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The sin of inaction and unimaginativeness often go together. Both are the mark of fiction writers who fail to understand the psychology of their reader... or else, they just don't care.

- Rosemary DiBattista NY/PRNewswire: "On Maggie's Watch" NY/PRNewswire: "Lipstick in Afghanistan" - Susan Moger - Kim Boykin (Interview with Kim Boykin) - Author Natasha Bauman - Author Pamela Binder - Roberta Gately, author of Lipstick in Afghanistan Suite 101 Review - Author Kate Gallison

- Donna Rubino (The Camaraderie of Conference) - Halie Fewkes, signed by Andrea Hurst - Jim Smith, 9/14 Pitch - Kim Van Alkemade, signed by Harper Collins - Christopher Lee / Criminal Defense Attorney - Bonnie Carlins, writer and author - Dave McMenamin, Signed by Talcott Notch Literary Agency - Kelley McNeil, signed by Writers House - Amy Reichert - Sandra Glynn

Reviews of The New York Write to Pitch Conference THE FOLLOWING COLLECTION OF CONTRACT NEWS AND GENERAL COMMENTARY COVERS THE PAST SEVERAL YEARS. THESE ARE AN ESTIMATED 20% OF THE TOTAL MAILS, INTERNET POSTINGS, AND OTHER COMMUNICATIONS FORWARDED TO US. __________________ A quick note to say thank you because I attended the Write to Pitch conference in December (I was in Paula's group) and just landed a contract with The Book Group agency for MAYBE WE MEANT IT which I completely credit to the conference. I spent the winter editing my book based on what I learned that weekend, as well as in the eBook. My agent just landed a six-figure deal with Park Row Books, and I am pinching myself. - Bri LeClerc Just wanted to share the happy news that I've landed an agent from CAA for ACTS OF CONTRITION... The refinements to the ms and pitch we worked on in June were a huge help. Thank you! - Luke Cohler My big takeaway from the conference was that I had something... I began to revise the manuscript based on the notes I'd received. The Write to Pitch was intense, and difficult, but worthwhile. It also gave me the tools necessary for the all important query. I queried Mark Gottlieb at Trident Media. He read the novel, offered representation, and soon after, he sold the book. - Lynn Tavernier After the New York Write to Pitch, I realized I needed more help to prepare my manuscript before querying, so I reached out to Michael Neff for developmental editing. Not only did he enlist multiple published authors in my genre to assist with providing critical insights that took my novel, MIA'S LIST OF DON'TS, to the next level, he became my biggest advocate in the publishing world. He sent my finished MS to agents he knows and ended up being my matchmaker with the popular literary agent Terrie Wolfe. - Laura McCamy I attended New York Write to Pitch in June 2024 and five weeks later received an offer of representation from an agent for my thriller novel THE BETTER MOTHER using the novel and pitch their faculty helped me perfect. I am confident it never would have happened so fast (or at all) if I hadn't taken their valuable development and marketing advice to heart. I am now signed with Crooked Lane. - Jennifer Van Der Kleut Renee Richards was signed by the Talbot Fortune Agency who will rep her upmarket novel entitled LEAVING WOODSTOCK. In her own words regarding the WTP conference: "I was fortunate to be assigned to the incredible Paula Munier during the conference, and her guidance was instrumental in securing my current full manuscript request." From debut-author CJ Rivera, comes a harrowing tale of a parent risking it all for her child. THE FINAL ORCHARD is perfect for those looking for a novel that intrigues like television shows such as Black Mirror. Here we have a new novel fresh off the Write to Pitch event in New York and straight into the hands of Angry Robot in the U.K. Thanks also to Michael and the event faculty who worked behind the scenes with Crystal. We wish her huge success! A Life-Changing Experience - Leading to a Book Deal. If I could capture my experience at the New York Write to Pitch Conference in a single word, it would be "transformative." It's a unique blend of a supportive writing community and insightful mentorship that sparked a revolution in my writing approach. The preparatory reading assignments alone were worth their weight in gold. They stretched my understanding of narrative structure and character development, reshaping my own work. I can't emphasize enough the value they added to my writing journey. - Crystal Rivera ______________________ Susan Breen's MERRY pitched as THE MAN WHO INVENTED CHRISTMAS meets IT'S A WONDERFUL LIFE, was sold to Jess Verdi at Alcove Press at auction. Represented by agent Paula Munier publication in fall 2025. Agent Katharine Sands of the Sarah Jane Freymann agency has signed a T.E. Bean, a brilliant new writer and his SFF novel, NIGHT EYES. Congrats to all involved and special thanks to Michael Neff, his workshop leader! Moveable Type Managment has signed several NYWP and Algonkian authors since 2022 for commercial publication. Among them are Gregory Carpini Jr. and his historical novel SHINEY POWDERED FACES; Jennifer Ericson and her cozy mystery series CURIOSITY RESCUED THE DATE; Jody Gerbig's postpartum horror novel TAKE CARE; and Gerri Lewis' obituary writer mystery THE LAST WORD sold to Tara Gavin at Crooked Lane. Most recently MTM signed MARKERS UNKNOWN, a tech-thriller by writer O.E. Soderberg. In her own words: "It is a total dream come true, and I can’t thank you enough for everything. Your conference is truly one of a kind and has turned me into the writer I want to be." Audrey Woods sold her short story, Miss Suspicious, to Brendan Deneen at Blackstone, whereupon the film rights were sold to Universal Studios. Hollywood is beginning to notice the Write to Pitch Conference, and we're going to keep it that way. Carola Lovering's best selling novel, TELL ME LIES, has been turned into a successful TV show on Hulu, now going into its second season. The Write to Pitch Conference made it all possible back in 2018. Great to hear from you, Carola! I signed with my dream agent in late June of this year. My experience at the New York Write to Pitch conference in March '23 was a worthwhile investment that gave me the extra push I needed to fine-tune my manuscript with a deeper insight and clearer vision for my story. The pre-event assignments were key in guiding my revisions before and after the workshop, and the personal attention Susan provided in the classroom was invaluable. - Wendy Tatum The Corviserio Literary Agency just signed Melissa Mohalla's SFF, SYMPHONY OF CHAINS, for representation after meeting at the Algonkian NYWP. Congrats to all those who made a new six-figures-in-auction possible! Fingers X'd for a great novel. The Cindy Bullard Agency as recently signed three new clients from Algonkian events, including A DEADLY GAME by Gayle Brown, and new novels by Scott Fleuter and author Nina Smith. Congrats to Gayle, Scott, Nina, and Cindy! Just wanted to let you know I signed with Bob Diforio from D4EO literary with the novel we workshopped! You guys really helped me boost the concept to the next level, and btw, thanks again for the great new title, SECRET OF KILCHULLEN HOLLOWS." - Samantha Schinder We just learned a pleasant surprise on the fly, namely that Talcott-Notch agency's Amy Collins has signed a total of five writers from Algonkian events over the past three years, most recently Joseph Hall's SF novel, STEEL HOUND, now making the rounds at major imprints. On the other side of the city, Algonkian writer Shola Adedji was signed by Blackstone Publishing to write a new SFF series called SHADOWMAN. He and his editor, Brendan Deneen, met at the NYWP. You guys have clearly worked very hard to develop a terrific event for upcoming writers. It's exactly what people need: support in producing a commercial idea, plus contacts to help sell it.... It was brilliant, and great to get to know you and Audrey too. I'm so glad I flew over from England or it. - Harper Collins Author, Annabel Kantaria I know three people who've attended [New York Pitch]. I went to one of the after parties with one of those people. It's definitely worth doing. One of those people got a six-figure book deal out of it, the other two got very serious offers. Prepare yourself to have to rewrite the book, though. The people there will tell you what edits you'll need to make in order to sell the book to them. - Eleanor Konik I received a contract from Harper Collins in 2021 as a result of an agent I met at the NY Pitch Greatest Show on Earth circus. I say "circus" not in a derogatory way, but as a good metaphor to utilize when describing the creative and delightful social chaos of the event itself. The studios are the equivalent of circus rings, each with their own culture, ringmasters, and applause. The hallways brim with entertainment art like a maze between the tents, echoing with the sounds of audition. Mouths are open, eyes are big, tears and laughter are real, and I'm going again, even if just to watch. And on top of everything else, I learned more about good fiction writing than in three years of groping for an MFA. - Marion Clark (Bestseller3) Bombarded with offers from agents at the New York Pitch Conference in 2022, Nan McCann finally agreed that agent extraordinaire, Paula Munier, should be the right one to represent A MAN OF TWISTED WORDS. Congrats to all! Agent Amy Collins of the famous Talcott Notch agency just signed SFF writer Sandra Kruse to a two book deal. According to Amy in a note to us, "My first time at the New York pitch as an agent and I was blown away by the quality of talent assembled there, and I signed not one, but two authors. I can't believe it." And it was actually Sandra's second visit to the event. As she says in an email, "I learned so much the first time that I came back six years later with a different book and, this time, came away with an awesome agent. Thank you! Thank you!" Randy Denmon's new nonfiction about rediscovering the other side of America in an old Ford truck was just signed by NY faculty member, literary agent Barbara Zitwer following a meeting between the two at the June 2021 NYPC. Randy's novels and nonfiction have won the Western Writers of America Spur Award, the Faulkner-Wisdom Award, and he has been a finalist for the Ben Franklin Award. He is also the author of THE FORGOTTEN TRAIL TO APPOMATTOX. A couple of big projects at the NYPC were recently signed by the renowned literary agency, Moveable Type Management (MTM), for representation to both book and film markets. These include the WW II historical fiction pitched at the 03/21 NYPC, THE LAST AIRMAN by Roy Qualls, and A MILLION MILES TO DAISY by Sam Nahins, a novel about a military drone pilot out of Vegas seeking redemption by struggling to save his mother from a corrupt and brutal nursing home--pitched at the 12/20 NYPC. ____________________ Attending the Write to Pitch conference was an absolute game-changer for me. It was well-organized, with every session designed to challenge and engage writers on a profound level. The pre-conference assignments, readings, and in-class instruction pushed me to delve deeper into my work, allowing me to uncover layers I hadn't even realized were there. - Dr. Kari Janz The December 2020 New York Pitch Conference was empowering. In the group, there were a number of neat writers with good work under their belts, no one ups-man-ship, no snarkies, just plain good and very intelligent people with a common purpose. I had never talked to an agent or publisher before. But they exhibit all the attributes that qualify them as direct, caring, and compassionate, although they are to the point because they have a lot of people to work with within a very short time. But we learned the ropes, how to compose a pitch and give that pitch without choking up! - Jerry Mollenhauer at Writer's Block I attended The New York Pitch Conference in December 2020 and, because of Covid, the conference was via Zoom. The conference exceeded my expectations. The conference leader and associate went above and beyond in their creative generosity, willingness to be available at ungodly early hours to help with reworking the novel and sharing professional insights as to what worked and didn't work in the pitch. For my specific genre, I had the opportunity to pitch six times, each time learning how my pitch was or wasn't of interest to the agent. I came away from the conference with a better understanding of the publishing world, a sharper picture of what will potentially make a novel commercial, and a submission request. If you are interested in selling your manuscript, I highly recommend attending the New York Pitch Conference. - Maureen Meegan Thanks to knowledge and skills learned through the Algonkian NYC Pitch Conference (March 2018) and participation in the Novel Writing Program, I am happy to report the following contract: DEAD ALREADY, a thriller worked during the pitch conference and the follow-on novel Algonkian writing program, published in November 2020 by TouchPoint Press. - Michael Krentz Dear Michael and All, Thank you for a great conference. I feel empowered to go forth, rewrite and query. I know this was extremely difficult to put together virtually, and that there were many issues as we went along, with people getting lost in the ether. I was impressed with how these were handled calmly and efficiently. A shout out to Bud, who rescued many a waylaid writer. The experience of meeting with so many agents, and getting their feedback and various perspectives was extremely useful. I also enjoyed hearing what they had to say about everybody else's query. An education in four days. Many thanks for all of your hard work, attention to detail, and extreme care as you shepherded us through this process. I can see what you meant by "no writer will be left behind." I will certainly recommend your conference! - Alison Hubbard It's hard to fathom that over a decade has passed since Rosemary DiBattista (Rosie Genova) and I attended the New York Pitch Conference. There we were-two aspiring writer-hopeful, and yet frozen in terror by how completely out of our element we were. One look at each other, and we realized we were both in the same aimless boat, sailing across perilous waters. Rosemary was my lifeline that week, and the bond was as immediate as it was lasting. It has been a long, sometimes thorny journey. But we made it to the other side, both of us having now published three books... So thank you for giving us the opportunity and the jump-start that we needed to launch. - Loretta Marion I recommend attending the conference if you're open-minded about your work and, most importantly, willing to change it. The four-day event is an emotional rollercoaster. Be prepared for honest feedback. Comments about your novel will not be sugarcoated. You may be asked to add characters, ditch a point-of-view, or even switch genres... You'll be peppered with questions. Don't defend. Rather, listen to ideas from those in the industry. - Tracey Kathryn - J.P. Gownder - Cate Holahan - Carman Curton - Robin Stuart - Sandi Ward - Amanda Greenfield - Britt Staton - Roger Johns - Stacy Suaya Post by New York Pitch Conference Review. - Donna Rubino (The Camaraderie of Conference) - Halie Fewkes, signed by Andrea Hurst - Jim Smith, 9/14 Pitch - Kim Van Alkemade, signed by Harper Collins - Christopher Lee / Criminal Defense Attorney - Bonnie Carlins, writer and author - Dave McMenamin, Signed by Talcott Notch Literary Agency - Kelley McNeil, signed by Writers House - Amy Reichert - Sandra Glynn Reviews of Algonkian Writer Conferences - NYC Pitch - Luke McCallin - Rosemary DiBattista NY/PRNewswire: "On Maggie's Watch" NY/PRNewswire: "Lipstick in Afghanistan" - Susan Moger - Kim Boykin (Interview with Kim Boykin) - Author Natasha Bauman - Author Pamela Binder - Roberta Gately, author of Lipstick in Afghanistan Suite 101 Review Reviews of Algonkian Writer Conferences - NYC Pitch - Author Kate Gallison Three out of four publishers asked for my work, and one, has been helpful to me in suggesting agents, and is happy to discuss the book with any who are interested. This is a result beyond my wildest expectations, and thanks to the hard work of you and your team (especially Rachel Sherman!) in putting on these conferences. Thank you. Keith Lord The Algonkian Conference assignments helped me to refine the organization of my novel, and see it in context of the actual market. The intensive pitch workshops were brilliant for learning to see work from the publisher's point of view. The agents were very generous with their time and gave thoughtful feedback to everyone. I also attended the New York Pitch Conference and can say that these two conferences have filled in the blank left by my MFA: how to actually get published. Kari Pilgrim I am arrogant, manipulative and intelligent, but not unrealistic. The New York Pitch Conference was exactly what I needed - a reality check. I learned what publishers look for and shy away from, and gained a deeper understanding of the unlikely odds of becoming one of the few that get published. I walked away with a lot of work to do - reworking parts of my novel and studying my genre. Three months and many, many hours later, I have "almost" completed my editing. The 79,000 word novel is nearly perfect, far better than I thought I could make it - well, except for the last chapter, which currently sucks. I would not have accomplished this but for you and your conference. I can't tell you how grateful I am for that. Terri-Lynne Smiles Thank you for your wonderful conference where I met wonderful people and which led to acquiring my agent, Sally Wofford-Girand, which led to getting this dream to come true. Sujatha Hampton This is one e-mail I have been dying to send--this week I signed with Kim Lionetti at Bookends. If it weren't for the conference, it would not have happened. Many, many thanks! Rosemary DiBattista Four months after the NYC June pitch conference - I want to thank you so much. I've gone back to Eros and Omissions (thanks again for the title!) with all the advice in mind. From 50,000 words it's on a trajectory for 80,000. I feel that it's a much richer, more developed work, with a strong opening, backstory dramatized ... Thanks again for your help with the pitches and your wisdom re writing generally. This Algonkian Writer Conference is unique among writing seminars. I've since highly recommended it to many of my writer friends. Warm regards, Carol Polizzi I am thrilled to share the news that my novel GRACE AT WAR, a 14-year old girl's account of her brother's re-entry into the world after a year in combat in Vietnam, has won first prize in the Maryland Writers Assoc. (MWA) 2008 Novel Contest in the mainstream/literary fiction category. According to the MWA letter that accompanied my prize, GRACE AT WAR received "exceptional scores" from the judges "in a very competitive" field of entries from all over US and Canada-- so I'm feeling "exceptionally" motivated to move Grace to the next steps: professional editing and finding an agent. Attending the Pitch and Shop Conference in December 2006 in NYC was instrumental in advancing my novel to this point. Susan Moger And I can't brag enough on Susan Breen, our intrepid group leader. She was fantastic and a the perfect guide for our little group: part mother hen/part ninja. (Of course I bought her book immediately and just finished reading it...and I loved it.) I don't know if this happens in every session, but our group really bonded into a unit over the days of the conference and we've been emailing like crazy since it ended. We've even set up a Yahoo group to make it easier for us all to stay in touch. A lovely side benefit of attendance at this Algonkian conference. Anna Lefler I am drawn to telling stories about women who discover their inner strength through great adversities ... The workshops gave me an opportunity to review the overall structure of my novel. Refining the pitch forced me to isolate the major plot points. By focusing on the sources of conflict and suspense, I gained a clearer picture of changes that needed to be made. Barbara Marquart I was beginning to get discouraged in the "find an agent game." I'd managed to wrack up a more than a few rejections on the queries I'd sent out. Then at the conference, with the help of an amazing workshop leader, I was able to improve my pitch. Three out of four editors at the conference requested my manuscript. That and the enthusiasm of my fellow attendees gave me heart. With an improved pitch and the editor interest to back me, I jumped back into the fray, Now, a few months later, I've signed with Emily Sylvan Kim of the Prospect Agency. Thank you, Algonkian Writer Conferences. Amy Ester Fischer Perhaps coincidentally, I found doing the New York Pitch Conference and then following up with an Algonkian Writer Conference most effective. In any case, it is what I did. The pitch shop highlighted problems while the follow up looked into solutions. It's pretty hard to point to any single thing that helped the most since all parts of a novel are critical simultaneously. You must have plot but not at the expense of character but neither really work without paying attention to creating interest and tension throughout the writing. Maybe that's your answer: a more sophisticated view of the entire book. Alex Keto I wanted all of you to know that I had about a 95% positive response rate on the query I worked out with the group at the conference. At the time Brick House Literary Agency asked to represent me, I had 6 agents reviewing my ms. I began querying on Sept. 20 and one week later, I had 6 agents request the ms. I landed an agent less than one month after I began querying. This is largely due to the contacts I made, the information we shared, and the feedback I got from the Pitch conference. Sujatha Hampton This is a relatively small conference - 60 people - which made it possible for us to get to know one another, share information, and for the editors and workshops leaders to give us individual attention. Being grouped by genre (such as women's fiction) was very effective as it gave us a sense of identity, and meant that the information we received, and the discussions we had, were all specific to our genre. Most conferences try to do and be too many things, causing the writer to feel scattered and overwhelmed. Christine Stewart From John Ford (five figures for young adult fiction - THE MORGUE AND ME - Viking) The New York Pitch and Shop Conference offered direct access to major publishing houses, great mentors, and a community of supportive writers. The editors drew me to the conference, but the bigger benefit for me was the invaluable instruction in honing my pitch. The intensive workshops force you to crystalize the appeal of your manuscript. That helps greatly in the pitch sessions, but also -- maybe more importantly -- in drafting query letters and in editing the novel itself. It's no coincidence that such a large proportion of our small group found publishing success after Charles Salzberg helped us identify and focus on the strengths of our work. From Susan Breen (five figures for women's fiction - THE FICTION CLASS - Plume) I am the person who sold my novel at the New York Pitch Conference. I met with an editor from Plume, pitched the idea and she liked it and after several weeks, and rounds of discussion and so forth, she made an offer. Meantime, Michael Neff helped to set me up with my agent, who is a lovely person at Trident Media. So I can honestly say that going to that conference changed my life. #2 Post Let me just share my experience here. Before I went to the New York Pitch Conference, I had been to a number of more traditional conferences--Bread Loaf, Antioch, Writers @ Work and so on. When I saw the ad for New York Pitch Conference, I had just finished my novel, The Fiction Class, and I was about to embark on a search for an agent (which is a long story in itself) and I was thinking I would apply to a conference. Then I saw the ad and I liked the fact that it was different than anything I had done. Quite honestly, I was at a point in my career where I thought I needed to do something different. I knew it was a long shot, but I was going to spend the money on one conference or another and I figured it was worth giving it a try. I had met agents before at other conferences, but I liked the directness of this one. The whole purpose was to try and sell my novel; there was no pussy footing around. Also, I just liked the idea of meeting an editor face to face. If you are not in publishing, you just do not run into editors and since these people were the decision makers, I wanted to see what they were like. Everything turned out so much better than I had dreamed. I did sell my novel--not right at that moment, because there is a process. But I did sell it because I went to New York Pitch Conference. My thanks to Algonkian Writer Conferences. From H. Scott Dalton (attendee at New York Pitch Conference) Since the conference, three of our group, including Will, have been offered contracts for the books they pitched (I, unfortunately, have not had an offer yet). All three say the coaching they received at the conference helped them shop their books more effectively by tightening and targeting their queries. For myself, I decided to attend for a few reasons: It gave me a chance to meet other writers, folks serious about this craft, including some from the Big Bad Industry. It gave me an opportunity to get a reality check on my writing and my book, and help me figure out how to market it to maximize my chances. It might get me struck by lightning, get picked up and avoid the frustrating query-and-rejection cycle I'm in now (please note, though, I did not go thinking I was guaranteed a contract). Hell, it was a chance to go to New York. As it happens, all but the struck-by-lightning thing worked out. I'm still in contact with several of the folks I met there, one of them Will, and we all continue to learn from each other. Personally, I find it useful to be able to put names and faces to my fellow rookies, and have at least one common experience to look back on. And meeting one-on-one with four real live editors helped me gain a little perspective on this business; the four of them, and all the rest of you, are much more human to me now than before. For me, the conference was worth the price tag. From Will Lavender (six figure deal for his thriller - OBEDIENCE - Shaye Areheart) This Algponkian Writer Conference helped me TREMENDOUSLY. Tremendously. I did a few things in New York that were of help: I changed the title of my manuscript after it was clear that our group didn't really care for it, and the title change helped me realize some of the book's themes; I was asked to submit my manuscript to an editor at Penguin (something I put on my query letters); and I tightened my query to the point where I was 90% successful in terms of agents asking for partials or fulls. I also met some good people and some good writers there. According to their website, three of the writers in the group I was in have made deals. I'm with Shaye Areheart; another writer is with Plume; another is with Knopf. There were 16 in the group. That tells you that, while these writers may not have landed deals with editors during this conference (I didn't; the manuscript was eventually rejected by Penguin), there is some legit talent in the groups you pitch with. I can only speak for myself: it was well worth the money I paid. If they just gave you what you paid for at the New York Pitch and Shop conference - face time with serious decision-makers from the top publishing houses - it would be worth 10x what they charge. But they go further; personal guidance, encouragement, and honest evaluations of your novel. Ginger Lombardo My weekend at the New York Pitch Conference was one of the few highlights in my beginning writing career. The tutoring from the workshop leaders, the support and encouragement of my fellow writers, and especially the feedback from the editors was well worth my time and money. Three of my children attend private universities and three others are enrolled in expensive athletic programs- (that's right- six children, one husband, a mortgage and a whopping grocery bill) pennies are precious, my spare minutes are few, but I considered the conference invaluable. I shopped conferences extensively before choosing the New York Pitch Conference. Because I've a finished manuscript that has been extensively work-shopped, I wanted a conference where I received personal evaluation and critique by professionals who are top in their league. I got what I wanted and more. Kristine Tate I went to the most recent conference worrying how to juggle four editors all wanting my well-written, professionally-edited, much revised story. That was not a problem, however. I learned that my masterpiece is going to rot until I learn how to pitch and market the theme (a.k.a. premise). At another writer's conference, I had 15 minutes each with an agent and editor who, having previously read some of the manuscript, told me my writing was excellent, the humor great, etc. But they weren't interested. At the NYC Pitch & Shop conference, I learned why. If you cannot sell your novel idea within the first two minutes, the remaining time is for polite chat. That's the real world. Greg Bascom The New York Pitch Conference, as rumored, is cool, and like someone said, a little like American Idol. Writers are real tense and anxious about their meetings and the responses they are getting. Some of them cry and others storm around, but the pitch staff calm them down. They have too much stake in the process and want to quit their day jobs. I don't blame them, but ya gotta have perspective. One of the coolest things about the New York Pitch Conference is the venue at Ripley-Greer. Lots of art and cool theater people and ooooh la-la dancers of both sexes mingling and rubbing shoulders with the writers. Never seen anything like it, really. David O'Keefe I attended the most recent New York Pitch Conference and as a currently unpublished author found it to be well worth the time and expense. I travelled from North Carolina, paid for a NY hotel (at a reduced rate thanks to the conference sponsor) plus airfare. Not only was I able to refine my pitch and present it to interested publishers, but participants were able to sit in on early pitch sessions and benefit from the professional critique of other pitches. Oh, and by the way, an executive editor who has worked with the likes of Tom Clancy is currently considering my mystery-thriller manuscript for publication. How much is that worth? Guy Forcucci Before attending the conference, one ought to do one's research. From what I was led to understand, there were no guarantees. It was not advertised to be anything more than a conference for pitching to editors - face to face. I did not expect editorial help, except as related to the pitch, and I was given more than I expected. I was also given a peep-hole into the current state of affairs in fiction, and I saw what kind of a crapshoot it is - not just for writers but for editors, as well. I saw that editors who were known for taking a certain kind of fiction could be on the lookout for other kinds, so long as it met this nebulous criteria of seeming marketability. When I parted with my $500, I knew from outset that there was a chance that none of the editors might want to see my work, and even if they all wished to see it, that there was no guarantee any of them would take it. It was difficult, but it was an experience I'm grateful for. It was informative, as well as being a reality check, it was helpful in providing editorial contacts, and it was an opportunity for bonding with other writers. The people in my group and our facilitator were first rate human beings. Alice B. I attended in March. Before applying, I studied the website. I made sure I was the kind of writer who might find the experience -- and hence the expenditure -- worthwhile. It was obvious that there were no promises made regarding contracts, fame, or fortune. What you were promised was face time with 4 editors, and what was promised was ABSOLUTELY delivered. On the first day, participants were aided in developing their pitches -- a very different animal from the standard query letter -- and during the following days, we pitched and honed accordingly, all the while aided by the conference organizers and presenters. Personally, I came away with more than I initially expected. 3 of the 4 editors asked for partials and/or the entire manuscript. My novel is still under consideration by an editor I never would've reached via the slush pile. Other participants had similar success, while others still received a much needed reality check, or simply insight as to how the publishing world works. There were disappointments to be sure, but it wasn't due to the conference, it was due to the individual manuscripts. Writing is a subjective art form, like love, and like love, not everybody found a match during our "speed dating" sessions with the editors. However, everyone in my group -- regardless of their success level -- found the experience worthwhile. Most importantly, I met a lot of great people who do what I do and are at the same place in their literary pursuits. I live in the Midwest. I don't come across many people who are aspiring authors. Writing is a solitary endeavor and to have met a few colleagues, as well as another writer with whom I now exchange work and have a real and lasting friendship is, as the Mastercard ad says, priceless. Amy Hanson Like others, I came from quite a distance and found the workshop to be more than I had been able to imagine, because I had no idea that what we were going to learn was so labor intensive. I couldn't imagine how it could take three full days to perfect a one to three minute pitch. I can now, and really have a grasp of what I've taken on. This line of work--writing fiction--is no where near an easy task. Sometimes I wonder if I'm off the deep end, but I love the writing and so am willing to keep trying. I appreciated the fact that there were no punches pulled. The Shop staff were almost brutally honest when it came to my writing and that is exactly what I wanted. And, I was told what was wrong and what road to take to fix it. Again, exactly what I wanted. I was told from the first that only a certain level of writing was accepted at this 'conference', and I found that to be true. It was scary exciting and intimidating, as well as motivating to participate in this workshop. Like anything, no one thing works for everyone. Lisa Buie-Collard I came from Canada, another from the Cayman Island, others widely from across the USA. The conference offered training in how to "pitch" one's manuscript, and it offered a face-to-face opportunity to pitch to four editors. It delivered. There were days of discussion on improving the pitch, rehearsal sessions, opportunities to discuss one's work and whatever else one pleased with fellow 'wannabees.' Reduced cost hotel accommodation across the street was also arranged. I did not personally get a contract. Penguin did look at my book and rejected it -- I can't believe that was for any reason other than it didn't match their requirements. Anyone signing up for this workshop should feel comfortable that they will get what they are told -- however, a guarantee of publication is NOT PART OF THE OFFER. Michael Hall I attended the latest pitch and shop and found it to be tremendously helpful. If you have honed your craft and written a saleable product you should have no problem attracting an editor's attention. You learn how to pitch in one minute. I didn't understand how that was done. I do now, and I do it very well. I recommend it highly. It was the the best writing conference I've experienced. William Holland These are my experiences with the Pitch Conference. I suppose in the back of my mind I went in hoping for some miraculous discover me at the soda fountain Hollywood story. This didn't happen but then I'm no Lana Turner. The meat of the conference was preparing the pitch. This meant giving the pitch to others in a group of about fifteen writers and listening to their pitches. This helped me focus on two things: what was my novel really about and how could I communicate that effectively in as few words as possible? These may seem like simple matters but to watch fellow writers struggle to make a compelling summary of their works was fascinating and instructional. This process was repeated and the improvement in the presentations was apparent. The pitches were presented more confidently and they were worded more confidently. We had a good group. I respected them as writers. Members of our group actively rooted for one another and we have kept in touch since. All of the ones I have communicated with shared positive stories. There are several I am hoping to see in print come some day. I saw four editors. My pitch lasted two minutes followed by the editors asking about three minutes of to-the-point questions. One asked for my manuscript. After a couple of months of mulling it over, it was ultimately rejected. The NYC Pitch Conference was an excellent experience for me. In a short time I learned how to see through an editor's eyes. I understand now how to present my creation in that one page query letter that seemingly every agent requires. Worth the money? Not if you are only hoping for that Lana Turner type moment. But it taught me what I needed to know to bridge the gap between art and business. I would consider doing it again - especially if I knew I was to have as enjoyable and affirming group as I had my first time. If I were to drop something in their suggestion box I would have the team create a conference for graduates of the first conference. If I were to return, a lot of the basics I would be learning would be redundant. BTW - the Lana Turner story is a myth anyhow. Martin Hill Ortiz I attended the June New York Pitch Conference and found it to be an amazing experience. Right off the bat there were no promises of publishing contracts. There were promises of a reality check, help in perfecting our pitches and face time with four reputable editors from major houses. They delivered 100% and then some. Our group leader, an established writer and teacher, took the time to work with us to hone our pitch, making himself available before our morning session began and it the afternoons. He sat in with us when we pitched to the editors. Our face time with the editors was not one minute, it was anywhere from five to fifteen minutes. The editors also provided helpful critiques. An executive editor from Penguin requested my ms, I would not have had the opportunity to pitch to him if I wasn't at the conference and my pitch would not have been perfect if it wasn't for the guidance I received by my group leader. Although not everyone was asked to submit their ms, we all gained valuable advice and critiques to better our work. No one in my group found the conference to be a waste of money. I also agree the conference reminds me of American Idol. We were all very nervous and very tense, but we bonded together to cheer and support each other. Most of us still keep in touch and have gotten together post conference. I've made valuable friendships and have the support of other writers and that's priceless! Robin Tauber I attended the NYC Pitch and was very happy with the conference. I learned how to write a pitch, what the editors are looking for and buying, the fact that their editorial board has to come on board, and that the markets are tough, but doable, if you have learned everything you need to learn to sell. I came to the conference with the understanding that I would learn what I needed to know to find a publisher for my novel and I now know what to do. I also came with the understanding that anything was possible, that my book might be ready by my standards but that there may be several more things I needed to learn before an editor could take it. I came away with that understanding in place, and am revising the novel currently with an agent's help. My manuscript is still out at 3 publishing houses, and I'm eager to hear what they say. If they don't take it I want to know why, and how I can revise to meet the needs of the current markets. I used my experience as a learning curve and am hard at work on what I have to do with the novel now to make it saleable. Was it useful? 100%. Barbara Keegan First of all, the conference was a tough one. I received more honest and hard-hitting reaction than anywhere else and my novel is the better for it. I'm rewriting now and plan to attend a second NYC pitch conference by 2007. The editors were encouraging and professional, but not soft, and the workshop editors were fantastic. The whole group bonded and we're still sharing mails and work. I got just what I wanted and I've never had quite the same experience at another conference. Julie Field ------------------------------ This conference more than met my expectations. The cost was reasonable, considering the information gained. I've attended at least two writers' conferences a year for the past ten years and have taken the opportunity to I pitch my manuscript to agents and editors whenever possible. But, I really didn't know what I was doing until I attended the New York Pitch Conference. If I'd had that knowledge and experience before attending other conferences, I'd have felt more comfortable, and my pitch would've had a higher chance of success. One highlight of the conference is your interaction with other writers. I was placed in a group, many of whom wrote in my genre. We all pulled together and helped one another shape our pitches. By the end of the three-day conference, I felt a sense of comradery in my group. In fact, six months later, we continue to remain in contact. You get out of a conference what you put into it. Actively prepare and participate, and you'll be glad you attended. Richard Romfh

