donna: From the beginning, set your
boundaries and know that your roles
and goals may evolve as the magazine
takes off and gets bigger. Know when
youre talking business and when youre
talking personal life. Remember to take
time for yourself and for each other.
Have a good sense of humor. We take it
seriously but not so seriously that we
dont have fun doing it. It is fun, and
youre making people happy. Be pre-
pared to invest some money in the proj-
ect as well. Were putting our personal
money into Hippocampus until it gener-
ates an income. Oh, and be prepared for
the AWP conference to be your vacation.
writermag.com The Writer | 23
 Leesa Cross-Smith and Loran Smith:
DEVELOPING A COMPLEMENTARY WORK ETHIC
leesa cross-smith and loran
smith met in high school. Theyve
been together 20 years, married for 15.
Parents to two young children, they
balance home life, carpools, and extra-
curricular activities with work on
WhiskeyPaper, a five-year-old online
literary magazine devoted to flash fic-
tion. They also run a chapbook press
of the same name.
The couple attributes their success
to clearly delineated roles based on
their individual strengths and the
demands of their day jobs (he works
for an insurance company, and shes a
homemaker and professional writer).
Im the boss, Leesa says. Loran do the manuscript editing. Im a do-er.
works with me and does what I need
him to do. Were so opposite on
almost everything; thats why we
make a good team.
We have complementary work eth-
ics, Loran adds. If we were both laid
back, nothing would ever get done.
And if we were both workaholics, wed
burn out quickly.
The couple lives in Kentucky, where
they hope to retire someday and have a
farm with baby goats. WhiskyPapers
not going to take us there, though,
Lisa says. Never start a literary maga-
zine for money. We make zero pennies.
Its a labor of love.
What inspired you to start a literary
magazine and chapbook press?
Loran: I grew up hanging around
bookstores and seeing chapbooks that
people created. Everythings online
now, but I wanted to create a paper
chapbook with a seal on the back and
physically send it to readers. People
send pictures to us opening their mail
and reading a physical book its so
satisfying.
Leesa: A lot of whats published is
weird and inaccessible and super-dark
and depressing. I wanted to create a
space to encourage light, hopeful sto-
ries for people who might be reading
on their lunch break from a retail posi-
24 | The Writer July 2017
tion at Target or somewhere work
that everyone could pick up and find
accessible. We did a Kickstarter a cou-
ple of years and raised $1,000 to buy a
nice printer and some supplies. Our
contributors and readers are so sup-
portive. We feel really blessed to find
such an awesome, creative community.
How do you divide up the labor of the
literary magazine and chapbook press?
Leesa: Loran does the design of the
chapbooks and puts them together. He
does really well with abstracts, and he
blooms when he sits on something for
a while and looks at it from all sides. I
Never start
Tell me exactly what you need, and Ill
get it done quickly.
a literary
What does your day-to-day life look like magazine for
as a literary couple with children?
Leesa: We have a 10-year old boy and a money. We
13-year old girl. We split the carpool;
Loran does it in the morning, and I do make zero
it in the afternoon. During the day
when were both working, a lot of pennies. Its a
times hes working from home and
were in separate rooms. I like to be labor of love.
back in the bedroom where I write on
my bed. He prefers to work where he
can see a window or go outside. After
we pick up the kids, theres homework, tle. I feel like if Im working for
dinner, family time. I might ask them myself, I can never take a break.
how they like a title of a piece, or well Loran: [Were] not both writers in that
print mockups of the chapbooks and world, I think that really helps as well.
ask them which they like the most. We We come at the work from a different
have pretty full days. perspective. Im not a writer, and Im
not in the literary world in the same
How do you stay sane with so much way. I can come to it with an outside
going on? perspective, and possibly more energy,
Leesa: Take breaks. I used to work for because Im separate from it.
a newspaper, 24/7. Id stress myself
out wouldnt even take off my birth- What advice do you have for couples
day or Christmas. Lorans great about wanting to launch a literary magazine
encouraging me to take a break and and/or small press?
chill out. He works in the corporate Leesa: Be super-picky about the
world. In that world, you have to take authors you work with. You want to
a break or people will run all over work with kind people, those willing
you. Im a homemaker and writer on to listen, to be receptive and put in
my own. I see a different type of hus- hard work.
 Carissa Halston and Randolph Pfaff:
PLAYING TO EACH OTHERS STRENGTHS
carissa halston and randolph
pfaff met in Bethlehem, Pennsylva-
nias Moravian Book Shop when she
was an employee and he came into to
order a book. At just 23 years old, they
co-founded Aforementioned Produc-
tions, a non-profit organization that
publishes books and organizes literary
events and theatrical performances.
Theyve moved around some since
then, finally landing in Boston.
Their books have received awards
and honors from the Massachusetts
Center for the Book, the New England
Poetry Club, and the New York Book
Festival. Recently, the Boston Cultural
Council awarded them an organiza-
tional grant for literary events.
The couple also started apt, a liter-
ary magazine that began online in
2005 and moved to a hybrid print/
online format six years later. Randolph
works as a freelance writer and com-
munications consultant in higher edu-
cation, while Carissa is an editor and
designer. She admits that they work a
lot; even when she broke her leg, she
sent out press releases for events while
on heavy narcotics.
Part of the success of our journal is
that were both insane in a way thats
really complementary, she explains.
What inspired you to start a literary
magazine and small press?
Randolph: I was always enamored of
the physical object and the idea of cre-
ating something from nothing. The
experience of books was a big thing for
me growing up. I remember Scholastic
book fairs, filling out the little paper
form for which books you wanted, and
those huge metal folding bookshelves,
all these books, the idea that they were
suddenly there. And you could have
them and read them I wanted to cre-
ate a thing that other people could
hold and read and value.
Tell me about your apt and Aforemen-
tioned Productions workspace.
Randolph: Weve moved a lot over the
last 12 years. Our practice is to carve
out space wherever were living. Ive
worked from home quite a few years
now. Sometimes, well work at home,
and sometimes well meet at a caf or
library to focus, away from distractions
at home. Boston has an incredible
library system, and there are so many
civic spaces in this area, which help us
to be in the city and around the people
that make up this place.
Carissa: Every part of our home is an
office. Were always at home and
always at work. We have one cat, Ezra.
We like to joke that hes our intern. We
have this great collapsible table. It can
be as small as six inches wide, or you
could fit Thanksgiving dinner on it. If
were having a preliminary meeting,
ordering the pieces within a new issue
of apt, we spread them out on the table
because were both pretty visual. We
write down titles of all of the pieces
and shift things around. The table is
our work station and meeting place.
How do you divide up the duties as
editors of a literary magazine and
small press?
Randolph: We figured out what we
could do together and what our indi-
vidual skills were. Then, we were able
to say, You do this part, Ill do this
part, well do these parts together. Its
fun because its a hybrid project. We
have work that we do online and in
print. There are different stages to it;
we read submissions and talk about
what were going to take versus what
we wont take and why. Then theres
editing, proofreading, and design. We
have a similar appreciation for a cer-
tain kind of storytelling and form and
structure in poetry, but when it comes
to design, we have different tastes.
Carissa: I like layers and patterns and
things in multiples, and Randolph likes
Bauhaus and minimalism. We have to
try to find a way to bring those together.
Whats the most challenging thing about
editing a literary magazine and press?
Carissa: Its a great amount of work.
Issue three of apt was so incredibly
hard. Issues one and two were fun, but I
told Randolph after issue three, I dont
think I want to do this anymore, and he
insisted that it would get better. Now, its
a different kind of fun. Its a huge part of
our marriage and our relationship.
Any advice for couples wanting to start
a literary magazine?
Randolph: Remember that the person
youre working with is someone you love
and someone you respect, because it can
be really easy, speaking from experience,
to not treat that person the same way
you treat a coworker because your rela-
tionship is deeper and more open.
Carissa: Have an aesthetic. We didnt
for a really long time, and now we have
it on our website in about four differ-
ent ways. Know in advance what you
want to publish. Do you see a hole in
publishing, in literature? If so, fill it. A
lot of times, literary publishing can be
really stodgy and straight-laced. Allow
yourself to take risks. Have fun with it.
Then you can do the thing that matters
most to you.
Contributing editor Melissa Hart is co-
founder, with her husband, Jonathan B. Smith,
of Creator & Collector Services. Web:
creatorcollector.com.
writermag.com The Writer | 25
 REINVENTING
A WRITER
Poet Virgil Surez on craft, career, and perseverance and why
politicians should be required to read poetry and bake bread
at least once a year. BY RYAN G. VAN CLEAVE

V
irgil Surez was born in Havana, Cuba in 1962, and he immigrated to the How do you know when a work is
United States after a short period (1970-1974) in Spain. While hes primarily done?
known now as an accomplished, prolific poet, he actually began his When it sounds right and feels right to
career as a novelist and editor before moving fully into the world of verse. Since my ear. English is my second language,
1993, hes been a creative writing professor at Florida State University. and Ive always had to work three times
as hard at getting the vernacular and the
Whats the best writing advice you ever was the natural path in the workshops nuances of the language just right. I
received? Who gave it, and what did it I took. I had no problem jumping have a system whereby I read the work
mean to you? around. I started writing poetry and aloud, proof, revise, and repeat until all
The best writing advice ever given to short stories when I was in junior high, the idioms are right. Over time, Ive
me was offered way back during my and nobody ever said to me, stick to come to really appreciate and enjoy this
first semester at California State Uni- one genre. kind of layering and adding texture to
versity, Long Beach, by Elliot Fried, I think if you are going to write, you the language through words and images.
who found me floundering in the hall- need to figure out what best form and
way looking for a journalism class. He genre will suit what you need to say. Its Who are you reading these days?
told me that if I wanted to be told what an organic process and one that I con- Lately Ive been going back to some
to write, journalism would be fine, but tinue to encourage my students to par- poets I never tire of reading: Larry
if I wanted to write what I wanted, ticipate in. Levis, Toi Derricotte, Phil Levine, and,
then I should enroll in his novel writ- of course, Adrian C. Louis. Because of
ing workshop. And so I did, and that What do you do when youre stuck with our recent political climate, Ive also
class changed my life forever. Of a piece, when youre mired in the middle been revisiting the work of Adrienne
course, other teachers taught me other and you dont know where to go next? Rich and Wanda Coleman. I try to stay
things, but Elliot was there at probably I put it aside for a few days, [and] then up to date as well, but there are so many
the most crucial moment to make an come back to it after its gotten cold worthwhile books coming out every
impact on the direction my writing life and Ive pretty much forgotten about year that its very hard to keep up.But
would take. Ive always been very it. Sometimes Ill forget about a piece eventually the good stuff rises to the
appreciative for what he did for me. for weeks, and then I come back to it top, as they say. When something good
and catch up on everything I wanted gets on my radar, I make sure to find
What did you specifically get out to do to it to make it right, or simply the time to explore it thoroughly.
of that class? as is often more likely I start from
From that class I got the basics of the scratch, maybe salvaging a word or Do you have an ideal reader in mind
craft of writing, the commitment to per- two, a good line, a good image. Some- when you write?
severance, and the ability to embrace my times the turn in the poem doesnt After many years of pondering this
mistakes and learn from them. Writing make itself evident for months. Some- question, Ive come to the realization
is never a perfect art, but you can perfect times it happens in an afternoon. Its that my best audience is a skeptical self.
the work that you put into it. the nature of working and revising Im my own hardest critic. Im aloof so
poems every day. You have to connect its sometimes hard to convince myself
You started off as a well-received novel- to the language of your work by pay- that what Im working on at any given
ist Newsday called Latin Jazz a strik- ing attention to what youre trying to moment has value or truth to it.
AlexGreenArt/Shutterstock

