The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins.

You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks.

And btw, quiet novels do not sell. Keep that in mind and be aggressive with your work.

Michael Neff

Algonkian Conference Director

____________

INSTRUCTIONS FOR POSTING

Several Algonkian groups utilize this forum. After you've registered and logged in, create your reply to this topic (button top right). Please post only one reply for all of your responses so the forum topic will not become cluttered. Your reply post, submitted by clicking on the "Edit Topic" button, will appear on the last page of this thread.  And one last thing, we suggest typing up your reply to the seven assignments in a separate text file then copying it over to your post before submitting. Not a good idea to lose what you've done.

__________________________________________________________

THE ACT OF STORY STATEMENT

Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done?

What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below).

FIRST ASSIGNMENT: write your story statement. 

___________________________________________________

THE ANTAGONIST PLOTS THE POINT

(Photo : Javert from "Les Misérables")

What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash.

Let's make it clear what we're talking about.

By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve).

CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE.

SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them.

___________________________________________________

CONJURING YOUR BREAKOUT TITLE

What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality.

Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc.

Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING.

THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed).

___________________________________________________

DECIDING YOUR GENRE AND APPROACHING COMPARABLES

Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point.

Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business.

Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place!

By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully!

FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here.

- Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why?

____________________________________________________

CORE WOUND AND THE PRIMARY CONFLICT 

Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward.

But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on.

Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet.

For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here.

• The Hand of Fatima by Ildefonso Falcones
• A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God.
• Summer's Sisters by Judy Blume
• After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved.
• The Bartimaeus Trilogy by Jonathan Stroud
• As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world.

Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied?

FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication.

______________________________________________________

OTHER MATTERS OF CONFLICT: TWO MORE LEVELS

As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category."

SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction.

Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it?

______________________________________________________

THE INCREDIBLE IMPORTANCE OF SETTING

When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also.

But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers.

CONTINUE TO READ THIS ARTICLE THEN RETURN.

FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it.

________________________

Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers.

We have reviewed these and agree 110%.

MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer)

How to Write a Memoir That People Care About | NY Book Editors

NYBOOKEDITORS.COM

---

Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir.

MEMOIR MUST INCLUDE TRANSCENDENCE

WRITE IT LIKE A NOVEL

How to Write a Powerful Memoir in 5 Simple Steps

JERRYJENKINS.COM

---

When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others.

MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE

How to Write an Anecdote That Makes Your Nonfiction Come Alive

JERRYJENKINS.COM

---

Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

________________________

• OPENING SCENE - Introduces antagonist or major character, setting, tone, and perhaps a foreshadow of the primary conflict.

=> However, if you wish to begin this process by posting only 500 words or so, feel free to do that. Again, it's preferable if these are your first five hundred. And please SINGLE SPACE. No one here is writing notes between the lines and no one on Earth reads double-spaced pages in published novels.

NARRATIVE ENHANCEMENT CHECKLIST

Don't Neglect Energizing Dialogue - Nothing like great dialogue to create a page turner, especially if the characters are important to the story, and to the reader. Make it crisp, snappy, and relevant. When in doubt, dose with conflict. 

Dialogue - Never a Gratuitous Word or Boring Moment

WWW.NOVELWRITINGONEDGE.COM

Utilization of Artful Hyperbole in Dialogue or Interior Monologue - Surreal descriptions, provocative statements, e.g., suggestion that an unusual or dangerous event might occur; and what about objects that manifest a fearful or mysterious quality? 

"The tips of her fingers are a funny orange, like the tip of a soldering iron."

"You are at a nightclub talking to a woman with a lightning bolt on her nose."

"A homeless child with crazy green eyes was threatening an old woman on the subway."

___________

Matters of Scenes and Sets - Have you chosen in such a manner that verve and uniqueness are potentials by default? Are they capable of producing provocative or interesting imagery? Consider a single best setting for the most energetic scene.

