2008 Conference Program: Skill Building Sessions

Saturday 8:00-8:50 a.m.

Peter Lawlor, emcee
Open Mic
Share your poetry and short prose with others.

Saturday 10:30-11:30 a.m.

Jules Older

Burning Questions: Nearly everyone who comes to writers' conferences comes with one burning question. No lecture, no PowerPoint, just answers to your own BQ about writing, editing, pitching, publishing, getting paid, fixing disasters, and all that.

Garth Stein
Who's Zooming Whom?
Writing is about craft, which we can all learn. But it is also about inspiration, which we must learn to harness. How do you tap into your creative self? How do you force yourself to feel a spark of genius when you'd really rather take a break? Let's talk about where ideas come from, how to get the muses to talk to you, and what it means to allow yourself the mental space to create. Nothing compares with the exhilarating feeling of losing yourself in your work; in order to do so, you must learn to trust your imagination. 

Rhonda Pollero
Creating Character Conflict
A strong plot conflict combined with equally strong character conflicts are what will make your story compelling. Don’t ignore one in favor of the other; learn to build both into your story.

Gloria Burgess
How to Eat a Poem
Poems are meant to be experienced emotionally and spiritually. The deadliest thing that poets can do is to read poems straight from the page. In this lively, interactive encore session, you will learn how to savor poems so that your audience can experience the delectable feast of well-wrought, well-read poems.

William Dietrich
Researching and Writing the Historical Thriller
The author of historical fiction such as Napoleon's Pyramids and Hadrian's Wall talks about techniques to let real history pump life into your fiction, from plotting to character to setting. How to use book research, the Internet, travel and story construction to recreate a vivid world.

Deborah LeBlanc
In 25 Words or Less
How to create a short, oral summation of a story premise that will make people WANT to read your book. (Hands on workshop. Participants should bring the first page of their work-in-progress.)

Carol Wissmann
A Day in the Life of a Freelancer
While pajama-decked days before a computer may sound low-key and leisurely, freelancing requires motivation, discipline, creativity, perseverance – and some perspiration. From sunup to sundown, or whether writing in the late night or early a.m. hours, learn what a typical day is like for a successful freelancer writer.

Randy Sue Coburn
Screenwriting Tools for Novels
Coburn, who wrote the screenplay for Mrs. Parker and the Vicious Circle -- the film based on the life of Dorothy Parker -­  illuminates techniques from screenwriting that add depth and character to novels.

Katherine Ramsland
The CSI Effect
Today’s forensics affects the way mysteries and crime thrillers are told. The more science law enforcement utilizes, the more homework writers must do. We’ll examine the latest in forensic science and work on ways to absorb science effectively into fiction.

Kirby Larson, Mary Nethery, and Ann Whitford Paul
First Pages
Three published authors put on their editor’s hats to help you see whether your story would make it out of the slush pile. Bring a first page of your children’s manuscript (picture book, early reader, chapter book, middle grade or YA novel).  These will be read anonymously and critiqued for the wow factor.

Saturday 1:00-2:30 p.m.

Bill Dietrich, Deborah LeBlanc, Carol Wissmann, Gloria Burgess,
Insights into Successful Publishing and Book Promotion
Panel discussion

Christopher Vogler and Maureen Murdock
Writing the Journeys -- Hero and Heroine
Murdock, author of The Heroine’s Journey, and Vogler, author of The Writer’s Journey, discuss their views of psychological archetypes as models for story telling, how these roles might differ for men and women, and the steps, shapes and intentions of each model.

Marilyn Atlas
Latinos in Hollywood: Creating Memorable and Non-stereotypical Characters
Latinos in Hollywood, a talk about the increased presence of Hispanics, but mostly validating status quo notions, with characters who are drug-dealing maids trying to cross the border. While there may be some redemptive message within, there’s nothing shocking, new, or anyone truly attempting assimilation with the U.S. or the rest of the world. Why are Latinos cardboard characters? Why aren't they allowed the same emotional range as African American characters, even if that range is limited in itself? (Emerging)

Nancy Pagh
Naughty and Nice: Erotic Poetry (advanced)
Born of Chaos, the erotic refers to the personification of all aspects of love and creative energy. Are erotic poems necessarily sexual in nature? What are the markers of the pornographic? Do women and men respond to eroticism differently on the page? How private is too private for publication? How does erotic poetry satisfy?

