One Publisher’s Journey

Guest Post by Benjamin LeRoy

I’ve been a steady lurker on the Absolute Write forums since 2005. Every now and again I jump into a thread if I feel like there’s something I can contribute. Most of the time, though my impulse is to get involved when a new publishing company gets called to the carpet, I resist the urge. Because even though as a community we have a sense of wanting to correct people who are either intentionally deceitful or willfully ignorant, we know how they tend to respond, and we know it isn’t worth the effort.

Having started two independent publishing companies since 2000 (first Bleak House Books, then Tyrus Books in 2009), I’d like to think I’ve gained some perspective on what it means to run a small press in an ever changing publishing landscape. I also know that many of those lessons had to come through trial and error and that I couldn’t have understood where I was going wrong until I got there.

What’s the old saying? “It’s not what you don’t know that will kill you, it’s what you don’t know you don’t know.”

That. Or something like it.

One caveat that is frequently issued during the discussion of new publishers is, “Wait a year or two and see if they’re still around.”

Because anybody can get an idea to start a publishing company on Monday and hang a shingle on Tuesday, it’s important to understand that there are a lot of unqualified people claiming to be something they aren’t—at least aren’t in the way that an author needs them to be.

Many times when these new publishers are asked what they bring to the table, they make a half-hearted and ill-informed pronouncement that “New York publishing is broken. Big Six publishers don’t take chances on unknown authors. That’s why I started an independent publishing house!” A string of gibberish buzzwords usually follow. “We care about our authors,” etc.

There’s an effort to establish a war between the Big Six and Independent Publishers. (For clarity’s sake, I’m using “independent publisher” in its longer understood definition, and not as a synonym for an “indie author.”)

The problem with Fly By Night Publishing jumping into the fray of an imaginary war between the Big Six and Independent Publishers is that it, on some level, bunches all Independent Publishers together in some monolithic block. That there is some unifying agent among them. That the independent publisher that’s been around for decades is on near equal footing as the guy who started his company with no experience this morning.

Nothing could be further from the truth.

Getting into publishing requires very little. There are no tests to take. You can file incorporation papers for less than $100, put up a website for even less. Creating a viable publishing program that gets respect from the industry and the attention of readers is another matter entirely.

This is the story of how I got to where I am (and I am still a relative unknown in the greater scheme of the publishing world). It shows that for all of the nice talk about “dreams,” there has to be a lot of hard work, sacrifice, and luck to make dreams come true.

And when they do come true—it’s kinda awesome.

Benjamin LeRoy, Publisher
Tyrus Books
You can follow Tyrus Books on Twitter!

 

link: http://heydeadguy.typepad.com/heydeadguy/2013/03/the-persistence-of-roots-and-vines-1.html

What’s Your Novel About?

By Marilyn Henderson

You have finished your novel and are attending a writers’ conference hoping to get an agent or editor to read your manuscript. You work your way through the crowd with your gaze focused at name-tag level. Suddenly you spot a gold-bordered tag reserved for editors. Heart pounding, you approach and introduce yourself and say you have just finished your novel.

The editor smiles and replies, “What’s your novel about?”

Suddenly the moment of truth is at hand. This woman knows why you’re here. The conference brochure described the reception as the place where writers could meet editors and agents.

Now’s your chance to convince this editor to ask you to send her your manuscript. So how do you answer her question?

Just as she had her question ready, you need to have your answer prepared. If you’re a savvy writer, you began working on your plot statement as soon as you signed up for the conference.

What’s a plot statement?

A plot statement is the hook you need to make your storyline sound like a winner so the editor asks to read the manuscript.

Just as she got right to the point in talking with you, she expects you to get right to the point by telling her what your novel is about. She doesn’t want a long rambling dissertation about the characters, background or details of who does what in the plot. She wants you to capture her interest by making the book sound too exciting to pass up.

Any book she recommends the publisher buy must be one she can convince others in the publishing house will sell. Publishers are in business to make money, and she hopes to find a winner among the writers at this conference.

Like a query letter, your plot statement is a selling tool. It’s time to forget all those great enthusiastic descriptions of your story you envision on the cover of your published novel.

Cover copy is written to entice the reader to buy the book. It tells exciting details of the story to entice the reader to want to read more. A plot statement is written to excite the editor enough to think the story will sell.