Her take on the learning curve to becoming a marketable author was realistic. The special "helium voice" effects were annoying, but her delivery overall was professional. Check the box with her on: - DO YOUR HOMEWORK on plot, characters, etc. - READ BOOKS on how to write a novel (okay, but the right ones). - OUTLINING a better idea than PANTSING. Uncheck the box on: - READ BLOGS AND ONLINE VIDEOS to learn how to write. They will inevitably be filled with quasi-productive, very poor, or contradictory advice unless chosen very selectively. How is a neophyte novel writer able to know the stars from the black holes? See our video reviews here. Who do you believe? King or Sanderson? - Her "helium voice" recommendation to try both outlining and pantsing when you're so new you don't know what to do? This isn't logical or sound advice since such a process fails to even recognize the basics of plot pointing--an unqualified must when it comes to developing and writing a genre novel. Pantsing won't produce the points. Considering points in advance and writing towards them is outlining by default. - Unqualified use of "critique partners" and "beta readers" to provide the type of feedback that will productively evolve both the writer and the manuscript? This is a dream world that never happens. She doesn't advise caution and fails to provide guidance on how to find such miracle workers in the first place. Crit partners who know less, or most likely very little more than you, will lead you astray just like an amateur writer group. The ideal "crit" partner would be a writer who is already an accomplished fiction editor, but what are the odds of that? Beta readers, however, can be utilized effectively, but only under certain conditions. At least she advises on looking for commonalities in crit feedback. Check the box on: - DO YOUR OWN EDITING insofar as possible (btw, try these techniques). - Good grammar is a must. - Hone your skill and craft - Read the books in your genre. - Don't hesitate to write more books.