Settings Are 60% - Maximize Opportunity

WWW.NOVELWRITINGONEDGE.COM

Quality of Description - Nuances and Shimmers. What will be the most vital, provocative, or unique image in any given scene? Imagine it. Be aggressive. Consider proper similes and metaphors. Also, what is the best way to render vivid descriptions, whether static or dynamic? This an art form that many fiction writers fail to master. Again, keep in mind your choice of scene and set in the first place. Articles to read:

Experiments in High Impact Narrative  /  A Great Damp Loaf of Description  /  Prose Narrative Enhancer Tool

Quality of Narrative in General

Brilliant Fiction Narrative in Four Stages

WWW.NOVELWRITINGONEDGE.COM

Ruminations and Imaginings - Does the point-of-view character abstract, comment, muse, daydream? And btw, what are the TRIGGERS for these states of mind? Allow the POV character to ask questions of themselves, to doubt, to rationalize. Is the character also flashbacking to the past, fantasizing a scenario that involves them, perhaps in the future? A sexual fantasy? A fantasy of revenge, a memory of a past love, a dream world? The "setting" of the mind can often inject verve on the page if the scene set is a bit quiet.

The Power of Event - Is there a defining or powerful event taking place, one capable of having impact on all present? Has a building collapsed and blocked traffic? Is a fight or argument taking place nearby? A parade, a protest? Car accident? What makes sense for your time and place?

Minor Complications - Miscellaneous things that trip and confound. The immediate energy of a good minor complication cannot be overstated when it comes to overall narrative verve.

Classic Authors and Irritants of Minor Complication

WWW.NOVELWRITINGONEDGE.COM

 Protagonist Sympathy Factors in the Hook - The below is a tangent to this topic, but an important tangent. Why? Because the elements above must be devoted, in part, to the early development of the protagonist. If you're going to be posting narrative samples from the beginning of the novel (which is most beneficial) then you must take this issue into consideration.

Protagonist Sympathy Factors in the Hook

WWW.NOVELWRITINGONEDGE.COM

---

Novel Writing on Edge is a time-tested and trusted source for all genres on the topics of novel writing, development, editing, and publishing.

The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins.

You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks.

And btw, quiet novels do not sell. Keep that in mind and be aggressive with your work.

Michael Neff

Algonkian Conference Director

____________

After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done!

__________________________________________________________

THE ACT OF STORY STATEMENT

Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done?

What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below).

FIRST ASSIGNMENT: write your story statement. 

___________________________________________________

THE ANTAGONIST PLOTS THE POINT

(Photo : Javert from "Les Misérables")

What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash.

Let's make it clear what we're talking about.

By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve).

CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE.

SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them.

___________________________________________________

CONJURING YOUR BREAKOUT TITLE

What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality.

Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc.

Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING.

THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed).

___________________________________________________

DECIDING YOUR GENRE AND APPROACHING COMPARABLES

Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point.

Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business.

Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place!

By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully!

FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here.

- Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why?

____________________________________________________

CORE WOUND AND THE PRIMARY CONFLICT 

Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward.

But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on.

Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet.

For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here.

• The Hand of Fatima by Ildefonso Falcones
• A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God.
• Summer's Sisters by Judy Blume
• After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved.
• The Bartimaeus Trilogy by Jonathan Stroud
• As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world.

Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied?

FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication.

______________________________________________________

OTHER MATTERS OF CONFLICT: TWO MORE LEVELS

As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category."

SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction.

Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it?

______________________________________________________

THE INCREDIBLE IMPORTANCE OF SETTING

When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also.

But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers.

CONTINUE TO READ THIS ARTICLE THEN RETURN.

FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it.

________________________

Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers.

We have reviewed these and agree 110%.

MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer)

How to Write a Memoir That People Care About | NY Book Editors

NYBOOKEDITORS.COM

---

Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir.

MEMOIR MUST INCLUDE TRANSCENDENCE

WRITE IT LIKE A NOVEL

How to Write a Powerful Memoir in 5 Simple Steps

JERRYJENKINS.COM

---

When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others.

MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE

How to Write an Anecdote That Makes Your Nonfiction Come Alive

JERRYJENKINS.COM

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Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page.

