Whidbey Island Writers Association

Can you believe it's just a month away? As we answer questions about the conference and describe the sessions and the faculty's expertise, Erika and I become more enthused every day. Already we have registrants from 15 states and Canada; people recognize the quality and diversity of this conference. The sessions and activities provide practical, useful support for great writing on Whidbey.

Let me encourage you to pay special attention to two highlights of the conference.

Writing Sample Critiques – Have an author give you feedback on your writing style, voice, and character description. The Web site lists the process and the guidelines (including word count) to submit for a healthy critique. This is a great opportunity to have your writing reviewed and chat with the authors about their comments.

The Immigrant's Table and Mangiamo! – Our Saturday evening presentation, open to the public, is a dramatic, spoken duet, a memoir in poetic conversation. After the performance, we offer a ticketed reception that features Old World foods and invites people to chat about family, telling stories, and the importance of good food. There is no charge for the Immigrant's Table. Bring family and friends to join in the fun and exploration of memoir. Tickets for the reception following The Immigrant's Table (Mangiamo!) can be purchased through the Whidbey Island Center for the Arts (WICA).

There are dozens of wonderful opportunities awaiting you at the conference. Browse through this newsletter and decide which ones appeal to you. Then go to the Web site, www.writeonwhidbey.org, and study the program in more depth. Make your plans to join us. We'll celebrate writing and diverse expressions of the human story at the eighth Annual Whidbey Island Writers Conference.

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WIWA ANNOUNCES YOUTH READINGS

WIWA issues a call to all high school students (and 18-year-olds) ... come share your writing masterpieces with family and friends at The Rockhopper Coffee House, 11042 SR 525, Ste. 122, in Clinton, Washington on Saturday, March 25, 2006, from 3:00 to 5:00 p.m. Readings are limited to two or three minutes in length and must be family friendly. You must sign up ahead of time to be on the list of readers for this fun event. Please check out our Web site at www.writeonwhidbey.org for sign-up instructions.

The Rockhopper Coffee House has teas, coffees, juices and snacks for sale. If you wish, you may purchase dinner at the La Paz Mexican Restaurant next door.

So young writers, bring your family and friends; come to The Rockhopper March 25 and showcase your talents!

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A REPORT FROM THE JANUARY MFA RESIDENCY

By Cameron Castle

I was sitting in a meeting the other day when someone brought up the Master of Fine Arts Residency program being offered through Whidbey Writers Workshop. A program affiliated with The Whidbey Island Writer's Association. I raised my hand and asked, "What Residency?"

The strange looks I got were most likely a result of the fact that the meeting was the monthly meeting of the Board of Directors of The Whidbey Island Writer's Association, of which I happen to be a member of. Whoops.

In a mild defense of the marketeers of the program and to my stupidity, I was a recent member to the board at that time. No excuse. So two things immediately happened. I signed up for the Residency (still not knowing exactly what it was) and was enlisted to report back with details of the program.

The Whidbey Writer's Workshop MFA in Creative Writing program is the first in the country to be offered by a writer's organization and not a college or university. This Masters degree program meets the State standard and is approved and reviewed by The Higher Education Coordinating Board. Designed to be completed in two years, it is flexible enough to be completed over a longer period of time if needed because of time or financial constraints for individual students. The majority of the instruction is conducted online with two ten-day "Residency" periods per semester. Required of students working towards their MFA, the residencies are also open to writers and aspiring writers that want to refine their craft but are not necessarily seeking an advanced degree. Residency -only applicants do have to have samples of their writing reviewed and accepted by the faculty before enrolling.

The Residency is an intensive, on campus college program. Classes start at 9:00 A.M. and end at 5:30 P.M. The program includes selected readings, classes, workshops, lectures and guest speakers. The amount of useful information and professional guidance packed into those days is remarkable. There is a literary event at 7:00 P.M each evening. One event was a student reading. The quality of the work produced by the group was outstanding. Some of the material, bravely presented by shy yet talented writers, just took our breath away. Then off to your room for homework. Lots of homework. As I was sitting on a guest bed with three books, many handouts and notebook paper strewn about me at 1:30 in the morning, I said out loud to myself, "This is just like college, only without the liquor and sex."

The next day during the workshop segment, my instructor explained very clearly what the program was about. "This is not a writers group. This is not just a college course. This is a Masters course. For those of you who have not been through a Masters Program before, you will realize the difference. We take this very seriously. Some of you will get grades lower than those you have ever received before." At which point one returning student nodded knowingly, and then, I think, sniffed back a tear.

The instructor turned to me and said, "We are going to start with Cameron’s work that we all reviewed last night. I am sorry Cameron, but I am going to use you as an example. We are not here to tell everybody how good you are. We are here to turn you into an excellent writer. This is going to be hard on you Cameron, but here we go."