About Algonkian Events and Workshops Haste born of impatience is a writer's second worst enemy. Hubris is the worst. - Director Michael Neff Algonkian Writer Conferences began in late 2001 on the banks of the Potomac River at Algonkian Park in northern Virginia. With its beautiful setting and cottages, it seemed a natural place for a workshop, and thus, Algonkian Writer Workshops was born. By 2004 it had expanded to include more professionals in the literary business, i.e., agents, editors, and authors, as well as more events such as the pitch conference in New York. At Algonkian events, we maintain intimate, carefully managed environments conducive to practicing the skills and learning the knowledge needed to realistically approach the creation of a competitive novel. See our Frequently Asked Questions for more details on our advantages, methods and goals. If you are beginning a novel or working on a novel-in-progress, or if you have a completed ms and require a strong reality check, you should receive professional, highly focused reaction not only to your prose and narrative, but to your entire work, including the story premise, lines of complication, plot arc, theme and character arc, and all else. There are 250,000+ first-novel manuscripts being written each year in America. What percent of those will eventually fail to be published by a major house? 99.99%... The statistics can't be denied. The job of Algonkian isn't to make this process risk free and easy. Our ultimate goal is to realistically increase your odds of becoming a published author by showing you how to inhabit that upper percentile of writers who will have their work taken seriously by professionals in the business.