Wayne Ude
Point of View
Viewpoint is perhaps the technique least noticed by readers, but it's essential to the writer. This advanced class will explore a number of variations in first and third person viewpoints, including first person central; first person peripheral; unreliable; third person limited; and third person shifting. We'll also explore such things as the differences when a third person narrator says, "He was an honest man," "He believed himself to be an honest man," or, "He was honest enough, he figured." (Advanced)

Bharti Kirchner
Magazine Article Writing
Using exercises, tools, and proven techniques, in this fun-filled workshop you'll generate ideas, select a subject, find a slant, get a catchy title, hook your reader, and find material for the body of the article. Questions about markets, interview sources, and query letters will be answered. (Emerging)

Cherry Adair
How to Layer and Texture Your Novel
Cherry Adair delivers a fast-paced, informative workshop that reveals the critical balance of dialogue, action, narration, research, and description in successful fiction. Learn when too much research is too much, how dialogue can both strengthen character and improve pacing, and how to subtly layer what you need into your story so that it blends seamlessly.

Jules and Effin Older
Tough Choices: Ethical Issues in Writing
By skit and audience participation, Tough Choices gets writers to look at the ethical decisions they face and how those decisions affect their writing, their relation with editors and their livelihood. Jules and Effin have faced these choices, themselves.

Deborah Madison
Discover Your Life Through the Lens of Food
This follow-up to Deborah's fireside chat discussion will allow time for writing briefly on a variety of topics to uncover those hidden dimensions of our lives through food, such as mother’s food and father’s food, foods that separate us from others, foods that join us to community, what we eat when we eat alone, a meal that changed our lives, last meals and grace. (Prior participation in fireside chat not necessary.)

Caleb Barber; Nancy Boutin, MD; Lois Brandt and Ann Gonzalez
Fresh Ink
Let’s face it, there isn't a simple answer to the question, “Should I get my MFA if I want to be a writer?” After all, there’s the expense, and the valid question of how much more is there to learn anyway? Join the Fresh Ink panelists, three graduates and one student of the Whidbey Writers Workshop MFA program, all recently published. Hear from the panelists how the MFA program changed their lives, sometimes profoundly. For panelist Ann Gonzalez, the experience led to her debut novel, Running for My Life, which will be released spring 2008. 

Steve Mettee

Writing a Successful Nonfiction Book Proposal
Nonfiction book authors have it all over novelists. First, around 85% of the books published each year are nonfiction, and, second, most nonfiction books go to contract with a publisher before the book is written -- even by first time authors! Learn how to write a successful nonfiction book proposal from the author of The FastTrack Course on How to Write a Nonfiction Book Proposal and jump start your writing career. (You can always write that novel while you’re collecting royalties for your nonfiction book.)

Saturday 3:00-4:00 p.m.

Elizabeth George, Rhonda Pollero, Kirby Larson, William Dietrich, Greg Atkinson, Lew Carlino
So You Won a Big Award . . . What Changed?
Panel discussion

Bob Mayer
Characters: The People of Your Story (advanced) 
The most critical component of a novel is character. How do you go from flat two-dimensional characters to vibrant three-dimensional ones? Templates to develop characters and the concept of character arc and change will be discussed.

Effin Older

Kiddy Lit: 20 Questions

Between them, the Olders have written more than 40 kids’ books. Here, they answer 20 real-deal questions about getting published — and leave plenty of time for your questions as well.

Susan Zwinger
Creative Use of Memory for Writers
Whether fiction or nonfiction writer, or poet, your mind is a treasure house of infinite detail, story and meaning – especially those you "don’t remember." The need to control a story consciously and come up with a slick ending will block access to this trove of rich memory. Learn to draw from your long term memories in profound ways.

Stephanie Elizondo Griest
Memoir Writing
Everyone has a story to tell, but some people earn their living with theirs. What is their secret? Learn how to mine your memories for experiences that can be developed into marketable stories in this workshop. We'll also discuss the various types of memoirs and where yours might fit in, plus how and where to pitch them.

