Online Workshop Details
TO SIGN UP, PLEASE FOLLOW THE INSTRUCTIONS BELOW.
REGULAR WORKSHOP STRUCTURE…
LIMIT OF 5 WRITERS PER REGULAR WORKSHOP. This limit of 5 writers allows the instructor(s) to give each writer more personal attention.
Structure of every regular workshop:
— Each week for six weeks video lectures will be available for the writer to listen and watch in their own time. (Video lectures will be about 4 to 7 or so minutes long each and there will be about six or so of them per week depending on topic.)
— Each week will include an assignment which will need to be sent as an attached file within five days. We will work personally with each writer or book designer, and send the assignments back to each person before the end of the week. (The assignments are not mandatory, but suggested to get the most out of each workshop.)
— Then each week we will record a short (5 minutes or so) video talking in general (never giving names) about the assignment for everyone in the class to watch. Then the following week’s assignment and lecture will be available.
— Each new video will be released on the same day of the week as the first one for six weeks. So if the workshop starts on Tuesday, the new weekly video session will be released every Tuesday.
CLASSIC WORKSHOP STRUCTURE
— The classic workshops used to be regular workshops, but you can sign up for them, and go through all the videos as fast as you would like. The homework assignments are still there, as well as the responses from a previous workshop, but you do not send in any assignments. You just do them for yourself. And you can come back over the years as often as you want without any extra costs.
Standard workshops are all SIX WEEKS LONG.
Classic workshops you can go through as slow or as fast as you want.
Cost of online workshops is $300.00 each. (Payment instructions at the bottom of the page.)
Cost of Classic online workshops is $150.00 each. (Payment instructions at the bottom of the page.)
The workshops have a distinctive web site. About two or three days before each workshop I will contact each writer signed up and get them a password to the class location.
NO REFUNDS. However, your money can be moved to a different workshop down the road if you have schedule or health problems. We will work with you.
My e-mail address for these workshops is firstname.lastname@example.org. Please put only WORKSHOPS in the subject line. Or if I do not respond, please try again. I try to respond fairly quickly, meaning within the same day.
WHICH WORKSHOP FIRST?
We have put together a curriculum of the workshops. You can find it at http://www.deanwesleysmith.com/workshop-curriculum/
Sign up information at the bottom of the page!
Regular Workshop Schedule
Each regular workshop is 6 weeks long and is limited to only 5 writers.
Again, it will take you about three hours per week to do each of these if you do the assignments. These are the starting dates of upcoming regular workshops.
All have openings at the moment. You can sign up as far ahead as you would like.
Class #1… July 11th … Depth #3: Research
Class #2… July 11th … Author Voice
Class #3… July 11th … Business
Class #4… July 11th … Endings
Class #5… July 11th … Writing Fiction Sales Copy
Class #6… July 11th … Writing and Selling Short Stories
Class #7… July 12th … Depth in Writing
Class #8… July 12th … Advanced Character and Dialog
Class #9… July 12th … Cliffhangers
Class #10… July 12th … Pacing Your Novel
Class #11… July 12th … How to Edit Your Own Work
Class #12… July 12th … Writing Fantasy
Class #13… Aug 8th … Depth #3: Research
Class #14… Aug 8th … Endings
Class #15… Aug 8th … Point of View
Class #16… Aug 8th … Writing Mysteries
Class #17… Aug 8th … Speed
Class #18… Aug 8th … Teams in Fiction
Class #19… Aug 9th … Depth in Writing
Class #20… Aug 9th … How to Edit Your Own Work
Class #21… Aug 9th … Character Development
Class #22… Aug 9th … Writing Secondary Plot Lines
Class #23… Aug 9th … Advanced Depth
Class #24… Aug 9th … Writing Fantasy
Class #25… Sept 5th … Depth #3: Research
Class #26… Sept 5th … Author Voice
Class #27… Sept 5th … Business
Class #28… Sept 5th … Endings
Class #29… Sept 5th … Writing Fiction Sales Copy
Class #30… Sept 5th … Writing and Selling Short Stories
Class #31… Sept 6th … Depth in Writing