THE FOLLOWING COLLECTION OF REVIEWS, CONTRACT NEWS, AND GENERAL COMMENTARY INVOLVES ALGONKIAN WRITER CONFERENCE EVENTS OVER THE PAST SEVERAL YEARS. THESE ARE AN ESTIMATED 20-25% OF THE TOTAL MAILS, INTERNET POSTINGS, AND OTHER COMMUNICATIONS SENT TO US. WE APOLOGIZE TO THOSE WHOSE REPORTS AND OBSERVATIONS HAVE NOT BEEN INCLUDED HERE. PLEASE KNOW WE ARE GRATEFUL FOR YOUR COMMUNICATIONS. __________________ From First Line to Final Contract Monterey Writer Retreat alum, Harlow Robinson, saw his memoir, MY HOT TIMES IN THE COLD WAR : AN AMERICAN MEMOIR FROM GAY RUSSIA, picked up by McFarland for pub in 2026. His agent, Katharine Sands of the Sarah J.F. Agency, first learned about his work at the Algonkian Monterey event and signed him asap. Congrats to Harlow! A quick note to say thank you because I attended the Write to Pitch conference in December (I was in Paula's group) and just landed a contract with The Book Group agency for MAYBE WE MEANT IT which I completely credit to the conference. I spent the winter editing my book based on what I learned that weekend, as well as in the eBook. My agent just landed a six-figure deal with Park Row Books, and I am pinching myself. - Bri LeClerc I really wanted guidance and a professional opinion to help me decide if my writing was "good enough" to pursue seriously. So I signed up for the Algonkian Writers Retreat with Michael Neff. It was a wonderful experience. I told him my idea for THE BETTER MOTHER and over the five-day workshop, he and his faculty helped me flush out the idea more solidly, write an outline for the whole novel, and write a pitch for whenever it would be ready to query. I went home and finished the first draft within five months. I kept in touch with Michael and helped me polish it, and by April of 2024, I was ready for my first queries... I sent my very first query on April 18, 2024 and got an offer of rep from my dream agent on July 30! And as of December, my contract is in the mail from a major publisher, Crooked Lane. - Jennifer Van der Kleut After the Algonkian NY Write to Pitch, I realized I needed more help to prepare my manuscript before querying, so I reached out to Michael Neff for developmental editing. Not only did he enlist multiple published authors in my genre to assist with providing critical insights that took my novel, MIA'S LIST OF DON'TS, to the next level, he became my biggest advocate in the publishing world. He sent my finished MS to agents he knows and ended up being my matchmaker with the popular literary agent Terrie Wolfe. - Laura McCamy Renee Richards was signed by the Talbot Fortune Agency who will rep her upmarket novel entitled LEAVING WOODSTOCK. In her own words regarding the Algonkian WTP conference: "I was fortunate to be assigned to the incredible Paula Munier during the conference, and her guidance was instrumental in securing my current full manuscript request." From debut-author CJ Rivera, comes a harrowing tale of a parent risking it all for her child. THE FINAL ORCHARD is perfect for those looking for a novel that intrigues like television shows such as Black Mirror. Here we have a new novel fresh off the Write to Pitch event in New York and straight into the hands of Angry Robot in the U.K. Thanks also to the event faculty who worked behind the scenes with Crystal. We wish her huge success! A Life-Changing Experience - Leading to a Book Deal. If I could capture my experience at the Algonkian New York Write to Pitch Conference in a single word, it would be "transformative." It's a unique blend of a supportive writing community and insightful mentorship that sparked a revolution in my writing approach. The preparatory reading assignments alone were worth their weight in gold. They stretched my understanding of narrative structure and character development, reshaping my own work. I can't emphasize enough the value they added to my writing journey. - Crystal Rivera I attended an Algonkian Writer Conference event a couple of years ago. It was just what I needed to turn my idea into a published, award-winning book entitled The Mrs. Tabor. No kidding. - Kimberly Coleman Burns Agent Katharine Sands of the Sarah Jane Freymann agency has signed a T.E. Bean, a brilliant new writer and his SFF novel, NIGHT EYES. Congrats to all involved and special thanks to Michael Neff, his workshop leader! Moveable Type Managment has signed several NYWP and Algonkian authors since 2022 for commercial publication. Among them are Gregory Carpini Jr. and his historical novel SHINEY POWDERED FACES; Jennifer Ericson and her cozy mystery series CURIOSITY RESCUED THE DATE; Jody Gerbig's postpartum horror novel TAKE CARE; and Gerri Lewis' obituary writer mystery THE LAST WORD sold to Tara Gavin at Crooked Lane. Most recently MTM signed MARKERS UNKNOWN, a tech-thriller by writer O.E. Soderberg. In her own words: "It is a total dream come true, and I can’t thank you enough for everything. Your conference is truly one of a kind and has turned me into the writer I want to be." Audrey Woods sold her short story, Miss Suspicious, to Brendan Deneen at Blackstone, whereupon the film rights were sold to Universal Studios. Hollywood is beginning to notice the Write to Pitch Conference, and we're going to keep it that way. Carola Lovering's best selling novel, TELL ME LIES, has been turned into a successful TV show on Hulu, now going into its second season. The Write to Pitch Conference in New York made it all possible. Great to hear from you, Carola! I signed with my dream agent in late June of this year. My experience at the New York Write to Pitch conference in March '23 was a worthwhile investment that gave me the extra push I needed to fine-tune my manuscript with a deeper insight and clearer vision for my story. The pre-event assignments were key in guiding my revisions before and after the workshop, and the personal attention Susan provided in the classroom was invaluable. - Wendy Tatum The Corviserio Literary Agency just signed Melissa Mohalla's SFF, SYMPHONY OF CHAINS, for representation after meeting at the Algonkian NYWP. Congrats to all those who made a new six-figures-in-auction possible! Fingers X'd for a great novel. The Cindy Bullard Agency as recently signed three new clients from Algonkian events, including A DEADLY GAME by Gayle Brown, and new novels by Scott Fleuter and author Nina Smith. Congrats to Gayle, Scott, Nina, and Cindy! Just wanted to let you know I signed with Bob Diforio from D4EO literary with the novel we workshopped! You guys really helped me boost the concept to the next level, and btw, thanks again for the great new title, SECRET OF KILCHULLEN HOLLOWS." - Samantha Schinder We just learned a pleasant surprise on the fly, namely that Talcott-Notch agency's Amy Collins has signed a total of five writers from Algonkian events over the past three years, most recently Joseph Hall's SF novel, STEEL HOUND, now making the rounds at major imprints. On the other side of the city, Algonkian writer Shola Adedji was signed by Blackstone Publishing to write a new SFF series called SHADOWMAN. He and his editor, Brendan Deneen, met at the NYWP. We're pleased to announce that Susan Breen's workshop group has once again produced a winner. A women's suspense thriller, A DEADLY GAME by Gayle Brown, was signed by Cindy Bullard of the Cindy Bullard agency. Congrats to Gayle, Cindy, and Susan! You guys have clearly worked very hard to develop a terrific event for upcoming writers. It's exactly what people need: support in producing a commercial idea, plus contacts to help sell it.... It was brilliant, and great to get to know you and Audrey too. I'm so glad I flew over from England or it. - Harper Collins Author, Annabel Kantaria I know three people who've attended [New York Pitch]. I went to one of the after parties with one of those people. It's definitely worth doing. One of those people got a six-figure book deal out of it, the other two got very serious offers. Prepare yourself to have to rewrite the book, though. The people there will tell you what edits you'll need to make in order to sell the book to them. - Eleanor Konik A Sample of Twitter Posts ______________________________ I received a contract from Harper Collins in 2021 as a result of an agent I met at the NY Pitch Greatest Show on Earth circus. I say "circus" not in a derogatory way, but as a good metaphor to utilize when describing the creative and delightful social chaos of the event itself. The studios are the equivalent of circus rings, each with their own culture, ringmasters, and applause. The hallways brim with entertainment art like a maze between the tents, echoing with the sounds of audition. Mouths are open, eyes are big, tears and laughter are real, and I'm going again, even if just to watch. And on top of everything else, I learned more about good fiction writing than in three years of groping for an MFA. - Marion Clark (Bestseller3) J.R. Roessl, who attended the 2020 St. Augustine Author-Mentor Novel Retreat, was recently signed by a faculty agent at the retreat. The PM announcement as follows: "Former model J.R. Roessl's HERITAGE, the 1960s-era coming-of-age story of the author raised on a boat built by her father and christened Heritage, where the family dynamics were just as treacherous as the pirates and stormy seas, to Rick Rinehart at Lyons Press, for publication in spring 2023, by Adam Chromy at Movable Type Management (NA). Audio rights to Addi Wright at Blackstone Audio." Bombarded with offers from agents at the New York Pitch Conference in 2022, Nan McCann finally agreed that agent extraordinare, Paula Munier, should be the right one to represent A MAN OF TWISTED WORDS. Congrats to all! Agent Amy Collins of the famous Talcott Notch agency just signed SFF writer Sandra Kruse to a two book deal. According to Amy in a note to us, "My first time at the New York pitch as an agent and I was blown away by the quality of talent assembled there, and I signed not one, but two authors. I can't believe it." And it was actually Sandra's second visit to the event. As she says in an email, "I learned so much the first time that I came back six years later with a different book and, this time, came away with an awesome agent. Thank you! Thank you!" Randy Denmon's new nonfiction about rediscovering the other side of America in an old Ford truck was just signed by NY faculty member, literary agent Barbara Zitwer following a meeting between the two. Randy's novels and nonfiction have won the Western Writers of America Spur Award, the Faulkner-Wisdom Award, and he has been a finalist for the Ben Franklin Award. He is also the author of THE FORGOTTEN TRAIL TO APPOMATTOX. A couple of big projects at the NYPC were recently signed by the renowned literary agency, Moveable Type Management (MTM), for representation to both book and film markets. These include the WW II historical fiction pitched at the 03/21 NYPC, THE LAST AIRMAN by Roy Qualls, and A MILLION MILES TO DAISY by Sam Nahins, a novel about an assasination drone pilot out of Vegas seeking redemption by struggling to save his mother from a corrupt and brutal nursing home. NEWS : NEW YORK PITCH ONLINE At recent New York Pitch events held online via high-tech video conferencing, upwards of 67 projects were chosen for professional consideration by NY Pitch faculty for both book and TV/film markets. Agents, publishing house editors, and producers in attendance included agent Amy Stapp from Wolfson Literary, editor Hannah O'Grady from St. Martins, film producer Ken Atchity of AEI/Story Merchant, senior agent Michelle Richter of Fuse Literary, editor Elle Keck from Harper Collins, editor Miranda Hill from Penguin-Random House, editor Chris Morgan from Tor/Forge, editor April Osborn from Harper Collins, film/tv executive Brendan Deneen from Assemble Media, senior agent Paula Munier of Talcott Notch, and editor Gwen Hawkes from St. Martins. Novels selected from multiple genres included SHOUTING AT LEAVES, WAR GODS OF AFRICA, ALL THE GIFTED, GOD OF THE FALLEN, THE GIRL WHO SOLD DEATH, THE WASTELAND CREW, RESURRECTION ARC, LAST SORCERESS OF ROME, AMERICAN CALIPHATE, THE RULES OF HAUNTING, A MILLION MILES TO DAISY, THE SIFTING, WOUND SOWER, GETTING RID OF DAVION, A DEATH OF ANGELS, THE DARK RESISTANCE, and THE GREATEST ELECTRICAL SCIENTIST. Melanie Bacon's DRAGON RIPPER, a spin-off of Sherlock Holmes starring his sister and Jack the Ripper's daughter, was published by Del Sol Press after being streamlined by Algonkian workshops and edited by Algonkian editors. Talcott Notch represented the author. Accolades from best selling author, Hallie Ephron. Congrats all around! Women's fiction author, Joani Elliot, just informed her workshop leader, Susan Breen, that an offer from Jennifer Weis Agency was forthcoming following the NYC Pitch and that the NYC Pitch played a major role in sealing the deal. No surprise there! Congrats to Joani... Update: Joani has signed with a major affiliate of Simon and Schuster. Attending the Algonkian Author-Mentor Workshop in St. Augustine was a most excellent experience. By far, it was the best investment I could have made in my progress as a fiction writer. Knowing what editors, agents, and publishers are looking for helped me refine my approach. There was a strong sense of camaraderie among our group as we openly shared our stories. We've even formed our own online group so we can stay in touch, and continue to support each other in the coming months and years. Thank you for all you do to encourage, educate, and guide aspiring writers to succeed. I personally benefitted from the valuable insights and feedback I received from you, Paula, Lissa, Hallie, Adam, and Bob. - Sheree Richnow Author Linda Rosen just wrote and said: "You were so generous in helping me create a better title for my book... THE DISHARMONY OF SILENCE. Thank you so much! I want you to know, though the novel wasn't picked up from an editor at the conference, after several revisions later, and based in part on your editorial review, the novel is now coming out from Black Rose... I wanted you to know of the book's success so far and my sincere appreciation for all your help." Pitch Playlist: We've just learned from Loretta Marion, NYC alum, that thanks to the conference her career is flourishing. Congrats to Marion! "Awarded an Honorable Mention by the New England Book Festival and the Gold Book Award from Hungry Monster Literary Awards, Loretta Marion's debut novel is a twisty tale of mystery and suspense with whispers of romance." [ in her own words ] We've just learned from Rebecca Fujikawa that she has signed with the prestigious Seymour Agency after acquiring the necessary knowledge and editor leverage at the New York Pitch conference in 2017. She wrote workshop leader Susan Breen to tell her the good news. Congrats to Rebecca! [ in her own words ] A BORROWING OF BONES by Paula Munier, NYC senior faculty member and literary agent par excellence, will be out from Minotaur books in September. Lee Child calls it, "A compelling mix of hard edges and easy charm..." Paula is also the author of the bestselling PLOT PERFECT, THE WRITER'S GUIDE TO BEGINNINGS, WRITTING WITH QUIET HANDS, and FIXING FREDDIE: A True Story of a Boy, a Mom, and a Very, Very Bad Beagle. I recommend attending the conference if you're open-minded about your work and, most importantly, willing to change it. The four-day event is an emotional rollercoaster. Be prepared for honest feedback. Comments about your novel will not be sugarcoated. You may be asked to add characters, ditch a point-of-view, or even switch genres... You'll be peppered with questions. Don't defend. Rather, listen to ideas from those in the industry. - Tracey Kathryn The insights and learnings from the Algonkian conference that I attended were instrumental in helping me find a top literary agent (Red Ink) and resulted in the publication of the very book that I arrived at the conference with. This book, now titled VICTIMS FOR SALE, was published and released worldwide by HarperCollins in 2018 and has recently been long-listed for the Bombay Film Festival awards. - Nish Amarnath MURDERABILIA By Carl Vonderau will be published by Midnight Ink Publishing come July, 2019. The Algonkian New York event honed his story and pitch so perfectly that he snagged an agent at the San Francisco Writers Conference. The agent turned out to be Michelle Richter of Fuse Literary, a frequent contributor to the aforementioned event in NYC. Michelle provided him with excellent representation and an eventual sale to a terrific publisher. The Flapper, the Scientist, and the Saboteur by Charlene Dietz is now available on Amazon. Char wrote to tell us, "I want you to know how those five days at the Monterey Writer Retreat impacted my writing adventure. Paula Munier shoveled lots of stuff my way, helping shape my soon to be debut novel: put another murder right up front, don't kill a main characters while still on stage, be sure to have a USP, change the length, change the pacing, pay attention to where act one, act two, and act three happen... The Retreat helped choreograph my novel to the point that when I delved back into the revision process real magic happened. Thought you might enjoy reading these Kirkus starred reviews for my debut mystery novel (2016) and also for its prequel (2017). Thank you for the Monterey adventure!" I just wanted to share my amazing news with you. I attended your workshop in September '15, and earlier this month, sold my YA novel and a sequel to Delacorte/Random House. I just wanted to say thank you for the great advice and tough critique you and the editors shared with me... I'm incredibly grateful. - Kelly Coon TELL ME LIES by Carola Lovering will be published by Simon & Schuster (Atria Books) . Carola owes a significant portion of "getting over the top" to the NY Pitch, not to mention the fact that editor interest gave her needed "query leverage when querying agents at several top agencies" including Janklow & Nesbit, who later provided her with great representation. Carola Lovering comments. RIGHT OF ANSWER by Hilary Llewellyn-Thomas, a historical fiction about the first woman imprisoned in the Tower of London (who was the author's ancestor) was signed in contract to Trident Media literary agency, to be represented by Mark Gottlieb. Hilary Llewellyn-Thomas comments. - Kelly Coon The weekend I spent at this conference was transformational for me, and one of the best experiences of my life. It challenged my thinking, improved my craft, and helped me as a writer. Best of all, it made me feel like a writer for the first time in my life, and introduced me to a community of fellow writers with whom I am still friends today. If you ever had the desire to write professionally, and if you're willing to hear hard truths and do some serious work, I highly recommend it. - Ben Keller With Susan Breen as my workshop leader, our group was collaborative and supportive. Hearing how other writers in the group improved their pitches was inspiring. Because the conference participants are screened, editors know they are not wasting their time. Each editor I pitched listened carefully, giving suggestions and asking questions that improved my pitch. Susan followed up, interpreting the editors' feedback to be sure each writer got the most out of the encounter. Whether or not my manuscript had been requested, I would have learned if my novel had commercial appeal and how to best pitch it. Leaving the conference, I felt confident that my novel did have potential and that I could effectively query an agent or editor. I got lucky. My novel was requested by four of the five editors I pitched. Tessa Woodward at Harper Collins quickly made an offer for it, and Paula Munier, who had read my first page at the conference, represented me to negotiate a contract. After getting Tessa's notes, I am now working on a significant re-write that will expand and improve my novel more than I ever could have on my own... Just so you know, I spent five years researching and writing my novel before I went to the Algonkian Pitch Conference. For the past year, I had been querying agents and submitting to small presses. One agent requested it then didn't even bother to email back to reject it. Two other small presses rejected it and all other agents and presses didn't even reply. I owned a copy of Writer's Market, I had written what I thought was a good pitch, I researched each agent and press so I could tailor my query. Still, nothing was happening. Attending the Algonkian event was an investment in my career as a writer. For me, it paid off beyond my wildest dreams. No matter what, though, it would have been worth it for what I learned. - Kim Van Alkemade, signed by Harper Collins The very first day, I was told I needed to rethink the plot of my novel, and work through quite a different story from the one I wrote. I was initially devastated, but intent on keeping an open mind. I returned home wiser about the publishing industry and had to go through the stages of grief over the loss of my 400 -page baby. This was not a conference for writers with thin skin. It is a conference for those interested in the almost impossible goal of publication with a major publisher. - Gregory Renz Over the course of a week at the St. Augustine Author-Mentor, you pitch, rewrite your novel, hone your presentation with some of the best credentialed pros in both publishing and Hollywood. Course materials help you see where you are as a writer, and what your need to work on. You get to know your fellow writers and realize that you are not alone in the confusion of today's fast changing markets for fiction and non-fiction. And as a bonus, you are in a huge suite overlooking the Atlantic and one of the biggest beaches in Florida. - Author Catherine Clark I got two invaluable things out of the recent Algonkian Writers Conference. One was the repeated admonition to utilize all the tools of the craft. Even those of us who've written for a living forever can always use this reminder. A carpenter wouldn't attempt to frame a house without tools and neither should a writer ever sit down without his or her full arsenal at hand... Secondly, The Algonkian Writers Conference is a no-nonsense primer on all that needs be done to prepare a manuscript for presentation. Agents are deluged with thousands of MS yearly and only a few are ever advanced to a publisher. Hence, a pitch, a log line and a synopsis must be absolutely sensational to garner even the slightest attention. In that regard, this is not a feel-good seminar. Some hearts were broken and some treasured ideas were trashed by the agents who attended. But from the first hour of the first day, faculty emphasized the cold facts and discouraging numbers of the trade, urging us to beat the odds by avoiding the errors and pitfalls of the amateurs. Now, there is some unavoidable tedium associated with such a gathering, when people are working on projects that seem silly or meaningless to you, but I found it helpful to pay attention to everyone's presentation in order to hone mine to a better polish. In doing so I discovered that the focus of my project needed to be compressed and a new angle of attack implemented. - Burr Snider, Algonkian Veteran Although I had a strong manuscript already, the Algonkian Writer Conference played a crucial role in helping me develop commercially viable marketing materials. During the conference, I wrote a much more coherent hook, changed the title of my manuscript, and composed a much more agent-friendly query letter. I also learned how to structure the plot for commercial fiction, which will benefit me in subsequent books. The result? In less than three months, I accepted an offer of representation from Mark Gottlieb, one of the top ten literary agents in my genre, which is fantasy. - J.P. Gownder The New York Pitch Conference focused attention on a fairly major gap in the early versions of The African Groundnut Scheme which was the lack of a strong female character to help carry the story. The follow up Algonkian conferences helped focus attention on the necessity of making sure every scene in the book is part of the seamless plot. The Algonkian conferences also pointed out the need to structure the story more clearly along the lines of a classic three act play with an opening, middle and conclusion. There is a Greek myth about the god Hermes boring a giant to death with an endless story that is all middle with no beginning or end. So this is not a small matter. Also, the New York Pitch Conference and Algonkian showed me how to present a book to agents. The technique is somewhat arcane and unsatisfactory, but, hey, that's the system we've got. If you don't know it, it is hard to get off ground zero. - Interview with Alex Keto I recently attended the Algonkian Writers Conference and found the experience to be invaluable. Michael Neff led the conference with ethics and integrity. He clearly explained the tools needed to successfully write and publish including reviewing tension, plot outline, character development, dialogue, and perfecting a pitch and synopsis. Michael Neff carefully and relentlessly worked with each writer to assist them in polishing their pitch for agents and troubleshooting the novel in general. This was exactly where I needed to be. Some of the feedback was, indeed, sobering, but I wasn't promised the conference would be a string of feelgood sessions. The work we accomplished was real and the feedback was real. I concur with the review submitted by Burr Synder. My thanks goes to Michael Neff for his patience and attention to detail in designing a writer's conference that was truly meaningful. - Author Sally Henry I've been to three of these Algonkian Writing Conferences, including both writing conferences and a Pitch Your Book session in New York City and on the whole they provide good education for a reasonable price... As the publishing business gets more and more difficult, I'm not convinced agents and editors have the time to read queries very easily. Being in front of them is a definite way to improve your odds of at least getting decent feedback. The Agonkian Writing Conferences provide, IMHO, far better value than some of the 'bigger' conferences where the interactions are increasingly staged and short-lived. - Veteran Writer John Arnold Robin Stewart's techno-thriller, "Kill Signal," was pitched at the March 2016 and soon signed by Talcott Notch Agency--represented at the New York Pitch event by agent Paula Munier. The ms is now undergoing edits with Algonkian staff. Congrats to Robin. This thriller is going to be a bestseller, we're certain! We love you Robin!!! From Publishers Marketplace: Sandi Ward's "The Astonishing Thing" pitched as "The Art of Racing in the Rain" meets "The Curious Incident of the Dog in the Night-Time" to John Scognamiglio at Kensington, in a two-book deal, by Stacy Testa at Writers House. Congrats you old pitch conference! [more by Sandi] Amanda Greenfield says, "Because of your conference I had 2 editors, one being Tessa Woodward, ask for my MS and/or pages and another forward my info to one of her associate editors at St. Martins. I was able to cross reference that with information on Publishers Marketplace and sent a query to an agent that worked with Tessa Woodward at Harper Collins. I sent her the first 50 pages and she was really excited about my work. She read the rest of it the next day and immediately sent me a contract. [more] Roger Johns, an alumnus of the New York Pitch Conference, wrote and told us: "Just wanted to let you know that Paula Munier, my group leader from the conference, took me on as a client and negotiated a deal for my book - DARK RIVER - with St. Martins. Announced tonight on Publishers Marketplace. Thanks for a wonderful experience. The conference was superb. I'm spreading the word among my critique groups in Atlanta." Algonkian alums Tracee Hahn (on left) and Britt Tisdale (right) signed recent contracts as a result of attendance at the New York Pitch Conference. Tracee's novel, SWISS VENDETTA, was edited and sold by Algonkian NYC agent faculty to Elizabeth Lacks at St. Martins. Britt's women's fiction novel, DAUGHTERS OF ROSA LA ROUGE, found home with Marsal Lyon Literary Agency: "I re-vamped my pitch, also revised the book to reflect new emphasis. 18 agents requested the ms..." [more] At last count, an estimated 51 total manuscripts are currently in the process of being reviewed by publishing house editors. More than 63% of total ms presented and discussed at length at our last events were requested, and 75% of all ms requested were requested by more than one editor. This high percentage is a result of intelligent project screening, great projects, attentive editors, and liberal applications of superb pitch craft. -Annette Stanley "My novel was requested by four of the five editors I pitched. Tessa Woodward at Harper Collins quickly made an offer for it, and Paula Munier, who had read my first page at the conference, represented me to negotiate a contract. After getting Tessa's notes, I am now working on a significant re-write that will expand and improve my novel more than I ever could have on my own." Kim Van Alkemade, Author of ORPHAN 8 275 queries later, I attended the New York Pitch and by lunch of the first day I knew exactly why my novel had failed. By the end of the day, I had changed the title, made editorial changes to the story, and later, when time came to query, I employed the strategy recommended at the conference: research agents on Publisher's Marketplace and use the editors from the conference who requested manuscripts as leverage. Within one hour I received an email requesting a full manuscript from an agent at Trident Media. Six days later I received another email about my novel, THE ENIGMATOLOGIST, and requesting to discuss representation. Using what I learned at the conference, I was able to do in what week what I couldn't do in three years. I'm absolutely convinced that everything I learned at the conference is responsible for my success. - Benjamin Adams, signed by Trident Media Agency Cate Holahan's DARK TURNS pitched at the NYC in Paula Munier's NYC mystery/thriller workshop and sold to Matt Martz at Crooked Lane, the new crime fiction imprint of Bookspan--two book deal. Publication set for 2015. Paula Munier, NYC faculty, representing Cate and DARK TURNS. Cate Holahan's DARK TURNS Algonkian helped me develop a discipline around the creative process, enabling me to write with a clear intention to publish. It has been a year since the program and I continue to refer to the workshop material. From the story analyses I learned to examine my own work with rigor. - Sheela Sukumaran, PEN USA Emerging Voices Fellow "I went to an Algonkian writers workshop in the heart of the Berkshires at a pivotal time in my pre-career. I'd been trying to get published for five years, and was stuck. The Algonkian instructors offered sage advice and exposure to the industry so that I came away with a much more realistic understanding. But even more than that, the Algonkian experience brought together writers in a close knit environment that has continued to inspire me eleven years later. Now with my third novel about to come out, I credit my time in the Algonkian woods with helping me get here." Jenny Milchman, Mary Higgins Clark Award Winner Algonkian Author Salon's Kate Cox has signed with JENNIFER LYONS AGENCY, and we couldn't be more pleased. Kate has attended several Algonkian events, been a member of AAS, and has worked periodically with Algonkian director Michael Neff on her novel, THROUGH CHAGALL'S WINDOW. Her new agent, Jennifer Lyons (the third agent she queried), represents numerous big name authors. - Algonkian Author Salon "Understand, before that I had never taken a writing class, attended a seminar or workshop, I didn't even have a writer's group. The beauty of this conference was that they had editors from major houses coming to listen to our pitches and to give us feedback, and even to ask for our manuscripts if they were interested. And I was one of the lucky ones. Two editors asked to see a partial. I started querying about September 20, and my agent, Sally Wofford-Girand of Brick House Literary Agents, made an offer of representation." Sujatha Hampton, Author of AS IT WAS WRITTEN The pitch conference gets tons of credit for my pending publication. Plus, your advice on querying to only a few agents at a time, and Caitlin's editing all contributed to my good news. Publication set for early 2016! Thanks for putting it on and for encouraging scared newcomers like me. - Angela Pisel, novel sold by Jill Marsal to Putnam "I must confess that it surprised me when folks at the New York Pitch Conference fastened on Thomas Edison's dark side as the most interesting aspect of the novel ... Once you define the book as being about the struggle between the Weisses and Thomas Edison's Motion Picture Patent Company, however, a lot of diffuse stuff falls into line. Then I came home from the recent Algonkian conference at Harpers Ferry, reread the manuscript, and realized I had thrown away a great opportunity in the second-to-the-last chapter to resolve the Edison/Weiss conflict in a meaty and dramatic way. In a word, it was lame." Irene Fleming [aka Kathleen Gallison], Author of THE EDGE OF RUIN The Algonkian Park workshop was one of the most useful and stimulating classes I've taken lately (OK, ever). The topics are very useful in themselves; most creative people tend to hide from the business aspects of what they're doing, and most workshops barely touch on this. (Also, thanks for telling us the truth and not coddling us.) And naturally the feedback of the agents was invaluable in its concrete, one-person's-point-of-view way. But also, the writing exercises and your methodology (e.g., PDQ) were right on. Frankly, I felt that I was floundering the whole time and didn't produce very good stuff. But, oddly, that didn't really bother me. - Helene ("L.N.") Sproules "I met with an editor from Plume, pitched the idea and she liked it and after several weeks, and rounds of discussion and so forth, she made an offer. Meantime, Michael Neff helped to set me up with my agent, who is a lovely person at Trident Media. So I can honestly say that going to that conference changed my life. Everything turned out so much better than I had dreamed. I did sell my novel--not right at that moment, because there is a process. But I did sell it because I went to Algonkian's New York Pitch Conference." Susan Breen, Author of THE FICTION CLASS I want to say a little something about Algonkian Conferences here, because it was the tough-love teaching method of Michael Neff that made me a much stronger writer. And it was through his Algonkian Author Salon that I connected with Carla Norton... The other wonderful (and surprising) thing that came out of my association with AAS is that I've discovered another passion -- editing. - Lois Gordon, Algonkian Passions "You may remember me participating then: I was in Charles' group - the cloak and dagger brigade - and my pitch was about a mystery set in WWII Sarajevo. I made a couple of successful pitches, one of them to Tom Colgan at Penguin, and I thought you'd like to know that I've since been offered a two-book deal with them. The first book should be coming out in June next year. I thought it important to write to you because, without the opportunity afforded by the conference, I wouldn't have made the contacts I did." Luke McCallin, Author of THE MAN FROM BERLIN I had already sent my novel to an agent from Prospect Agency, telling her I was accepted into Algonkian and this was the ms I was pitching. When I returned, I was able to tell her I knew the novel needed a re-write (thanks to you) and that three publishing house editors were interested in seeing it when it's ready (also thanks to you). So she offered me representation! She's going to work with me on it over the next few months, and when she thinks it's ready, send it off. - Jane Ann McLachlan, Signed by the Prospect Agency "I'm writing to say a long-overdue thank you! Now that I'm getting into the more tangible aspects - copyediting, cover designs, etc. - it's feeling more and more that this is real and it's actually happening, and really, I have you and your workshop to thank for getting the whole ball rolling ... And even now, all this time later, I'm still using the pitch that I wrote and worked on that weekend - a large portion of the cover copy is based on it." Gina Damico, Author of CROAK It was tremendously effective to receive training in specific writing-enhancing techniques immediately followed by exercises that cemented that training. Ditto the pitch development; if we had developed the pitch but hadn't presented it repeatedly to both colleagues and the agents, the effect would not have been so transforming. I appreciated the intense focus of the conference; we did not waste time. - Author Julie Kaewert "At the workshop we read sections of classics and contemporary works demonstrating craft concepts, we wrote vigorously, brainstormed and critiqued sections of our works in progress, meditated, had readings, and got one on one editorial attention. Many of the connections I made at the conference remain with me to this day. Whether you've just completed a first draft of a novel or a tenth draft, the Algonkian Novel Workshop could be just the step you need to take your writing public." Erika Robuck, Author of HEMINGWAY'S GIRL I attended your Algonkian Writer's Conference at San Francisco's Fort Mason back in May of 2010. I thought you'd be happy to know that after a year of sending off query letters and partial and full manuscripts, I finally found representation with Sam Stoloff of the Frances Goldin Literary Agency in New York. I'm very happy. Sam is great! We submit my YA manuscript to publishers this September. Thanks so much for all the information I learned from your conference! It was very helpful and worthwhile. How have you been and how are your conferences going? Any other success stories? - Writer Michael Hagan, signed by Frances Goldin Literary Agency "Several weeks ago, I attended the Algonkian Write to Market Conference, north of San Francisco. I met amazing people, made friends with wonderful fellow writers, participated in some of the best live pitch critiques you'll hear on the West Coast, and on the first evening was ceremoniously sacrificed at the altar of upmarket fiction with two fellow authors as witnesses and a horse-size cobb salad to bury my face in. I emerged re-born..." Author Birgitte Rasine I just wanted to let you know that the conference did me a world of good. I had not spent time with literary people in 12 years, since I left the world of journalism. I had never before been to a writer's conference of any kind ... I believe that once I make the recommended changes to these projects I'll be onto something. I always thought I could write well, but the peripherals of the publishing business were daunting to me and I had lost contact with them. Thanks for helping to bring me back in touch. James Crawford ____________________________ I was beginning to get discouraged in the "find an agent game." I'd managed to wrack up a more than a few rejections on the queries I'd sent out. Then at the conference, with the help of an amazing workshop leader, I was able to improve my pitch. Three out of four editors at the conference requested my manuscript! That and the enthusiasm of my fellow attendees gave me heart. With an improved pitch and the editor interest to back me, I jumped back into the fray, Now, a few months later, I've signed with Emily Sylvan Kim of the Prospect Agency. Amy Ester Fischer ____________________________ Despite my many years as a journalist and non-fiction author, the transition into writing good fiction was difficult for me. Upon taking the Algonkian workshop, it all came into focus. For the first time, I am aware of the techniques and craft it takes to write a competitive manuscript. Dusko Doder, Author and Former Moscow Bureau Chief for the Washington Post ____________________________ The Algonkian conference was pivotal in moving my career forward. While I went there thinking it was just a really cool way to meet publishing editors, it turned out to be a portal into so many other avenues of the publishing business. Because of the conference, I've signed with the agent of my dreams! - Dave McMenamin, Signed by Talcott Notch Literary Agency I've yet to leave without requesting manuscript pages from participants. What's more, the manuscripts deliver. I recently signed and sold Gina Damico's YA fantasy in a two book deal to Houghton Mifflin Harcourt after hearing her project pitched at the conference. Serving on the Algonkian faculty has also been tremendously gratifying. Not only does the conference attract a wide variety of writers working in many different genres, it also has a great vibe--supportive, friendly, fun. I highly recommend it. - Tina Wexler, agent at ICM Algonkian Workshops take one's work to the next level. With an intimate, supportive, focused atmosphere and rigorous schedule, writers can set realistic goals and get projects to the place they need to be to take them to a wider market. As an agent, I appreciate that Algonkian writers have an established sense of what works and what doesn't. Their projects are a cut above the rest. - Elise Capron, agent at Sandra Dijkstra Agency "So pleased to share this news with you and extend my thanks once again for the career boost from the pitch conference: "Rosemary DiBattista's (writing as Rosie Genova) MURDER MARINARA, first in a new mystery series featuring a quirky Italian-American family and their restaurant on the Jersey Shore, to Sandy Harding at NAL, at auction, in a three-book deal, by Kim Lionetti at BookEnds." Rosemary DiBattista, author of MURDER AND MARINARA I wanted to pass along the good news that I signed with Writers House this week, and they'll be representing my novel TINY DANCER. I'm certain that I would not have gained their attention were it not for the vastly improved novel and pitch I crafted at the NY conference in June. - Kelly McNeil, signed by Writers House "I attended Algonkian conferences in NYC and San Francisco in 2009 and 2010. They were among the best experiences in my writing life. I met some of the most powerful people in the publishing industry, both major publishers and agents ... I was offered a publishing contract by Harper Collins UK soon after my last visit to an Algonkian conference. I am now translated into 10 languages." Laurence O'Bryan, Author of THE MANHATTAN PUZZLE Two of the four editors I met with asked to see my work and the other two were very interested ... I credit the reception of all four editors to the pitch. It generated questions which helped me explain in more detail the vision of the project. - Pam Binder, Best Selling Author "Algonkian offered me the opportunity to be part of a real writers group where my ideas and evolving characters were first introduced to other writers and potential readers. That critique allowed me to tweak my characters and storyline to perfection. Algonkian's approach in fine tuning my pitch helped me to tighten my manuscript as well. As a result, my manuscript sold to the very first publisher who saw it." Roberta Gately, author of LIPSTICK IN AFGHANISTAN I am arrogant, manipulative and intelligent, but not unrealistic. The New York Pitch Conference was exactly what I needed - a reality check. I learned what publishers look for and shy away from, and gained a deeper understanding of the unlikely odds of becoming one of the few that get published. I walked away with a lot of work to do - reworking parts of my novel and studying my genre. - Terri-Lynne Smiles "My workshop leader at the NYC Pitch and Shop Conference, Michael Neff, believed in me. The careful advice, connections, and publishing savvy I received there made all the difference. Because of that conference, I was introduced to the woman who became my editor at Berkley Penguin, and later to the woman who became my agent." Ann Garvin, author of ON MAGGIE'S WATCH Agent Jill Grosjean requested to read my manuscript, ESCAPE TO LORELEI, one month ago. And today, I'm proud and excited to tell you that she is my agent ... Jill made a point of addressing the well written pitch and I was quick to mention the Algonkian event ... I'm grateful that I had the opportunity to participate in the NYC Pitch conference. What I learned from the experience was invaluable. - Loretta Marion "The Algonkian Pitch Conference helped me constructively in channeling the information into a focused pitch, which I used successfully, and as a consequence, my novel, JERUSALEM MAIDEN, was published by HarperCollins!" Talia Carner, Author of JERUSALEM MAIDEN The Algonkian Conference assignments helped me to refine the organization of my novel, and see it in context of the actual market. The intensive pitch workshops were brilliant for learning to see work from the publisher's point of view. The agents were very generous with their time and gave thoughtful feedback to everyone. I also attended the New York Pitch Conference and can say that these two conferences have filled in the blank left by my MFA: how to actually get published. - Kari Pilgrim "This conference helped me TREMENDOUSLY. Tremendously. I changed the title of my manuscript after it was clear that our group didn't really care for it, and the title change helped me realize some of the book's themes; I was asked to submit my manuscript to an editor at Penguin (something I put on my query letters); and I tightened my query to the point where I was 90% successful in terms of agents asking for partials or fulls. I also met some good writers there. Three of the writers in the group I was in have made deals. I'm with Shaye Areheart; another writer is with Plume; another is with Knopf." Will Lavender, Author of OBEDIENCE Most effective for me was learning how to write (and rewrite) the pitch based on feedback from those in my group, and the editors. In the process, I really dug into the book - what it was about, what I was trying to say, what the strengths and weaknesses were - discovering elements of it that I hadn't noticed before. - Writer and editor Chris Stewart "The New York Pitch Conference offered direct access to major publishing houses, great mentors, and a community of supportive writers ... The intensive workshops force you to crystalize the appeal of your manuscript. That helps greatly in the pitch sessions, but also -- maybe more importantly -- in drafting query letters and in editing the novel itself. It's no coincidence that such a large proportion of our small group found publishing success." John Ford, Author of THE MORGUE AND ME If they just gave you what you paid for at the New York Pitch and Shop conference - face time with serious decision-makers from the top publishing houses - it would be worth 10x what they charge. But they go further; personal guidance, encouragement, and honest evaluations of your novel. - Ginger Lombardo My weekend at the New York Pitch Conference was one of the few highlights in my beginning writing career. The tutoring from the workshop leaders, the support and encouragement of my fellow writers, and especially the feedback from the editors was well worth my time and money. Three of my children attend private universities and three others are enrolled in expensive athletic programs- (that's right- six children, one husband, a mortgage and a whopping grocery bill) pennies are precious, my spare minutes are few, but I considered the conference invaluable. I shopped conferences extensively before choosing the New York Pitch Conference. Because I've a finished manuscript that has been extensively work-shopped, I wanted a conference where I received personal evaluation and critique by professionals who are top in their league. I got what I wanted and more. - Kristine Tate I went to the most recent conference worrying how to juggle four editors all wanting my well-written, professionally-edited, much revised story. That was not a problem, however. I learned that my masterpiece is going to rot until I learn how to pitch and market the theme (a.k.a. premise). At another writer's conference, I had 15 minutes each with an agent and editor who, having previously read some of the manuscript, told me my writing was excellent, the humor great, etc. But they weren't interested. At the NYC Pitch & Shop conference, I learned why. If you cannot sell your novel idea within the first two minutes, the remaining time is for polite chat. That's the real world. - Greg Bascom The New York Pitch Conference, as rumored, is cool, and like someone said, a little like American Idol. Writers are real tense and anxious about their meetings and the responses they are getting. Some of them cry and others storm around, but the pitch staff calm them down. They have too much stake in the process and want to quit their day jobs. I don't blame them, but ya gotta have perspective. One of the coolest things about the New York Pitch Conference is the venue at Ripley-Greer. Lots of art and cool theater people and ooooh la-la dancers of both sexes mingling and rubbing shoulders with the writers. Never seen anything like it, really. - David O'Keefe I attended the most recent New York Pitch Conference and as a currently unpublished author found it to be well worth the time and expense. I travelled from North Carolina, paid for a NY hotel (at a reduced rate thanks to the conference sponsor) plus airfare. Not only was I able to refine my pitch and present it to interested publishers, but participants were able to sit in on early pitch sessions and benefit from the professional critique of other pitches. Oh, and by the way, an executive editor who has worked with the likes of Tom Clancy is currently considering my mystery-thriller manuscript for publication. How much is that worth? - Guy Forcucci Before attending the conference, one ought to do one's research. From what I was led to understand, there were no guarantees. It was not advertised to be anything more than a conference for pitching to editors - face to face. I did not expect editorial help, except as related to the pitch, and I was given more than I expected. I was also given a peep-hole into the current state of affairs in fiction, and I saw what kind of a crapshoot it is - not just for writers but for editors, as well. I saw that editors who were known for taking a certain kind of fiction could be on the lookout for other kinds, so long as it met this nebulous criteria of seeming marketability. When I parted with my $500, I knew from outset that there was a chance that none of the editors might want to see my work, and even if they all wished to see it, that there was no guarantee any of them would take it. It was difficult, but it was an experience I'm grateful for. It was informative, as well as being a reality check, it was helpful in providing editorial contacts, and it was an opportunity for bonding with other writers. The people in my group and our facilitator were first rate human beings. - Alice B. I attended in March. Before applying, I studied the website. I made sure I was the kind of writer who might find the experience -- and hence the expenditure -- worthwhile. It was obvious that there were no promises made regarding contracts, fame, or fortune. What you were promised was face time with 4 editors, and what was promised was ABSOLUTELY delivered. On the first day, participants were aided in developing their pitches -- a very different animal from the standard query letter -- and during the following days, we pitched and honed accordingly, all the while aided by the conference organizers and presenters. Personally, I came away with more than I initially expected. 3 of the 4 editors asked for partials and/or the entire manuscript. My novel is still under consideration by an editor I never would've reached via the slush pile. Other participants had similar success, while others still received a much needed reality check, or simply insight as to how the publishing world works. There were disappointments to be sure, but it wasn't due to the conference, it was due to the individual manuscripts. Writing is a subjective art form, like love, and like love, not everybody found a match during our "speed dating" sessions with the editors. However, everyone in my group -- regardless of their success level -- found the experience worthwhile. Most importantly, I met a lot of great people who do what I do and are at the same place in their literary pursuits. I live in the Midwest. I don't come across many people who are aspiring authors. Writing is a solitary endeavor and to have met a few colleagues, as well as another writer with whom I now exchange work and have a real and lasting friendship is, as the Mastercard ad says, priceless. - Amy Hanson Like others, I came from quite a distance and found the workshop to be more than I had been able to imagine, because I had no idea that what we were going to learn was so labor intensive. I couldn't imagine how it could take three full days to perfect a one to three minute pitch. I can now, and really have a grasp of what I've taken on. This line of work--writing fiction--is no where near an easy task. Sometimes I wonder if I'm off the deep end, but I love the writing and so am willing to keep trying. I appreciated the fact that there were no punches pulled. The Shop staff were almost brutally honest when it came to my writing and that is exactly what I wanted. And, I was told what was wrong and what road to take to fix it. Again, exactly what I wanted. I was told from the first that only a certain level of writing was accepted at this 'conference', and I found that to be true. It was scary exciting and intimidating, as well as motivating to participate in this workshop. Like anything, no one thing works for everyone. - Lisa Buie-Collard I came from Canada, another from the Cayman Island, others widely from across the USA. The conference offered training in how to "pitch" one's manuscript, and it offered a face-to-face opportunity to pitch to four editors. It delivered. There were days of discussion on improving the pitch, rehearsal sessions, opportunities to discuss one's work and whatever else one pleased with fellow 'wannabees.' Reduced cost hotel accommodation across the street was also arranged. I did not personally get a contract. Penguin did look at my book and rejected it -- I can't believe that was for any reason other than it didn't match their requirements. Anyone signing up for this workshop should feel comfortable that they will get what they are told -- however, a guarantee of publication is NOT PART OF THE OFFER. - Michael Hall I attended the latest pitch and shop and found it to be tremendously helpful. If you have honed your craft and written a saleable product you should have no problem attracting an editor's attention. You learn how to pitch in one minute. I didn't understand how that was done. I do now, and I do it very well. I recommend it highly. It was the the best writing conference I've experienced. - William Holland These are my experiences with the Pitch Conference. I suppose in the back of my mind I went in hoping for some miraculous discover me at the soda fountain Hollywood story. This didn't happen but then I'm no Lana Turner. The meat of the conference was preparing the pitch. This meant giving the pitch to others in a group of about fifteen writers and listening to their pitches. This helped me focus on two things: what was my novel really about and how could I communicate that effectively in as few words as possible? These may seem like simple matters but to watch fellow writers struggle to make a compelling summary of their works was fascinating and instructional. This process was repeated and the improvement in the presentations was apparent. The pitches were presented more confidently and they were worded more confidently. We had a good group. I respected them as writers. Members of our group actively rooted for one another and we have kept in touch since. All of the ones I have communicated with shared positive stories. There are several I am hoping to see in print come some day. I saw four editors. My pitch lasted two minutes followed by the editors asking about three minutes of to-the-point questions. One asked for my manuscript. After a couple of months of mulling it over, it was ultimately rejected. The NYC Pitch Conference was an excellent experience for me. In a short time I learned how to see through an editor's eyes. I understand now how to present my creation in that one page query letter that seemingly every agent requires. Worth the money? Not if you are only hoping for that Lana Turner type moment. But it taught me what I needed to know to bridge the gap between art and business. I would consider doing it again - especially if I knew I was to have as enjoyable and affirming group as I had my first time. If I were to drop something in their suggestion box I would have the team create a conference for graduates of the first conference. If I were to return, a lot of the basics I would be learning would be redundant. BTW - the Lana Turner story is a myth anyhow. - Martin Hill Ortiz I attended the June New York Pitch Conference and found it to be an amazing experience. Right off the bat there were no promises of publishing contracts. There were promises of a reality check, help in perfecting our pitches and face time with four reputable editors from major houses. They delivered 100% and then some. Our group leader, an established writer and teacher, took the time to work with us to hone our pitch, making himself available before our morning session began and it the afternoons. He sat in with us when we pitched to the editors. Our face time with the editors was not one minute, it was anywhere from five to fifteen minutes. The editors also provided helpful critiques. An executive editor from Penguin requested my ms, I would not have had the opportunity to pitch to him if I wasn't at the conference and my pitch would not have been perfect if it wasn't for the guidance I received by my group leader. Although not everyone was asked to submit their ms, we all gained valuable advice and critiques to better our work. No one in my group found the conference to be a waste of money. I also agree the conference reminds me of American Idol. We were all very nervous and very tense, but we bonded together to cheer and support each other. Most of us still keep in touch and have gotten together post conference. I've made valuable friendships and have the support of other writers and that's priceless! - Robin Tauber ____________________________ Dear Michael and Charles, Some encouraging news since my return from our workshop, I've managed to garner a blast of new agent interest in reading my manuscript, a development I attribute to having fine-tuned my pitch there with you. The following agencies received my new pitch via email queries and are now reading the entire MS: Levine Greenberg The Rights Factory (Toronto) Trident Media Imprint Agency Folio Literary As to the chat forum, I did take some advice about smoothing out the first few pages, it can only help...but left my opening essentially as it was. I can see the value of mass response but a few of us are emailing each other with larger chunks of ms which answers my needs better right now. Finally, the workshop was a good experience for me. I benefitted from hearing the refining process go on for others' work as well as my own. It was overall a great group of people and your own leadership was terrific. Thanks again. Victoria Costello ____________________________ I'm a children's writer hoping to break into the historical novel market. The Algonkian Workshop surpassed every other conference I've been to. It wasn't "rah-rah" pep talks that do little more than leave an unpublished writer frustrated. It was four days of intensive, down-to-business training and face-to-face contact with agents and authors who told us what we really need to know--and do--to get published. And the agents invited us to send our book proposals to them, first. That's more than worth the price of admission. Kathryn Dahlstrom, Author of The Good News Club series ____________________________ Algonkian Workshop is an intensive nuts and bolts primer in learning and examining the techniques of storytelling and dialogue. It gets the writer focused on the ingredients that bring a story or a novel to life. Of the six workshops I have done in the past four years, Algonkian is by far the best. Michael B. Miller, Translator, Virginia ____________________________ The motto and approach, 'write from the heart, but smart,' is pure genius. If you're serious about writing and getting published, an Algonkian conference is the way to go. Peter Eichstaedt, Newspaper Journalist and Author of If You Poison Us ____________________________ I have returned to writing after a 20 year hiatus. The Algonkian workshop was instrumental in helping me focus and clarify my characters and story. The small size of the workshop encouraged interaction between attendees and with the facilitator. We all got a lot of specific feedback on our work; the feedback was constructive and specific. I highly recommend the Algonkian Novel workshop for anyone looking for new insights on his/her work. Amy Roeder, California ____________________________ From H. Scott Dalton (attendee at New York Pitch Conference) Since the conference, three of our group, including Will, have been offered contracts for the books they pitched (I, unfortunately, have not had an offer yet). All three say the coaching they received at the conference helped them shop their books more effectively by tightening and targeting their queries. For myself, I decided to attend for a few reasons: It gave me a chance to meet other writers, folks serious about this craft, including some from the Big Bad Industry. It gave me an opportunity to get a reality check on my writing and my book, and help me figure out how to market it to maximize my chances. It might get me struck by lightning, get picked up and avoid the frustrating query-and-rejection cycle I'm in now (please note, though, I did not go thinking I was guaranteed a contract). Hell, it was a chance to go to New York. As it happens, all but the struck-by-lightning thing worked out. I'm still in contact with several of the folks I met there, one of them Will, and we all continue to learn from each other. Personally, I find it useful to be able to put names and faces to my fellow rookies, and have at least one common experience to look back on. And meeting one-on-one with four real live editors helped me gain a little perspective on this business; the four of them, and all the rest of you, are much more human to me now than before. For me, the conference was worth the price tag. tradition2.jpg comic.png