Deborah LeBlanc
The Good, the Bad, the Unforgettable: Ten Steps to Creating Memorable Characters

Sheila Rabe/Roberts
Ingredients for a Great Book
A lot goes into a good work of fiction: memorable characters, a page-turner plot, and a unique writing voice to name a few. Learn how to put together the necessary ingredients for a good book so you can cook up something great.

Michele Scott
Writing the Mystery: Basics Revealed
Writing a mystery has specific challenges that other genres don't always have – specifically the puzzle of who dunnit. This workshop will go over how to outline a mystery and work through the puzzle, how to give clues, mislead and throw out red herrings. The class will cover subplot, why it is important and how – if the writer plans to write a series – that subplot can carry the writer and reader through.

Stephanie Kallos
The Magic If
Using an actor’s tool to transition from writing what you know to writing what you imagine.

Jack Dalton
Keep It Simple
Discuss the vital importance of simplicity in the overall plot of your story, no matter how deliciously complicated things can get along the way, and why your publisher and your audience want it that way. (Beginning and intermediate writers)

Victoria Castle
Juicy Writing
Perfectionism, deadlines, and editing every word we write are great techniques for shutting down our creative juices. This enlivening and experiential workshop is about how to slip around those nasty ole barriers so that we can let our best work spill out.  We'll play with several practices (that you can take with you) that let the juices flow creatively, organically, and even enjoyably!

Sunday 8:00-8:50 a.m.

Pat Brunjes
Oral Interpretation of Literature
Teaching others how to interpret their literature for dramatic presentation builds self-confidence. It is a great pleasure to watch people take control of their speaking ability and change the focus of their lives. I teach motivation to affect an audience and I coach for success. This class is “hands on.” Participants will work with a provided script or with their own material to learn how to project interpretation of their ideas.

Deb Lund
Following Fireflies: Finding Ideas
"Where do you get your ideas?” the near-cliché question asked of authors, is often answered with one word –“Everywhere!” Learn the secrets of writers who have far more ideas than they could ever use. Fill your Mason jar with twinkling ideas from memories, emotions, and imagination. Reusable prompts, exercises, and story starters will help you catch your ideas before they flit away!

Molly Cook
Writing Unplugged
This presentation counters the conventional wisdom that a writer should stay in the chair and write, write, write. You’ll learn why it’s important to unplug and get out the door to improve your work. Shy writers will also learn strategies for doing this more comfortably.

Lorraine Healy
Writing the Legalese Poem (advanced)
Loosely following the model of Denise Duhamel’s Lawless Pantoum, we will use a skeleton of a legal text (a Seattle City Council Resolution!), cleaned up of content, to create a different kind of poem.

Nancy Ruff, host, with WIWA Authors
How I Got My Book Published
Conference participants tell the story of how each made publication happen. Join for practical, down-to-earth advice and ideas from those who have made it happen.

Peter Lawlor, emcee
Open Mic
Share your poetry and short prose with others.

Sunday 9:00-10:00 a.m.

Elizabeth George
Making the Reader Passionate:
Techniques to involve the readers so deeply in your novel that their houses might burn down and they wouldn't notice.

Greg Atkinson
How to Boil Water: Tailoring Your Story to Meet the Needs of the Editor
A story on How to Boil Water might be pitched to twenty different editors. Cook's Illustrated wants to know if bottled water boils better than tap. Bon Appetit wants to share with its reader¹s what makes this year's boiled water better than last year's. And Saveur tells how the essence of water boiled over an open fire in Tuscany can be conjured in your home kitchen. Tailor your story to meet the needs of your editor and your writing will hit its mark.

Stephanie Kallos
Flying Kites and Cleaning Closets: What Is This Thing Called Revision?
Participants should bring one to two pages of a short story or novel that they are in the process of revising. (advanced)

Nancy Pagh
I've Got Rhythm
At what point does free verse lose the quality that distinguishes poetry from prose? How does beauty sound? How do we know if a line flows? When is rhythm appropriate – or not? Participants in this class will examine, emulate, and revise poems in activities designed to stimulate an awareness and heightened control of rhythm.

Effin Older
Just Say No to NO
My latest children’s book, My Two Grandmothers, probably had more rejections on the way to publication than any book in history – over 200. I'm the Queen of Rejection. For many writers, rejection is a will-breaker; after one or two, the manuscript goes under the bed forever. For me, the first dozen or so rejections is just clearing my throat. This session looks at My Two Grandmothers ten-year journey from the first rough draft to the final product – a published book. It’s about not only dealing with rejection, but making it your ally on the road to publication.