The editor at that conference wants to know if the book will sell and make money for the publishing company.

How do you tell what the story is about without telling the story?

Don’t think about the story, think about the original idea that developed into your plot. What about that idea made you decide it could become a novel? What excited you enough to spend months working on it?

The initial spark usually stirs your curiosity or an emotional reaction. You may want to know who, what, when, where or how such a thing might happen. You may wonder what would happen if one of the people involved took a different turn or made a different decision. The idea may have infuriated you, driven you to tears or scared you enough to check the locks on your doors and windows. In other words, it stirred an emotional reaction. Now your plot statement must do that to the editor.

The How-to’s of Plot Statements

A plot statement conveys the main storyline in a way that impacts the editor emotionally so she wants to read the manuscript. You write it after your novel is finished because you don’t know everything that happens until then. You need to look at the story as a whole in order to recognize the most important and emotionally charged highlights of the storyline.

Six Do’s and Don’ts for Writing a Plot Statement

  • Write it in only one sentence
  • Write in the present tense
  • Write in the active voice
  • Don’t give details of the plot
  • Don’t use characters’ names
  • Choose words that evoke an emotional response

The rules are easy, but don’t make the mistake of thinking you can toss off the plot statement for your novel in a few minutes. I have challenged numerous writers to do a plot statement, and none have succeeded quickly. Most needed a considerable amount of time and help. One writer sent an excellent one, along with the admission it had taken him three weeks and fifteen tries.

Once you do one well, it’s easier to repeat your success

One picture is worth a thousand words. The old adage holds true for plot statements. Paint a word picture that makes your listener form his own mental images that cause him to feel angry or sad or nervous.

Examples of this appear every day in our daily newspapers. Can you read an account of a nursing home fire in which four patients died without feeling sad or angry at the people or circumstances that led to the fire? Can you read a story about a child being abducted without heart-felt gratitude that your little boy is safe and sound asleep in his bed?

Our emotional responses to other people’s troubles develop out of our fears and concerns for our own and our family’s safety and well being.

This is true for editors just as it is for you and me. Editors react to the emotional appeal of plot statements.

How Emotion in a Plot Statement Works

Let’s look at a plot statement that worked and why it did. The example is a plot statement for a woman-in-jeopardy suspense novel:

“A recently widowed young mother brings her sick three-year-old home from nursery school during a devastating Southern California storm and discovers they are not alone in the house.”

I had chosen woman-in-jeopardy as the subgenre for the novel because it is one of the biggest sellers in the mystery and suspense field. Most readers and editors of these books are women. For those reasons, I aimed my plot statement at emotions women can relate to and understand.

A recently widowed young mother is a sympathetic, vulnerable heroine. Even if the editor hasn’t experienced those problems personally, she can’t help but feel sadness at this woman’s plight.

Then I add a sick child, something every parent and non-parent can relate to and worry about.

With the main character hitting these two emotional buttons, I add a setting that hits another one: “a devastating Southern California storm.” Newspapers and television have brought the horror of flooded homes and collapsing hillsides in California into living rooms across the nation. We shudder at the thought of the unpredictable destruction and losses or give earnest thanks that we don’t live in an area where they occur.

And finally I hint at the menace to come: she discovers they are not alone in the house. An unknown person invading her home plays on the fears of every woman.

Every story element included in the plot statement is an emotional trigger. Together, they create a dark mood of danger and suspense. And more important, they make the editor curious about how the story will evolve and work out.

I admit I didn’t come up with the plot statement on the first try. I didn’t count how many bad starts I had or how many refinements I made once I had a passable draft, but it took me several days to reach this one. The early ones suffered from my trying to tell too much, especially about the intruder. Eventually I realized that the less I told about him, the more sinister he became, and the more “fear” he roused.

The descriptive words in the statement also were chosen for the effect they helped produce. A “recently widowed young mother” has a “sick” child. The storm is “devastating.” These add to the dark mood that enhances a suspense novel.

This statement tells the basic storyline without any details of the action or characters. At the same time, it pushes three emotional buttons for the editor:

  • Compassion (widowed mother and sick child)
  • Worry (the storm)
  • Terror (the intruder in house)

The editor knows these emotional triggers sell books, so she may be willing to read the manuscript to see if the story delivers on its promise. The plot statement did what it was supposed to do.