Algonkian Writers Conference Programs and Events - Ongoing Queue: Manuscripts to Market Editorial Service - $1500+ (Novels - Most Genres) - Ongoing Admissions: Novel Development and Editorial Program, $299 - Online Courses ___________ - February 24 - 27, 2026 : St. Augustine Author-Mentor, $1695.00 - (Map/Directions) - March 18 - 22, 2026 : Algonkian Workshop Retreat in VA, $1295.00 - (Map/Directions) - March 26 - 29, 2026 : Write to Pitch 2026, LIVE IN NEW YORK, $895.00 - (Map/Directions) - May 12 - 16, 2026 : Monterey Writer Retreat, $1295.00 - (Map/Directions) - June, 2026 TBA : Write to Pitch 2026, LIVE IN NEW YORK, $895.00 - (Map/Directions) The above events begin before you arrive and continue after you depart with customized editorial, story development, and execution (prose narrative) forums online at Algonkian Author Connect. Additionally, all events include the famous and popular Algonkian Novel Development eBook, originally created solely for the New York Write to Pitch Conference, and our most practical guide to becoming a published author. ALGONKIAN WRITER EVENTS AND PROGRAMS They Begin Before You Arrive and Continue Upon Departure - All Genres. What does the above mean? Prior to the start of any given event, writers receive critical, publisher-reviewed assignments, readings, and must-do checklists, many of which are found in the Algonkian novel writing forums at AA Connect. Additionally, at the conclusion of events, and for manuscript polish purposes, writers are provided with a supplemental novel editorial program that includes additional faculty consultation. We know that if you are beginning a novel or working on one in-progress, or if you have a completed ms and require a strong reality check, you must receive professional, highly focused reaction not only to your prose and narrative, but to your story premise (most important), plot points, antagonist, secondary characters, conflict lines, theme, and all else. Our ultimate goal, therefore, is to increase your odds of becoming a published author by showing you how to inhabit that upper percentile of writers who will have their work taken seriously by professionals in the business. - Michael Neff, Director