Bharti Kirchner
Reject-proof Your Novel Manuscript
Deliver a polished gem to your agent! Learn how to give sparkle to your story by making the lead engaging, sharpening the dialogue, making the descriptions vivid, and paying attention to sentence constructions. Classroom exercises will clarify the principles behind self-editing. (Participants should bring the first 20 pages of their manuscripts to class.) (Advanced)

Cherry Adair
Goal, Conflict and Motivation
There is more to goal, conflict and motivation than merely getting your story moving. Learn how to interweave motivation to make your characters’ goals and conflicts concrete, make your plot stronger and turn your book into a riveting read.

Randy Sue Coburn
From Fact to Fiction
A workshop that explores the ways in which various methods of research prime the pump of inspiration and lend wings to fictional ideas.

Michele Scott
Working with Your Editor
What is it like to have and work with an agent and an editor? What role do they play in your writing career? Michele will answer these questions and more, including: What if you don't agree with your editor's suggestions or revisions. (Advanced)

Sunday 9:00 – 11:30 a.m.

Lew Carlino
The Art and Craft of Screenplay (advanced)
A look at  the mechanics of basic dramatic structure and a discussion of the lesser known but critical issues in creating a screenplay. This is an opportunity to ask questions relevant to your own process and is a valuable follow up to the theory laid down in the three-hour master class held Friday.

Sunday 10:30-11:30 a.m.

Marilyn Atlas
Planning the Perfect Wedding
Romance novels are comic books for women. Generally frowned upon for their accessibility and charged emotions. Yet, instructive, inspiring. And, with the promise of an over-the-top happy ending! (With so few guarantees in life, who doesn't want that?) A class that concentrates on adapting romance novels for Lifetime movies-of-the-week versus film studio romantic comedies. (Emerging)

Kirby Larson, Mary Nethery and Ann Whitford Paul
Just Connect: Building a Writing Community
Inspired by Carolyn See's Making a Literary Life, Kirby Larson began reaching out to other writers. This workshop will share Kirby, Mary and Ann's  experiences with building a writing community to help enhance, support and validate the creative life, and it will share examples collected from other writers. Come prepared to share your ideas and come prepared to leave with a roomful of new writing friends. Please note: Creating Community is not simply about forming critique groups.

Joni Sensel
The Art of the Ending
Endings need as much attention as beginnings. A powerful ending lingers with the reader, while a poor one can ruin the entire experience. How do you find that magic combination of surprise and inevitability? We’ll discuss ending structures, styles, and trends, and leave with tips for making that aftertaste sweet.

Lorraine Healy
Updating the Fairy Tale Poem
Following the model of Anne Sexton and other more contemporary poets, we will choose a traditional fairy tale (or several) to update: reinterpret, turn on its head, debunk or transform. Although this exercise lends itself to the writing of hilarious poetic reinterpretations, we will not limit ourselves.

Deb Lund
From Inspiration to Publication: Ten Tips for Tortoises
This is not a race for hares. Whether you’ve always wanted to write for children or are considering dabbling in it as a new genre, you’ll decrease your learning curve with this inside information. Pull on your running shorts and stretch yourself. These tips on writing, revising, submitting, and marketing children’s manuscripts will put tortoises on top of the slush.

Sheila Rabe (Sheila Roberts)
Taking the Terror Out of the Query Letter and Synopsis
Query letters and synopses are necessary tools for every writer's toolbox, but to many writers they're scary ones. Learn how to write a query letter that sells your idea and a synopsis that pops.

Marian Blue
Interviews: What and How
Types of interviews (round-up, individual, article, Q&A) will be discussed, along with how to plan, write and market interviews of both the famous and the unknown.

Susan Zwinger
Dreams and Memory
Come learn to use dreams and other access doors to your own symbolism. Tap into the rich depths of your collective unconscious; learn to use the subterranean connectivity of your ancient memories.

Stephanie Elizondo Griest
Travel Writing 101
Wouldn't you rather be writing about Zanzibar? Learn how in this workshop that covers the full spectrum of travel writing from blogs to magazine articles to books as well as how and where to sell and promote your work.