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Algonkian Writer Conferences reviews two of the most troll-heavy "reviews" ever encountered by its staff, or for that matter, humans still alive in the 21st century.

by Michael Neff

Algonkian Park in Northern Virginia might be described as a lush and calming act of forest rubbing shoulders with the Potomac River, and it was here, twenty-two years ago, that Algonkian Writer Conferences began with a small workshop of five writers. Since then, the grand majority of my own experiences with many hundreds of my fellow writers have been rewarding, and I can truthfully say I've played a productive role in assisting many to secure both agent and publisher contracts. However, during this same time, as Algonkian evolved with new faculty (both agents and publishing house editors) and fresh-rooted into New York and California, the relatively benign flow of interactions could be compromised on rare occasion by something unexpected, and quite frankly, a bit lunatic.

Below are a couple of meandering tales that unfortunately fit under the rubric of Algonkian Writer Conference reviews, and as such, are so incredibly bad I never would have believed them possible had I not lived them from first howl to final tantrum.

A Mad Hatter Out for Blood

Twelve years ago, in Marin County, I received a phone call at 3 AM on a weekday. Bleary and puzzled, I picked up the landline phone to hear the enraged voice of a popular author I knew in Faifax, Virginia. And what he said jolted me into a shocked awakening. "Who the f**k are they?" he began, yelling into the phone. "They're lying about me, about you... the bastards! Who the f**k are they?"

Since I had zero idea who or what had launched him screaming from the silo, I finally calmed him enough to extract an unexpected and jaw-dropping explanation. He'd set up a Google alert to inform him any time his name was indexed and published by the search engine, and that morning at 6 AM EST, an alert led him to a particular thread on a certain writer chat board (remaining nameless due to my reluctance to provide said board with thousands more visitors). 

And what did this disguised floating blip say that could have turned a mature and regarded literary author and full-time MFA professor into a mad hatter out for blood? 

Within only a few minutes of reading what an anonymous poster had said about him on this thread, he was persuaded to contact me. And what did this disguised floating blip say that could have turned a mature and regarded literary author and full-time MFA professor into a mad hatter out for blood? 

But first, a little scene set. 

Picture your browser window filled with a dull, grey-white background and blocks of typed narrative in a small black font. To the top left of each posted block, residing in its own narrow column, you see the icon and alleged name of the poster, plus info like date joined, etc. Typical chat board layout. Now, for the one in question. You zoom in on the icon and witness a bubbly vibrating fairy. To the right, you read the blocks of text this fidgeting blip as typed. You see "Algonkian Writer Conferences" and something about an upcoming reveal that "will finally tell the truth about this organization stocked with literary frauds and flying sock monkeys!" 

Flying sock monkeys?

It took over a year of investigation, but Algonkian staff discovered the identity of the primary abusers. They operated a competitor writer event in the northeast. No big surprise there. 

For starters, the primary instigator of this massive fraud, Michael Neff (who else?)--in order to make his workshops seem more credible--willfully assisted a local author and college professor to spread a huge lie about winning a certain national literary award for one of his books. Not only that, but the flying sock monkeys that ran Algonkian really didn't feature actual faculty. They were just "driven around in limousines" for a few hours, but never met with anyone. Also, our staff were "waiting at bus stops for dazed MFA grads" to arrive home so we could trick them into taking these workshops with limousine-lounging faculty.

I'm not kidding. Not a bit.

To make a long and ugly story short, the author noted above went on the chat board in question and began a roaring argument with the anonymous tribal members, most of whom resembled beasts or cyborgs. After a few days of wrangling and threats mixed with general acts of denigration and mockery on the part of all, the author finally produced evidence that indeed proved without doubt he had won said literary award, and no chicanery was involved in any way whatsoever. Despite his undeniable proof, the chat board owners refused to remove the post alleging his immoral act. 

Despite his undeniable proof, the chat board owners refused to remove the post alleging his immoral act. 

Following this, at least ten or so Algonkian writers who had learned of this ongoing farce via Facebook stormed the board and opened a new front to battle with the beasts and cyborgs. It must've lasted weeks, but at the conclusion, the chat board shills admitted no wrong and no mistakes. The accused were guilty, the evidence was irrelevant, and the lies multiplied even further. In truth, it was a precursor to the later cancel-culture mobs of Twitter. Regardless, the whole affair was exhausting, stupid, and pointless, only further serving to taint the integrity of the human race. 