She beat me like a piñata.

I enjoyed it. Half way through my thrashing she looked at me and said, "You’re smiling." I was smiling because I was there for instruction, constructive criticism and to absorb some of the wisdom possessed by these talented instructors. And man, I was getting my moneys worth.

The setting was perfect. Fort Casey with its lush grounds, views of the water and rich green-forested hills was a treat to the out-of-state students and visiting faculty. I usually drove from one of the meeting halls to the next. I would often pass a student walking along the road in a slight drizzle. I would ask if they needed a ride. The answer was always the same. With a smile and a raindrop ready to drip from the tip of their nose, they would say, "No thank you. I am enjoying the walk."

One out-of-state student stopped class one morning and made us all get up and look out the window. "Look at those adorable deer." There were four deer quietly posing, wandering about the grounds. The student was smitten. I couldn’t help but joke that they really were Fort Casey props. Part of the three shift, four deer crews. Each group works a four-hour shift and then meanders to the last barrack around back where their compatriots are inside smoking cigarettes and eating Triscuits, two things you can do with cleft hooves. Blended margaritas? Out of the question. On cue the next shift moseys out to pretend to nibble on the perfectly manicured grounds. The local Whidbey people chuckled, but we all were smitten, the deer were adorable.

Though intense, and full of hard work, I am so grateful and thankful that I was accepted into the residency. The program and the instructors are both of the highest professional caliber. All that is needed now is more recognition of how unique and rewarding the program is. I am also pleased that if someone asks the question, "So what is this Whidbey Writers Residency thing?" I can give them that head-tilted look, and say, "Let me tell you all about it."

If you would like to find out more about the "residency-only" options in the Whidbey Writers Workshop MFA Program, see our Web site www.writeonwhidbey.org/mfa. Or call the office (360-331-6714) for more information.

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ON THE ISLAND

WIWA Announces Two New Workshops

To register for any WIWA-sponsored workshop please contact wiwa@whidbey.org or call 360-331-6714.

The Writers Illustrated Journal with Susan Zwinger

February 28, 2006

9:00 a.m. to 1:00 p.m., Jim Davis House, Greenbank Farm

Cost: $35, includes coffee and snacks

This skill building workshop will teach you how to use the journal form to its most dynamic advantage. Writers cannot draw all their material from thin air; but often refer to a rich body of observation, over-heard conversations and sense-of-place details kept in a notebook. In this workshop, we will cover page design, description, index and organization, vocabulary lists, work calendars and passionate prose. Susan Zwinger will bring her 20+ journals (currently being archived by The Colorado College Library Special Collections) to share.

Discover Your Creative Niche with Gloria Kempton

March 2, 2006

Noon – 5:00 p.m., Services Alternatives Building, Coupeville

Cost: $50, includes lunch

You want to write, but you don't know where to start. Fiction or nonfiction? Article, essay, humor, or how-to book? Who do you want to write for--children, teens, adults? There is a type of writing that is best suited for you, and the discovery process can be a rewarding adventure. Together, we will explore the various forms of writing and help you identify your writing strengths and ultimately, your niche. In this workshop you'll learn everything you need to know to launch a successful writing career. Gloria has been writing and editing various types of fiction and nonfiction for over twenty years. To learn more about Gloria visit her Web site at http://www.writersrecharge.com/.

Evening with an Author
Feb.15, 2006, 7 p.m. Front Room at Bayview Cash Store. Donations appreciated. Co-sponsored by Sno-Isle Library and the Island Arts Council, and supported by a grant from Humanities Washington, the Whidbey Island Writers Association presents a special event Evening with an Author. Join us for an informative and entertaining evening with award-winning author and historian Jack Nisbet as he discusses his latest book The Mapmaker's Eye: David Thompson on the Columbia Plateau, 1800-1812. (See the related article Evening with an Author in this newsletter.)

WIWA-Sponsored Writing Groups
Oak Harbor Writers' Group meets twice a month on Tuesday evenings at Skagit Valley College. Group members critique writing in various stages of development. So far the group has worked with chapters from several novels, short stories, poetry, and a family memoir. Contact Erika at wiwa@whidbey.com or call 360-331-6714.

The Central Island Writers' Group is a multi-genre writers' group that meets the second and fourth Wednesday of every month at Anna's Tea Room on Main Street (next to the Methodist Church) in Coupeville at 1 p.m. This critique group is informal, friendly, and helpful. Writers of all ages and levels of experience are welcome. Dot Read facilitates. For more information, contact the WIWA office at 360-331-6714 or wiwa@whidbey.com.