Algonkian Novel Writing and MS Revision Courses Pre-MFA, Post-MFA, or No MFA - Get Your Novel on a Realistic Path to Publication In Cooperation and Partnership With Algonkian Writer Conferences and the New York Pitch Why is This Novel Writing Program Unique? Our "model-and-context" and "cross-module" approach to studying and applying proper technique on all levels while at the same time your novel is being effectively developed and edited. The array and type of fiction works studied and referenced in the program modules. The array and type of analytical articles and books reviewed in the program. A detailed 16 module syllabus that exhaustively covers all the major novel elements as well as the authors studied or referenced. A layer by layer approach to teaching you how to write multi-angled and unpredictable cinematic narrative, taking show-don't-tell to its ultimate expression. Program faculty who are seasoned, track-record professionals like Michael Neff and who have not only sold and developed major commercial projects, but are fiction writers themselves with publication records. The direct connection with Algonkian Writer Conferences and their network of literary agents, TV/Film contacts, and publishing house acquisition editors. The fact that advice and critique derives exclusively from the type of professionals noted above. In our opinion, this approach is crucial. Amateur writers, no matter how well meaning, do not understand the nuances necessary to be truly effective mentors. In other words, we eschew the MFA approach and focus on the Algonkian approach. What About Start Date, Time Involved? There is no arbitrary start date. You begin the first module and proceed through the next 15 modules once you've entered the program, or at such time you decide to begin. In theory, you might wish to review a few modules first, take some notes and consider before starting the first assignment. Once you have begun, you progress through the program, writing or rewriting your novel a step at a time at your own pace, returning to prior modules as needed and editing further based on new skills developed and knowledge gained. The amount of time it will take any particular writer to complete the entire novel writing program, receive professionals reviews, return to edit their work, and move on to the agent query process (or else to further project development), will depend entirely on each writer's background knowledge, skill set, and extant novel manuscript quality upon entering the program. Also, given the fact that most people work and have other lives, we estimate a minimum of 18 weeks to complete the program--though if it takes longer, so be it. When all is said and done, the amount of time to complete is fundamentally irrelevant. The cost of the entire program is $299.00. The application and registration page can be found here. There are no extra fees for consultations, query letter prep, or any other related activity deemed necessary by faculty. Additionally, our writers can also take whatever breaks or hiatus they need, for whatever reason, and suffer no detrimental issues or extra fees as a result. How Much Hand Holding is Necessary? From experience, the designers of this program knew that every writer entering it would most likely require serious ms rewrites as well as instruction in advanced narrative and structural technique, and therefore, be insufficiently close to a publishable manuscript. The aim and method of the program is to get you as close as possible via the modules, and once done, a faculty consultant assumes control from that point in order to provide professional editorial input and hands-on query guidance. NOTE: if you are participating in this program as an Algonkian alum, faculty will review final sell sheets prior to querying. Once you are in the editorial consult and agent query phase, your communications with a faculty member are not limited to a set number of emails or phone calls, but are indefinite in consideration of the fact that varying projects and writers require varying amounts of time to come to successful completion. Does Every Writer Have the Potential to Succeed? Nearly everyone has the potential to write a breakout novel and go on to become a successful commercial author, but precious few finally accomplish the task. Do we know why this is the rule? Writer conferences, author workshops, books, ms editors, and even the most pointless of MFA programs play a part in a writer's evolution, but none of these provide the overall pragmatic means and method to finish the job (and quite often, not even to start it). If this were not the case, an imaginative and ambitious writer would only have to attend an MFA program at Iowa, for example, and become a published author in due course. But this rarely if ever happens, despite expenditures in the range of $30,000 to $80,000 (Iowa Grad Program for two full years). And aside from this lack of comprehensive and realistic training, many other factors come into play that hamper the aspiring commercial author, everything from prickly skin to incompetent writer groups to misunderstandings of market dynamics. Consider. Would you try to build a livable and quite stylish home on your own without an architect and a professional home builder simply because you had the ability to hammer a few boards together with nails? Of course not. You would acquire the expertise and skills before you began. And yet, new writers approach the creation of a thing equally or more complex, such as the writing of a competitive commercial novel, in the belief they can do so because they have a story idea, can type words on a page, and have read a few magazines about writing. They consult with other new writers as ignorant as themselves and proceed to build a house called a novel, but one that will not risk their lives because fortunately for them, it is all on paper. What Type of Aspiring Authors Should Apply? Serious, self-starting writers willing to conceive, write and craft their novel in the due course of completing this program, and who are willing to accept critical guidance from professionals in the business. We emphasize "serious" because this program is rigorous and challenging, and not like a college extension cyber-class or a typical online workshop. The more knowledge and skills you acquire, the more you apply, returning as necessary to edit until a review by a faculty editor takes place. Aspiring authors, regardless of manuscript stage, benefit from this approach and editorial mentorship. It's about starting with the first sentence and proceeding to the denouement. The program methodically addresses all structural, premise, and narrative aspects of your novel, and in a manner beneficial to making it more competitive while also evolving your writer skill set, no matter your level at the start of the program. How Does This Program Apply to All Genres? The art of good storytelling never changes. The courses and modules approach the art of writing commercial fiction in a manner that applies to upmarket/literary and all commercial genres. See the Six Act Two-Goal Novel page on "Novel Writing on Edge" to get an idea of what we're talking about. The courses accomplish three primary goals. They enable you to: Learn and practice advanced premise-plot and character technique. Learn and practice advanced narrative and prose style craft. Learn and apply said technique, narrative craft, and knowledge to your own work-in-progress. Come to a firm understanding of the role today's market plays in getting your novel published. Genres we work with include upmarket/literary, general fiction, SF adult and YA/MG, fantasy adult and YA/MG (as well as New Adult), urban fantasy, mysteries of all types, detective/true crime, suspense/thrillers, women's fiction both serious and light, as well as paranormal romance. How Do I Graduate? Successful completion of Parts I and II. Application of work, editorial direction, and critical lessons learned to your novel-in-progress manuscript as evidenced by story development outlines, prose samples, and other criteria as deemed appropriate by program faculty. Completion of the self-coverage novel scorebox. Completion of all extra assignments and readings related to the program. Completion of faculty review and adoption of further edits as necessary. Joint approval of your publication plan going forward. Home About the Algonkian NWEP Novels and Authors Studied Frequently Asked Questions Program Syllabus - Part I and II Application - Registration Program Sample 2023

Literary and Genre Novel Writing Learned From the Masters Below you will find the program syllabus. In our quest to get you as close to the brass ring as possible, we've developed this series of multi-genre commercial writing courses that will enable you to develop and write your novel from the very beginning, or else rewrite your extant work-in-progress while simultaneously reality-checking all core and peripheral elements. In all cases, initial focus is on story premise and market position, major antagonist and protagonist arcs and elements, primary plot conflict(s), as well as overall set decisions. The next set of crucial elements are addressed in turn (see syllabus below) and again, as appropriate, by Algonkian editorial faculty (in private consultations with you) prior to the final query letter stage. NOTE: THE FOLLOWING NOVELS NOTED IN THE SYLLABUS ARE REFERENCED IN CONTEXT DURING THE COURSE OF THE PROGRAM. THE EMPHASIS IS ON UTILIZING CLASSIC AND MID-CLASSIC NOVELS AS MODELS FOR CONCEIVING AND CREATING SUCCESSFUL PLOT, CHARACTERS, THEME, AND PROSE NARRATIVE. WHY? BECAUSE THE ART OF FICTION MUST FIRST AND FOREMOST BE LEARNED FROM THE BEST AUTHORS WHO SET THE STANDARD FOR ALL WHO CAME LATER, INCLUDING THE WRITERS OF TODAY, AND THAT INCLUDES YOU. Part I Program Sample The Program Syllabus Art of Novel Writing - Part I - Eight Course Modules Module I The Act of Story Statement and Protagonist's Goal; Conjuring Your Breakout Title; Market Positioning and Vital Comparables; Utilizing the Short Synopsis Pitch to Create and Define Novel Basics Including Rising Plot Action, Exposition, Backstory, Climax, Denouement, and Theme. Works studied or referenced: ISSAC'S STORM, ANTIGONE, ONE FLEW OVER THE CUCKOO'S NEST, COLD MOUNTAIN, HISS OF DEATH, SUMMER'S SISTERS, THE BARTIMAEUS TRILOGY, THE HAND OF FATIMA, THE GREAT GATSBY. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module II Choosing the Antagonist; Antagonist Role in Energizing Plot Lines and Defining Dramatic Tension; Social Reaction and Psyche Profile of Antagonists; Traits and Physical Nature of the Antagonist; Anecdotes Featuring Your Antagonist; Antagonist Relation to Three-Level Conflict Dynamic. Works studied or referenced: THE KITE RUNNER, TO KILL A MOCKINGBIRD, THE GREAT GATSBY, LES MISERABLES, ANNE OF GREEN GABLES. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing a Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module III Using the Hook Line to Bait and Test Your Commercial High Concept; Hook Elements; the Coming of the "Agon" and Creating the Three-Level Conflict Dynamic; Writing Conflict Lines; Using the Right Setting to Maximize Opportunities for Unique Circumstance, Complications, Character and Verve. Works studied or referenced: ISSAC'S STORM, HISS OF DEATH, SUMMER'S SISTERS, THE BARTIMAEUS TRILOGY, THE HAND OF FATIMA, THE HUNGER GAMES, SOUND AND THE FURY, THE ROAD. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module IV Personality Types and the Counter Trait; Importance of Backstory; Elements of Character Animation; Protagonist Makes Plot or Vice Versa; Sympathetic Character Factors in the Hook; Defining the Transformational Character Arc. Works studied or referenced in Module: CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, FIRST FIVE PEOPLE YOU MEET IN HEAVEN, SECRET LIFE OF BEES, LIFE OF PI, BEL CANTO, PATTERSON AND GROSS, WINESBURG OHIO. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module V Synopsis as a Planning Tool; Methods for Delivering Exposition; How Does Theme Define and Pervade the Novel? Character Symbolism and Making a Theme Statement That Will Layer Into the Novel. Works studied or referenced in Module: ONE FLEW OVER THE CUCKOO'S NEST, WISE BLOOD, THE SUN ALSO RISES, RHINOCEROS (the play), MAN'S FATE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module VI Coming of the Six Act Two-Goal Novel; Act 0 - Developing the Backstory; Act I, Part I - the Critical Act of Opening Scene, Foreshadowing the Primary Conflict, In Media Res; Act I, Part II - Inciting Incident, Exposition Parceling, the MacGuffin, Theme Start, Antagonist Intro With Possible Minions. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module VII Act II - More Hook: Story Statement Redux, Establishment of Major Goal, Primary External Conflict or Complication Begins, First Major Plot Point and Plot Line, Protagonist Psychology, Rising Action; Act III - Plot Line Evolution, Minor Reversals, Complications, thee Levels of Conflict, Major Reversal Time, Plot Points. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module VIII Act IV - New Rising Action and Suspense, Conflict Levels Revisited, the Final Puzzle Piece, Surprise or Twist, Climax, Victory at a Cost; Act V - Denouement, Loose Ends, Theme Resolution, End of Protagonist Arc. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Primary elements studied and applied in the eight modules of Part II: The act of creating narrative suspense. Dynamic description and competitive narrative cinema. Utilizing character personality to create tone and verve. The four levels of storytelling viewpoint. Levels of successive narrative transformation. Complications and conflict in fiction narrative. Approaches and experiments in masterful dialogue. Establishment of active and aggressive style. Coaxing imagination and unpredictability in narrative and storytelling. Art of Novel Writing - Part II - Eight Course Modules Module I Mastering the Art of Point-of-View: Four Levels of Third Person Point of View; Advantages of 3POV; Effective First Person POV Transition From 3POV; Choice of Viewpoint Character and Effect on Tone; Four Stage Narrative Transformation. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module II Mastering the "Art of Fiction" Narrative: Spatial Orientation in the Scene, Quality Ruminations to Add Dimension and Arc, Transforming the Quiet Set and Circumstance with Imaginative Leaps of Interior Monologue, External Complications, Emotions, Musings, and Narrator Observations. Writing Concise and Artful Dialogue, Mastering the Right Genre Style and Voice. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module III Mastering the Art of High Impact Subject Matter and Issues of Proper Narrative Composition : Creating Social Energy and Conflict, Ways to Aggressively Milk Imagination, Complex Visual Phenomena Reflecting the Human Condition. Creating the Color, Movement, Sounds and Smells of the Meta-Cinematic Narrative Experience. Injecting Pre-event complications, and Fantastical Circumstance Creating "Delayed Cognition" Technique. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module IV Mastering the "Art of Fiction" Narrative: Complex Description of Characters Using Both Third and First Person POV, Metaphor Sketching to Describe Unique Characters, the "Single Statement of Impression," Deriving Unique Metaphors From Setting, Using the "PDQ" to Brainstorm Approaches to Challenging Subjects in Prose Narrative, Details of Face and Body Movement, Charged Emotional States, Occasional Acts of Bold and Imaginative Appearance. Balancing Prose For High-Impact Subject Matter VS. Upmarket Prose Narrative. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module V Mastering the Art of Narrative Composition: High-Impact Subject Matter VS. Upmarket Prose Narrative, Mastering Style and Voice, Using FIGHT CLUB to Write Your Own Version In Order to Practice Those Narrative Elements Make Chuck Palahniuk a Great Author; Using THE RIVER KING to Write Your Own Version In Order to Practice Those Narrative Elements That Make Alice Hoffman a Great Author. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module VI The First 5000 Words of the Novel Hook Incorporating Elements From Prior Modules : Four Levels of 3POV Narrative, Level III Narrative Minimum, Transitions to Reflective Interior Monologue, Interior Fantasy, Ruminations or Musings, At Least Five Minor Complications. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module VII Self-Coverage Narrative Scorebox and Reference to Part I of Program Regarding Act I and Act II as Appropriate For Inclusion of Proper Plot Elements, Sympathetic Character Elements, etc.. the First 50 Pages of the Novel Incorporating Elements From Prior Modules : Brilliant First Person POV, or All Four Levels of 3POV Narrative; Level III Quality Narrative Minimum Striving Towards Level IV, Transitions to Reflective Interior Monologue, Ruminations and Musings, As Many Minor Complications As Necessary. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, and All 50 Pages With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module VIII Post Coverage: the Next 50 Pages of the Novel Incorporating Elements From Prior Modules (for a total of 100) : Brilliant First Person POV, or All Four Levels of 3POV Narrative; Level III Quality Narrative Minimum Striving Towards Level IV, Transitions to Reflective Interior Monologue, Ruminations and Musings, As Many Minor Complications As Necessary. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, and All 50 Pages With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Home About the Algonkian NWEP Novels and Authors Studied Frequently Asked Questions Program Syllabus - Part I and II Application - Registration Program Sample 2024

I've watched this a dozen times and it's still funny!