Class #32… Sept 6th … Advanced Character and Dialog
Class #33… Sept 6th … Cliffhangers
Class #34… Sept 6th … Pacing Your Novel
Class #35… Sept 6th … How to Edit Your Own Work
Class #36… Sept 6th … Writing Fantasy
Class #37… Oct 3rd … (TBA)
Class #38… Oct 3rd … Endings
Class #39… Oct 3rd … Point of View
Class #40… Oct 3rd … Writing Mysteries
Class #41… Oct 3rd … Speed
Class #42… Oct 3rd … Teams in Fiction
Class #43… Oct 4th … Depth in Writing
Class #44… Oct 4th … How to Edit Your Own Work
Class #45… Oct 4th … Character Development
Class #46… Oct 4th … Writing Secondary Plot Lines
Class #47… Oct 4th … Advanced Depth
Class #48… Oct 4th … (TBA)
Class #49… Nov 7th … Depth #3: Research
Class #50… Nov 7th … Author Voice
Class #51… Nov 7th … Business
Class #52… Nov 7th … (TBA)
Class #53… Nov 7th … Writing Fiction Sales Copy
Class #54… Nov 7th … Writing and Selling Short Stories
Class #55… Nov 8th … Depth in Writing
Class #56… Nov 8th … Advanced Character and Dialog
Class #57… Nov 8th … Cliffhangers
Class #58… Nov 8th … Pacing Your Novel
Class #59… Nov 8th … (TBA)
Class #60… Nov 8th … Writing Fantasy
Class #61… Dec 5th … (TBA)
Class #62… Dec 5th … Endings
Class #63… Dec 5th … Point of View
Class #64… Dec 5th … Writing Mysteries
Class #65… Dec 5th … Speed
Class #66… Dec 5th … Teams in Fiction
Class #67… Dec 6th … Depth in Writing
Class #68… Dec 6th … How to Edit Your Own Work
Class #69… Dec 6th … Character Development
Class #70… Dec 6th … Writing Secondary Plot Lines
Class #71… Dec 6th … Advanced Depth
Class #72… Dec 6th … (TBA)
CLASSIC WORKSHOP OFFERINGS
No dates, since you can sign up for these at any point and go through them as slow or as fast as you would like. And as often as you would like.
Science Fiction… Classic
Writing in Series… Classic
Making a Living with Your Writing… Classic
Genre Structure… Classic
Remember, all these REGULAR workshops are limited to 5 writers per month.
Classic workshops are unlimited. They are marked.
DEPTH #3: Research
(Starting July, 2017)
How do you know when enough research is enough?
How do you avoid getting trapped in research without writing?
And most importantly, why this workshop is called Depth #3, is how do you use your research with information dumps and other boring lumps of information in your stories.
All writers struggle at one point or another with research.
— When to do it and when a story doesn’t need it.
— For a piece of fiction, how much is enough, how much is too little research?
— How to work in the research and knowledge you do have without making your story dull?
— And most importantly, how do you make a story feel like you know every detail about the place and the details, but you have never been to the location or know many of the details. How do you do you get that verisimilitude without taking days of your time?
Over the years, Kris and I have gotten what we call “The research question…” more times than we could ever count. And there is no really simple or easy answer to it. But there are answers and that is what this workshop is about.
This is a craft workshop. We assume you know how to look up something of interest to you and your story. We will show you when you have enough and how to avoid too much. And how to make readers say, “Wow, felt like I was there.”
Depth Workshop is required before you can take this workshop.
Starting July 2017
Fantasy in this modern world covers so many areas, from high fantasy to urban fantasy to mainstream Twilight Zone fantasy to Harry Potter to even Star Wars in many people’s eyes. And each niche area of fantasy has its rules and guidelines and standards that readers expect.
Do you even know what type of fantasy your are writing or what you would like to write? Do you even know what tags to use?
This is a writing craft workshop. You will work your way through all the major sub-genres of fantasy and write in many of them, understanding reader expectations and required endings as the workshop goes along.
Fantasy is a massive genre and so complex that for years Kris and I didn’t want to tackle it. But we think now we have a way to teach the core of fantasy, to help writers understand what fantasy really is and what they are really writing.
And help their fantasy stories sell better. Pleasing reader expectations is always a good thing for word-of-mouth sales.