The South Whidbey Writers' Group meets the first and third Wednesday of each month, 1 p.m. to 4 p.m., at Trinity Lutheran Church in Freeland (Hwy 525 and Woodard Rd.) The meeting is in the small building closest to Highway 525. For more information, contact Natalie Olsen at thegnat@whidbey.com or call 360-331-7709.

A Literary Celebration
In conjunction with the Sno-Isle Libraries, WIWA presents readings by the winners of the 2005 Spirit of Writing Contest. Free to the public. Refreshments served.
Feb. 2, 7:00 p.m. - Langley Library
Feb. 16, 3:00 p.m. - Oak Harbor Library

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OFF THE ISLAND

The Jewel Box Poets Sunday Reading Series presents Mary Lou Sanelli, 2006 Whidbey Island Conference Presenter, and Gayle Kaune, reading from their work on February 19, 2006 at 3 p.m. at the Jewel Box Theatre, 225 Iverson St., Poulsbo, WA. Go to: http://www.jewelboxpoulsbo.org/.

David Wagoner's (Whidbey Writers Workshop MFA Faculty) play, First Class, presented by the Richard Hugo House Writers-in-Residence program, is a one-man show on poet Theodore Roethke. Seattle-born actor John Aylward ("Monster-in-Law," "North Country" and "The Celestine Prophecy") will play Roethke, who first teaches a class on poetry and then struggles to write a poem. Enjoy shows at 7:30 p.m., Saturday, Feb.11 and 2 p.m., Sunday, February 12. $7/$5(members).

Check out these sites for events of interest:

Benaroya Hall Seattle; http://www.lectures.org/current.html

-- February 28th, Azar Nafisi, scholar and author

-- April 25th, Paul Matthiessen, novelist and conservationist

Richard Hugo House; http://www.hugohouse.org/events/

-- March 2nd, Marvin Bell

Seattle Mystery Bookshop; http://www.seattlemystery.com

-- February 21st, Robert Ferigno

-- February 25th, Aaron and Charlotte Elkins

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MFA PROGRAM

Applications are now being accepted for the Whidbey Writers Workshop MFA degree program beginning with the August, 2006, Residency and Fall Semester. Applications will be accepted until May 6, 2006. A limited number of slots are available, so early application is recommended. Further information and a downloadable application form are available through the Admissions link on the MFA home page, www.writeonwhidbey.org/mfa.

Applications for those wishing to participate on a non-degree basis in the August Residency only (that is, not enrolled in the fall semester) will be open from May 15 through June 15, 2006. See the Residency link on the MFA home page for further information.

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EVENING WITH AN AUTHOR

Co-sponsored by Sno-Isle Library and the Island Arts Council, and supported by a grant from Humanities Washington, the Whidbey Island Writers Association presents a special event, Evening with an Author. Join us February 15, at 7 p.m. in the Front Room of the Bayview Cash Store for an informative and entertaining evening with award-winning author and historian Jack Nisbet.

Mr. Nisbet grew up in North Carolina, graduated from Stanford University, and moved to Stevens County, Washington, in 1971. He has taught human and natural history in public school, college, and Elderhostel programs and has written for a variety of newspapers and magazines. His books include Singing Grass, Burning Sage, and Visible Bones: Journeys Across Time in the Columbia River Country. He will be speaking about his latest publication: The Mapmaker's Eye: David Thompson on the Columbia Plateau, 1800-1812. Mr. Nisbet's book and presentation integrate the work of fur agent and cartographer David Thompson into the sagas of contemporary Pacific Northwest explorers George Vancouver and Captains Lewis and Clark. The book illustrates the melding of American, British, and tribal cultures during the half-century between Thompson's first attempts to cross the Rocky Mountains and the establishment of Washington Territory. These different cultural streams provide a basis for interpreting the wide variety of communities that have grown up along our waterways over the past two centuries. The Mapmaker's Eye explores many aspects of the Columbia Plateau including Thompson's voluminous writings, map work, and watercolors; oral histories from the tribes who lived in the areas; the natural history and landscape; sketches and paintings from the first artists who followed the fur trade routes; his interactions with Thomas Jefferson and the Corps of Discovery; and the interwoven lives of the fur men and tribes that remained in the area long after Thompson departed.

Evening with an Author is offered at no charge and is open to the public. Donations are always welcome.

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OPPORTUNITY FOR PUBLISHED WIWA MEMBERS TO PARTICIPATE IN AN INSTRUCTIVE PANEL

WIWA members who have published books and are registered to attend WIWC 2006 are invited to participate in a panel, How I Got My Book Published. The session is scheduled for 8 a.m. Sunday, March 5 at the conference. Participation is limited to eight on a first come/first served basis. If you participate in the panel, you may contract with our bookseller to place your books in the Conference Bookstore for sale. Contact the WIWA office writers@whidbey.com or Nancy Ruff at ruff@whidbey.com for details.