It took over a year of investigation, but Algonkian staff discovered the identity of the primary abusers. They operated a competitor writer event in the northeast. No big surprise there. The surprise lay in the fact that the vibrating fantasy blip was actually a well-known editor at a major publishing house who loved playing a roving assassin on various chat boards, not just the one noted here. Also, one of the meanest of the board trolls who ran a close second to the aforementioned blip turned out to be a popular literary agent in New York who also ran a blog that worked 24/7 to insult and cancel everyone she didn't like. No surprise there either.

And still, not kidding. 

To this day, none of them have ever apologized for intentionally lying about that author or for my alleged involvement. Both of these accusations, and more, were acts of per se defamation and therefore legally actionable in civil court, but given the locations of the parties, the cost involved, and additional fallout issues involving the blip's publisher, we let it go. 

I've often regretted that decision.

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The "Terrified One" Smears Far and Wide

Unlike the case above, this one manifested like ash fall on Pompey prior to inundation. It began with incessant phone calls and messages to staff over the course of several weeks from just one person who we finally determined would never be satisfied with reality as it presented itself. Did people at conference workshops sit in circles? Did they sit in half-circles? Did they stand? Sit? Why sitting? Why not a theater-seating kind of arrangement? Why not this? That? And on and on.

Then things got weird. 

Rejected and free of restraints, The Terrified One transmogrified into the hysterically raging one, and the world was her playground.

One of our staff people was trying to help this individual and reaching wit's end. Towards the conclusion of these interactions, the staff person was accused of "terrifying her" with her communications. I looked over the mails and saw absolutely nothing to indicate a hostile or "terrifying" attitude, only a weary human being attempting to help someone desperately striving to acquire a new victim culture medal.

A final email was sent by staff to The Terrified One: 

I offered to help you but you chose to become "terrified" though I did nothing to terrify you. Best to reconsider and perhaps some other time. It's not good to approach an event like this with fear and major doubts, and wondering whether or not people sit in circles, or whether you have to be a public speaker, etc. etc. It's just not worth it.

Effectively disallowed from attending the actual event (because we all knew that an appearance by this person would certainly result in even more complaints and self-martyrdom) The Terrified One transmogrified into a Nemesis with a holy mission. The fact of this wasn't a shock, however, the sheer relentlessness of the retribution could not have been predicted. Rejected and free of restraints, The Terrified One transmogrified into the hysterically raging one, and the world was her playground.

Nowadays, it's easier to quickly get a court order to force the social media source to divulge information about the user, thus enabling legal action, but back at the time, such action was far more laborious.

The rest is a footnote of a footnote in history. TTO posted screeds of rage, alleging all manner of nefarious intent (nearly identical to the absurdities noted above, thus hinting at direct inspiration) and preposterously conceived fraud on several chat boards, Facebook, Twitter, you name it. Various childish identities were employed over the course of weeks, but the source was obvious.

Nowadays, it's easier to quickly get a court order to force the social media source to divulge information about the user, thus enabling legal action, but back at the time, such action was far more laborious. Most of the offending revenge posts evaporated over time and one or two are left, rising and sinking in the SERPs depending on the nature of the algorithm. 

Damned if we did, and damned if we didn't.

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• Parts I, II, and II Pre-Event (includes eBook) 
• Execution of the Pitch Model
• Assignment Recap and Dramatic Act Structure
• The Necessity of Publisher's Marketplace
• Prep for Agent Query Process

NOTE: this is an information forum, not a response forum. Utilize the appropriate forums for posting necessary responses.

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PART I

Pre-event work as follows. This is Part I of four parts. 

 

We include a seven short assignments forum that will persuade you to consider several crucial and foundational aspects of your commercial novel project. Think of them as a primer. Complete them at your convenience and post the responses. Your responses to these assignments will be reviewed by faculty with an aim towards achieving a better understanding of your project and its current stage of development.

 

We recommend writing down the answers in a separate file and then copying them into the forum to prevent any possible loss of data. To enter this forum (Algonkian Author Connect), click on the “Sign Up” link, top right and follow the instructions regarding password, email, etc.

 

Once done, click on the assignments link above.

 

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PART II

The second instance of pre-event necessity as follows. Read carefully and complete in the proper order as noted. You might become a bit astonished from time to time but push through. It all makes perfect sense. 