If you love fantasy of every type and want to improve your writing skills in this massive genre, this workshop is for you.
Depth workshop is required before you can take this workshop.
HOW TO EDIT YOUR OWN WORK
How do you get clean manuscripts without spending a fortune and ruining your story?
How do you avoid rewriting yet get your story to the best it can be?
This workshop tackles those two major questions and a ton more.
Kris and I get the most questions, all good questions for the most part, about the process of editing your own work. And honestly, there is no easy or completely right answer for everyone. But there are hundreds of ways, one of which will be right for you.
Between writing into the dark and following Heinlein’s Rules, how do you make sure your work is what you want, clean enough for readers to not notice any problems?
How can you edit without the deadly rewriting that kills voice and all originality?
Those are just a couple of the questions we get in one form or another, including how to find copyeditors, first readers, and so on.
Basically, how to maintain control over your own work and yet get it clean. That is what every smart writer is looking to do these days.
So finally, after much hesitation (as you might imagine), we put it all together in a very intense and informative six week online workshop to help all levels of writers.
If you are just starting off or are an experienced professional wondering how to spend less time on the editing process, this workshop will help you.
Here are just some of the areas we are going to cover.
— The process. How to write cleaner copy right from the start.
— Do’s and Don’ts of finding help.
— The finding and feeding and care of copyeditors. What to look for and how to talk with them.
— The finding and feeding and care of first readers. Again, what to tell them you are looking for and what you are not looking for.
— How to edit in creative voice. Yes, this includes cycling and there are tricks.
— How to keep your voice in your work. And recognize when you are taking it out.
— How to edit without breaking Heinlein’s Rules of never rewriting.
— How to write into the dark, without outline, and still create a process that is clean.
— How to deal with audience and reader feedback.
At least a hundred tricks and techniques of professional writers in this area. Not kidding (we will try to get to that number over the six weeks). We have collected a lot of information about not only how we do it, but how other writers do this. It is a puzzling area for many writers and an area writers often stumble into trouble.
And it is a huge area that covers a lot of ground. This is not a how-to-rewrite workshop. This is how to edit your own work before getting it to readers. If you do not understand the difference, you really need this workshop.
Longer term writers have developed ways that work and keep voice and story in place while making sure the typing and manuscript is as clean as it can be for readers.
Writers often have their stories killed and their voice taken out by simply trying to clean up their manuscript. We will teach you how to avoid those critical mistakes. And help you find a way that other professionals use that will work for you.
More than likely this will be our most intensive information workshop yet.
WRITING SECONDARY PLOTS
Most novels have secondary plot lines.
This workshop helps you understand and build those secondary plot lines.
Ever read a book that you finished and it felt thin? As a reader you wished the author would have also done more with other characters in the book?
Secondary plot lines are critical in many novels. And not needed in others. Knowing when to add them and how and when to leave them out can be learned.
To learn how to construct secondary plot lines as you write a novel, you must first learn how the interaction of plot lines inside a novel work. That’s the first area we will cover in this workshop. Main plots and secondary plots. And how they work together to form a whole.
In other words, this will be a major workshop on novel plotting.
If you do not understand the concept of secondary plot lines, tune in any of the major television dramas such as NCIS or Hawaii Five-O or even comedy such as The Big Bang Theory. All run a major plot thread and a second plot line every episode.
So here are just a few of the areas we will cover in this expansive workshop…
— What is needed in a novel plot and the difference from genre to genre.
— How much do you weigh a secondary plot line in a novel? How much time do you give it?
— How to run more than one secondary plot line at the same time. (Often done in thrillers.)
— The themes and elements of craft needed to hold a secondary plot in place and not make it feel glued onto the main plot thread.
— How do you move from one plot line to another with scene jumps, cliffhangers, pov shifts, and so on.
— Teams and how they work in secondary plot lines. Often it is a team member or two that runs secondary plot lines. (If you are confused about teams and their place in fiction, you might want to take the Teams online workshop before this workshop.)
— When and when-not-to use secondary plot lines in a novel. And how and when to end a secondary plot line without disappointing a reader.
— And most importantly, how do you even write a secondary plot line when writing into the dark? How does that even work?