ing debut and a well-crafted and
sensitive novel. Why did you change
your literary path from fiction to poetry?
All my early teachers including Elliot
Fried practiced different genres. It
26 | The Writer July 2017
say. Sometimes what you want to say
doesnt come easy. Thats fine. Give
yourself time to make mistakes, to
start again, to scrap good pieces that
are going nowhere.
These days, Im much more inter-
ested in capturing the form of what I
am trying to picture in my writing.
Details, of course, and images continue
to be of high importance.
George Orwell once spoke about the
four great motives for writing. Why do
YOU write?
My reasons for writing never change.I
write to exorcize my demons. I write
because I have failed at everything else.
I try to give voice to those undying
voices inside my head. Its the reason
why I appreciate the poetry of some-
one like Ai. She birthed so many amaz-
ing people, folks who are still talking
to us loudly and beautifully.
How autobiographical is your work?
I would say it is highly autobiographi-
cal, perhaps overly so in part because
of my background, my childhood, the
places and people Ive known.But Ive
also never been afraid to try and cap-
ture the essential, the absolute. Neither
have I hesitated to look at the facts, the
history. God knows Ive spent plenty of
time at the library before the internet
and then post-internet.My mother has
a very large and colorful family back in
Cuba, which has fueled plenty of my
stories and poems.
What does your writing process
look like?
I work on new stuff in the mornings
Monday through Friday (and some-
times Saturday), and then spend some
of the hours in the afternoon revising.
I also go out in the afternoons to shoot
photographs. I find that the process of
training the eye to compose in the
viewfinder helps me hone my ability to
revise poems. Ive always loved the
connections and cross-pollination
between art forms. In my youth, it
used to be art and mixed media, but
now that I get to ride around on a
motorcycle, I feel like hunting for
images has become a highly entertain-
ing adventure. I love it.
Revision is all about the arrange-
ments of words and lines on the page
so that the entire thing begins to con-
geal into a whole picture. Most of the
time I try to rest on the weekends. The
older I get, the more I enjoy the pro-
cess of hunting for the right word, line,
image. The image, for me, is the truest
measure of where a poem decides it
wants to go. I enjoy the process of dis-
covery as much today as I did back
when I was starting out. Its like walk-
ing into an abandoned building and
finding a soggy mattress riddled with
rat tunnels and nests. Something tells
me there is a story about how that mat-
tress got there.
Has that writing process changed over
the years?
Back when I was younger, I struggled a
lot more trying to piece together those
images and words I was trying to ham-
mer into a poem. The process has
become easier as I get older, and now
the hammering has turned into a kind
of quiet and peaceful knitting. Perhaps
the voices in my head are settling
down and arent wasting my time.
When something surfaces in my
minds eye, I see it clearly. I know why
its there.
Why IS it there?
Its rooted in memory, I guess. The
most important aspect of remember-
ing is being able to visualize and recre-
ate those moments that matter most in
our lives. Its not an easy task, but its
what makes us human. Im in the busi-
ness of keeping track of what keeps me
sane AND human.
In all of your experience with writing,
what has surprised you the most?
What always surprises me about writing
is that element of discovery. Wondering
who my characters are in the world and
where theyre going. What is the story?
What people are capable of doing to
themselves, but also what they do to
others. I like to think theres a lot of psy-
chology in my characters because I con-
stantly worry about motivation. I also
thrive on starting a story where I know
very little about what happens or how it
happens.Im usually much more inter-
ested in how my characters begin to
make their way into such worlds.
In 1991, Dana Gioia who later went on
to serve as chairman of the National
Endowment of the Arts wrote an essay
entitled Can Poetry Matter? What do
you think?
Poetry will always matter. Now more
than ever. Poetry in particular and the
arts in general are the reasons why we
ponder about our existence. I think that
without it, wed have clearly perished
long, long ago. Maybe it should be a
requirement that all politicians must go
into mandatory poetry retreats where
they do nothing but read poetry, bake
bread, and sit around campfires while
discussing poetry and philosophy.
If you could go back and have an
entirely different, non-writing career,
what would it be?
I have plenty of hobbies. I build mod-
els (cars, mostly), and in the last
decade Ive started to build guitars. I
love building things, so I figure I
wouldve ended up having my own
shop. What am I talking about? I have
my own shop. I build things. When Im
not writing, Im building things or
making art or taking photographs.
These are my passions.
Whats next for you and your writing?
Im working on several projects,
including a book of poems that has
been over 10 years in the making. Im
also writing new poems all the time,
and who knows where and when those
will be collected into books.
Im also working on a couple of
short film projects, one of them a doc-
umentary.Part of what has slowed me
down is that Ive had to learn many
software programs in order to properly
shoot and edit. That takes some time
and effort, for sure.
Im done with the novel. Ive been
done with the novel for a number of
years now. Although I continue to
write short fiction, nothing satisfies my
soul the way poetry does. So I keep
writing it.
Ryan G. Van Cleave is the author of 20 books,
and he runs the creative writing program at the
Ringling College of Art and Design in Sarasota,
Florida. Web: ryangvancleave.com.
writermag.com The Writer | 27
 GOING FROM
WRITER TO AUTHOR
Congratulations, you wrote a book! Now what?
BY JONI B. COLE
A RKK TW
WAII N FAM
M OUU SLY S AID, The difference
between the right word and the almost right word
is like the difference between lightning and light-
ning bug. I would argue that same degree of dif-
ference applies to the terms writer and author. While the zine (People) was still awaiting the advance copy it had
words often are used interchangeably, they actually repre-
sent two distinct jobs with two distinct skill sets and mind-
sets. For writers who want to make the most of their newly
published status, the following insights may help.
Leave your (writers) ego at the door.
If I had a quarter for every time Ive heard writers complain
about how much they dislike the idea of promoting their
work, Id never run out of money for the parking meter. Pro-
motion is a big part of an authors job description, so if
youre one of those people who looks down on publicity
efforts, consider an attitude adjustment. In fact, selling
your book can be a pleasure, even if youre an introvert
and even if youre a bit of a snob. The key is to focus on the
fact that you are not so much hawking a book as you are
sharing a story or information that obviously means a great
deal to you. (Otherwise, why did you write the book in the
first place?) Consider promotion a favor to your future
writer self: The more you the author help to sell your
current book, the more you the writer are likely to sell
your next book to a publisher.
No, you are not just being a pest.
OK, maybe your publisher would rather you didnt check
in so much once your edited manuscript enters production.
But know that your job as an author starts well before your
launch date, and you owe it to your book to make sure
everything is on track (and to your liking) during both the
production stage and during those crucial months before its
release. That is not to say we shouldnt assume the profes-
sionals working on our behalf arent doing their jobs, but
28 | The Writer July 2017
then again, mistakes can and do happen. I have followed
up with a production manager only to discover my soon-to-
be-printed back cover had the wrong descriptor copy. Ive
also had to remind a forgetful publicist that a major maga-
requested for a review weeks earlier. So, yes, check in with
your publisher early and often, but be ready to offer solu-
tions, not screeds, if theyve made a blunder.
Understand that whatever your publisher does to promote your
book, it will not be enough.
If youre working with a traditional publisher, you likely have
high expectations. Maybe you envision an advance copy of
your book on the reviewers desk at every major newspaper.
Or you assume your publicist is already setting up your
national book tour. Perhaps these fantasies were what moti-
vated you to keep working during your darkest days as a
writer. But now, as an author, the time has come to face reality.
Certainly, your publishing house will relegate some of its
limited time and resources to create awareness for your title,
but that effort is usually a fraction of what you anticipate as
an author. As such, you need to commit to being a full part-
ner in creating your own publicity machine. No, let me
rephrase that: Unless you are the darling of your publishing
house, you need to commit to doing the mother lode of public-
ity work. Your publisher will devote maybe three months
max to your book (two of which will happen before its
release), and then you are dead to them. (JK. Sort of.)
During those three short months, your publisher will also
be promoting other titles that came out at the same time, and
some of those other books may get more of your publicists
attention, through no fault of your own. (Unless, of course,
Illustration by Jaron Cote
you failed to be a pestor made yourself too big of a pest.)
In addition, your publicist is most likely to focus on gar-
nering attention for your book through national media out-
lets (the book review section of major newspapers, NPR, the
morning talk shows, etc.). Its great if
your publicist goes after these big fish,
but her or his efforts are unlikely to
produce a lot of results because these
reviewers and interviewers are a
shrinking breed, and the ones who
remain are inundated with other
brand-new books clamoring for the
spotlight: Books by new authors like
you. Books by Salman Rushdie. Books
by some celebrity or controversial fig-
ure who cant even write but is great at
drawing viewers and readers. Take a
moment to contemplate the unfairness
of it all. Then accept this reality, as well
as another brighter truth that you,
the author and the person most famil-
iar and vested in your book, are in
many ways your own best publicist.
Platform: A refresher course.
Chances are part of the reason you net-
ted a book contract was because your
book proposal convinced the sales and
marketing folks at your publishing
house that you have a strong platform.
Im sure writing that proposal now feels
like ancient history, so let me remind
you of your platform and what it means
to you as an author. It means that you
made a promise to your publisher that
you are willing and able to promote your
book through social media and other
forms of mass communication; through
reaching out to your personal and pro-
fessional networks; through speaking
engagements at a diversity of venues;
and by walking around Times Square
naked if it serves sales and doesnt com-
promise your literary integrity.
Here are a few tips to help you make
good on those promises:
1. Reach out months in advance to
print publications and organizations
with long lead times.
2. Personalize your pitches so the
recipients know why you and your
book are a good match for their
audience.
3. Expect to follow up at least twice
before getting any responses.
4. Dont take it personally when 96
percent of the bookstores, media out-
lets, book bloggers, and other people
and organizations you query never
respond. Take heart that even a small-
scale event, or the briefest mention on
an obscure blog, creates a little more
exposure for your book, and one of
those mentions just may go viral.
Niche, niche, niche!
As an author, one of the things you can
do better than your busy publicist is
relate your excitement about your book
and your passion for your subject to
others who share your literary sensibili-
ties and interests. In addition, targeting
smaller segments of qualified readers is
often more fruitful (and doable) than
trying to garner national or broad-
based publicity. So who exactly are
your best-bet readers those target
audience(s) that most appreciate your
genre, your topic, your voice, your
themes? Dont just answer in broad
generalities (women readers of domes-
tic fiction, for example); think in terms
of niche audiences. For instance, if
yours is a novel set in WWII Japan,
consider talks at historical societies. If
you have written a book on wellness,
find regional radio programs that focus
on health. If your book is a romance,
look into the wealth of bloggers
devoted to this genre.
Oh, and dont forget those compara-
bles you listed in your book proposal:
those recent books you noted as similar
to yours and which enjoyed good sales.
As a writer, those comps served you
well in reflecting the potential success
of your book. Now, as an author, those
comps can serve as a guide in pursuing
the same types of publicity opportuni-
ties that the other titles enjoyed. (Just
look on the events page of the authors
website for ideas.)
Get down to business.
Its funny how a novelist can manage
the difficult work of plotting out a
79,000-word narrative, or a nonfiction
author can organize complex subject
matter into palatable prose, and yet
that same writer, now an author, can
feel overwhelmed by the simple, mun-
dane tasks required of promoting said
book. Hey, as writers, we never
claimed to be good administrative
assistants. But alas, as authors, this is
yet another hat we must wear.
To avoid being overwhelmed by
who to pitch and how to pitch them, I
recommend thinking small. Set a
quota of two: Each day research just
two potential resources for promoting
your work. These could be bookstores.
Your alumni magazine. A blogger
friend who does reviews. Your local
newspaper or library. An organization
that welcomes lunchtime speakers.
Then query those two resources and be
done with publicity for the day (unless
you are inspired to do more). At times,
this may seem like slow progress, but
eventually two plus two plus two can
add up to success.
Keep writing.
Remember when you were still an
aspiring author, and real authors would
talk about how publishing a book
wasnt all that its cracked up to be?
Meanwhile, you would have traded
your left thumb to hear a yes from an
acquisitions editor. Well, now that you,
too, are an actual author, you may bet-
ter understand that anticlimactic feel-
ing. Yes, publishing a book can be
exhilarating. And with publication
comes the potential for connecting
with readers well beyond your spouse,
your mother, and the other members
of your long-standing writing group.
You may even see some royalties come
your way. But if and when the job of
being an author with its emphasis on
marketing and publicity, sales figures,
and Amazon rankings starts to leave
you disillusioned, the best thing you
can do is to regularly revisit your old
job, that of being a writer hard at work
on your next book.
Joni B. Cole is the author of the new book Good
Naked: Reflections on How to Write More, Write
Better, and Be Happier. She serves on the faculty
of the creative writing program of the New
Hampshire Institute of Art and is the founder of
the Writers Center in White River Junction, Ver-
mont. For more info, visit jonibcole.com.
writermag.com The Writer | 29
30 | The Writer July 2017
 W
hether you are a screenwriter, novelist, or cre-
ative nonfiction author, at some point in your
career a day will come when you decide you
need help.
Maybe the narrative wheels came off the cart. Maybe you
wrote yourself into a dead end. Maybe you found yourself
drowning in story flood plains with no land in sight, or
maybe you just want to get an opinion on your work that is
not your mothers. So you bite the bullet and hire a story
consultant or an editor.
For most writers, this decision is fraught with uncer-
tainty: What do these consultants do anyway? How do I
know they actually know what theyre doing? Whats the dif-
ference between a story consultant, line editor, and develop-
mental editor?
You quickly discover the editorial zoo is crowded, expen-
sive, and intimidating. But it doesnt have to be. The consul-
tancy relationship is a two-way street, and both parties have
their own responsibilities. Yet for any relationship to work,
the partners need to be actively engaged, have trust, and
hold one another in mutual respect. If these three things are
not present, then you run the risk of either being run over
by the consultant or becoming a traffic hazard that stops the
consultant from delivering whats promised.
It all begins with engagement, and you, the writer, are the
initiator. Without you setting the right tone, expectation,
and objective from the start, any potential trust and respect
in the partnership will vanish, and the experience will prob-
ably be unpleasant (and costly).
If you own your own business or a home, then you
already have some practical experience hiring vendors.
When you hire a plumber to fix your pipes, you do your due
diligence, right? You call around, get referrals, check reviews
online, ask hard questions to make sure theyre bonded and
have been in business for a while. You set the tone (Im the
boss), have clear expectations (Scope of Work), and have a
clear objective (deliverables). It should be no different with
a script consultant or book editor.
Here are the ten questions you can ask both your consul-
tant and yourself that will help set the tone, expectations,
and results of the consulting engagement so that everyones
needs are met.
ivgroznii/Shutterstock