If you have finished your novel, start working on your plot statement now so you’ll be ready when that editor or agent you meet says, “What’s your novel about?”

The Seven Deadly Sins of Freelance Writing

Guest Post by Francesca StaAna

Wondering why your articles aren’t getting a lot of views or clicks? Stressing about the fact that you’re not getting enough repeat clients?  You might be committing these deadly freelance writing mistakes:

Silence (Not following up) – Contrary to what some might think, just because a prospect doesn’t immediately respond to your first call or email, it doesn’t necessarily mean that they’re not interested. Yes, most of them probably don’t need your services, but there ARE some potential clients who are simply too busy to respond. This is especially true when it comes to sending emails. People are bombarded with emails on a daily basis, so you can’t really blame them if they overlook yours.

Always follow up. Don’t let fear, pride, or laziness stop you from doing it. Whether you’re cold-emailing a potential customer or reaching out to blogs to see if they’re willing to publish your guest post, make it a point to reach out in about a  week or so after you’ve first made contact to see if they’re interested.

Ignorance (Not reading enough) – Reading should be a necessity for writers. Doing so on a regular basis allows you to appreciate the beauty of the written word, gives you inspiration, and more importantly, makes you a better writer. It opens you up to different styles of writing and helps you develop your own.

On a more pragmatic level, reading can give you new material to write about. Can’t think of anything new to jot down on your blog? Pick up a recent issue of an industry magazine and see what’s happening in the world. Check out the latest posts on your favorite websites and get different points of view on issues. I guarantee you’ll find something to write about.

Carelessness (Failing to catch typographical and grammatical errors) – Committing typos is unavoidable. Publishing them on the other hand, is a different story.

Typographical and grammatical errors are embarrassing at best, and misleading at worst. One misplaced letter or punctuation mark can shift the meaning of a statement, so make sure that you thoroughly proofread your writing especially when it’s supposed to go out to the public.

Have a second set of eyes read through your work before sending it in. If you’re on your own, step out of the room for a few minutes or do something else for a while then go back and re-read what you’ve written. Personally, I’ve found that changing the font and color of the text, as well as reading aloud makes proofreading so much easier.

Self-Absorption (Focusing on yourself rather than the audience) – Whether you’re pitching to clients or writing a blog post, always remember one thing: It’s about THEM, not you. Think about it. When you’re out on a date, wouldn’t you be turned off by someone who only talks about himself or herself without bothering to ask you about your life?

Similarly, one of the quickest ways to get readers to lose interest is by failing to answer the question, “What’s in it for me?” (Trust me, they’re all asking that question.)

Unoriginality (Failing to use your own unique voice) One of the biggest mistakes that you can make as a writer (and as a person in general) is trying to be someone you’re not. While it’s perfectly acceptable to admire and be inspired by other people’s writing styles, it’s another thing to try and copy them. Instead, study the writing styles of others to develop your own unique flavor. You’ll be a much better writer and have more fun while you’re at it.

Also avoid using words or phrases that are not “you” in an effort to sound smart and important. In most cases, writing isn’t about sounding intelligent. It’s about getting your message across in the most effective way possible.

Close Mindedness (Refusing to try other things) – So you’re set in your ways. I get it. I can be the same way too. However, not going out there to try new things can seriously hinder your growth.

For instance, I know some writers who were reluctant to market using Pinterest because it was too “image based” and they assumed that it wouldn’t be an effective medium to promote their work. I paid no attention to those claims and tried it anyway. I used tools such as  PicMonkey and   Share As Image to make my words “pinnable”, and guess what? The Pinterest community took notice. My site got more clicks and I even got a few client calls because of it.

The takeaway? Don’t automatically turn your back on ideas or tools just because you’re not familiar with them. Keep an open mind at all times and try new things—even if you’re not used to them. After all, you never know how effective (or ineffective) something is until you try it out for yourself.

Social Aversion (Refusing to network or collaborate with others) Don’t treat all your fellow writers as the competition. Instead, see them as teachers, peers, or even friends. Similar to being closed minded, not opening up your professional circle can stop you from growing and learning new things.