Develop, Write, or Rewrite Your Breakout Novel Step-by-Step Courses Followed by Editorial Consult and Agent Query Process - $299.00 This novel writing and editorial program conducted online here at AAC was brainstormed by the faculty of Algonkian Writer Conferences and later tested by NYC publishing professionals for practical and time-sensitive utilization by genre writers (SF/F, YA, Mystery, Thriller, Historical, etc.) as well as upmarket literary writers. It is designed specifically for those who are currently in the process of writing or rewriting the novel. The goal is to get you as close to the brass ring as possible, to make your novel as commercially competitive as it needs to be on all levels while avoiding critical missteps, bad advice, and exorbitant prices. And it does not matter what stage your novel is currently in, or where you are in your writing life. The program steps and methodology, as well as the faculty, enable you to learn and grow as a writer together with your novel, and at your own pace. Your work is thoroughly reviewed by our professionals. Together you set publication goals, engage in necessary manuscript edits, and at the appropriate time, initiate the agent discovery process as well as the writing of the query letter. Faculty consists of New York Pitch Conference workshop leaders, and the courses are found here on Algonkian Author Connect. A login password will be provided upon successful application and registration. Home About the Algonkian NWEP Novels and Authors Studied Frequently Asked Questions Program Syllabus - Part I and II Application - Registration Program Sample 2024 ___________________

Books on Fiction Writing Utilized in the Algonkian Novel Writing Program "The Art of Fiction" by John Gardner (a great primer for this commercial program) "Writing the Breakout Novel" by Donald Maass (another good primer) "Write Away" by Elizabeth George (a no nonsense primer, and humorous) "The Writing Life" by Annie Dillard (a look at the struggle) ________________________________________________________________________________ As you've noted on the novel writing program website, the above books are listed as must reads for this program. Therefore, the purpose of this forum is to nudge you into taking what you've learned from these four books and utilize knowledge gained to enhance and edit your own novel-in-progress. As with the other forums, you must post a new topic in this forum before answering the following three questions regarding each of the four assigned books: 1. How did the book help you as a writer? What overall aspects of it taught you something? 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program. If so, what were they? NOTE: This needs to be fulfilled before you can successfully graduate this program, and with our assistance, hopefully move forward to agent representation and commercial publication. _____________________

This (assuming I made it all work) is from the Evening With Neil Gaiman and Amanda Palmer CD. It's a live audio recording from last November of me reading a short story called "The Man Who Forgot Ray Bradbury". If it didn't work, just click on The Man Who Forgot Ray Bradbury and go to Soundcloud. The story is going to be published in the upcoming tribute to Ray Bradbury, Shadow Show. And it's up here today by kind permission of Sam Weller, co-editor of Shadow Show. And here, because it's the last thing (second to last, really. He sent me a video, but that's private) I got from him, is a photo of Ray, on his birthday last year, as our editor and friend, Jennifer Brehl, read him the story. He liked it. http://2.bp.blogspot.com/-R0gk4a60Tr4/T9DG3SdJYUI/AAAAAAAAnHs/e-CbwOj9q5M/s400/IMG00102-20110823-1829.jpg Also, if you get a chance, go and read http://www.newsfromme.com/2012/06/06/ray-bradbury-r-i-p/ and http://www.newsfromme.com/2012/06/06/more-on-ray/ (in which Mark corrects me on his age in the anecdote). View the full article

I finished the piece I would have put up on the blog about Ray Bradbury just as a couple of emails from the Guardian came in asking if I would send them something please, honest really please. So I sent it to them, unread and raw, and an hour later it went up on their website. It starts, You can read the rest of it at http://www.guardian.co.uk/books/2012/jun/06/ray-bradbury-neil-gaiman-appreciation. Apologies for the roughness. It's been a rough day. I cried once when I called Harlan Ellison to make sure he knew, a second time when my editor Jennifer Brehl, who was also Ray's editor and friend, said "You know, he really loved you." And each time the tears took me by surprise. View the full article

I heard about Ray's death this morning, and it's knocked me for a loop, and for second loop because so many people are asking me to write something about Ray and what he meant, for them, right now. And it's too soon, but they need it. I'm writing something now. But I wanted to put this up. I wrote it a couple of years ago as an introduction to the PS edition of The Machineries of Joy and it was reprinted in the Times. If you want to quote me, you can take anything you like from this, and add that he was kind, and gentle, and always filled with enthusiasm, and that the landscape of the world we live in would have been diminished if we had not had him in our world. And that I am so glad that I knew him. ... Ray Bradbury: The Machineries of Joy I can imagine all kinds of worlds and places, but I cannot imagine a world without Bradbury. Not Ray Bradbury the man (I have met him. Each time I have spent any time with him I have been left the happier for it) but Bradbury the builder of dreams. That Bradbury. The man who took an idea of the American Midwest and made it magical and tangible, who took his own childhood and all the people and things in it and used it to shape the world. The man who gave us a future to fear, one without stories, without books. The man who invented Hallowe’en, in its modern incarnation. There are authors I remember for their stories, other authors I remember for their people. Bradbury is the only author I remember who sticks in my heart for his times of year and for his places. He called a book of short stories The October Country. It’s the perfect Bradbury title. It gives us a time (and not just any time, but the month that contains Hallowe’en, when leaves change colour from green to flame and gold and brown, when the twigs tap on windows and things lurk in the cellars) and it makes it a country. You can go there. It’s waiting. Places: the green meadows of Green Town Il. in Dandelion Wine; the red sandy expanses broken by crumbling canals that could only be Bradbury’s Mars; the misty Venice Beach of Death is a Lonely Business. All of them, and so many more, locations that linger. It is hard for me to talk about the stories without thinking of Ray Bradbury the person: I remember his 70th birthday, twenty years ago, in the Natural History Museum. A decade later I had the honour to present him with the Science Fiction Writers of America Grand Master Award and I have never seen a room of people cheer and clap with more joy than they did that night. More important than either of those things though, for me, was that I got to say thank you, in person, to someone whose fiction helped make me who I am. The first Ray Bradbury story that I read was called “Homecoming”, and it changed me. I was seven years old. The story was in a collection of SF I had borrowed from a friend’s father. “Homecoming” is about a normal human boy, Timothy, who lives surrounded by all the creatures of the night. I identified more with Timothy, the boy being brought up by a loving family of vampires and monsters than I had ever identified with any fictional character before. Like him, I wanted to be brave, to not be scared of the things in the darkness. Like him, I wanted to belong. I read The Silver Locusts next, a collection of stories now more often known by its alternative title, The Martian Chronicles. The book was sitting on a book case at home. I do not know to whom it had originally belonged. I thought the book was like nothing else I had encountered(although I was young enough and literal enough that I kept waiting for the locusts to turn up). I fell in love with “Usher II”, the story that sent me to Poe, as Martian settlers, representing the repressive anti-fiction movement on Earth that Bradbury had created in his novel Fahrenheit 451, arrive at a scary house on Mars and are murdered by robots controlled by an aficionado of horror and the fantastic. The murders were in the style of Poe stories, “The Pit and the Pendulum”, “The Murders In the Rue Morgue”, and culminated in “The Cask of Amontillado”. It was after reading this story that I resolved that I would one day read Poe, become a writer, find a Scary House, and own a robotic Orang-Utan that would do my bidding. I have been fortunate in achieving at least three of these goals. The first Bradbury books I bought with my own money were from a travelling bookshop, which would set up once a term in a room in my school. I was about eleven. The books were Dandelion Wine and the The Golden Apples of the Sun. So much about Ray’s writing was important to me, so much of it helped form me. I read all I could. Finding a Bradbury book was an occasion of excitement, never of disappointment. But I never thought of emulating it. I never consciously wanted to copy him. Although I discovered, re-reading Bradbury as an adult, that I had, almost beat for beat, copied one of Ray’s stories as a very young man, that it had crept deeply enough into my mind in childhood that, writing what I thought was my own story, I wrote it again. (Which story of mine this was, and which story of Ray’s had burned its way so efficiently into my back-brain, I will leave as an exercise for bibliographers.) Ray Bradbury was not ahead of his time. He was perfectly of his time, and more than that: he created his time and left his mark on the time that followed. He was one of two men to come from Waukegan, a small town in Illinois about 30 miles from Chicago, who made art that allowed America to define itself from the 1940s until the 1960s. (The other son of Waukegan, of course, being comedian Jack Benny.) And for over sixty years Bradbury has made art, and he still makes art, and sets cats among pigeons, and he gets people talking. Bradbury’s best short story collections have themes and they have patterns. They are arguments and they are conversations. The Machineries of Joy is a reminder of a Bradbury who, while too many fine writers were still writing for the pulps, had liberated himself, and was writing for the slicks. He had been one of the first writers to have made the transition from the world of people who read that sort of thing to the world at large. The tales in The Machineries of Joy are, with a few exceptions, stories in which genre elements are muted or absent. A collection of stories, some fantasies, some not. (Many of the ones that are not, still feel like fantasies, while several of the more fantastic tales feel extraordinarily real.) Priests debate and argue about space travel, and an old woman seals her house from Death, and we ask (as Bradbury made us ask and ask and ask again) Who are the Martians? and we wonder, was the man on the bridge in Dublin really a beggar...? Ray Bradbury at his best really was as good as we thought he was. He colonised Hallowe’en, just as the Silver Locusts colonised the red deserts and glass towers of Mars. He built it, as he built so much, and made it his. So when the wind blows the fallen autumn leaves across the road in a riot of flame and gold, or when I see a green field in summer carpeted by yellow dandelions, or when, in winter, I close myself off from the cold and write in a room with a TV screen as big as a wall, I think of Bradbury... With joy. Always with joy. Neil Gaiman View the full article

http://3.bp.blogspot.com/-uR13JZsCxTI/T8wC5KbRuqI/AAAAAAAAnHU/ZIOx8G8qeCY/s320/IMG_6307.JPG Today, Maddy, my youngest daughter, graduated from High School. I was asked if I'd like to deliver the address, but declined. I wanted to be a dad, and sit in the audience with my family and beam proudly, and wander around taking photographs afterwards of Maddy and all her friends. And that's what I did. It was great. When I started this blog, she was six. I love you Maddy Gaiman, and am so proud of you. Soon there will be nothing keeping me in the midwest except inertia, and this is where my stuff is. And my bees. I'm hoping to spend more time on the West Coast with my two older children, and much much much more time on the East Coast with my wife, when she finishes her 2013 world tour, at any rate. In the meantime, I'm reposting this cartoon. You'll need to click on it to read it at its home page, as the way Blogger software is set up these days does not agree with it, and I can't get it readable here. It's from http://zenpencils.com/comic/50-neil-gaiman-make-good-art/ It's by Gavin Aung Than, and I hope I get to thank him personally for doing it the next time I'm in Melbourne. He's taken a bit from the middle of my UArts commencement speech and made it into a comic. The speech has been, I was bewildered to learn, viewed over 335,000 times on Vimeo, and is now captioned in English, Czech, Estonian, Finnish, French, German, Italian, Korean, Portuguese, Russian, and Spanish at http://www.universalsubtitles.org/en/videos/IOH3jJ6INIof/info/neil-gaiman-addresses-the-university-of-the-arts-class-of-2012/ . It's still in its original vanilla form at http://vimeo.com/42372767. And it's even -- which may be useful for people in countries that have blocked Vimeo. http://zenpencils.com/comics/2012-05-29-gaiman.jpg View the full article

We're in the last four days of Amanda's Kickstarter. Over the last almost-a-month of the Kickstarter she's gathered a huge amount of support, set records for what crowdfunding can do, made the news internationally, and she is now planning a giant webcast block party in Brooklyn on Thursday night for the people who supported the project and to count down to 11:59 when the Kickstarter ends and she starts to play. She's certainly got enough supporters, and she's already well exceeded her goal and is somewhere off into the land beyond her wildest dreams. (As I write this she's 900% funded, and looks on course to make this a million dollar Kickstarter.) But I still thought I'd stick something up here, in the last few days, because... We put together the Evening With Neil Gaiman and Amanda Palmer Kickstarter last year, to raise the money to professionally record the West Coast tour we did in November. We raised a lot more money from the Kickstarter than we had expected, so we made everything we could even better than anyone had expected. The double CD we had planned to do became a beautiful triple CD package, for example, and then we did a special super secret bonus CD with a banana on it to go along with that - as well as over two additional hours of extra material we released digitally for all the supporters. We worked very hard to make sure that everyone who supported us got something better than they had thought they were getting when they signed up. And when the stuff started showing up in people's mailboxes and they started posting happy photographs of their stuff (like these...) http://static.zooomr.com/images/10190247_6107f3853e.jpg http://twitpic.com/show/full/9d9ev4 ...then people here and on Twitter and on Tumblr started sending me sad messages, telling me they wished they had supported the Kickstarter, they'd missed it as they hadn't seen it, or had forgotten, or were broke at the time -- but was it too late to get the stuff? I wrote back a lot, and said yes, I was sorry but it was too late. We'd only made enough for the Kickstarter backers. (We do plan to release An Evening With Neil and Amanda commercially, probably towards the end of the year. And it'll be a nice package, but it won't be what the Kickstarter folk got. That was special, and it was just for them.) Amanda will be releasing a version of her new CD to the public in September. That's the one you'll be able to buy at your local store. But the two CD set inside a book (the blue thing on the right), or the quadruple vinyl in its box, or whatever else she decides to throw in to the other levels, the art-book she's making -- that stuff will only exist for Kickstarter. If you want it, or any of the other rewards (down to the $1 reward that gets you the whole album digitally when it comes out, which I promise will be significantly cheaper than it'll be on iTunes) then this is really just a reminder that you only have four days to click on the Kickstarter link and support it... http://i831.photobucket.com/albums/zz233/8ftmusic/afp/kickstarter/grandtheft/20120526%20update/case_mockups.jpg ... Amanda did a post the other day on her blog and for backers, explaining that, no, a million dollar Kickstarter wasn't actually going to make her rich. People are signing up for things, she'll make the things and provide them, but she doesn't get to put a million dollars into a swimming pool and then throw it into the air, like Uncle Scrooge. It's not tax-free donations, it's people signing up for services. So, to clarify: The Kickstarter exists to fund a CD release (to the public, not Kickstarter supporters) and a tour (ditto). The Kickstarter money funds the studio and promotional costs (just as a record label might have done). The business model isn't, Make Money From 20,000 people. It's Use 20,000 people to crowdfund the costs of manufacturing and distributing and promoting a CD and a tour to the General Public. And then get rich from that. You'd think a band who took their video and studio and promotional budget from a record label and used it as income instead of as an investment in their future were being pretty shortsighted. That's the Kickstarter money: it's a video and promotional and design and manufacturing and touring budget. That's what it's for. ... There. That's the very last post about Amanda's Kickstarter, unless I start blogging from a rooftop in Brooklyn when it's all over, as the NYPD haul Amanda and the Grand Theft Orchestra away. She says they have all the permits in place for a midnight rooftop gig, and they've even hired the police to block off a road and so on. I just think of the Beatles on the roof of the Apple building, and the legion of uniformed cops who appeared to make them stop... View the full article

A hasty post... There's a slipcased set of Sandman on the way. It's going to be published in November. I'm so happy. This is something that I have been asking DC to make for a very long time, and I am genuinely thrilled it's going to exist. It will look almost like this. (If you look carefully you'll notice that the final book in the box shown here is not The Wake. That's because that edition of SANDMAN: The Wake has not been published yet.) http://24.media.tumblr.com/tumblr_m4k3flVPhj1r3rsfmo1_500.jpg (Here's the Amazon listing for it -- they've dropped it from $200 to $125. And I'm sure there are other such deals elsewhere on the web.) DC are also going to be selling the Slipcase with some copies of The Wake. So if you have the rest of the books already, you can simply put them into the slipcase. According to Bleeding Cool, retailers have until this weekend to get their orders in for November to guarantee that they'll get them. So if you want one, either if you want a copy of The Wake with a Slipcase, or the set of all the books, you should talk to your Local Comic Shop now. (How do you find your local comic shop? You could always use http://www.comicshoplocator.com/) (The current edition of paperbacks contains the same colouring as the Absolute editions, although, obviously not all the extra material in each of the Absolutes. If you already bought the Absolute Sandmans 1-4, feel proud of yourself. You are not required to buy the books again. You are never required to buy again what you already have.) View the full article