writermag.com The Writer | 31

 5 QUESTIONS TO ASK
THE CONSULTANT
1. What was your
professional experience
before you became a
consultant?
Most consultants have their his-
tory on their websites under a list
of clients or testimonials, but you
want to know more than just their
past clients. What did they do
before they began consulting? Did
they work in the field? What pro-
duction companies, studios, or
publishing houses did they work
for? For how long? What writers or
projects of note did they work with
in the field? You might ask for a
resume or curriculum vitae, but
these are not typically used by
script consultants. If they dont
have any prior industry experience
(either in entertainment or publish-
ing), consider this a red flag that
they may not have the depth and/
or experience you need.
In addition to the generic
resume-related questions, there is
value in finding out about their
specific interests and expertise. For
example, what formats do they
favor? For script consultants, that
means hour-long dramas, sitcoms,
feature films, animation, etc.; for
book editors, that means short fic-
tion, long fiction, series, comics,
graphic novels, etc. Do they have
past expertise in your particular
genre? For book editors, find out
how familiar they are with the Chi-
cago Manual of Style any experi-
enced editor will know this style
guide well. Ask editors if they pres-
ent at writer conferences, festivals,
and book fairs; if so, which ones?
This will help you gauge if they are
well-established and respected in
the literary community. The same
32 | The Writer July 2017
question should be put to script
consultants. Its not necessary they
do these kinds of events, but it is a
good sign if they do, as it usually
means they are well established.
2. How are your clients
better off after youre
finished working with
them and can I talk to
some of them?
If someone gives you generic or
spin-doctored answers to this ques-
tion, then you know they dont
have a clue what their true value is.
By generic, I mean answers like: them. Big mistake. You have to find
My clients get a solid script at the
end of the day, or My clients end
up with a good story they can sell
and market, or My clients end up
happy and positioned for success.
These are all useless.
You want to hear things like: My
clients leave with a multi-step pro-
cess they can use that will help them
succeed on their own, or My cli-
ents are given specific marketing
strategies they can use going for-
ward for any book or script they
write, or My clients walk away
with a professional level of under-
standing about story development
and story structure. Yes, these
answers can involve a fair amount of
spin doctoring and sales talk as well,
but at least they show the editor or
consultant has clear deliverables and
a learned process. (Well talk more
about this in the next question.)
The next step is to ask to talk to
former clients. True, they may just
have a few friends lined up to rave
about them. But most reputable
professionals will be happy to pro-
vide references to potential clients.
However, if anyone balks at this
request because of confidentiality
issues, this isnt necessarily a dead
end: They very well may have a
confidentiality agreement in place
with their past clients. Yet how
they react to this question can tell
you a lot about their integrity and
commitment to transparency. If
they get overly defensive or start
deflecting with questionable legali-
ties and other nonsense, thats a
major red flag.
3. Do you have a
methodology or process
you use, or do you just
do your thing as you
go along?
So many writers hand over their
project and walk away, expecting
the final results to be handed to
out how these professionals work
before you hire one. What is their
workflow like? How do they handle
their financials; do they have a
refund policy, for example? How
will they deliver feedback? Can they
provide sample edited manuscripts
or notes so you can see their
approach? For book editors, do they
use Microsoft Words Track
Changes function to document all
edits and comments within the
manuscript (which is logical and
easy to follow), or do they just wing
it in a text file with a bunch of col-
ored test inserts (which is insanity-
inducing)? Regardless of industry,
professionals should have estab-
lished procedures and deliverables
for every client. You have a right to
know those procedures and the
nature of the final process BEFORE
they start work. This is critical,
because the way editors or consul-
tants answer this question tells you
volumes about their professional-
ism, experience, and attitude
toward you, the client. Ignoring this
question can set you up for a host of
other consulting nightmares.
4. Will you provide a
sample edit?
It is not at all uncommon for book
editors to give a free editing sample
of your manuscript (usually no more
than a few pages), so that you can
see their process. Script consultants
typically do not do this (which I per-
sonally think is a bad policy). Some-
times script consultants will give a
free mini-consult over the phone
and talk about your script and give
some feedback, and perhaps this can
suffice as a sample, but most script
consultants wont work on the actual
script without being hired first. In
this case, its reasonable to ask for a
mini-evaluation or consult to get
some sense of their ability to quickly
assess your story or writing. If they
refuse, this is not a sign (necessarily)
that they are unprofessional jerks,
but it is reasonable to ask them why
they wont do it. Maybe they have a
good answer, maybe not. Just asking
can tell you a lot about how they are
approaching the relationship. Use
your judgment, and always ask
Why not? if for no other reason
than to see how theyll respond.
5. Will you sign a contract?
Contracts exist for one reason: In
the event that the relationship dis-
integrates and both parties refuse
to talk things through or compro-
mise. Even so, this is problematic
for a lot of people, because they
dont want the hassle of drawing up
contracts, negotiating terms, etc.
And for small, one-off projects,
lengthy contracts can feel like over-
kill (and they are). But there is both
a tangible and intangible reason for
asking the question.
The intangible reason is that you
want to see how theyll react: If
they are firm and explain why they
never do contracts (script consul-
tants almost never do), and their
answer feels solid and honest (with
no agendas), then youll probably
be OK, but you should still insist
on putting something short and
specific in writing. If they just say
No, I dont do those and it feels
avoidant and defensive, then youre
probably on shaky ground. But if
they say No, I dont do those, but
what would work for you? then
you should be fine.
The tangible reason for a con-
tract is that working without some
form of an agreement opens you to
misery if there is a dispute, espe-
cially when you have a long or com-
plicated project with due dates,
deliverables, and many moving
parts. Again, script consultants
almost never do contracts and they
will surely push back on this
request, so this question is more
about reading into their answers
than actually walking away with a
signed professional contract. But
5 QUESTIONS TO
ASK YOURSELF
1. Can you afford them?
Pricing is always a difficult topic
when hiring a third party. Usually
professionals will have their fee
schedules posted on their web-
sites, so you know what to expect
from the beginning. Unfortu-
nately, however, there are no best
practices or standardized indus-
try rates for script consultant fees;
its pretty much a make it up as
you go along type of industry.
Things that can affect pricing
might include their years in the
business, the prestige or length of
their client lists, professional
credits, etc. The bottom line here
is you will have to gauge for your-
self if you think their fees are
agreeable or not. But how can you
book editors are much more accus-
tomed to contracts. Most profes-
sional editors operate under the
best practices set up by the Editorial
Freelancers Association (EFA), and
use contract templates and pricing
schedules based on the EFAs rec-
ommendations. Long or involved
projects need contracts, especially
those with thousands of dollars in
consulting fees. Contracts are com-
plicated, but they arent rocket sci-
ence, and good samples abound
online that you can use for guid-
ance. Once you create the first one,
you can just clone it for future jobs.
But I cannot stress enough the
importance of having your profes-
sional working relationship spelled
out with third-party vendors
BEFORE you engage them to work.
Remember, its your time and
money, so gamble accordingly.
know if theyre reasonable? Are
there any standards you can use to
compare and contrast rates? Can
you negotiate, or are you just stuck
going with their first quote?
The smartest approach here is to
do your research. Check out as
many other consultants as you can,
and compare pricing and services.
You will quickly get a feel for the
market, and then you can deter-
mine if that outrageous fee theyre
asking for is justifiable.
All of the above also applies to
book editors, except that there are
some best practices in place for
their fees. As mentioned earlier, the
EFA has standard rates for all cate-
gories of editorial work. These are
just starting points for negotiating
writermag.com The Writer | 33
 a deal, but at least you can know
what is considered fair and right
within the profession.
2. Are you comfortable
with the consultants
clients publishing/
producing records?
When you hire editors or script
consultants, you are hiring an edi-
tor first and a writer second. I say
this because many people incor-
rectly ascribe competence based on
how many books one has written
or screenplays one has sold. But
editorial talent is different than
writing talent. For example: Max-
well Perkins, who I consider to be
the greatest editor in the history of
publishing, never so much as pub-
lished a recipe in his 50-plus years
with Charles Scribners Sons, yet he
was responsible for helping two of
his clients win Nobel Prizes in liter-
ature (Hemingway and Fitzgerald).
So the measure of a consultants
value should not be based on per-
sonal publishing or sales records. It
should, however, be based on the
publishing or sales records of his
clients books and screenplays. Ask
book editors what publishing suc-
cesses their clients have enjoyed;
ask script consultants how many of
their clients got script sales, awards,
or producing deals. You will have
to weigh how comfortable you are
hiring an expert with a client list
filled with low-sale, self-published
books or a script consultant with
few or no clients with produced
IMDb (Internet Movie Database)
credits or festival awards. Remem-
ber, having a weak client list doesnt
mean a person cant do the job, but
its important to know their history
so you can be fully informed in
your decision-making process.
3. Are you willing to fire
the consultant if you are
dissatisfied?
34 | The Writer July 2017
Are you comfortable managing
them, and not being managed by
them? Because if you dont take
control of the partnership, the con-
sultant will take control by neces-
sity. The consulting relationship
will go off the rails unless someone
is managing the process. But that
someone should be the client, not
the consultant.
Part of that process involves
hiring, yes, but also firing. Are you
really willing to do that? Frankly,
most people want to avoid conflict
and will just ride out the experi-
ence and then move on, losing
money, time, and their sanity.
Building checkpoints into the
partnership can mitigate this risk:
You can measure progress and dis-
cuss problems, delays, or failures
sooner than later. But you still
have to be willing to step up and
fire the consultant if you arent
happy with how the project is pro-
gressing. This worst-case scenario
is where contracts come in handy:
Termination clauses will allow you
to fire someone cleanly and with
as little exposure as possible on
your end. If you dont get a con-
tract, at least obtain a written
agreement in an email (before you
hire them) explaining your criteria
for releasing the consultant if you
are unhappy.
The bottom line here is: Are you
willing to be a boss and not a pas-
sive player in this partnership?
4. What kind of consultant
do you really need?
All consultants and editors are not
created equal. Many consultants
will tell you they do it all, but it isnt
wise to believe them. Its best to
work with professionals who spe-
cialize in one type of editing, not
five. (See page 35 for the basic
types of editors and consultants
you will most likely come across in
the industry.)
The more you are exposed to
professionals, the better you will
become at recognizing those who
are truly talented and productive.
You will have to kiss a lot of frogs,
however, before you find your
prince.
5. Can they do an interview
and walk and chew gum at
the same time?
If at all possible, talk to potential
consultants or editors over the
phone or by video chat instead of
using texts or email. How they
present in person can tell you a lot
about how comfortable they are
with you and vice versa. Can they
talk articulately? Do they make
sense? Are they confident? Do they
ask you questions? Do they leave
you feeling they can do the job
and that they actually like what
theyre doing?
Asking these 10 questions will help
you not only find the right editor
or script consultant, but also will
make you the kind of client consul-
tants will enjoy working with. The
snake-oil-salesman hucksters will
quickly expose themselves, and the
gems in the rough will always shine
through. Writing is a lonely game,
but you dont have to do all of it
alone in fact, you cant, if you
want a real career. Learn the skills
for hiring third parties and
empower yourself with the confi-
dence and composure that comes
from knowing what you want,
without giving power away to any-
one else.
Jeff Lyons is a published author, teacher,
screenwriter, and story development consul-
tant with more than 25 years of experience
in the film, TV, and publishing industries. His
book, Anatomy of a Premise Line: How to
Master Premise and Story Development for
Writing Success, is published through Focal
Press. Web: jefflyonsbooks.com.
 Basic types of consultants
Book Consultants
Developmental Editors: These profession-
als focus on the larger aspects of your
work as a whole, critiquing things like sto-
rytelling, author voice, narrative structure,
research, and book formatting and organi-
zation. They make suggestions on what
story or content revisions are needed and
generally assure the manuscript is well-
organized, consistent in style and tone, and
clearly articulated. Sometimes theyll also
fact-check, but not often.
Line Editors: Unlike more big picture
developmental editors, these small pic-
ture editors focus on grammar, punctua-
tion, sentence structure, consistency,
spelling, and some rewriting at a very light
level. They should have a solid understand-
ing of the Chicago Manual of Style. Their
job consists of crossing ts and dotting is,
not reworking or reshaping the work as a
whole. Note: Copy editing is generally
the same thing as line editing.
Proofreaders: In a publishing house, proof-
readers are the last person to get their
eyes on the manuscript. They essentially
proof the final typeset text for its final
approval before it goes to press. On a free-
lance level, proofers are often just seen as
another kind of line editor. But theres real
value to be had in hiring an extra set of
editing eyes for your manuscript before its
submitted or published, so you may want
to consider hiring a proofreader to do the
final-final read on your manuscript.
Screenwriting Consultants
Story/Development Consultant: These
consultants are essentially developmental
editors for TV or film. Story consultants
concern themselves with the larger story
structure of the overall script and point
out issues in pacing, formatting, and nar-
rative flow.
Pitching Consultant: These experts spe-
cialize in preparing you to pitch your
script to contests, pitch fest events, or
to production companies. They help you
come up with a great log line, develop a
pitch package, identify market opportu-
nities, and write a good synopsis. They
may also have some other value-added
services to set themselves apart in the
marketplace.
Story Analyst: These consultants are the
workhorses of the script evaluation busi-
ness. Commonly known as readers, story
analysts provide script coverage, which
is a written analysis of a scripts potential
used by creative agencies, production
companies, studios, and indie producers.
Traditionally, this service was provided
internally by a production company if a
script got picked up by an interested
agency or producer, but many for-hire
script evaluation services now exist in the
current marketplace.
Adaptation Consultant: These consultants
help you turn your screenplay into a novel
(or vice versa). They will help you rewrite
for the new format and will guide the pro-
cess so the final product will be a market-
able book or screenplay. This requires
specialized understanding of either the
publishing or entertainment industry, so it
is important to make sure the consultant
has plenty of past experience in the field.
writermag.com The Writer | 35
LITERARY SPOTLIGHT INSIDE LITERARY MAGAZINES
BY MELISSA HART

Uncanny
This three-year-old literary journal is breaking new
ground in science fiction and fantasy.

W
hen author K.M.
Szpara wrote a 9,000-
word explicit short
story about a trans
man who gets turned into a vampire, he
knew he could send it to the editors at
Uncanny Magazine and they wouldnt
make him pull back on the writing.
Writers who produce overtly queer
stories feel that were a safe pair of
hands, says co-editor Lynne M. Thomas.
Were not going to turn to them and
say, Can you make this less queer?
Lynne and her husband Michael
founded Uncanny three years ago to
showcase experimental stories and
poems that explore the human condi-
tion and elicit strong emotions from
readers interested in a variety of Social consciousness drives many of her pocket and pulls out an unex-
voices and perspectives in speculative the pieces in Uncanny. In Brooke pected piece of fudge, followed by an
fiction, poetry, and essays. The maga- Bolanders flash fiction piece Our Tal- unfamiliar lipstick, and then an
zine is available for free online and by ons Can Crush Galaxies, a serial killer antique map of Syria. She doesnt
subscription in e-book format; the murders a woman who turns out to be know where these things are coming
editors produce podcasts related to a harpy and takes revenge. Its a story from, Michael says. The story is so
each issue as well. written in anger, a response to the beautiful and intricate and warm and
Stanford rape case and how it was han- loving. It opens up to the larger uni-
Tone, editorial content dled, Lynne says. In the story, Bolan- verse of friendships and possibilities.
The Thomass look forward to launch- der writes: Heroes get names; killers He also speaks highly of Folding
ing a special issue of Uncanny in the get names; victims get closeups of Beijing, Ken Lius English translation
magazines fourth year, which will have their opened ribcages midautopsy, of Chinese writer Hao Jingfangs novel-
a theme called Disabled People the bloodied stumps where their wings ette, which won a 2016 Hugo Award.
Destroy Science Fiction. once attached, baffled coroners mak- The editors look forward to sharing
We want to highlight a bunch of ing baffled phone calls to even more Ursula Vernons Sun, Moon, Dust
amazing voices that are getting over- baffled curators at local museums. with readers in Issue #16. Its a tale
looked for one reason or another, Its about the glamorization of about war and farming, and its a para-
Michael says. As the dialogue of dis- serial killers in our society, Michael ble about blooming where youre
ability continues, we want to expose says. But its not his story its hers. planted, Lynne says. Its playing with
Tithi Luadthong/Shutterstock

readers of science fiction and fantasy
to a variety or protagonists, themes,
and ideas. All writers will have a dis-
ability, and well have extra essays and
other features as well.
36 | The Writer July 2017
Contributors
Amal El-Mohtars Pockets (Issue #2)
is a more light-hearted, playful piece,
the story of a woman who reaches into
the fantasy sword trope. Sometimes
you dont have to take on the destiny
that the magic sword says you have to.
Sometimes the person handed the
sword just wants to grow potatoes.
Advice for potential contributors
The editors of Uncanny receive 1,500
submissions a year for less than 30
slots in the magazine. We reject a lot
of very good stories, Lynne says.
Have patience, and take chances in
your writing.
She notes that early-career writers
sometimes opt for safe choices by rep-
licating techniques and ideas theyve
seen in other stories. They think
thats what the market wants, and they
end up writing stories that become
predictable, she says. Theyre not
making brave choices. Thats the
opposite of what we look for. I want
stories Im still thinking about in the
shower the next morning.
Michael explains that while some
emerging writers believe a good story
is all about new ideas and scientific
revelations, Uncanny editors look for
pieces driven by character, relation-
ships, beautiful prose, and above all
a distinctive and original voice. Even
if the people are aliens, he says,
readers have to feel emotionally con-
nected to them.
He urges potential contributors to
keep writing and submitting. Some
of our writers have been rejected four
or five times before we publish their
stories, he says. If we tell you we
cant take a piece, but we really liked
aspects of it, dont take it as an ulti-
mate defeat. Send us more stories
because now were on the lookout for
your work.
Contributing editor Melissa Hart is the
author of two published memoirs and the YA
novel, Avenging the Owl (Sky Pony, 2016).
Seekingpassionate, diverse
SF/F fiction and poetry from
writers from every conceiv-
able background.
BIMONTHLY E-BOOK WITH CONTENT
FREE ONLINE. $23.88.
Genres: Speculative fiction, poetry, and
essays.
Reading Period: Year-round; see website
for restrictions.
Length: 750-6,000 words.
Submission format: E-mailed as attach-
ment with cover letter.
Payment: $.08/word prose & $30/poem.
Contact: Editors-in-Chief Michael Thomas
and Lynne M. Thomas, and Poetry Editor
Julia Rios. uncannymagazine@gmail.com.
uncannymagazine.com.