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MANGIAMO!

In a staged reading of The Immigrant's Table, author Mary Lou Sanelli and Jackie Leone, as Sanelli's Italian mother, tell through poetry and story what it's like to come of age as a first generation American. Sanelli reveals to the audience the quirks and interactions of her lively family as well as the ingredients of long-held family recipes. The Immigrant's Table is free and open to the public, and is part of the annual writer's conference sponsored by the Whidbey Island Writers Association. Immediately following the performance, a ticketed reception, Mangiamo!, will be held, providing an opportunity to meet the author and to taste savory Old World Italian flavors. Generous appetizers based on recipes described during the performance will be served. Tickets to Mangiamo!, for those not attending the conference, may be purchased for $15 from the Whidbey Island Center for the Arts (WICA), (360) 221-8262, http://www.wicaonline.com/. The performance and reception will be held Saturday, March 4, 2006 at the South Whidbey High School in Langley. The free performance of The Immigrant's Table begins at 6:30 p.m., followed by the ticketed event Mangiamo! from 7:30 to 8:30 p.m.

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PRE-CONFERENCE WORKSHOPS OPEN TO THE PUBLIC

Can't make the 2006 Conference? Eager to spend a day immersed in your writing, learning a new skill, or having your work critiqued by fellow writers? This year the Whidbey Island Writers Conference invites writers not attending the 2006 conference to participate in the pre-conference workshops. These are full day workshops held on Thursday, March 2nd, prior to the beginning of the conference on Friday.

Children's literature writers will want to attend Take that Plunge: Write and Ready Your Children's Picture Book for Publication with Stephanie Bodeen. Poets will be interested in working with Carolyne Wright in her workshop, Speak Muse! The Art of Narrative Poetry, spending the day exploring your own narrative poetry as well as celebrating the form itself. Consider joining Alaska Native storyteller and writer Jack Dalton as he explores the power of story to shape cultures in his interactive and entertaining writing workshop When Polar Bears Wishes Come True: Understanding and Creating Meaningful Stories. Finally, Eva Shaw will present her popular workshop, Write Your Book in 20 Minutes. Come and explore the process of mindmapping with Eva as she assists you in unraveling your story. To see complete details on each workshop visit, http://www.writeonwhidbey.org/Conference/Workshops.html.

All pre-conference workshops have limited space available. The cost for non-conference participants is $150.00, WIWA members $135. Lunch is included. Questions? Email Erika at wiwa@whidbey.org or at egsjournal@verizonmail.com.

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CHEERS

Lois Parker Edstrom won the Grand Prize for the 2006 WIWA-sponsored Spirit of Writing Contest for her essay, "Meadow Flowers." Lois receives a full tuition scholarship to the 2006 Whidbey Island Writers' Conference.

Amber Kizer, WIWA member and former Conference Team member, is thrilled to share that after a number of interested publishers read her manuscript her young adult series was sold at auction to Stephanie Lane of Delacorte (Random House). The first two titles will be published in hardcover and trade paper with a release date of Summer 2007. The current titles are One Butt Cheek at a Time and From Butt to Booty. The deal was handled by Rosemary Stimola of Stimola Literary Studio.

Kelsey Roberts, romance author and conference instructor, is a 2006 nominee for Career Achievement in Series Romantic Suspense.

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RECENT RELEASES

The Keyhole Opera, by Bruce Holland Rogers, (Wheatland Press, Nov. 25, 2005) WWW MFA instructor and conference presenter Bruce Holland Rogers serves up a new collection of short-short stories, including his Pushcart and World Fantasy winners, "The Dead Boy at Your Window" and "Don Ysidro." http://www.wheatlandpress.com/keyhole/

The Mapmaker's Eye: David Thompson on the Columbia Plateau, by Jack Nisbet (WSU Press, Sept. 2005) Historian and award winning author Jack Nisbet uses fresh research to convey how David Thompson, fur trader, explorer and cartographer, experienced the sweep of human and natural history etched across the Columbia drainage. Thompson's movements are placed within the larger context of the European Enlightenment, the British fur trade economy and American expansion as represented by the Lewis and Clark Expedition. From Thompson's journals, Nisbet assembles and comments on bird and mammal lists, Salish vocabulary, music and woodcraft techniques. Visual elements, including watercolor landscapes and tribal portraits, bring the book to life, as do the series of remarkable maps created by Thompson from years of persistent work.