 

Now comes the Algonkian eBook. If you do not wish to utilize Amazon, the same booklet is found here as a PDF. In either case, you must faithfully absorb everything beginning with the first chapter, “Writer Ego and the Imaginary Bob,” and continue through “Settings are 60%.” This is vital to your potential success. It places emphasis on all the crucial core elements of novel development and editing that *will* be discussed in formal sessions. 

 

If you arrive at an Algonkian event not knowing the difference between a plot point and a pinch point, you will be swimming upstream from the first day and thereby seriously disadvantage yourself. Avoiding the study of proper technique won’t get novels published much less developed in a manner both artful and professional. 

 

Okay, much to do! Is it ever enough? No, but don’t recoil or hesitate if portions of the e-Book fail to comport with what you’ve been told elsewhere (writer groups, conferences, chat boards, etc.) because the odds are extremely high that what you’ve been told is wrong, if not potentially ruinous.

 

Keep in mind, we all stand on the shoulders of those magnificent and capable authors who’ve preceded us.

 

And remember too, there are no great writers, only great rewriters.

 

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PART III

Quite often, after scoring well in a pitch session, the faculty person will ask us, “But can they write?” Premise and plot prod the necessary attention, but so many writers don’t cross the line because their actual prose narrative is not as competitive as it should be. Fact.

In response to this circumstance we’ve created an online forum that serves two purposes. First, to demonstrate the best methods and techniques that should rightfully be considered when it comes to the creation of competitive narrative regardless of genre. Second, to act as a place where editors and agents will see the quality of your work up close.

Use one of the two links above to get started asap. Simply open the topic linked above, read the guidelines and all the examples linked to Novel Writing on Edge, then edit your own opening hook accordingly. Once done, post at least 500 words by replying to the topic post. If you cannot include first pages at this time another good sample will suffice.

 

Btw, you should already have an Author Connect member login if you’ve opened and utilized the Part I assignment (Seven Assignments). If you have not, please do so at the first opportunity.

 

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The Execution of the Pitch Model

 

Like so many other things, this is crucial to your success.  

 

Before you can sell a viable commercial novel to a publishing house, you must work towards the goal of writing a viable commercial novel while simultaneously learning how to artfully pitch it. You will have a minute to deliver the actual pitch, and if you think this is not enough time, think again. It is more than enough. The idea is to communicate clearly and hook your listener. Your pitch must include a SCENE SET (as necessary), a focus on your PROTAGONIST (tell it through their point of view), sufficient PLOT TENSION deriving from a PLOT POINT (an event/circumstance/action that significantly changes the course of the story), and finally, a wrap with a CLIFFHANGER.

 

So what's a cliffhanger? Regardless of the genre, literary or thriller or SF, the cliffhanger begs the ultimate question, and it’s always the same in one way or another: WILL BECKY SAVE THE FARM AND LIVE TO TELL THE STORY? Once done, you want the conference editor or agent to ask for more.

 

Please review the following guidance at Novel Writing on Edge where you’ll find two pitch models and further elaboration. You will be using this model at the Algonkian event:

 

https://www.novelwritingonedge.com/2013/11/algonkian-writers-conference-first-prep.html

 

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Assignment Recap and Dramatic Act Structure

 

By this time, you should have in your possession three main assignment mails, namely, Part I (Seven Assignments), Part II (Development eBook), and Part III (Prose Narrative Enhancement).  These assignments serve two purposes:  to enable you to conceive and write a more perfect novel, one that might actually sell; and secondly, to instill within you with a language and knowledge base that will make meetings with publishing and tv/film professionals far more productive.

 

Now, the following statement should sound familiar. If a member of the faculty asks you to define your first major plot point, inciting incident, or last major reversal before climax, you must comprehend the nature of these plot elements (for starters!), and deliver the response in a manner that demonstrates you are a professional. Amateurs *always* stick out, and they say “um” a lot, thereby failing to live up to our motto:

 

From the heart, but smart.

