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Just a play on "axe grinders." An attempt at being clever by Michael. Ha ha.

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Over two and a half decades, Algonkian workshops and conference events have been subjected to at least a dozen very memorable and quite malignant narcissists, each one thin-skinned, childish, and predictably vindictive whenever confirmation of their greatness was not forthcoming. Below we meet one nightmarish example and then we proceed to examine alternative ways to defang their relentless ilk, techniques engineered to dilute their power enough to ensure future events will be less disrupted. And make no mistake, a determined and ego-wounded narcissist can wreck a workshop. Truly, they are the bane of writing teachers and workshop leaders alike. by Michael Neff ________________ A Case of Manga in Monterey Six years ago while immersed in the radiant dawn of mid-April in Pacific Grove, California, I met with one writer from my assigned retreat group beside a charming outdoor fire pit at a local motel on the Monterey Peninsula. A mature woman from San Luis Obispo, Constance arrived at the retreat with a beginner draft of her very first novel, a rather long YA fantasy. Prior to arrival, I'd reviewed her "sell sheet" wherein she'd jotted down her synopsis, pitch, hook line, comps, tag, and various other elements relevant to utilization by agents and publishers who might wish to adequately understand her premise and plot, as well as the novel's market potential--rather like a query letter, but more complex, and also a great developmental tool for stimulating workshop discussion, i.e., if no plot is present in the sell sheet then 99.9 times out of 100 it's not in the novel either. When she sat down with me all was cordial. I foresaw no immediate future meltdown. And why would I? She discussed her work, "pitched" the story to me, and as her editor of the moment, I asked appropriate questions designed to help me understand. What I learned, however, squared with my earlier assessment. First, her novel was way too long for a breakout YA fantasy (158,000 words), and second, her plot, as it presented itself, interwove confusingly with no less than four distinct stories (or what appeared as such). This condition was not atypical for neophyte writers. I'd seen it dozens of times over the years, and my duty was clear. Between the story lines, there existed one very interesting tale. I informed her of this fact and told her if we could focus on that particular aspect of the current novel and flesh it out that we'd also solve the problem of the manuscript being way too long. What happened next was totally unexpected, and in fact, rather bizarre. Such a condition was not atypical for neophyte writers. I'd seen it dozens of times over the years, and my duty was clear. Her eyes began to quiver and water. Yes, quiver, like a Manga-animated character. Both surprised and baffled, I immediately tried to calm her and reassure her that various degrees of plot misfires were typical for new writers. I told her we would work together and make the story as competitive and publishable as it needed to be. And wasn't this why she came to the retreat in the first place? To get feedback and improve her work? Apparently not. To my further astonishment, without another word she rose from her chair, turned, and walked away. Just like that. We'd met for no more than 15 minutes. In that small space of time, and despite my reassurances and sound advice, she quite literally had transmogrified into a state of fuming rage, though I did not fully understand the extent of it at the time. Later, after meeting with several other writers--all of whom were enthused and eager to edit--I wrote Constance an email apologizing if perhaps I seemed too gruff or inappropriate in any way, and reassured her once more that her best interests were my priority. Regardless, I heard nothing back, at least, not that afternoon. Little did I realize that the ash fall from Vesuvius had already begun and eruption was scheduled for the following day. Upon meeting with my writers in town the next morning by 9:30 AM, I was informed that Constance had been seen parked with her husband on the main street in downtown Pacific Grove around 8 AM. And what were they doing? The two of them were on the lookout to intercept any writers she recognized as belonging to the retreat. And why? So she could talk them into demanding their "retreat fees be returned at once!" After all, the event was obviously a fraud because the faculty were incompetent and cruel. Well, it didn't work so well for Constance. The writers she managed to lasso refused to go along with her righteous rebellion, and, understandably, were both surprised and irritated by her behavior--mostly because their own experiences at the retreat were opposed to hers. She quite literally had transmogrified into a state of fuming rage... Little did I realize that the ash fall from Vesuvius had already begun and eruption was scheduled for the following day. No surprise there. Irritated by this absurd turn of events, I hoped that the agitated Constance--who by this time was beyond redemption--would discover a way to magically teleport herself back to San Luis Obispo, and without further ado. But no, it was not going to be that simple, my foolish optimism notwithstanding. By mid-afternoon that day I'd received no less than seven emails from her, each of them portraying indisputable evidence of a truly unhinged and self-deluded personality. Though futile, I attempted to answer with rational responses. For example, "Why would I invite you to this retreat simply for the purpose of sabotaging your career?" However appeals to sense and logic made zero difference. No surprise there either. According to Constance, I'd schemed to wreck her novel, contrived reasons to trash it, failed to praise her prose, and was plainly a fraud who didn't understand good work when I saw it--unlike her writer's group at home who knew without doubt that she was a talented writer nearing publication. On top of that, her