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PITCHING MADE PURRFECT

By Devorah Cutler-Rubenstein

Devorah Cutler-Rubenstein, www.thescriptbroker.com, will be presenting at the 2006 Whidbey Island Writers Conference. A veteran of the film industry, Devorah offers practical advice on the art of pitching, whether to film execs or to literary agents. The complete version of this article can be read at: http://www.inktip.com/tips-dc.php

Most of you are already familiar with the term pitching, but if you're just starting out, here's a quickie definition: In Hollywood "pitching" is a term used to refer to those times when you verbally tell your story to a potential buyer. Your intent is to sell whoever's in the room on the commercial viability of your idea. Your goal is to not only sell your idea, but to establish rapport and support for your project as you swim up the studio or other financing food chain. (Pitching in a workshop or mentoring setting is an opportunity for feedback on what's working with your presentation and what may still need work on the way to pitching your story in the real world.)

You are probably saying, that's a lot of pressure; can't I just have you read the script? Unfortunately, for all of us out there looking for material to sell and/or buy, there is such a volume of product we have to find ways to 'filter' out what we want to read.

I recently moved from a home office to an office in Beverly Hills; I was wildly amused that every day I overhear agents and producers pitching scripts and writer's ideas to each other, in cafes, in the street, even in bathrooms. It reminded me that Hollywood is an industry town and its industry is storytelling. As important as it is for Ford to churn out picture perfect automobiles in Detroit, it's critical to your success to refine a five-ten minute pitch in Hollywood; otherwise, your wonderful script may never get read. Okay, sure it will sit on a pile and a reader will read it. But a killer pitch will give you a competitive edge and make the producer say, "I've got to read that myself!"

So how do you do that? Here are some pointers that may help.

Pitching Pointers:

1) Be Prepared: Know whom you're pitching to! Research not only who you are pitching your story to, but also who your intended audience is in the marketplace. For example, what are past successes in your genre? What are the movie and/or TV credits of the people who are "taking your pitch?" Once you have your story down and are ready to 'go out with it,' practice by talking your pitch into a tape recorder, pitching to friends, other writers or to yourself in a mirror. Some people write it out while talking out loud. Some people even write jokes to insert during the pitch. Others do jumping jacks while practicing their pitch (but of course not during the pitch!). Use whatever works for you. I knew one set of writer/producers who practiced their pitch one hundred times before 'going out with it.' For the memory challenged, it's acceptable to use a cheat sheet or card with bullet points. But practice is imperative and don't forget to use improv. Sometimes our best ideas come when we're just shooting from the hip, but usually these improvisational moments are paved by a good foundation of practice. Some of the people you pitch may have ideas of their own to add to your pitch or story. Acknowledge their ideas. It doesn't mean you have to use the ideas, but don't reject them. Some of the ideas may even be good. They may make your story or your delivery of your pitch even better for the next person you pitch.

2) Know Your Topic: Whatever you're pitching, research the background of your story, topic, and characters. Know what first attracted you to the idea. Buyers' are often intrigued by a story's passionate origins. I know I am. And, be prepared for questions, questions, and more questions: i.e. write up what you think buyers will ask about your story. Also, anticipate (while staying positive) what can go wrong and what they could want to know. For example, what do I do if I accidentally spill coffee on an exec's floor? Humor cannot remove coffee stains, but sometimes a good topic-appropriate joke can smooth out the tension in a room. The key is to know your pitch so well that you are, above all, relaxed.

3) Know What You Want to Happen: What is it that you want to occur out of pitching this story: Rapport with those listening to your pitch, good communication, a sale, making people laugh, a new relationship with a filmmaker you respect? Being clear and focusing on what you want to happen can affect your presentation in a positive way. Your goal - not just telling your story, but getting your story sold. Also, one thing to keep in mind: This is your story. Everyone has a different idea of what works and what doesn't. Everyone has a different idea of what'll sell and what won't. But if you keep hearing the same feedback about your story from several different sources, then it may be important to pay attention to what people are saying. It's rare an idea is so original that people just don't 'get it.'

During the Pitches

4) Breaking the Ice: Do your homework. If you're pitching to a class, workshop or pitching fest, who's going to be there? What is the background of the professor, lecturer or buyer? If there is an opportunity for an introduction, you must be ready. Practice introducing yourself; i.e. have a quick log line on yourself in the same way you prepared one for your story. Introductions may go more smoothly if you're prepared. For starters, sincere flattery will get you everywhere. Acknowledge that you're a fan of their work, mention specifics. Also, at the beginning of your pitch, before reeling off your story, find common ground whenever possible, i.e. golf, movies you both like, the trials of parenthood, colleges attended, etc. This helps set up a relaxed 'sales friendly' atmosphere.