You can pick up a lot of new ideas and connections by attending conferences and networking mixers, so try to be present at these events whenever you can. If you’re more of an introvert, start by networking online. Comment on blogs and connect with people via social media

Your Turn

Are you guilty of any of these sins? Share your thoughts and stories in the comments below.

______________________________________

Francesca is the founder of Credible Copywriting and specializes in writing blog posts, web content and press releases for startups, Internet companies, and mobile app developers. She’s currently developing Copywriting 2.0, an online course that teaches aspiring copywriters the ins and outs of the biz. Sign up here and get notified when the course launches.

FOGcon!

Guest Post by Lynn Alden Kendall

Writing speculative fiction—fantasy, alternate history, and science fiction—entails imagining a world as well as a story. Perhaps that’s why SF/F writers and readers attend conventions like FOGcon: to immerse themselves in the world of speculative fiction.

FOGcon is a book-oriented SF/F convention held every March at the Walnut Creek Marriott near San Francisco. Organized and run by writers and fans of SF/F, FOGcon is an intimate, not-for-profit event that offers members a weekend of readings, panel discussions, writers’ workshops, and opportunities to mingle. Each year we choose a different theme and invite guests whose writing exemplifies the best work on that topic.

This year’s convention runs from March 8 – 10, and the theme is Law, Order, and Crime. The Honored Guests are Terry Bisson, Susan R. Matthews, and the late Anthony Boucher. (That’s right; in addition to honoring living writers, we always have an Honored Ghost.) The con is always held the weekend of the second Sunday in March—time-change weekend.

FOGcon, now in its third year, has already earned a reputation as a fascinating event where creative people gather. Last year, acclaimed author Nalo Hopkinson led a workshop where people uncovered their cultural secrets by playing games. We have hosted writing exercises with an instructor, meetups for people of color and for people on social media, and an annual participatory group world-building exercise. There is also a dealers room where you can buy books, jewelry, art prints—even get a massage.

The San Francisco Bay Area has been a mecca for writers since the days of Mark Twain, and FOGcon draws on the rich local culture of SF/F writers. As a community-led, book-focused convention, FOGcon resembles a salon where you can meet and mingle with other writers at every level of achievement from beginner to Nebula winner. You can discuss craft with professionals and learn from fans what works for them and what doesn’t. If you’re a new writer, FOGcon is an ideal place for your first dip into the speculative fiction pool.

Come to FOGcon if you want to:

  • Spend a weekend with knowledgeable readers and award-winning SF/F writers, engaging in passionate conversation about the books and ideas you love.
  • Take part in lively, informative panel discussions on the topics that interest you most, from fresh ideas about future societies to practical advice on the craft of writing and editing.
  • Stretch your authorial muscles by participating in world-building exercises and a 75-minute writing workout.
  • Learn from experts about copyright issues, effective ways to plan your writing, how to build suspense, and creating sympathetic protagonists on the wrong side of the law.
  • Listen to readings of new work by top writers in the field.

And those are just the official events—FOGcon offers plenty of informal fun as well, from spontaneous discussions (and plenty of free food) in the hospitality suite to karaoke, a game room, and meetups for people with special interests. Membership costs are less than a hundred dollars for the weekend, very low compared to commercial conventions. Moreover, our hotel offers free parking, a swimming pool, a good restaurant, a newly upgraded fitness center, and a free shuttle to downtown Walnut Creek, all for a superb convention rate.

Walnut Creek, east of San Francisco, is a charming small city distinguished by its superb restaurants (from cafes to sushi to four-star dining), excellent shopping, and a convenient location. If you’re interested in exploring wild California, Mount Diablo is just a few minutes away by car. A convenient commuter train just 10 minutes’ walk from the hotel can take you into San Francisco, one of the world’s most beautiful cities and an international center for food, arts, and culture.

Getting to the con is easy. You can drive to Walnut Creek—the hotel offers free parking—or fly into SFO or Oakland and take the BART train to Walnut Creek. (Yes, the hotel has a free shuttle from the Walnut Creek BART station.) Fly in on Thursday night and be part of the fun from the beginning.