This is what a literary

capital looks like.
This is Cambridge, Massachusetts. Here, in Lesley Universitys low-
residency MFA in Creative Writing, ranked #4 by Poets & Writers,
youll work with established and innovative authors. Focus on one
primary genre. Pursue study abroad opportunities in Wales. Explore
interdisciplinary courses in publishing, cross-genre writing, pedagogy,
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MFA in Creative Writing

Fiction / Nonfiction / Poetry / Writing for Young People /
Writing for Stage and Screen

$400,000 in scholarships available for gifted students

each admission period

lesley.edu/the-writer

writermag.com The Writer | 37

CLASS ACTION
BY JEFF TAMARKIN

DIY MFA
This online, self-guided program promises all of the academic
benefits of an MFA degree without all the debt.

W
riters in search of a Master of Fine Arts
program have innumerable opportunities
to consider. There are programs of all
types available: some general, some geared
toward writers interested in a specific discipline; some
require a full-time commitment, while others can be com-
pleted at home.
But what about those writers who cant or dont want
to manage all of the hurdles attached to committing to
an MFA? Enter the DIY MFA, a wholly self-guided,
online, do-it-yourself writing program that offers many of
the lessons and benefits of the traditional MFA minus all
of the hassle.
DIY MFA was created by Gabriela Pereira, a graduate of
a standard MFA program. The idea actually came to her at
her graduation ceremony. I went to an MFA program
because I felt like I needed some sort of stamp of approval
that would help me feel like a writer, Pereira says. I
expected that on graduation day a beam of light would
come through the stained glass window of the church we
were in and angel choirs would sing and someone would
whisper, You are now a writer. Of course, that didnt hap-
pen. Instead, what did happen was I got this idea while I
was sitting there. I started thinking that I had this great
experience, and it was very valuable, but what about all the
other writers who cant take two years off to go back to
school or cant afford to take out loans or would take out Ways to Manage Multiple Creative Passions and Why
loans but wouldnt be able to pay them back? Kid Lit Matters. Those who sign up for the newsletter can
Pereira began researching and floated some of her devel- download a Starter Kit that includes various resources
oping ideas on a personal blog where, she says, she had for writers.
about 12 followers, including my mother. When she I have an MFA myself and firmly believe that the MFA
checked in the next day, There were all these emails: I wish is incredibly good at serving a very specific and very nar-
there had been something like this when I started out writ- row population of writers, says Pereira, who is based in
ing. Pereira blogged her ideas daily for a month; before New York City. For that population, its phenomenal. For
long, her audience had grown to 400. everybody else, its not the best choice. What DIY MFA
I realized that this idea is here to stay, she says. Now tries to do is provide an option for the everybody else,
what do I do with it? which is a big chunk of people.
She then began to build DIY MFA (DIYMFA.com), It should be clarified that DIY MFA is not the equivalent
which today encompasses an online course, a book (also of a traditional university MFA program. Nor is it intended
titled DIY MFA), a podcast (with more than 140 episodes, to be. Its more of a school of thought, says Pereira. The
available on iTunes), a newsletter, and a blog. The site more Ive built DIY MFA, the more it has become a teach-
hosts regular columnists, who write on topics such as Five ing philosophy, kind of akin to the Suzuki method for
38 | The Writer July 2017

Gabriela Pereira
violin or the Montessori method for
early education. The DIY MFA mind-
set is all about three pillars: Writing
with Focus, Reading with Purpose,
and Building Your Community. Its all
about testing different approaches to
writing and reading, and then adapt-
ing them to what works best for you as
a writer. Theres a lot of writing advice
on the internet, but not a whole lot of
it is going to apply to one specific
writer. So its on you, as the writer, to
figure out what writing advice actually
works for you.
DIY MFA is all about doing it
yourself, so it is not for people who
need hand-holding, she says. With
that, I am very clear from the get-go.
Its not a workshop where people come
in and a professor reads a page of their
book and they revise it. My approach is
that we should proactively learn the
fundamentals first not the rules, but
the basics, and then do the experi-
menting and the workshopping or
whatever; you can find your own
workshop. It really is about people tak-
ing that initiative and forging their
own path. If we did it for them, they
wouldnt learn the skills they need to
be able to do it on their own once they
complete the class.
WRITING
PROGRAM
2017
Anne Bernays Kim McLarin
Lorna Blake William J. Mann
Peter Campion Robert Pinsky
Ruth Crocker Sharon OBrien
Ann Hood Susan Seligson
Judy Huge Sinan nel
Linda Kulman Brenda Withers
2017 Woody English
Distinguished Artist
& Writer Award:
WILLIAM J. MANN
Author / Historian
Those who become involved with
DIY MFA do so at their own pace, on
www.castlehill.org
Truro Center for the Arts at Castle Hill
their own time. The level of engage- 10 Meetinghouse Road, Truro, MA
ment varies, Pereira says. If someone 508-349-7511
wants to get a sense of what DIY MFA
is all about, the first step is to visit the
website and sign up for the Starter Kit
and our email updates, our newsletter.
Once completing the program, says
Pereira, they will be a stronger writer
and they will know a lot more about
the craft of writing. Theyll have a lot
more understanding of how to read
like a writer. Theyll have a better sense
of how to build a community for them-
selves as a writer. But if we go in on a
deeper level, what they get is the confi-
dence of trusting themselves and not
needing that external stamp of
approval. The goal of DIY MFA is to
help writers realize that theyre already
writers. They just need to own it. What
I hear over and over from people is
that its not just about learning how to
write better; its learning life skills and
building that confidence and resilience
as a person. The writing is just an
extension of that.
Jeff Tamarkin is a freelance writer/editor. He
lives in Hoboken, New Jersey, with his wife,
novelist Caroline Leavitt.
writermag.com The Writer | 39
CONFERENCE INSIDER
BY MELISSA HART

Brave new world(con)

This massive, five-day conference offers a feast of
opportunity for sci-fi/fantasy writers.

W So much of Worldcon is
here can you find award-winning specula-
tive fiction writers, people in full-length
furry gryphon costumes, and a talking getting to meet people in person
TARDIS from Doctor Who?
At Worldcon, an annual five-day international science and share our passion for the
fiction and fantasy convention.
Worldcon began in 1939, when science fiction aficiona- future and for speculative
dos whod been writing letters to one another decided to
meet in New York City, where the Worlds Fair was being
fiction and fantasy.
held. Its continued since then, except for a brief hiatus dur-
ing World War II, evolving into a full-scale celebration of
writers, artists, musicians, costumers, TV and film produc- British science fiction television series Thunderbirds. So
ers, and fanslots of fans. much of Worldcon is getting to meet people in person and
In August 2017, the event takes place in Helsinki. Cant share our passion for the future and for speculative fiction
get to Finland? Set your sights on next years conference, and fantasy.
stellamc/Shutterstock

which takes place in San Jose, California.

Kevin Roche is chairing the 2018 event. I have friends What youll learn
in every possible fandom, he says. I have friends who are The website for Helsinkis Worldcon promises hundreds of
My Little Pony fans. Im a big fan of Gerry Andersons hours of programming throughout five days, including
40 | The Writer July 2017

CONFERENCE:
WORLDCON 76
DATES:
AUG. 16-20, 2018
COST:
$50-$190
LOCATION:
SAN JOSE MCENERY
CONVENTION CENTER,
SAN JOSE, CALIFORNIA
CONTACT:
KEVIN ROCHE, CHAIR,
INFO@WORLDCON76.ORG
WORLDCON76.ORG
presentations, panels, workshops,
signings, readings, music, and danc-
ing. Topics range from literature,
writing, TV, and films to science,
media, games, and costuming. Cant
leave your kids for five days? Bring
them! Each year, Worldcon offers
programs for children and young
adults as well.
Worldcon in San Jose will include
a series of panels and workshops on
the craft of writing. There will also be
programs on costume design and
construction, a music track that
includes opportunities to perform,
and a hard science track. Roche him-
self is an advisory engineer/scientist
in magnetoelectronics and spintron-
ics at IBM; hes been giving talks
about his day job at the conference
for more than 15 years.
Worldcon members donate our
time and energy to create this thing
together, he explains. Our program
track typically has a thousand different
panels and talks done by attendees.
Fans and pros together lend their
expertise to build this program; its an
amazing mutual creation.
Featured presenters stay at one of the convention hotels to
Past presenters include YA fantasy take advantage of the evening party
novelist Tamora Pierce, novelist and culture, which includes the Hugo
nonfiction writer Michael Swanwick, Awards for excellent in science fic-
Hugo Award-winning writer Pat Cadi- tion, various dance parties, and a
gan, and illustrator Kinuko Y. Craft. masquerade costume contest. We
In Helsinki this year, Worldcon par- joke that we have the 6-2-1 basic sur-
ticipants can learn from author and vival rule, he explains. You need
critic John-Henri Holmberg, Finnish either six hours of sleep and two
science fiction and fantasy writer meals a day, or two hours of sleep and
Johanna Sinisalo, and speculative fic- six meals a day, plus a shower. Take 10
tion writer and editor Nalo Hopkin- minutes each day to take care of your-
son, who writes about race, class, and self away from the hubbub, or youll
gender issues. burn out.
While Roche is still developing a list One more thing, he adds. Dont
of presenters for the 2018 San Jose con- be afraid of being weird.
ference, guests of honor will include
Hugo and Nebula Award-winning sci- Contributing editor Melissa Hart is a fre-
ence fiction author Spider Robinson as quent conference presenter and an editor/con-
well as Chelsea Quinn Yarbro author sultant at Creator & Collector Services. Web:
of 100 books, including a series of his- creatorcollector.com.
torical horror novels about the vampire
Count Saint-Germain.
Advice for first-timers
Worldcon, with 8,000 expected attend-
ees, can be overwhelming. Roche urges
first-time attendees to check the orga-
nizations website and social media for
programs geared toward people who
are new to the event.
Its just like the first time you go to
a foreign country, and you want to see
everything but you realize you cant,
he says. There are so many things
going on. The most important thing is
to create your own experience. If you
come to Worldcon expecting to sit
and be fed entertainment the whole
time, that wont happen. Dont be
afraid to introduce yourself and talk
and get involved. Stories. Everywhere.
You can become a part of the com-
munity by connecting with others on
Creative writing
Worldcons social media pages and by
helping to spread the world about the
classes in NYC
2018 event. Were looking for ambas- and Online.
sadors to pass around flyers and
answer questions at local events,
Roche says.
He recommends that participants GOTHAMWRITERS. COM
writermag.com The Writer | 41
 MARKETS
COMPILED BY TONI FITZGERALD