This is a very long preamble to a photograph. When Amanda and I were first going out together we would spend a lot of time on the phone, talking about big real things. We don't talk on the phone anywhere nearly as much any more, and when we do talk on the phone we're more likely to be trying to figure out the logistics of where we are in the world and how we can warp space and time in order to be in the same place relatively soon than about our hearts or our lives. That's just the way things are, and when we're together, late at night, in bed, we still talk about all the big real things. But we used to talk on the phone. One night I said something to Amanda about my life, and beds, and the sizes of beds, and she got very quiet. I thought she was crying on the phone, which seemed odd, as I'd not said anything (to my mind) about hearts. A week or so later, she announced on Twitter that she was writing a song. She posted photos of herself after each verse. It seemed like the whole of Twitter was cheering her on. I got to Boston a few days later, and she played me her song, on the huge grand piano in her cramped apartment. She'd taken a tiny fragment of my life and made it into something else, a story about a couple, from joy to death, exhibited, as in a legal case or at an inquest, as a sequence of beds. I cried when she played it. She asked me to give it a title, because I had inspired it, and I didn't want to give it a clever title, and so I called it "The Bed Song", and the name stuck. It's one of the songs on her new album. She's asked a number of artists to make art to go along with the book, asked if I would do something for "The Bed Song". I thought about what I wanted to make, realised it was a sequence of five photographs, mirroring the five verses/exhibits in the song. And that, while I love taking photographs (my lomo cameras are some of my favourite possessions) I did not know how I would take these photographs... Fortunately, a few days later there was a gathering in Barrington Illinois to honour Gene Wolfe, and my friend Kyle Cassidy was there with his beautiful actress wife Trillian. I asked Kyle if he'd like to collaborate on making art: I'd write a script, describing the images, as I would have done if I was writing a comics script. He'd take the photos. Kyle said yes. Then I told him the deadline we were on... And that we'd need people of all ages, willing to be photographed, in couples (all but one), naked in a bed. Kyle set off, undaunted. Kyle is an amazing photographer. We found volunteers through friends and through Twitter. It was relatively easy to find people to pose in their twenties and thirties and forties... finding older models was harder. I was hugely pleased when my friends Samuel R. Delany and Mia Wolff agreed to pose for the last photograph we needed. Many of the people who had their photos taken told Kyle that it was a life-changing experience for them, and I can believe it. The photographs were beautiful. The sequence of photographs worked as a story. We were happy, about everything except... Kyle had taken too many good photographs. Each photograph was a piece of art. Amanda's doing an art book already, of the art that's been made for the album, but we desperately wanted to see Kyle's photos reproduced at the size and at the same quality as they'll be hung in the art galleries they'll be hanging in this summer, during Amanda's art tour. And we wanted the photos that weren't just part of the set of five, that would hang in the gallery and be part of the art book, to be seen. And Amanda was putting together a Kickstarter (it's at http://www.kickstarter.com/projects/amandapalmer/amanda-palmer-the-new-record-art-book-and-tour). It was going to need incentives at various levels. And if the incentive level was priced high enough then we could actually afford to make the kind of book we dreamed of -- something with the level of art and craft you'd find in the impressive oversized Taschen photo books. Although there would be significantly fewer photos than the $15,000 Helmut Newton SUMO book (but then, it also wouldn't need to come with its own display stand). So that's what we're doing. We're making a maximum of 666 of them (to commemorate the % by which the Evening With Neil and Amanda Kickstarter exceeded its level). If the demand is less, we may make significantly less. We want copies for our models, and a few for ourselves. You'll get one if you support the Kickstarter at the $1000 level or above (so each of the 35 people hosting a house party, for example, will get a copy), and you also get all the goodies from lower levels as well. Right now we're just finalising the specs -- Kyle wants a lock on the box (or slipcase) it comes in, for example, but we need to decide what kind of lock... There will be photographs, reproduced at the same size (HUGE -- the book is planned to be the same size as the recent oversized Little Nemo Sunday pages) and quality (amazing) as the actual prints. There will be an essay by me about the song, what inspired it and what it means to me. There will be the script for Kyle and the emails. There will be a reproduction of Amanda's handwritten lyrics. And we will sign it, and limit it, and I very much hope that each of the people who winds up with a copy is made very happy by it. Of all of the things in the Kickstarter campaign, it's the most likely to ship last, because the production process of objects like this is always beset with nightmares. We want it fancy and beautiful and unique, but each fancy thing we add means there's something else that can go wrong or delay things, and that printers and bookbinders and boxmakers will simply not be able to do what we're asking, meaning we'll have to find someone who can, or wait, or send something back to be redone. Right now, Kyle is taking the handful of last photographs for the book. And as we were talking about it, I realised, with a creeping horror, that the final photo had, inevitably, to be me and Amanda. Amanda has been in many photographs naked, has no nudity taboo that I've ever noticed. I'm English. I have a nudity taboo. Kyle took several shots of us in Philadelphia last week, in our hotel room. Some of them we had the covers over us, in others (the scary ones -- well, scary for me) we didn't. I held Amanda and did my best to go to sleep and not to think about the camera on a stick far above us. I've not seen any of the photos Kyle took of us without bedclothes, yet. I'm nervous as hell about seeing them, but also certain that we'll find the one to be the final image, and glad it will only be in a very limited edition book. But the photo that Kyle just sent over showing Amanda and me together, under the covers, with me mostly asleep, is beautiful. And this is it. http://4.bp.blogspot.com/-oNbgHAjxauk/T7rSVBsCnuI/AAAAAAAAm-Q/xgTyBYTfwws/s640/bedsong-n-a-2.jpg It's the only one of the photos that's in colour, too. I think we may use it as the image on the limitation page, the one we all sign. And, with Kyle's permission, I'm putting it up here. View the full article

I've been thrilled how many people have watched and reblogged the commencement speech. If you want to read it, there's a transcript up at the UArts website, here. I went by train from Philadelphia to Arlington, where SFWA was holding the Nebula Awards weekend. I wasn't actually nominated for a Nebula: I was nominated, along with director Richard Clark, for a Ray Bradbury Award for the Doctor Who episode "The Doctor's Wife". (I'd been nominated once before, in 1998, for the English language script to Princess Mononoke. And lost.) I hoped I had a chance, but didn't think it was a shoe-in: all the other things nominated were major Hollywood movies, including Midnight In Paris and Source Code. But I thought, seeing I was in the area, and that I had lots of friends I would see who would commiserate if I lost, and forgive me if I won, that it might be a fun trip. I went. It was a wonderful ceremony. Connie Willis was made a Grand Master, and I kvelled. The Bradbury Award is unique: a man dressed as a diver with an old IBM selectric "golf ball" for a head, holding a mallet and chisel to carve the happy and sad faces of drama out of a pyramid on top of a book. There's nothing like it. And yes, Richard and I (and Doctor Who) won. I thanked everybody, Richard, the amazing cast and crew, Steven Moffat, and then I thanked Verity Lambert and Sydney Newman, who put a cranky old time-traveller into a police box almost half a century ago. I flew home this morning. I put the award above the desk beside my Jim Henson Creativity award, and surrounded it with poppets... http://3.bp.blogspot.com/-NNwkTqltW-0/T7n_n_Spy0I/AAAAAAAAm98/oedb4bioVfE/s640/IMG_6184.JPG View the full article

This needs a proper blog entry all of its own, but I am running around like a mad thing, so as a stopgap, here's the Commencement Address I gave yesterday to the University of the Arts in Philadelphia. Everything I could think of that someone starting out on a career in the arts right now might need to know. View the full article

I remember the first time I saw a Maurice Sendak book. It was In The Night Kitchen. I was eleven or twelve, and had been given a small allowance by my parents to buy my littlest sister, who did not read, books, if I would read them to her. I loved books and reading aloud. In The Night Kitchen was liberating, transgressive, and a dream come to life: I understood the nakedness, could not understand why all the chefs were Oliver Hardy but loved that all the chefs were Oliver Hardy. Years later I discovered Little Nemo in Slumberland, and In The Night Kitchen came into focus. As a parent, I read Where The Wild Things Are to my children, but Holly's favourite Sendak book was Outside Over There, and I must have read it to her hundreds of times, perhaps thousands of times, marvelling at Sendak's economy of words, his cruelty, his art. What I loved, what I always responded to, was the feeling that Sendak owed nothing to anyone in the books that he made. His only obligation was to the book, to make it true. His lines could be cute, but there was an honesty that transcended the cuteness. I never met him, although I had friends who worked with him, and friends who were friends with him. I never wanted to meet him. I had read the books -- by that point I'd read all the books -- and read the interviews. He was so grumpy and so wise, so sensible and so very much at the service of each of the books. He made personal books that came out and were banned and challenged and then embraced by the children who had grown up with them. (In The Night Kitchen was the 24th most challenged US library book in the last decade.) When I heard this morning that Maurice Sendak had died, I asked the New Yorker over Twitter if they could unlock a two page comic: art spiegelman and Maurice Sendak in conversation in 1993, drawn by both of them. They did, and I am grateful to them. Click on the small version of the first page to read the whole thing (and click on that to make it bigger). http://static.cdn.realviewdigital.com/global/content/GetImage.aspx?pguid=FC9071DC-DD99-441F-A727-1B74670350BC&width=232&i=1993-09-27&folio=080 And the strange thing about reading this, was that it was pretty much, I realised, what I'd been trying to say last week when I made my Zena Sutherland speech in Chicago. Only I took thirty-five minutes and almost five thousand words to say it, and art and Maurice did it in eleven panels. View the full article

So, last year I recorded a piece for a This American Life episode about adventure. It's a little memoir about adventures, and how I mostly don't have them. It wasn't the piece I originally wrote, though, which was a short story. Or rather, it was the piece I originally wrote. Ira Glass wasn't sure about the personal one, when I sent it over, and wanted a short story, so I wrote a short story instead, but the producers preferred the personal memoir, and outvoted him, so that was what I recorded. Ira Glass still liked the short story, and mentioned to Dave Eggars that I had a short story that he liked that nobody had read, and Dave Eggars wrote to my agent and asked if he could read it for McSweeneys, and I was happy that it wasn't going to be completely forgotten forever (I'd already forgotten it existed, and hadn't given it to anyone or submitted it anywhere, so it was just sitting getting dusty on a hard drive somewhere). I wasn't sure if it was any good, and had to be nudged by Dave several times to send it. It was called Adventure Story. Having emailled it to Dave I forgot about it again. And then, in the post, this arrived: http://4.bp.blogspot.com/-P9PWhT5uBeo/T6bAxJm_dKI/AAAAAAAAmW8/i684j6fXvrM/s400/Photo+on+5-4-12+at+10.26+AM+%234.jpg I opened it. And I thought, I've got story in McSweeneys! I read the story, a little nervously, now it was printed, and thought, and it's good. It's a great issue of McSweeney's. The Jason Jagel comic insert, Topsy Turvy, is wonderful, the collected writing is, as always, excellent, varied, powerful (the book 2 account of a week in Rwanda; the writing that inspired the Egyptian uprising...). Beautiful production values. You can get a copy of it at McSweeneys: https://store.mcsweeneys.net/products/mcsweeneys-issue-40 I'm really happy and proud and thrilled to be in it. Thank you, Ira Glass. ... http://graphics8.nytimes.com/images/2012/05/06/books/review/0506-Bythebook/0506-Bythebook-popup.jpgThe New York Times has a page of me talking about books and what I'm reading and suchlike on it. (The blue picture is Jillian Tamaki's wonderful picture of me from it.) (They edited out the bit where I had President Obama talking about a hooker eating a man with her nether bits, which in retrospect might have been wise, but made that section less funny.) You can read the rest of it at http://www.nytimes.com/2012/05/06/books/review/neil-gaiman-shares-his-reading-habits.html?_r=2&ref=books&pagewanted=all ... Amanda's Kickstarter has been an enormous success -- currently it's the most successful music Kickstarter ever. In six days it has got over 10,000 supporters and has raised over $555,000 towards putting out the CD and book and taking the band on a world tour. She wrote about it on techdirt.. There's a great story about how bamboo grows. A farmer plants a bamboo shoot underground, and waters and tends it for about three years. Nothing grows that's visible, but the farmer trots out there, tending to this invisible thing with a certain amount of faith that things are going to work out. When the bamboo finally appears above ground, it can shoot up to thirty feet in a month. This is like my kickstarter campaign. The numbers aren't shocking to me, not at all. I set the goal for the kickstarter at $100,000 hoping we'd make it quickly, and hoping we'd surpass it by a long-shot. ... I went to Chicago and delivered this year's annual Zena Sutherland lecture. Zena was an editor, a reviewer and an influential figure in the world of children's books. I wish I'd known her - everyone who had known her described her as "a pistol!" and they all talked about her in ways that made me so very proud to be this year's lecturer. (Here's an online obituary.) (The first Zena Sutherland lecture was delivered by Maurice Sendak. The second by Lloyd Alexander. Yes, I was very intimidated.) My lecture was called “What the @#$%&*! Is a Children's Book, Anyway?” which I mostly pronounced "What the [very bad swearword] is a children's book anyway?" when I read it onstage. I got to say things like... Children are a relatively powerless minority, and, like all oppressed people, they know more about their oppressors than their oppressors knw about them. Information is currency, and information that will allow you to decode the language, motivations and behaviour of the occupying forces, on whom you are uniquely dependent for food, for warmth, for happiness, is the most valuable information of all. Children are extremely interested in adult behaviour. They want to know about us. ...along with the story of how I was very nearly expelled from school, at the age of eight, for telling a classmate a dirty joke I'd heard from some kids on the walk home, and a lot of pondering about what children read and why and how authors can figure out whether or not they are writing a book for children or adults. It'll be published in The Horn Book in the autumn. ... And by now you are undoubtedly thinking, what an exciting week. And you would be right. This was the most exciting week ever. Because... I hived a swarm! I walked the dogs in the woods. I heard something buzzing gently, and it seemed to be a tree. I looked closer... It was a swarm of bees high in a buckthorn tree... http://2.bp.blogspot.com/-_oRKJFJacOU/T6bTTKNkmkI/AAAAAAAAmXI/8niDF9hC2Ug/s320/IMG_20120502_140321.jpg Now, when a hive gets overcrowded, or just feels the time has come, the bees swarm. Three quarters of the hive, along with the queen, take off to find a new home, leaving the remaining bees behind to raise a new queen in the old location. Swarms of bees are scary. You've probably seen one. They are also relatively harmless -- bees in swarming mode are not grumpy, not out to sting you, they've filled up on honey which actually makes it physically difficult for them to sting anyway, and mostly they just want to find somewhere new to live. I prepared an empty hive. I put a couple of frames of honey into it from a hive that could afford to lost them. http://2.bp.blogspot.com/-3YjJH21OpJM/T6bTlZKycvI/AAAAAAAAmXQ/fac7wkybowc/s320/IMG_20120502_151114.jpgThen, with two friends (Hans, who cut down the tree, after we decided it was just too high for ladders, and author Kelly McCullough, who saw me tweeting about it and decided that giving a swarm a home would be more fun than writing or revising that afternoon) we made it happen. http://3.bp.blogspot.com/-0-ynqrVlp5M/T6bUQZ7vlJI/AAAAAAAAmXk/rO7_2i4l6kY/s320/IMG_20120502_151302.jpg (This is Hans, He is like a midwestern, less Jewish, less orange-rocky Ben Grimm.) Hans cut down the tree. Kelly helped and suggested I sing the Winnie the Pooh "I'm just a little black rain cloud" song, in case it helped. I did. It did. . I caught the swarm in a cardboard box as it fell, and Kelly and I transported it to its new home, poured in the bees. While I was fairly certain we had not lost the queen when the tree fell, I also put a frame of brood from the Russian hive in, with a couple of queen cells (they are much bigger than usual bee-larva cells, and look like peanuts) ready to hatch on it. If a queen in a hive hears another queen about to hatch, she simply heads over and stings it. If she's not there to sting it, it hatches and the hive has a new queen.) http://2.bp.blogspot.com/-o9DrBU0wlTA/T6bT02PX02I/AAAAAAAAmXY/LOBW0do_PQA/s640/PANO_20120502_160259.jpg (Panoramic photo magic: here is Kelly on both sides of the swarm's new home at once.) http://1.bp.blogspot.com/-7Yrzwn9JqFQ/T6bYk_7KbsI/AAAAAAAAmXw/uc32Opy4ub0/s320/IMG_20120502_151149.jpgThe dogs sat the whole thing out. They've had experiences with bees in the past. View the full article

This makes me so happy: It's such a sweet, funny video. Even if you have no interest in my wife or what she does, you should click on it and watch it. Her Kickstarter went live at 7 this morning, and it's already 93% funded, mostly so far by people who are using it to pre-order the limited edition version of the CD. (Given the number of people who seem sad that they did not use Kickstarter to order an EVENING WITH NEIL GAIMAN AND AMANDA PALMER CD - which turned out, given the amount of money the Kickstarter raised, to be a 3CD set with a special, will-never-be-for-sale bonus extra CD as well -- I am not at all surprised that people are buying. I love the way that Kickstarter allows people both to be patrons of the arts and to directly support the creation and manufacture of the thing they want, cutting out the middlemen.) And it's her birthday today too. Last night I saw some students at Harvard perform an immersive dance piece inspired by The Graveyard Book, and it was one of the sweetest, most haunting, life affirming things I've attended, and a wonderful way into her birthday. Today, we're taking a quiet day together. In a few minutes we'll wander out and get some juice and walk in the sunshine. I'm writing a speech I will be delivering in Chicago next week, with the working title of "What the [very bad swearword] is a Children's Book anyway?" It's about, well, what Children's fiction is, something the book I'm writing right now has me thinking about all the time. It has a seven year old hero, and magic, and terror, but it doesn't feel like a kids' book, and the attitudes and content are profoundly adult. Anyway. So much to catch up on here. I hope you enjoyed the Stephen King interview. View the full article