This is a very expansive workshop covering a lot of plotting elements. It will help you be far, far more comfortable with the novel structure and plotting in general by the time you are finished. We can promise that much at least.
Understanding how to end novels and short stories in every genre.
An old truth about fiction and selling books: Your opening sells the book the reader has in their hands. Your ending sells your next book.
Most writers don’t understand how to write a satisfying ending. And there is a ton of misinformation about endings as well. A satisfying ending for a mystery would be completely wrong for a romance novel. And so on.
One basic area that will be covered is end-matter, since so many writers are indie publishing their own books these days. And making some horrid mistakes with their end matter, actually turning people off after their story satisfied the reader. This workshop will make sure you are not doing that to start with. A basic thing.
Another old truth in fiction is that if something is wrong in your ending, look to your beginning. This workshop will cover how endings need to build from and often wrap back to the beginning of your story.
So, basically, this workshop will deal with a lot of plotting from genre ending to genre ending.
This workshop will be designed to give you a foundation of knowledge to stand on when writing endings. You will know what is needed to help your readers finish your novel and look for more work from you.
Endings are not a mystic art and they are not necessarily formulaic on the other side either.
The knowledge of how to end a story can be learned. That’s what this workshop is all about.
This workshop will be an eye-opener and jump your writing skills forward, as well as your sales, we can promise that.
POINT OF VIEW
Understanding every detail about how to use a character point of view.
Most writers will think, “I don’t need this. I know Point of View. It’s not hard.” And yet most of those writers still work under their old beliefs and learning they got from non-writers like English teachers.
The truth simply put: Most fiction writers know little or nothing about the power of viewpoint.
As with the Speed workshop, this area Kris and I have avoided for two reasons. First, we don’t believe many will sign up for it, believing writers think they know it all about viewpoint. Second, this is such an advanced technique area, it will be difficult to teach.
But now we are challenged by the idea of teaching this for fiction writers and feel we have a way to do it effectively finally.
First off, this will be one of those “awareness” workshops. Until you see the power of what a major writer is doing with viewpoint and what they are doing and how they are doing it, you will miss it and not be able to use the technique yourself. So we’re going to show it to you and explain how you can use it and when.
And then help you practice it.
Just a few things this workshop will cover for fiction writers.
— All the standard viewpoints and tenses. What they are used for, when to use them, when not to, and so on. (We won’t be talking much English-teacher language because honestly, that doesn’t help. We will explain this all in fiction writing terms for the most part.)
— In the Advanced Depth workshop we touched on summary openings, and voice openings. But we stayed away from viewpoint and why those openings work. Here we will show you why they work and how to do them purposefully. Very, very powerful tools if you understand viewpoint.
— Plotting techniques with viewpoints, from single viewpoints to hold readers to multiple viewpoints. Including first person and third person viewpoints in the same book and why and how to use that technique effectively. Plotting techniques usually get forgotten by writers when picking viewpoints. A simple correct choice in the beginning of a viewpoint or multiple viewpoints can make a book come alive. And if you have taken the teams workshop, this workshop is a logical extension of that workshop as well.
— You ever wonder why floating viewpoints work in the hands of a master and no reader notices, yet in the hands of a lower-skilled writer, a floating viewpoint is a mistake and everyone notices? This workshop will explain floating viewpoints, why they are used, and how to do them when you need to. And why you would ever need to. Again, a very powerful tool to have at your fingertips that most fiction writers have always been warned away from.
— Reader awareness will be a major part of this workshop as well, from understanding how a viewpoint can be pushed in close or pulled back depending on what a reader will expect. Also how readers react to certain viewpoints in certain places and knowing how to use that reaction to your own use. Tightening in a viewpoint at one point in a story and pulling it back in another remains a very powerful writing skill. We will help you understand how to do it, why to do it, and when to do it in a story.
— And a ton more. Far more than we can list here.
So if you have any fear of any viewpoint, if you think first person viewpoint is actually a more immediate viewpoint for a reader, if you think “omniscient” viewpoint actually exists in fiction, then you really, really need this workshop.
It will be an eye-opener and jump your writing skills forward, we can promise that.