sputtering spouse, Cleon (not a writer), also began writing me, stressing the same themes plus calling me various names. Was I really a "Denebian Slime Devil?" The man knew his Star Trek, but the mounting drama of their self-victimization was off the scale, even comical. Finally, by early evening, the Folie à deux mattered not, and in the wee hours of morning, bereft of further destructive options, Constance and Cleon fled Monterey never to be heard from again. Over the many years, one begins to notice distinct patterns in the behavior of malignant workshop narcissists. Constance began her transmogrification as noted above, but in group environments the malignant nearly always initiates secession from the union by overtly arguing and sniping at faculty, usually the workshop leader, in an attempt to discredit them. After all, the righteous MN has had enough and it's time to set things straight! They're essentially reclaiming dominion and reasserting their flawlessness. It usually takes up to 48 hours before this first symptom occurs, and when it does, it comes on suddenly. You rarely expect it because narcissists can appear normal, even pleasant at first. There also exists a subgroup who are careful to not openly carp and snipe, rather, they evolve into the phase below, saving their salvos of snark for later in the evening when the faculty are absent. I'd schemed to wreck her novel, contrived reasons to trash it, failed to praise her prose, and was plainly a fraud who didn't understand good work when I saw it--unlike her writer's group at home who knew without doubt that she was a talented writer nearing publication. Next phase, the true malignant always works behind the scenes to recruit co-conspirators. Not being in a group, Constance resorted to collaring writers on the street, and it didn't work. Most of the time, thankfully, the narcissist cannot persuade others to rebel in any meaningful way, however, just the fact of their incessant complaining creates a disturbing circumstance for everyone concerned. If need be, they will attempt to bully fellow workshoppers into joining in the revolution. A plan is made and by the following morning, the taint of disruption is in the air. This all might sound ridiculous to the average person, and yes, there is a degree of absurdity to the circumstance, but we've had the misfortune of experiencing it in an unforgettable way. ___________________ Pulling the Fangs of the Malignant Narcissist If you're a workshop leader or teacher, you'll find several techniques below for softening or disallowing the narcissist blow (including the dreaded X LIST), and for strengthening the resolve of the majority of normal writers should they discover themselves being recruited. As follows: 1. Consider emailing this article ahead of the event. If nothing else, it provides writers with a reference point regarding Phase I and II modus operandi symptoms. It also places the potential narcissist on notice that their antics will be recognized for what they are by everyone present. Feel free if necessary to copy and paste directly into your email. 2. Email also a copy of the now famous Thin Skin Test. 3. Prior to the event, inform the writers that narcissism and negativity will not be tolerated. It isn't fair to the other writers and serves no productive purpose. If appropriate, inform them that narcissists who disrupt will be escorted from the event. 4. Don't play the narcissist game during the actual event. As soon as you verify to yourself that a Phase I eruption is in progress, call a break, and talk to the narcissist outside the circle of the group, but in plain sight. 5. Inform the entire group that a designated question and comment period will be forthcoming. In this way you can most likely channel the narcissist into a specific time slot wherein you can involve other writers in productive discussions that will dilute the agenda of the narcissist. 6. If you have an assistant or fellow faculty member, make certain they support you. The narcissist will always be hesitant to take on two as opposed to a single workshop leader. 7. Begin critique by first reviewing "positive" aspects of the writer's project. This will inject positivity into any potential narcissist and thereby serve to delay, if not prevent, appearances of negative behavior. 8. Finally, the X LIST. There exists a very large email list and certain social media accounts wherein survivors post the identities and activities of really terrible narcissist writers, thus warning others against dealing with them. It isn't foolproof, however, who wants to be known nationwide as the biggest threat with a dark narcissist heart? ______________ Workshops or classes that operate in MFA fashion dilute the narcissists quite effectively because critique falls to members of the group, thus hampering the ability of the narcissist to target while also providing soothing balm in the form of ill-thought critiques accompanied by the loud sounds of back slapping. But if you're doing your job as a workshop leader or teacher, you need to give your students honest critique on every level, even if it might sting for a minute. Otherwise you are doing them a great disservice.

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Introduction to Seven Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind and be aggressive with your work. Michael Neff Algonkian Conference Director ____________ INSTRUCTIONS FOR POSTING Several Algonkian groups utilize this forum. After you've registered and logged in, create your reply to this topic (button top right). Please post only one reply for all of your responses so the forum topic will not become cluttered. Your reply post, submitted by clicking on the "Edit Topic" button, will appear on the last page of this thread. And one last thing, we suggest typing up your reply to the seven assignments in a separate text file then copying it over to your post before submitting. Not a good idea to lose what you've done. __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page. ________________________

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