 

Besides displaying a high concept premise, the faculty also expect your genre or upmarket tale to be creatively developed using a certain approach and structure—one also utilized by screenplay writers—namely, the dramatic act structure. Whether the novel is a single, coherent plot line, or a parallel plot line with two major protagonists, the overall story progression manifests a readily identifiable endoskeleton, so to speak, i.e., an array of familiar points and notes along a story arc from beginning to end. There is more than one version of this, but they all achieve pretty much the same results: the Three Act, Nine Act, and the Six Act Two-Goal. A very good example can be found here.

 

The above is included with your assignments and its importance cannot be over stressed. One of THE biggest reasons novels by unpublished writers fail is because the author is not sufficiently adept at plotting. A novel with a great start but a “saggy middle” always results from an inadequate understanding of how plot must work in order to satisfy the needs and expectations of readers, agents, and editors. Quite often, writers will bring stories and pitches to the NY event that are nothing other than circumstances, sets, and characters mixed into a quasi-amorphous stew, whirlpooled into forced fusion like fragments of a television season.

 

A sign this is the case can almost always be found in the pitch itself.

 

Acquisition editors, experienced agents, and other professionals usually don’t expect to get much traction out of the usual writer conference, but our events always surprise them. We mean to keep it that way. Our reps are on the line, and the better you look, the better we look. The more subs requested, the more contracts cut, the more willing our faculty are likely to return. No question. We also love the publicity and energy generated when the contracts flow.

 

Btw, if the information above doesn’t square with what you’ve been told up until now, then choose the wise path of change.

 

Rewrite as necessary.

 

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The Necessity of Publisher's Marketplace

 

You are well advised to join Publisher’s Marketplace. Why? Because it lists recent sales by agents to publishers broken down by genre and provides a neat story-hook line (log line) for each sale that serves as a potential model for you. PM shows precisely what type of work is now being published in your chosen genre, thereby providing a comparison for your own work, and as a bonus, you learn the identities of productive “in the loop” agents (good to know regardless of circumstances).

 

All in all, if commercial publication is your goal, PM is invaluable. The search feature is efficient and fairly straightforward. Membership is around $20 per month, but well worth it.

 

The type of knowledge PM provides will give you a distinct edge over the competition.

 

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Prep for Querying Agents 

 

Though addressing the query-agent stage of your long, hard slog to becoming a published author might seem premature at this point, questions concerning this process nevertheless always arise at Algonkian events. Rather than await the next round of probes on this matter, we’ve decided to link you to the article below. It succinctly covers the critical prep steps you must take prior to sending anything like a query to a commercial agent (if and when it comes to that). Also, it effectively overrides the usual incomplete and/or foolish advice on this matter which currently infects the Internet like an electronic pox. With these answers already in hand, further questions at the conference, in theory, should be more informed, and therefore, the answers more productive.

 

 

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Michael Neff is an award-winning author, Pushcart-nominated poet, widely published short fiction writer, literary agent, writer conference organizer, as well as an accomplished developmental editor. His first novel All The Dark We Will Not See was published by the distinguished academic press, Serving House Books. A few years later, an urban fantasy, Magicians Impossible, was created and co-edited by him, and later published by Macmillan Books. His science-fantasy novels, American Oz Maker, and the prequel, World Maker, have both received multiple awards.

Michael is also the founder and chief architect of Algonkian Writer Conferences including the famous and highly successful New York Write to Pitch Conference and has agented and developmentally edited many successful commercial novels. In his spare time, he publishes the quirky and popular literary journal Del Sol Review. Michael is one of the guest faculty.   

The New York Write to Pitch reviews, bullet by bullet, what makes the conference especially valuable to writers in terms of development, craft, and market guidance. See the NYWP e-Book below for an example.

This article covers the common symptoms of new and impatient novel writing. Algonkian Writer Conferences reviews this epidemic condition in a frank and direct manner.

 What is the Purpose of Algonkian?

To give writers in all genres a realistic chance at becoming published commercial or literary authors by providing them with the professional connections, feedback, advanced craft knowledge and savvy they need to succeed in today's extremely competitive market.


 What is Your Strategy for Getting Writers Published?

- A model-and-context pedagogy that utilizes models of craft taken from great fiction authors and playwrights, thereby enabling the writer to pick and choose the most appropriate techniques for utilization in the context of their own work-in-progress.

- Emphasis on providing pragmatic, evidence-based novel writing guidance rather than encouraging multiple "writer group" opinions and myths that might well confuse the aspiring author.