includes panel discussions, cross-media

Strength in numbers
events, and hundreds of readings, plus the
now-famous Lit Crawl through the Mission
District. Contact: Litquake. 57 Post St., Suite
604, San Francisco, CA 94104. 415-440-
Writing conferences, retreats, and festivals are some of the best 4177. info@litquake.org litquake.org
places to hone your craft and learn from some of the top names in the
field, but they also offer the unique opportunity to meet fellow writ- Mendocino Coast Writers Conference
ers. In what can often be a solitary career, its important to network Fort Bragg, Aug. 3-5. The 28th Annual Men-
and get feedback on your writing. Here are three perks you should
docino Coast Writers Conference will fea-
take advantage of at any conference:
ture the second annual Publishing Boot
Camp on Aug. 6. Faculty for the conference
1. Make a friend. Finding a like-minded, or maybe not-so-like-
will include authors Jody Gehrman, Michael
minded, writer to bring into your inner circle can be priceless. You
David Lukas, Shara McCallum, and more.
can each help each other brainstorm, get through rough writing
Michael Krasny will deliver the keynote
patches, and read new work.
address. Contact: Mendocino Coast Writers
Conference, P.O. Box 2087, Fort Bragg, CA
2. Learn a lot. Attend workshops that speak to you and as many of 95437. 707-485-4031. info@mcwc.org
them as possible. Getting advice from writers who have been in mcwc.org
your shoes and learning the methods that work for them can
make your entire conference experience worthwhile.
Monterey Writer Retreat Monterey, Nov.
1-5. Author-agent professionals offer one-
3. Write. The whole point of attending a conference is to discover
on-one sessions with writers, including line
more about your own writing style. Use the energy surrounding
editing and mentorship of short stories or
the event as inspiration, and maintain that momentum once you
novel manuscripts. Contact: Algonkian
get back home and are back to the lonely task of working solo.
Writer Conferences. 800-250-8290.
info@algonkianconferences.com
The following conferences, retreats, and festivals are a small sam-
montereywritersretreat.com
pling of what the industry has to offer. Youll find more market list-
ings at writermag.com.
Pacific Coast Childrens Writers Novel
Workshop & Retreat Santa Cruz, Sept.
Information in this section is provided to 23rd annual conference is Set in the West: 22-24. Limited attendance makes for an inti-
The Writer by the individual markets and Cultures Old and New. Contact: Women mate and focused setting in workshops, pan-
events; for more information, contact Writing the West, 8547 E. Arapahoe Rd., els, classes, and more. Enrollees read peer
those entities directly. #J-541, Greenwood Village, CO 80112. manuscripts in advance, then compare their
Subscribers to The Writer have online access to
Jan@JanCleere.com or conclusions with those of editors and agents
information on publishers, publications,
cniethammer@outlook.com in a collegial, open-clinic format. The confer-
conferences, contests and agents. Go to
writermag.com and click on Writing Resources.
womenwritingthewest.org ence also features a teen workshop. Contact:
Nancy Sondel, founding director. Email from
F = Fiction N = Nonfiction P = Poetry CALIFORNIA website. childrenswritersworkshop.com
C = Childrens Y = Young adult O = Other
La Jolla Writers Conference San Diego,
$ = Offers payment
Oct. 27-29. Learn about the art, craft, and Southern California Writers Confer-

CONFERENCES, RETREATS, business of writing with lectures and work-

FESTIVALS (JULY DECEMBER)
ARIZONA
Women Writing the West Tucson, Oct.
26-28. Explore writing and publishings new
frontiers while celebrating the pioneering
spirit of the West. Three days of inspiring,
learning, and networking while telling the
stories of the womens West. Theme for the
shops. Offers approximately 80 classes. Fac-
ulty includes authors, agents, publishers, and
publicists. Contact: La Jolla Writers Confer-
ence. Email from website.
lajollawritersconference.com
Litquake San Francisco, October (exact
date TBA). The largest independent literary
festival on the West Coast, this event
ence Los Angeles Irvine, Sept. 22-24.
Devoted to writers of all levels, the SCWC
features dozens of interactive troubleshoot-
ing and read & critique workshops, and has
facilitated some $4 million in first-time
authors book and screen deals since 1986.
Contact: Southern California Writers Con-
ference. Michael Steven Gregory, Executive
Director. msg@WritersConference.com
writersconference.com