5) Interaction: The best major league writers include their audience in their pitch. Sprinkling questions about what the next beat of your story might be can get the buyers' mental wheels turning. Your audience begins to see the story, and getting them thinking a few beats ahead will help to make them feel included, creative and part of your story as it unfolds. Be careful not to give your 'leave behind pages' too soon. Many execs love to cut to the chase and turn to the last page while you are still talking. So, hold off until after your pitch to give them 'paper.' But if you have one-sheets, story boards or visuals that support your pitch, make sure everyone in the room is given a copy or that they can see them or have a chance to look at them as they are passed around.

6) Your Position: Take time to take in your audience. A famous director once told me to "drink in the room." And be alert, energetic, entertaining, keep it alive, and keep yourself interested. If you're pitching to several people, try to position yourself so you can pitch in one direction. You don't want to divide your attention and lessen your impact.

7) The Impression You Want to Make: Many deals fall through because the exec or the producer gets the impression that the writer is "rigid or territorial" about their screenplay. 99.9% of all scripts are re-written after there is an agreement to purchase or option a script. When you sell your story, you are also selling yourself. A creative exec in most cases will not pursue your script if they get the idea you will not re-write your script according to their needs. If they get the idea you are a prima donna, i.e. difficult to deal with, they will in most cases 'pass'. There are too many writers out there who will take direction for them to want to deal with a writer who won't. Screenplay writing, especially at the studio level, is a highly collaborative medium. Don't forget, the producer has to satisfy directors, distributors, financiers and actors. To get them all happy at the same time requires re-writes. How you take development notes from producers is definitely a part of what they will consider when thinking of working with you.

8) The Close and the Sale: Acknowledge their time to take the meeting, i.e. "Great meeting you, thanks for your time; when should I get back to you? Is this something we could work together on?" Most of the time, determining the heat in the room, i.e. how much they may want to buy it, is difficult. So, perhaps you might give a quick recap or overview of the story and then, most importantly, be silent. The silence lets them think about your story and it gives them an opportunity to respond. In sales terms, 'the close' usually means the moment that the seller (in this case writer) tries to lock up a sale or purchase of her/his story. This is usually something that is done by an agent, but the writer has to set up the friendly, relaxed sales atmosphere in the first place so that the producer or buyer wants to work with them. Without the hook of the pitch, the fish have nowhere to bite. A solid, well-crafted pitch is the first entry point for a sale.

9) Don't Be Desperate: Often the writer will be so desperate for a sale or acknowledgement of their work that they will push for some kind of answer as to the buyer's interest right away. I know you work hard, alone in front of your computer, and you're dying for feedback. But don't push for it. This is not a good idea, as buyers need time to think about whether the story works for them. On the other hand, a writer will usually get a feeling of interest one way or the other. Buyers often have to go to other people for answers and do not want to be put on the spot. The main thing is to be respectful and don't over stay your time in the pitch. Also, have one or two other stories up your sleeve ready to pitch, at least in log line form. That way after your pitch is done, you can ask them, 'what else are you looking for?' Don't pitch more than three ideas. However, if there's interest in your first idea, don't push to pitch the others; just let them consider that one. Stay with and sustain the passion you have for that one story you just pitched. Since many execs are paid to say 'no,' you might find yourself tightening up inside because they've 'passed on your idea' and don't want to buy it. Don't be grumpy, but be grateful you had an opportunity to make a new contact. You may want to meet with them to pitch another story later.

10) Time Frame: Other than a classroom or workshop setting, a good, well thought out, entertaining, professional pitch can be from 5 to 20 minutes. In most cases your script will need to be boiled down to ten minutes. Usually, you'll start with a thirty-second pitch to grab them (a slightly expanded version of your logline listing). If there's a nod to continue, you'll move on to your longer version. In a very short time, you'll have to cover plot, theme and characters. Of course, try to make sure that you include those three most memorable scenes - funny or dramatic - that help 'sell' your story.

You may be asking, so after I pitch them when will I hear back if they're interested? How long will it take us exec types to read your script after it has been pitched successfully? Every buyer is different; it has been my experience that execs or producers will tell you at the time of the pitch if they're interested. They might wait to discuss the idea internally with the rest of their staff before getting back to you or your agent to get a copy of your script for a read. Once the script is in our hands, it can take anywhere from a few days to two weeks to four months depending on interest, work load and production schedules. We do our best, but sometimes it does take a while for us producers and execs to get back to you after a pitch. Don't hesitate to call every three weeks to see how the script reading is doing. However, the following words from an exec at Showtime are perhaps worth considering: "I'm always thinking what would this writer be like to work with over the long haul. If a writer calls too often, is too pushy or is being arrogant or confrontational (Why haven't we heard back already?'), I'm probably going to say next'." As a former studio exec and now as a producer, one thing I have found is that a little honest humor, while showing respect for the process, can be effective as a friendly reminder. You can even joke about your script's place in the reading pile... i.e. "has it reached the summit yet or are we still stuck at base camp?"