- Our insistence that a writer's particular genre market must first be thoroughly understood and taken into consideration when it comes to the planning of the novel, and on every level from narrative hook to final plot point--thus clearly separating us from the MFA approach found at university programs like Iowa and Stanford.

- Our conviction that you were not born to be a good or great author, but that you stand on the shoulders of great authors gone before. Their technique and craft are there for you to learn, and learn you must as an apprentice to your art. Every success you achieve is based on hard work and evolving your skills and knowledge base.

- Our instructional and workshopping methods, as well as our pre-event novel writing guides and assignments which are the best in the business.


 How are Algonkian Events Unlike Many Other Workshops and Conferences?

- More than sufficient time for productive and personal dialogues with faculty. No "speed" dating-like pitch sessions.

- Critical MS and prose narrative critique provided by faculty only, not attendees (no MFA methodology).

- Comprehensive 86-page novel-and-fiction study guide.

- Extensive pitch prep before events with agents or publishers.

- As noted above, unique and challenging pre-conference assignments that focus on all major novel elements.

- An event focus on market-positioning, high-concept story premise, author platform, and competitive execution.

- Emphasis on pragmatism and truth telling. No false flattering or avoidance of critical advice to spare the writer's feelings. Thin skins need to go somewhere else.

- No tedious lectures, pointless keynotes, or bad advice.

- Faculty chosen for wisdom as well as compassion - no snobs or bad attitudes.


 How to Know When My Novel is Ready for a Program or Event?

When is it not? The novel-in-progress, even if only a concept, is ready to be examined and properly developed no matter the stage because the process always entails approaching story premise and execution in a manner that is productive. In truth, it's a process that should have begun as soon as the work was conceived. Therefore, the stage of the novel or number of years working on it is irrelevant. Any time is a good time to begin doing it correctly.


 Do you Have Success Stories?

Comments, Careers, and Contracts


 Which Events or Programs to Attend First

Novel Writing Program online and/or one of the workshop retreats followed by a New York prep seminar followed by the New York Pitch Conference OR the Novel Editorial Service (MTM) followed by New York prep seminar and New York Pitch, in that order. These are best case scenarios wherein money isn't tight. We will provide an overall discount of 26% on all events in either string if payment is made upfront for the entire grouping. Contact us for more information.


 What Genres do You Work With?

Upscale and literary, memoir and narrative non-fiction, mystery/thriller and detective/cozy genres, urban fantasy, YA and adult fantasy, middle-grade, historical fiction, general fiction and women's fiction. Our agent and publisher faculty handle all genres.


 How Does Algonkian Differ From An MFA Approach?

Algonkian emphasizes writing-to-get-published, creation in the context of heart, wit, and market knowledge. We teach writers to think pragmatically about the development of their ms while retaining their core values for the work. Our motto is "From the Heart, but Smart." College MFA programs do not prep a writer for the cold reality of the current publishing climate. Many of our most grateful writers are graduates of MFA programs.


 How do Writers Interact With Agents and Publishers?

The model for the pitch is a "book jacket" the writer creates with the help of the workshop leader prior to the pitch session. The process is part of a longer evolution the writer begins even before arriving at the conference. Once the pitch is accomplished, the agent interacts with the writer in a Q&A session. The workshop leader then follows up with the writer to create a plan for publication, i.e., a step-by-step post-conference process the writer must undertake in order to stand a realistic chance of having his or her manuscript published.


 What is the "Pre-event Work" All About?

Writers are given several different types of relevant assignments, story and pitch models, as well as a considerable amount of reading on the subject of advanced craft directly applicable to their work-in-progress. The idea is to prep the writer before the event so they can hit the deck running and share with us a common language. As a bonus, the pre-event work saves us from wasting time with extra handouts. Samples of the pre-event work, readings, and guides can be found here.

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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

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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.
 