Writing quickly with Quality.
Yes, we are going there. We are going into your work habits to help you get past everything that is slowing down your writing pace. Your creation pace. Help you write clean, first drafts at a decent pace.
And yes, we can help you.
Kris and I constantly hear writers talk about how they can’t write a thousand or more words per hour of fiction. We understand that. We couldn’t either when we started off. But eventually, most long-term writers work through the problems slowing them down and get to around 750 to 1,250 words per hour depending on what part of the novel or story they are writing.
This workshop is designed to help you jump over years and years of slowly working your way up to a decent speed.
In this modern world, producing more quality product is critical to making decent money. We have Productivity Classic workshop on the schedule that helps with all the work habits, helps you get to the computer. But in that workshop we skipped this part of the equation. That workshop helps you get out of your own way and sit down at your writing computer.
This workshop will help you produce a decent number of quality words per hour once you get to the computer.
Some quick math: Say you are averaging about 500 words per hour. And you can manage to get 10 hours of writing per week for 50 weeks of the year. Simple math. You are doing 5,000 words per week and about 250,000 words per year. Decent output. About three-and-a-half novels a year at 70,000 word novels.
But imagine if in six weeks you might be able to comfortably have that pace at 700 words per hour. Comfortably and maybe cleaner. Now you would be doing about 7,000 words per week in your 10 hours and 350,000 words per year. About five novels per year at 70,000 words per novel.
Just figuring out how to increase your hourly output by 200 words average.
There are a vast number of techniques and craft tricks this workshop will cover to help you add to that hourly speed. So if you have trouble getting to the computer, take the Productivity Classic workshop. If you want to produce more words while at the computer, this workshop is for you.
And we can help you increase if your pace is 200 words per hour, 500 words per hour, 700 words per hour, or 1,000 words per hour. Yes, even at that upper pace, we can help you learn ways to be more efficient and write cleaner copy.
Kristine Kathryn Rusch (also Kris Nelscott) and I both love writing mystery short stories and novels. Nominated for every major award in mystery, including three times for the Edgar Award, Kris also won the Ellery Queen Award numbers of times.
Finally, we bring our love of mysteries to an online workshop. This workshop will not only give you really clear knowledge of exactly what makes a story or novel a mystery, but we will also talk about the sometimes fine lines between the subgenres.
The five assignments in this workshop will go straight to the heart of the different mystery elements.
Writing mysteries seems vast in nature, but in six weeks you will feel far more confident about the stories and books you write and call mystery. And also, you’ll know where to put your books on the electronic bookshelves to make sure the readers who would enjoy them get to them.
Mystery and mystery elements can also be part of any novel, from young adult to science fiction and beyond. Learning mystery craft skills will help all your novels and stories hold readers. Kris taught a mystery workshop here on the coast a while back, but we will make this one very, very different.
Online, we can be more focused on the craft, the techniques, and the varied subgenres. This workshop will improve your writing in a lot more ways than just writing mystery stories.
WRITING WITH DEPTH
Start With This Workshop!!
A sentence-by-sentence, clause-by-clause look at how you can write fiction, characters, settings, and plots with depth. Your writing, your characters, your fiction will take a huge jump forward with this workshop.
This workshop goes hand-in-hand with the Character Voice workshop and the Pacing workshop. Writing With Depth workshop adds in a third and final part to the puzzle of making characters and stories have real power that holds readers in your stories. And you can take the workshops in any order. They all just add to each other.
Last fall, Kris and I did a workshop called “Strengths” that looked at writers’ work up close and helped them, we hope, understand where they are strong, and where they need work. Almost everyone who took that class needed work consistency developing characters at a deeper level. But how?
In the Character Voice workshop, both here at the coast and now online, I often told writers they were just skimming over the surface and they needed to stay down in character’s heads more. But how?
The Writing With Depth workshop shows you exactly how.
Kris and I have finally worked out a way to get down into the details to show you exactly how to add depth to your characters and your work without hurting your plotting or your pacing.
Not a theory workshop. We show you directly how to do it and you practice it and get feedback from us on how to make your work even deeper.