42 | The Writer July 2017

COLORADO
Colorado Gold Conference Denver,
Sept. 8-10. Annual three-day conference
hosted by the Rocky Mountain Fiction Writ-
ers features workshops, panels, pitch session,
and networking with authors, editors, and
agents. Keynotes are Diana Gabaldon,
Sherry Thomas, and Lori Rader-Day. Con-
tact: Rocky Mountain Fiction Writers. P.O.
Box 711, Montrose, CO 81402. 303-331-
2608. Email from website. rmfw.org
Writing the Rockies Gunnison, July
19-23. Workshops, readings, panels, semi-
nars, and other events in poetry, genre fic-
tion, screenwriting, and publishing. This
years conference includes an extended col-
lection of offerings in creative nonfiction,
including keynote speaker Duane L. Van-
denbusche as well as world-renowned key-
note speakers in screenwriting, poetry,
creative nonfiction, publishing, and genre
fiction, and three-day workshops on craft in
all areas. Contact: Writing the Rockies,
Western State Colorado University, 600 N.
Adams St., Gunnison, CO 81231. Dr. Mark
Todd, Co-Coordinator. 800-876-5309, ext 7.
mtodd@western.edu
western.edu/writingtherockies
CONNECTICUT
Ridgefield Writers Conference Ridge-
field, Sept. 22-23. Conference includes
workshops in fiction, nonfiction, young
adult, poetry, and other topics, as well as
panels with editors, publishers, and agents.
Carlos Eire will deliver the keynote. The
conference will be an instructive and
immersive event with emphasis on craft.
Contact: Word for Words, LLC, 12 Abbott
Ave., Ridgefield, CT 06877. 203-894-1908.
Adele Annesi, a.annesi@sbcglobal.net.
ridgefieldwritersconference.blogspot.com
FLORIDA
Sanibel Island Writers Conference
Sanibel Island, Nov. 2-5. Open to writers in
all stages of their careers. Offers workshops
in fiction, poetry, songwriting, childrens lit-
erature, journalism, screenwriting, and cre-
ative nonfiction; panels in publishing and
editing; and readings, keynote addresses,
and concerts. The presenter lineup includes
Steve Almond, Joyce Maynard, Karen Tol-
chin, and Robert Wilder. Contact: Sanibel
Island Writers Conference, Reed Hall 242,
Florida Gulf Coast University, 10501 FGCU
Blvd. S, Fort Myers, FL 33965. Tom DeMar-
chi, Director. 239-590-7421.
tdemarch@fgcu.edu fgcu.edu/siwc
GEORGIA
AJC Decatur Book Festival Decatur,
Sept. 1-3. The largest independent book festi-
val in the United States, featuring over 1,000
authors. Taking place in the historic down-
town Decatur square, AJC Decatur offers
book signings, readings, panels, a childrens
area, music, poetry slams, workshops, and
more. Contact: AJC Decatur Book Festival.
Email from site. decaturbookfestival.com
Chattahoochee Valley Writers Confer-
ence Columbus, Sept. 15-16. Conference
featuring presentations for poetry, fiction,
nonfiction, scriptwriting, short stories, nov-
els, essays/articles, editing, marketing, and
more. This will be the 11th Annual Chatta-
hoochee Valley Writers Conference, and Rick
Bragg, Mike Venable, Andy Harp, Chad
Davidson, and Danielle Hanson will be
speaking. Contact: Chattahoochee Valley
Writers, P.O. Box 2184, Columbus, GA 31901.
chattwriter@gmail.com chattwriters.org
KENTUCKY
Kentucky Book Fair Frankfort, Nov. 11.
Will take place at the Frankfort Convention
Center and feature dozens of authors of all
genres. The informal atmosphere encour-
ages discussion and conversation among all
of those in attendance. Contact: Kentucky
Book Fair. 859-257-5932.
kyhumanities@kyhumanities.org
kyhumanities.org/kentuckybookfair.html
Kentucky Women Writers Conference
Lexington, Sept. 15-16. A womens literary
festival featuring workshops for writers, eve-
ning readings, and events that are open to
the community. Featured guests include
Camille T. Dungy. Contact: Kentucky
Women Writers. 232 E. Maxwell St., Lexing-
ton, KY 40506. 859-257-2874.
kentuckywomenwriters@gmail.com
womenwriters.as.uky.edu
LOUISIANA
Louisiana Book Festival Baton Rouge,
Oct. 28. Free and open to the public. Fea-
tures author readings and an exhibit hall of
booksellers, publishing houses, and schol-
arly programs. Contact: Louisiana Book
Festival. Robert Wilson, Assistant Director,
701 N. Fourth St., Baton Rouge, LA 70802.
225-219-9503. lbf@state.lib.la.us
louisianabookfestival.org
MAINE
Power of Words Conference Saco, Aug.
18-20. Offers workshops, performances,
talking circles, celebrations, and more, fea-
turing writers, storytellers, performers,
musicians, community leaders, activists,
educators, and health professionals. Key-
notes by Joseph Bruchac, Mahogany L.
Browne, and Susan Bennett-Armistead.
Contact: Transformative Language Arts
Network. Teri Grunthaner, Coordinator.
P.O. Box 442633, Lawrence, KS 66044.
councilchair@tlanetwork.org
tlanetwork.org/conference
Stonecoast Writers Conference Port-
land, July 10-15. Students work closely with
the distinguished faculty, composed of
award-winning writers. Workshops are
available in poetry, short fiction, novel, and
nonfiction/memoir, or a mixed genre boot
camp. Contact: Justin Tussing, Director,
Stonecoast Writers Conference, c/o Dept. of
English, University of Southern Maine, P.O.
Box 9300, Portland, ME 04104. 207-228-
8393. justin.tussing@maine.edu
usm.maine.edu/summer/stonecoast-writers-
conference
MARYLAND
Baltimore Writers Conference Towson,
November (exact date TBA). Features ses-
sions on poetry, fiction, nonfiction, playwrit-
ing, screenwriting, and the business of writing
with authors, publishers, and agents. Also
offers quick critiques. Contact: BWC c/o
English Dept., Liberal Arts Building, Towson
University, 8000 York Rd., Towson, MD
writermag.com The Writer | 43
MARKETS
21252. 410-704- 5196. PRWR@towson.edu
baltimorewritersconference.org
Summer Nightsun Writers Confer-
ence Frostburg, July 27-30. A weekend to
study with published writers and to work-
shop, design, and generate new material and
receive feedback for finished works. The
conference will feature workshops with Teri
Cross Davis (poetry), Andy Duncan (specu-
lative fiction), Alyce Miller (fiction), and
Michael O. Snyder (filmmaking). Contact:
Frostburg Center for Creative Writing,
Department of English, Frostburg State Uni-
versity, 101 Braddock Rd., Frostburg, MD
21532. 301-687-4340 cla@frostburg.edu
frostburg.edu/cla/workshops/
nightsun-writers-conference
MASSACHUSETTS
New England Crime Bake Dedham,
Nov. 10-12. Hosted by the New England
Chapters of Sisters in Crime and Mystery
Writers of America. Features manuscript
critiques, agent pitches, master classes and
plenty of opportunities to meet with other
mystery writers and fans. Guest of honor
Lisa Gardner. Contact: New England Crime
Bake. Email from website. crimebake.org
Viable Paradise Marthas Vineyard, Oct.
15-20. A one-week residential workshop in
writing and selling commercial science fic-
tion and fantasy. Features extensive time
spent with award-winning authors and pro-
fessional editors in the field, both one-on-
one and in group sessions. Contact: MVSFA,
351 Pleasant St., Suite B157, Northampton,
MA, 01060. contact@viableparadise.com
viableparadise.net
MINNESOTA
ALTA Conference Minneapolis, Oct. 5-8.
The 40th annual ALTA Conference will have
the theme REFLECTIONS/REFRAC-
TIONS, which will ponder the changes in the
environment of the practice and discipline of
translation. ALTA hopes to create a platform
to openly discuss translation as a process, and
will include sessions, readings, and keynote
speakers. Contact: American Literary Trans-
lators Association. Managing Director Brit-
44 | The Writer July 2017
tany Penzer, bpenzer@literarytranslators.org
literarytranslators.org
MISSISSIPPI
Mississippi Writers Guild Annual Con-
ference Jackson, Aug. 25-26. Speakers,
advice, critiques, fellowship, food, literary
readings, and more. Opportunity to read
work on stage, mix and mingle, and listen to
keynote speaker. Workshop with well-known
authors and professionals, and enjoy book
signings and writing critiques. Contact: Mis-
sissippi Writers Guild. G. Mark Lafrancis,
President, 9 Janice Circle, Natchez, MS 39120.
601-442-0980 gmarklafrancis@hotmail.com
mississippiwritersguild.com
MONTANA
Montana Book Festival Missoula, Sept.
20-26. Features authors with readings, pan-
els, exhibits, demonstrations, workshops,
and receptions. Contact: Montana Book Fes-
tival, c/o Missoula Cultural Council, 327 E.
Broadway, Missoula, Montana 59802. 406-
243-6022. montanabookfestival@gmail.com
montanabookfestival.org
NEVADA
Vegas Valley Book Festival Las Vegas,
Oct. 21. A celebration of the written, spo-
ken, and illustrated word. Offers a wide
range of programs built around sharing
resources, developing audiences, advancing
the craft of writing, and sharing the joys of
reading. Most events are free and open to
the public. Contact: Vegas Valley Book Fes-
tival, City of Las Vegas, Office of Cultural
Affairs/4th Floor, 495 S. Main St., Las Vegas,
NV 89101. Email from website.
vegasvalleybookfestival.org
NEW HAMPSHIRE
Live Free and Write Sunapee, Aug. 13-18.
The Lakes Region offers a five-day retreat
featuring plentiful writing time, encourag-
ing workshops, homemade meals, and
opportunities to relax. Contact: Murphy
Writing of Stockton University. Peter Mur-
phy, Founder, 30 Front St., Hammonton, NJ
08037. 609-626-3594.
info@murphywriting.com
murphywriting.com
NEW MEXICO
Green River Writers Memoir Writing
Workshop July 13-16, Las Vegas. Writing-
intensive program using memoir as a start-
ing point. For experienced and beginning
writers. Focus on the crafts of writing and
storytelling, and the evolving world of pub-
lishing. Faculty includes Gerald Hausman,
Loretta Hausman, and Alice Winston Car-
ney. Contact: Green River Workshops. Alice
Carney, Director. 916-947-0983.
carney.aw@gmail.com
greenriverwritersworkshop.com
NEW YORK
Brooklyn Book Festival Brooklyn, Sept.
17. The largest free literary event in New
York City, featuring national and interna-
tional authors. Contact: Brooklyn Book Fes-
tival, 249 Smith St., PMB #106, Brooklyn,
NY 11231. Liz Koch, 570-362-6657.
lkoch@brooklynbookfestival.org
brooklynbookfestival.org
Slice Literary Writers Conference
Brooklyn, Sept. 9-10. Panels and workshops
cover the craft and business of writing with
top editors, agents, and authors. Offers one-
on-one agent meetings and craft classes.
Contact: Slice Magazine.
editors@slicemagazine.org slicemagazine.org
Southampton Writers Conference
Southampton, July 12-23. Offers intensive
workshop sessions led by distinguished
authors as well as readings, lectures, panels,
and discussions. Offers focus in novels,
short stories, poetry, creative nonfiction,
memoir, and childrens literature intensive.
Contact: Southampton Arts, Stony Brook
Southampton, 239 Montauk Hwy., South-
ampton, NY 11968. 631-632-5030.
southamptonarts@stonybrook.edu
stonybrook.edu/southampton/mfa/summer
NORTH CAROLINA
North Carolina Writers Network Fall
Conference 2017 Wrightsville Beach, Nov.
3-5. Hundreds of writers from around the
country gather for a weekend full of activi-
ties, including banquets with readings, key-
notes, open mic sessions, and one-on-one