In closing, a great pitch can really help move things along more quickly for the writer. Most of all, keep your pitch short, entertaining and focused. That way we will be eager to see how your wonderful script unfolds. Who knows, we might move it to the top of the pile!

Good luck and happy pitching!!

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READERS ASK

From time to time the WIWA office receives questions about writing or publishing that it cannot answer. In this issue, we are launching a new forum for readers of the newsletter to share information with one another. Send us your questions and we will see if anyone in the readership can provide an answer.

Questions and responses can be sent to wiwa@whidbey.org and may be published in upcoming editions of the newsletter for the benefit of all readers.

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CONTESTS AND MARKET REQUESTS

Children's Writers' and Artists' Yearbook Children's Story

Sponsored by A & C Black. Short story for children aged 9-12. Entries should not be extracts from longer works, or picture book texts. Maximum 2,000 words. Deadline is February 28. Visit http://www.acblack.com/childrensstorycompetition for details.

The InnermoonLit Award for Best First Chapter of a Novel

Most engaging, entertaining first chapter of a novel. All genres welcome. Writers retain

all rights to their works, and there is no entry fee. March 1 deadline. See Web site http://www.brianagincourtmassey.com/contests/bfcguidelines.html for complete details.

Washington Poets Association 2006 Annual Poetry Contest

Enter in possible categories: William Stafford Award (Any Form), Carlin Aden Award (Traditional rhyme/meter), Charlie Proctor Award (Humorous - any form), Francine Porad Award (Haiku). Deadline is March 15, 2006. Visit www.washingtonpoets.org for details.

Tom Howard Short Story and Prose Contest
Original short stories, essays or other prose are acceptable. Submissions deadline is March 31, 2006. Prizes totaling $3,000 will be awarded. Visit http://www.winningwriters.com/tomstory.htm for details.

Lunch Hour Stories
Lunch Hour Books is seeking short-story submissions for the 2007 season of Lunch Hour Stories, a monthly literary magazine. Stories should be literary in nature. Submission deadline is June 30, 2006. For more information, visit http://www.lunchhourbooks.com

2006 Pacific Northwest Writers Association Literary Contest

Deadline is February 22, 2006. Winning manuscripts are honored at the PNWA Conference and will have high visibility with agents and editors. See Web site for more details and submission guidelines: www.pnwa.org.

Glimmer Train Short Story Award for New Writers

Original, unpublished short stories. Open to writers whose fiction has not appeared in any publication with a circulation over 5,000. First prize: $1200. For details visit www.glimmertrain.com.

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2006 STUDENT WRITING CONTEST, GRADES SEVEN AND ABOVE

The Whidbey Island Writers Association sponsors an annual Student Writing Contest that encourages students to write, helps improve their writing skill and identifies writing excellence. Students in grades seven and above have until April 28 to enter. The contest is open to all Whidbey Island students in public schools, private schools and home schools. Complete submission guidelines will be made available to all schools soon. Home schooled students may contact the administrator (below) for information.

Students may enter one submission in each of three categories: poetry, fiction, and nonfiction. Submissions must be original and suitable for publication. All submissions will be read and evaluated, and numerous prizes awarded. Winning entries will be displayed in local libraries.

This contest is looking for donations of new books on writing to be used as prizes for contest winners. Contact the administrator if you are interested in donating to this program.

If you are interested in becoming a volunteer reader or coordinator, or have questions about this program please contact the administrator Jerry Mercer at StudentContest@writeonwhidbey.org or call 360-678-4813.

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ALL-ISLAND BOOK CLUB GATHERING BENEFITS WRITERS CONFERENCE

On January 12th, over 175 book lovers from Oak Harbor to Clinton representing 15 Whidbey Island book clubs - with group names that ranged from Page Turners to Book Owls, Monday Night Dogs to Old Book Bags - participated in the third Annual All Book Clubs Potluck. Organized by the Book Owls Club, the event, held at the Thomas Berry Hall of the Whidbey Institute in Clinton, featured Sharen Heath as the mistress of ceremonies and guest speaker Frances Wood author of Brushed by Feathers: A Year of Birdwatching in the West.

Participating clubs shared their three favorite books from a year of reading, naming thirty-eight selections that included both fiction and nonfiction, and included classics and newly released best-sellers. The Kite Runner by Khaled Hosseini was far and away the most popular selection singled out by eight separate clubs. In addition to the formal program, attendees enjoyed a sumptuous potluck, and raised funds through a silent auction and used book sale.