Lynn Alden Kendall
http://www.lynnkendall.com

The greatest thing in the world is the Alphabet
as all knowledge is contained therein
except the wisdom of putting it together
from an old German bookplate

A Month of Letters


Hugo Award-winning author and professional puppeteer Mary Robinette Kowal started a delightful challenge, during a month-long hiatus from the Internet in 2010, to correspond with her via letter. That has grown to become A Month of Letters, which runs for the whole of February. During the next month, I and the other 6,000 people who’ve signed up to participate will be writing letters, post cards, and doing other creative things and dropping them into the mail.

I love to write longhand — the feel of the paper beneath my fingers, the consideration that goes into inscribing each character — and this gives me a wonderful reason to do so. That’s where you come in. I’m looking for more people to write to — the more the merrier. If you would like to receive a genuine, hand-written letter from yours truly, send me your address. Email me, message me on Twitter or Facebook, or use my contact form.

This is an opportunity to rekindle friendships and make new ones, without the limitations of Twitter or the haste of email. Let’s write!

________________

Adam Israel is a talented writer and a longtime member of AW. He blogs at http://www.adamisrael.com, and you can find him on Facebook and Twitter.

If you’re too shy to write a letter to Adam, but you want to write a letter to someone who really needs one? Maybe you could write a Letter to Noah. — Mac

Submitomancy!

ETA: Submitomancy fell short of the funding goal, unfortunately, so isn’t going to happen. (Thank you, Zac, for your suggestion that we add a note about the project’s status.)

Guest Post by Sylvia Spruck Wrigley

I first experienced the magical power of recent responses on Absolute Write. I had just started sending out my first novel (now wrapped in lavender-scented tissue paper and trunked) and I discovered the treasure trove of agent information here on the forums. It was like I’d gained entry into a secret club. Suddenly I knew that this agent was a quick responder and that one often gave personal responses and how long the previous person had been waiting for a response. I got great insight on what specific agents were looking for and the type of novels that were getting full requests. And most importantly, I didn’t feel so alone.

When I shifted to short stories, I looked for similar resources. I discovered tracking short stories was a bit more complicated than novel submissions. I ended up with a combination solution: I had a spreadsheet, a website and a piece of software called Sonar3 in order to try to track all of the information that was important to me. When the admins of that website changed their system, I suddenly realised, you know what? I can do better than this.

I started a list of everything I wanted: manuscript data, submission history, market listings, recent responses, contract and payment information for every sale, exclusivity clauses, reprint options… it was a long list. And before I knew it, I was writing a detailed design specification for my perfect system: Submitomancy.

The project needed two things: development funds and a critical mass of users. And yet, I wanted to keep it free. It was an easy decision to start with the crowd-funding model, which would defray development costs and also gain a commitment from a starter group who wanted the service.

If the campaign succeeds, then the core development is out of the way before we start. The free services will encourage users to enter their data in return for a basic tracking service. This will include a basic search of the market listings, submission tracking and average response times per market.

But if you subscribe, you get access to the fun stuff! Lots of reports and data, of course: expanded manuscript tracking, power search, recent responses, market alerts and personalised notifications. But you also get access to social options like profile pages, status updates and badges! Badges might not seem an obvious feature for a submission tracker, I know.  But having been a part of such a powerful community, I wanted to make it easy to share the our successes and struggles with each other.

If there’s enough interest in Submitomancy then I’ll be refining the details with the Early Access subscribers. But the reports and the support can only be as good as the people who take part. That’s why I’m exploring this with you as a no-risk project right now. If you think you’d enjoy being a part of Submitomancy, then please support the campaign and tell your friends.

http://www.indiegogo.com/submitomancy/

Thrillerfest 2013!

Dive Into The World of Thrillers at THRILLERFEST

Guest Post, by Alma Katsu 

If you write commercial fiction and are looking for a great writing conference, I recommend you check out the International Thriller Writers (ITW) annual event, ThrillerFest. It’s a four-day extravaganza held every year in early July in New York City, close to the publishing industry to ensure participation by editors and agents as well as lots of published authors. If you’re looking for a way to become part of the mystery and thriller genre, you might find that this is the conference you’ve been waiting for.

There are two things that most writers want when they’re at the pre-publication stage: advice on how to make their stories better, and opportunities to meet the editors and literary agents who will make their dreams come true. Craftfest and Agentfest, part of Thrillerfest, are designed to fill those needs.