manuscript critiques with editors or agents.
Contact: NCWN, P.O. Box 21591, Winston-
Salem, NC 27120. 336-293-8844.
mail@ncwriters.org ncwriters.org
OREGON
Summer Fishtrap 2017 Wallowa Lake,
July 10-16. A week-long nonfiction work-
shop held at Wallowa Lake and Retreat Cen-
ter. Featured speakers include Debra Magpie
Earling, Jamie Ford, and Naomi Shihab Nye.
Keynote given by Luis Alberto Urrea. Aspir-
ing and established writers welcome to
spend a week in writing workshops, panel
discussions, and evening readings as well as
participate in leisure activities such as hik-
ing and fishing. Contact: Fishtrap, Inc., P.O.
Box 38, Enterprise, OR 97828. Page Lam-
bert. 541-426-3623. Email from website.
fishtrap.org
Willamette Writers Portland, Aug. 4-6.
This years theme: Words have value. South Dakota Center for the Book, 1215
Tracks for fiction, nonfiction, genres,
screenwriting, and young adult. Consulta-
tions with agents, editors, and film produc-
ers available. Contact: Willamette Writers,
2108 Buck St., West Linn, OR 97068.
wilwrite@willamettewriters.org
willamettewriters.com
Wordstock: Portlands Book Festival
Portland, Nov. 11. Portlands famed literary
community thrives during this one-day event
that includes author events, workshops, read-
ings, concerts, a book fair, and more. Also
enjoy a beer tent and local food trucks. Con-
tact: Literary Arts. 925 SW Washington St.,
Portland, OR 97205. 503-227-2583
la@literary-arts.org literary-arts.org
PENNSYLVANIA
Highlights Foundation Workshops
Honesdale, dates vary. Workshops geared
toward authors interested in writing and
illustrating for children. Intermediate and
advanced levels led by childrens publishing
professionals, including editors, writers, art
directors, publishers, and agents. See website
for list of workshops. Contact: Highlights
Foundation, 814 Court St., Honesdale, PA
18431. 877-288-3410.
jo.lloyd@highlightsfoundation.org
highlightsfoundation.org
HippoCamp Lancaster, Sept. 8-10. Hippo-
campus Magazines creative nonfiction writ-
ing conference features notable speakers,
including Tobias Wolff, Beverly Donofrio,
Kaylie Jones, and Laurie Jean Cannady. Also
included are attendee-led breakout sessions in
four tracks, interactive panels, readings, social
activities, and networking opportunities.
Contact: HippoCamp. Email from website.
hippocamp2017.hippocampusmagazine.com
SOUTH DAKOTA
South Dakota Festival of Books Dead-
wood & Rapid City, Sept. 21-24. Features
well-known authors participating in book
signings, presentations, panel discussions,
and readings on topics that include fiction,
nonfiction, poetry, childrens/young adult,
history/tribal, and writer support. Contact:
VERMONT
Trail Ridge Rd., Suite A, Brookings, SD
57006. 605-688-6113.
info@sdhumanities.org sdbookfestival.com
TENNESSEE
Southern Festival of Books Nashville,
Oct. 13-15. Free and open to the public. Fea-
tures readings, panels, performances, and
book signings with approximately 200
authors in a wide range of genres. Contact:
Humanities Tennessee, 807 Main St., Suite
B, Nashville, TN 37206. 615-770-0006.
info@humanitiestennessee.org
humanitiestennessee.org/programs/
southern-festival-books-celebration-
written-word
TEXAS
American Christian Fiction Writers
Annual Conference Grapevine, Sept.
21-24. Network with literary agents and
Christian publishing houses. This confer-
ence allows attendants the opportunity to
interact with other writers and present their
ideas to agents and editors.
Contact: Robin Miller, Conference Director,
ACFW, P.O. Box 101066, Palm Bay, FL
32910. cd@acfw.com
acfw.com/conference
Texas Book Festival Austin, Nov. 4-5.
Free and open to the public, with more than
250 authors and 80 exhibitors. Includes ses-
sions, book signings, and an evening lit
crawl. Contact: Texas Book Festival, 610
Brazos, Suite 200, Austin, TX 78701. 512-
477-4055. bookfest@texasbookfestival.org
texasbookfestival.org
UTAH
Page Lamberts 20th Annual River
Writing Journey for Women Moab,
Aug. 28-Sept. 2. A six-day rafting and writ-
ing retreat for women entering the cross-
roads of their lives professionally,
artistically, personally the perfect time and
place to inspire creative change. Featuring
special guest Roxanne Swentzell, a
renowned sculptor. Contact: Page Lambert.
303-842-7360. page@pagelambert.com
pagelambert.com/river2017.html
Brattleboro Literary Festival Brattle-
boro, Oct. 12-15. A four-day celebration
including readings, panel discussions, and
special events with emerging and estab-
lished authors. All events are free and open
to the public. Also offers workshops for a
fee. Contact: Brattleboro Literary Festival,
P.O. Box 1116, Brattleboro, VT, 05302. 802-
365-7673. vtbookfest@gmail.com
brattleboroliteraryfestival.org
Bread Loaf Writers Conference Ripton,
Aug. 16-26. Over 200 writers attend annu-
ally, convening at the Bread Loaf Campus of
Middlebury College. Ten participants in
each of 20 workshops will learn skills in fic-
tion, poetry, and nonfiction. Magazine edi-
tors, publicists, grant specialists, and other
professionals will also be in attendance to
offer their feedback and expertise. Contact:
Bread Loaf Writers Conference, 204 College
St., Middlebury College, Middlebury, VT
05753. 802-443-5286 blwc@middlebury.edu
middlebury.edu/bread-loaf-conferences/
bl_writers
VIRGINIA
Fall for the Book Fairfax, Oct. 11-14. Cel-
ebrate literature at this week-long literary
writermag.com The Writer | 45
MARKETS
festival held at George Mason University and
other locations in Northern Virginia, Wash-
ington, D.C., and Maryland. All events are
free and open to the public. Contact: Fall for
the Book. Kara Oakleaf, Festival Manager.
703-993-3986. kara@fallforthebook.org
fallforthebook.org
Hampton Roads Writers 8th Annual
Writers Conference Virginia Beach,
Sept. 14-16. Oneevening and twofull days
of workshops,bestselling keynote speakers,
first 10 lines critique sessions, 60 workshops,
and agent pitches. Writing contests, social
events, and open mic sessions. Contact:
Hampton Roads Writers. 757-639-6146.
HRWriters@cox.net
hamptonroadswriters.org/2017conference.php
2017 James River Writers Conference
Richmond, Oct. 13-15. Offers meetings with
agents, lectures, panel discussions, first-page
critiques, a pitchapalooza, and more. Con-
tact: James River Writers, 2319 E. Broad St.,
Richmond, VA 23223. 804-433-3790. Email
from website. jamesriverwriters.org
WASHINGTON
LiTFUSE Tieton, Sept. 22-24. A week-long
poets workshop that combines writing, explo-
ration, improvisation, meditation, camarade-
rie, natural beauty, and readings to ignite your
muse. Offers master classes and breakout ses-
sions. Will feature poet Paisley Rekdal. Open
to poets of all ages and styles. Contact: LiT-
FUSE. Email from website. litfuse.us
Poets on the Coast La Conner, Sept.
8-10. A weekend writing retreat for women
with Kelli Russell Agodon and Susan Rich.
Designed for writers of all levels with ses-
sions on creativity, generating work, publi-
cation, a master class workshop, one-on-one
mentoring, and morning yoga. Contact:
Poets on the Coast, Kelli Agodon and Susan
Rich, P.O. Box 1524, Kingston, WA 98346.
poetsonthecoast@gmail.com
poetsonthecoast.weebly.com
Write on the Sound Writers Confer-
ence Edmonds, Oct. 6-8. With more than
30 workshops taught by noted authors, edu-
46 | The Writer July 2017
cators, and trade professionals, attendees
can build their best experience at this writ-
ing retreat now in its 32nd year. Choose
from a variety of topics, including fiction,
nonfiction, poetry, social networking, and
creativity. Contact: Write on the Sound
Writers Conference, Frances Anderson
Center, 700 Main St., Edmonds, WA 98020.
425-771-0228. wots@edmondswa.gov
writeonthesound.com
PNWA 2017 Conference Seattle, July
20-23. The conference features seminars,
forums, and appointments with agents and
editors. Participants can practice pitching.
Also features keynote speaker Natalie Baszile.
Contact: PNWA, PMB 2717 - 1420 NW Gil-
man Blvd., Suite 2, Issaquah, WA 98027. 425-
673-2665. pnwa@pnwa.org pnwa.org
WASHINGTON, D.C.
Library of Congress National Book
Festival Washington, D.C., Sept. 24. Free
and open to the public. The 17th Anniversary
of the National Book Festival will feature
authors, poets, and illustrators in several
pavilions. Featured authors include Kwame
Alexander, Michael Lewis, Kate DiCamillo,
and Diana Gabaldon. Contact: National
Book Festival, Library of Congress, 101
Independence Ave. S.E., Washington, D.C.
20540. 202-707-2905. bookfest@loc.gov
loc.gov/bookfest
WISCONSIN
Wisconsin Book Festival Madison, Nov.
2-5. Features local literary talents alongside
national voices, with events incorporating
literature, film, art, and performance. Con-
tact: Madison Public Library, 201 W. Mifflin
St., Madison, WI 53703.
wisconsinbookfestival.org
Writers Police Academy Green Bay,
Aug. 10-13. Offers a hands-on, interactive,
and educational experience for writers who
want to enhance their understanding of law
enforcement and forensics. Contact: Writ-
ers Police Academy, PMB 234, 5055 Busi-
ness Center Dr., Suite 108, Fairfield,
California 94534. Email from website.
writerspoliceacademy.com
INTERNATIONAL
Get Away to Write Catalonia, Spain, July
11-18. A week-long summer session for
writers and poets across all genres. Includes
workshops, ample writing time, panoramic
cliff-top views, and excursions to Barcelona
and the ancient town of Vic. Scholarships
and early-registration discount available.
Contact: Murphy Writing of Stockton Uni-
versity. 609-626-3594.
info@murphywriting.com
murphywriting.com/spain
International Festival of Authors
Toronto, Canada, Oct. 19-29. The 38th edi-
tion of the International Festival of Authors
will bring together the worlds best writers of
contemporary literature for 11 days of read-
ings, interviews, lectures, round-table dis-
cussions, public book signings, and a
number of special events. Contact: Interna-
tional Festival of Authors, Harbourfront
Centre, 235 Queens Quay West, Toronto,
Ontario, Canada M5J 2G8. 416-973-4760.
info@ifoa.org ifoa.org/festival
The Vancouver Writers Fest Granville
Island, Vancouver, British Columbia, Can-
ada, Oct. 16-22. The 30th Vancouver Writ-
ers Festival will be a seven-day event in the
heart of Vancouver, offering a forum for
authors to connect with readers in a vibrant
exchange of ideas and conversation. Cele-
brates authors, poets, spoken word perform-
ers, and graphic novelists. A helpful event
for teachers as well. Contact: Vancouver
Writers Fest, 202-1398 Cartwright St., Van-
couver BC, V6H 3R8. 604-681-6330
info@writersfest.bc.ca writersfest.bc.ca
The Writers Summer School Swan-
wick, Alfreton, Derbyshire, England, Aug.
12-18. Also referred to as Swanwick, this is
a week-long program for writers of all ages,
abilities, and genres featuring courses, work-
shops, panels, and one-to-one sessions. Cost
includes full board and evening entertain-
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writermag.com The Writer | 47