Proceeds from the silent auction will provide a scholarship for the Whidbey Island Writers Conference while proceeds from the book sale will defray the costs of next year's gathering. WIWA is grateful to all the members of the Book Owls, especially Donna Hood, Natalie Olsen, Linda Casale and Sharen Heath for all their hard work in organizing this celebratory event. We are also indebted to all the book club members on Whidbey Island for their generosity and thoughtfulness in sponsoring an aspiring writer to the conference.

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WIWA SEEKS VOLUNTEER EDITOR FOR BI-MONTHLY NEWSLETTER

Join WIWA's team of volunteers as the Newsletter Editor and learn all about the organization, from the conference, to local programs, to the master of fine arts programs. This is a great way to meet other writers and gain experience as an editor.

This position calls for an enthusiastic individual who is interested in taking an active role in all aspects of the Whidbey Island Writers Association. The editor will solicit and edit news, information and articles as well as develop and report stories and news events of interest to writers and the Association. For more information, visit http://www.writeonwhidbey.org/About_WIWA/NewsletterEditor.htm

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CREATE A WRITING PRESENCE ON THE WEB

Writers, WIWA wants to promote you and your writing by helping you develop a presence on the Web. If you have a personal Web site and you are a member of WIWA, we'll create an online link from the Resources section of our Web site, http://www.writeonwhidbey.org/Resources_Links/Resource_Home.htm, to your personal Web site about writing. This is your opportunity to showcase your writing, sell your books or advertise your writing services. All sites must be about writing and are subject to WIWA's approval. To set up a link, e-mail the Webmaster at WebAdmin@WriteOnWhidbey.org with your full name and the link to your Web site. This service is free to WIWA members.

Need help creating a Web site? Contact the Webmaster at WebAdmin@WriteOnWhidbey.org about design and publishing services that are available for a reasonable fee. In addition, WIWA can host your writing site on its Web site for $50 a year. Let WIWA help you connect your writing to the Web.

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WIWA'S WISH LIST

The Whidbey Island Writes Association is looking for generous individuals or groups interested in donating any of the following items to help us in our efforts to offer outstanding and new programs to local writers and readers. Please contact 360-331-6714 if you have any questions or to make a donation, or email wiwa@whidbey.org. As a 501c-3 non-profit organization donations to WIWA may be tax deductible.

--Work station (student desk size) with room for a computer and monitor

--Desk chair

--Computer and monitor to run sophisticated graphics software WIWA received through a recent grant. (Please contact Elizabeth Guss, Conference Director, for specific details)

--The Chicago Manual of Style, University of Chicago Press

--AP Stylebook, Associated Press

--New books on writing (to be used as prizes in the annual youth writing contest beginning January 2006)

--Phone cards

--Copy paper

--Card Stock (white or off-white)

--Legal size copy paper (for making of brochures and other print materials)

--Business envelopes #10

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CYBERSURFING
If you find a Web site you think other writers would like to visit, send us the URL.

Nina Bayer, WIWA member and WWW-MFA student, refers daily to this free listserve/Web site http://lists.topica.com/lists/crwropps that posts writing contests and calls for submissions from all over the country.

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QUOTATIONS
Please send us quotations about writing that you would like to share.

We are the children of our landscape; it dictates behavior and even thought in the measure to which we are responsive to it. –Lawrence Durrell

As we discover, we remember, remembering, we discover. –Eudora Welty, One Writer's Beginnings

"The king died and the queen died", is a story. "The king died and then the queen died of grief", is a plot. –E.M. Forster, Aspects of the Novel, 1927

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TO CONTACT US OR SUBMIT AN ARTICLE

We are interested in hearing from you. Perhaps you've been to a recent book fair, heard a favorite author speak, or learned valuable tips from a writing class. Perhaps you're a professional willing to share your expertise. If you would like to submit an article; tell us about your good news for the Cheers or Recent Releases columns; send us your favorite quotes, markets, contests and cyber sites; or contact us about the newsletter for any reason, please e-mail wiwa@whidbey.org. For information about the Conference, e-mail writers@whidbey.org. The WIWA Web site is: www.writeonwhidbey.org.

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TO SUBSCRIBE OR UNSUBSCRIBE

The WIWA Newsletter is published approximately every two months and is delivered to subscribers by e-mail. If you would like to subscribe, send an e-mail, with SUBSCRIBE WIWA in the subject line, to wiwa@whidbey.org. If you would like to unsubscribe, please reply to this e-mail with UNSUBSCRIBE in the subject, and we will delete you from our records. WIWA will not share or sell your name or e-mail address.