At Craftfest, you’ll attend sessions on the craft of writing commercial fiction, taught by bestselling authors and some of the top editors in the field. There aren’t many conferences where you’ll learn about dramatic structure or characterization from Lee Child, John Sandford, Steve Berry, or acclaimed agent Donald Maass. While the line-up of presenters changes from year to year  at Craftfest, you’ll find that every instructor at is of the same high caliber.

There are typically over 50 agents at Agentfest to take your pitches. You can see some of the agents who’ve attended in the past here: if you’re looking to pitch to the top agents representing mystery, thriller and suspense, this is where you’ll find them all in one place. And if you’ve never pitched before, don’t worry, there’s a workshop beforehand to teach you the ropes.

At Thrillerfest, you’ll get two days of multiple tracks of panels and spotlight interviews with the biggest names in the field, all designed to teach you about the business of writing commercial fiction. You’ll find panels with some of the most respected editors from the Big Six Publishers: Neil Nyren, senior vice-president and publisher of Putnam, and Mark Tavani, senior editor at Ballantine Books, have been speakers in past years. There are also workshops on related subjects—everything from martial arts to the espionage business—taught by experts.

One of the best things about Thrillerfest is that you get the opportunity to network with authors of all levels of experience—from long-time bestsellers to novices. At my first Thrillerfest, imagine my surprise when I was joined at breakfast by Erica Spindler and Heather Graham! That’s one of the most amazing things about Thrillerfest: everyone is approachable and open.

And while the opportunity to meet big name authors in your genre is a pretty compelling reason to attend, an even better one is that at Thrillerfest you have the chance to meet writers just like you who will likely go on to be your ally in the industry throughout your career—and I can attest to that myself. I met legal thriller writer Allison Leotta when we sat next to each other on stage for the 2011 Debut Author class and today we’re best buds, calling each other for advice and appearing at events together.

As a matter of fact, that’s why I volunteered to write this guest post for ITW: I’ve gotten a lot from Thrillerfest over the years and I wanted to give something back by spreading the word. If you’ve been looking for a writer’s conference that will open doors for you, you might want to read about a few of Thrillerfest’s success stories:

  • Boyd Morrison, author of THE ROSWELL CONSPIRACY, THE CATALYST, ROGUE WAVE and THE VAULT (Pocket Books)

Are you ready to find out more? Click on the links above to go to the Thrillerfest website; you’ll find everything you need. And if you come to Thrillerfest in July, make sure to look for me and say hello!

Alma Katsu is the author of THE TAKER and THE RECKONING, paranormal thrillers published by Gallery Books/Simon & Schuster. THE TAKER was an ALA Top Ten Debut Novel of 2011 and has rights that have been sold in 15 languages. 

Looking for a 2013 Writing Workshop?

I just got this press release, so I thought I’d pass it along to all of you.

ODYSSEY WRITING WORKSHOP ANNOUNCES ITS 18th SUMMER SESSION

About Odyssey
Since its founding in 1996, Odyssey has become one of the most respected workshops in the fantasy, science fiction, and horror writing community. Odyssey is for developing writers whose work is approaching publication quality and for published writers who want to improve their work. The six-week workshop combines advanced lectures, exercises, extensive writing, and in-depth feedback on student manuscripts. Top authors, editors, and agents have served as guest lecturers, including George R. R. Martin, Harlan Ellison, Jane Yolen, Terry Brooks, Robert J. Sawyer, Ben Bova, Nancy Kress, Elizabeth Hand, Jeff VanderMeer, Donald Maass, Sheila Williams, Shawna McCarthy, Carrie Vaughn, and Dan Simmons. Fifty-eight percent of Odyssey graduates go on to professional publication.

The program is held every summer on Saint Anselm College‘s beautiful campus in Manchester, NH. Saint Anselm is one of the finest liberal arts colleges in the country, dedicated to excellence in education, and its campus provides a peaceful setting and state-of-the-art facilities for Odyssey students. College credit is available upon request.