HOW I WRITE
BY ALLISON FUTTERMAN
Robin Stratton
A
passionate sup-
porter of the writ-
ing community,
Robin Stratton has
been instrumental in helping
fellow wordsmiths get their
work out there. To that end, she
founded both a literary journal,
Boston Literary Magazine, and a
small press, Big Table Publish-
ing. As a writing coach for 25
years, Robin Stratton is espe-
cially well-known in the Boston
literary scene, though shes
worked with clients from all
over the country. In 2015, she
started the Newton Writing and
Publishing Center, where she promotes
her Big Table Publishing authors as
well as other local and national writers.
In addition to her work in the literary
community, Stratton is also a well-
respected writer, having published sev-
eral novels and books of poetry.
Novels vs. poetry
I never wrote or read poetry until just
before I started my magazine; it sim-
ply wasnt a genre that interested me,
because I have always been a novelist.
But once I tinkered with my first
poem and was happy with it, I was
hooked. Even though I dont consider
myself a poet, I do find that some-
times an event or news article or con-
versation will trigger a poem, and I
cant wait to sit down and write it.
Writing a novel can take years in my
case, sometimes 20 years. But a poem
can be done and tweaked and per-
fected in an hour or two.
Advice
I was a novelist struggling to get pub-
lished long before I was a coach, and I
48 | The Writer July 2017
remember writing queries to publish-
ers saying that my book was pretty
much done. One of the first things I
noticed when I started taking on cli-
ents was how many of them would use
that same phrase! So No. 1 tip: Dont
submit until its DONE. Pretty much
done is never going to be good
enough. I also tell my clients to read
everything out loud, workshoptheir
writing in a group, and researchmar-
kets carefully.
As a publisher, I can tell you that
nothing is more annoying than get-
ting a query from someone who has
obviously not even been to our web-
site. Only submit what a publisher
requests no more and no less. And
be ready to submit the whole manu-
script if they ask for it. I cant tell you
how many people have submitted a
decent proposal and, when I ask to
see the rest of it, they admit that its
not done yet or that they want to go
over it one more time.
Writing center inspiration
Writers are inspired when they are in
the company of other writ-
ers;the energy and enthusi-
asm makes them want to go
home and write. Thats an
important part of the center. I
have often been called a liter-
ary cheerleader, which I love.
Of course, seeking (and
receiving with an open mind)
feedback on your writing is
the best thing you can do, but
just as important is offering
feedback [for others]; often we
dont see the weaknesses in
our writing until we see it in
someone elses.
Writing routine
The sad truthabout running a small
press and a literary magazine is that you
dont exactly get rich doing it,despite
the hundreds of hours each month. Its
vital to have lots of projects going all the
time, and thatcuts back way back
on my own writing time. Sometimes Ill
head into the dining room at4in the
afternoon and write for an hour, then
write while I eat, and then write for an
hour or so afterwards then go back to
my other work.
What she looks for in others work
We love narratives with a strong sense
of character and are not as interested
in descriptive writing. We love feeling
as if we are getting to know someone;
what drives them to behave in a certain
way. We love human dynamics and
peering in on people interacting,
whether its lovers, best friends, or par-
ents and children. We love being sur-
prised by an ending.
Donald C. Johanson
Allison Futterman is a freelance writer based
in Charlotte, North Carolina.
Write in Chicago
Part-time MA and MFA in creative writing at Northwestern.
MA/MFA in Creative Writing
The part-time graduate program in creative writing provides students the opportunity RECENT AND CONTINUING
to grow as artists within the specializations of ction, poetry and creative nonction. FACULTY INCLUDE:
The small-group workshop format allows for individual attention from published,
Chris Abani
award-winning faculty. Flexible scheduling gives students the opportunity to balance
their professional, personal and writing lives. While earning their degrees, students Eula Biss
connect with other writers at readings and other events in an artistic community that
Steve Bogira
extends beyond the University into Chicagos vibrant literary scene. This program is
also the home of literary journal TriQuarterly. Stuart Dybek

Work closely with faculty through workshops and individual mentoring. Reginald Gibbons

Juan Martinez
Take advantage of the best features of residential and low-residency programs.
Roger Reeves
Choose from specializations in ction, creative nonction and poetry.
Christine Sneed
Rene your writing skills in convenient evening courses in Chicago and Evanston.
Megan Stielstra

Find out more.

Applications are accepted quarterly.
sps.northwestern.edu/cw 312-503-2579
At last! W L R Q 
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