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- Kelly Coon
 

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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.       I have to echo what Skate and Eir and John Arnold said about Algonkian Conferences... Neff's approach is simple and pragmatic - he teaches the writer to understand the perspective of the agent or editor, whose job to sell your novel. In my case, I showed up at the workshop with a completed novel. In the workshop, we had to write a pitch and rewrite it, then we got to practice it on a real, live agent who gave us feedback. Bad pitch? Rewrite it and try again a couple days later on MORE agents. I will add that everyone brought their laptops and at one point I passed my laptop to Neff so he could vet my pitch, and he added a sentence or two, and he did this for any of us who asked. So the conference is your basic Pitch Laboratory. This is not to say it was easy. I found it tremendously difficult to switch gears like this, from hardcore novel-writing to hardcore market analysis - but once I got it I felt great. I realized I can use this very pitch in a query letter. Or I can go to another conference and pitch a bunch of other agents in person. Another thing we got to do was to ask questions of the agents - and this, again, de-mystified the whole process. Totally worth the price of admission, and I won't hesitate to go again. -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

I. Overview

Describe your book in two or three paragraphs (500 words or less). What is the title and subtitle? Who is the target audience and what makes your book unique and worthwhile for them? Think of this as the copy that would go on the back cover of your book or in the publisher’s catalog, or as the brief review that you hope to see in Publishers Weekly or the NY Times Book Review.

II. Target Audiences

Who is your core audience, the most likely purchasers of this book? How big is that market, and how can they best be reached? What other groups and types of readers will also be interested?

III. About the Author

Your credentials and experience. What makes you uniquely qualified to write and promote this book? What other media outlets do you regularly appear in?

IV. Comparable Titles

List and summarize the major comparable titles and explain why yours is different from each. You are trying to accomplish two things with this section: prove there is an audience who would find your book interesting, as demonstrated by earlier, successful books, while making clear how yours is different enough to compel those readers – and others – to buy it.

V. Marketing and Promotion

What is your comprehensive plan to actively promote the book? Where should publicity be focused? What are the magazines and other media outlets that your target audience pays attention to? Where should you and your publisher work especially hard to get the book reviewed?

Blurbs: What “name” people would be willing to contribute a blurb? Can you get their commitment before the manuscript is completed?

Media and Speaking Appearances: Does this book or your prior experience give you credentials to speak on any current topics in the media? What are the topics and target outlets? Beyond book stores, what other types of groups and organizations would be interested in having you speak to them?

Serialization: What parts of your book lend themselves to excerpting in magazines and journals? List the appropriate excerpts and the 5 or 10 most important publications in which they could appear?

Describe additional promotional opportunities you will pursue: Retaining a speakers bureau to book speaking opportunities. Retaining an independent publicist. Organizational connections? Mailing lists? Workshops? Tours? Does the book have series potential? Opportunities for regular updating? Other “legs”? Think creatively, think big.

VI. Detailed Table of Contents

Include the full Table of Contents, with detailed summaries of each chapter. This section could be anywhere from three to 20 pages – it needs to give a comprehensive, detailed map of what the book will contain.

VII. Sample Chapters

Include the first one or two chapters – not the introduction, but sample chapters that offer an accurate sense of the style, substance and structure of the book.

And btw, what kind of writers will benefit from this new event? 

Looking for a Reality Check

Writers who believe they need a mid-course or early stage reality check to determine whether or not they're on the correct path. Is the story a solid high-concept New York will buy? Is the plotting of the novel sound and flawless? Are the characters living on the page? What must be done to make the ms even better than it is? See the event schedule page for additional elaboration.

Need Professional Editorial Advice

Advice does not come from amateurs at the conference, only from professionals with many years of in-depth experience. Writers obtain logins to select and advanced novel editorial-and-development forums at Algonkian Author Connect, and for post-event purposes, they utilize the Algonkian Novel Writing Program for final rewrites prior to submission. Prose enhancement and writing classes taking place during the event also contribute, as well as the prep and pitch sessions. 

Close to Becoming Published Authors

If the writer believes they have a complete or near complete ms, ready to pitch to an editor or agent, the conference will benefit them in more ways than one.  See the conference benefits page for additional elaboration.

Wish to Acquire a Greater Understanding of Publishing

Regardless the stage of the novel, the writer wishes to gain more knowledge about commercial and literary publishing from professionals in the business. But be warned. All the faculty will be honest with their advice and revelations. The writer needs to hear the facts, not a rock-candy version of reality.

•           - 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 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