Jeanne Cavelos, Odyssey’s director and primary instructor, is a best-selling author and a former senior editor at Bantam Doubleday Dell Publishing, where she won the World Fantasy Award for her work. As an editor, Cavelos gained a reputation for discovering and nurturing new writers. She provides students with detailed, concrete, constructive critiques of their work. Cavelos said, “I’ve worked with many different writers, and I know that each writer thinks and works differently. We limit attendance at Odyssey to sixteen, so I can become deeply familiar with the work of each student and provide assessments of strengths and weaknesses. I work individually with each student, helping each to find the best writing process for him, suggesting specific tools to target weaknesses, and charting progress over the six weeks.” Her critiques average over 1,200 words, and her handwritten line edits on manuscripts are extensive.

Odyssey class time is split between workshopping sessions and lectures. An advanced, comprehensive curriculum covers the elements of fiction writing in depth. While feedback reveals the weaknesses in students’ manuscripts, lectures teach the tools and techniques necessary to strengthen them.

The workshop runs from June 10 to July 19, 2013. Class meets for four hours in the morning, five days a week. Students spend about eight hours more per day writing and critiquing each other’s work. Prospective students, aged eighteen and up, apply from all over the world. The early action application deadline is JANUARY 31, and the regular admission deadline is APRIL 8. Tuition is $1,920, and housing is $790 for a double room in a campus apartment and $1,580 for a single room.

This year, Odyssey graduate Sara King is sponsoring the Parasite Publications Character Awards to provide financial assistance to three character-based writers wishing to attend. The Parasite Publications Character Awards, three scholarships in the amounts of $1,920 (full tuition), $500, and $300, will be awarded to the three members of the incoming class who are deemed extraordinarily strong character writers, creating powerful, emotional characters that grab the reader and don’t let go.

Meet Our 2013 Writer-in-Residence
Odyssey’s 2013 writer-in-residence, Nancy Holder, is an award-winning, New York Times bestselling author of adult, young adult, middle grade, and early reader work, both fiction and nonfiction. She has sold approximately 80 novels and 200 short stories, comic books, and essays in various genres. She has taught creative writing classes at the University of California at San Diego, the Maui Writers Retreat and Conference, and other conferences and colleges, and has been on the faculty of the Stonecoast MFA in Creative Writing for seven years.

Other Guest Lecturers
Lecturers for the 2013 workshop include some of the best teachers in the field: award-winning authors Holly Black, Patricia Bray, Adam-Troy Castro, and Jack Ketchum; and the two-time Hugo Award-winning editor of Asimov’s Science Fiction magazine, Sheila Williams.

Odyssey Graduates
Graduates of the Odyssey Writing Workshop have been published in the top fiction magazines and by the top book publishers in the field. Their stories have appeared in The Magazine of Fantasy & Science Fiction, Analog, Asimov’s, Realms of Fantasy, Weird Tales, Lightspeed, Orson Scott Card’s Intergalactic Medicine Show, and Clarkesworld. Some of the recent novels published by Odyssey graduates are Kitty Steals the Show by Carrie Vaughn, published by Tor Books; Lies & Omens: A Shadows Inquiries Novel by Lyn Benedict, published by Ace Books; Spellcrossed by Barbara Ashford, published by DAW; Silver by Rhiannon Held, published by Tor Books; and Clean: A Mindspace Investigations Novel by Alex Hughes, published by Roc Books.

Comments from the Class of 2012
“I learned more in six weeks at Odyssey than I did in three years in an MFA program.” – Jessie Robie

“Jeanne is the most thorough and hard-working instructor I’ve ever met. Odyssey has changed me as a writer. I can’t imagine a finer education or experience.” – James Khan

“I was afraid Odyssey would change my writing and take away what made it mine and unique, but I was so wrong. At Odyssey, I developed a sense of control over those gut feelings I used to have—when I sensed something was off but just could not figure out what it was. . . . Odyssey is like a writer paradise. You might not want to change when you get here, but you will. Later, you won’t want to leave, but when you do, you leave with a purpose.” – Jessica May Lin

Other Odyssey Resources and Services
The Odyssey Web site, www.odysseyworkshop.org, offers many resources for writers, including online classes, a critique service, free podcasts, writing and publishing tips, and a monthly blog. Those interested in applying to the workshop should visit the Web site, phone (603) 673-6234, or e-mail jcavelos@sff.net.