Reader Expectations or Writing on the Rails
There is often a fine line to writing to market, which can often hurt a writer, to writing so that a reader’s expectations can be filled. To have a reader be satisfied that the promises you made to them in your cover, your blurb, your opening is critical to a reader buying the next book in your series or the next book you write.
So how do you know what a reader is expecting in all the different genres and subgenres?
That’s what this workshop is about. That’s what this workshop will teach you to understand so you can do it automatically.
“Writing on the Rails” is a term to describe when a writer starts a story off in a certain direction with promises of a certain ending and those promises are fulfilled. But there is a problem. If that sort of writing is obvious, characters cardboard, and readers are way ahead of your story, the readers will stop.
So “On the Rails” means reader expectations are met and you have done your job with the characters and pacing and such.
In every genre there are a bunch of reader expectations that if you follow, you sell more copies and get readers telling others about your book. Doesn’t mean the book isn’t original, not at all. It means that in your original story you gave readers what they wanted.
Reader expectations for me are so ingrained now, I don’t even much think about them and never as I write.
Readers need to care about your story and your characters while at the same time allowing the reader to feel secure that you will fill your promise you made to them for a certain type of book.
For example: You promise a cozy mystery, then have a gunfight in the middle of the book with blood and lots of dead bodies. Cozy readers will put the book down because you promised them a cozy and didn’t deliver.
Or you put a spaceship on the cover of your most recent sf book and there is no spaceship.
Readers hate having promises broken and won’t buy more of your books.
So this workshop is all about all those expectations a reader has coming into all the varied genres and subgenres. Once you know about the expectations, understand deeply that you are writing for someone else on the other side of the typing, you can then just go ahead and write for yourself.
In other words, a lot of this workshop will be awareness. A massive amount of awareness that has never been covered in any way in any other workshop we have done. We did one workshop that is now a classic called Genre Structure, but that workshop didn’t cover any of this. In fact, it would be a nice fit with this one.
After you get through this workshop, you will have faith that you are fulfilling reader expectations. And that faith will help your sales and your writing.
TEAMS IN FICTION
In the modern world of fiction, teams of characters around a central figure play a critical part of the success of any novel or series. From NCIS to Star Trek to Harry Potter and Star Wars, teams form the center of most western fiction and storytelling
This workshop gives all the techniques and methods of building a successful team in your fiction, a team that readers will want to rejoin again and again, story after story.
This workshop will take a comprehensive look at how teams have come into our fiction and storytelling. From Lester Dent with Doc Savage to modern binge-watching shows, they all have teams.
In fact, in our modern world, readers and viewers are often uncomfortable when a team is not built quickly in a story.
And each character in the team plays a set role that you must be aware of as a writer before you can control the team in your own story. Readers are aware of a team member’s role, so being able to use that reader awareness to your advantage in your stories give you a massive advantage in sales.
This is a craft workshop similar to the depth workshop, with many examples of how teams are put together and built to bring in thousands of readers. And an awareness workshop. Once you see the roles of teams in fiction, you will never not be able to see it or use it in your own work.
This workshop will change your writing, just as the depth workshop did. Don’t miss this one.
THE BUSINESS OF WRITING
The modern world of publishing forces writers to become businesses, more than ever before in history.
And the Business of Writing is all about Control, about you controlling your own work.
This workshop is going to try to be a comprehensive look at the many business factors you must think about as a writer.
Here are just some of what will be covered:
— Levels of business and when and why… DBA, LLC, or Full Corporation
— How to safely hire help for your production.
— When and where do you need a contract, samples of basic contracts, and problems with TOS contracts.
— Accounting in all its forms, from the basics to more advanced.
— Tracking sales. What is needed, what isn’t needed
— Cash flow… the most critical element in any business.
— When can you think of going full time?
— Naming your business, pen names, and all the factors of names
— Taxes… the more you legally save is more you have to spend or save.
— Copyrights and ownership and control.
— Dealing with the high sales and low sales and the cycles of publishing sales.
— Spreading out cash streams. The value and the problems.
— Spreading out your business base. The value and the problems.
— How to keep your writing mentally separated from your business as much as possible.
— Organization… a ton of tricks and methods that work for many.
— How to keep from being completely overwhelmed.
— And so much more.
This workshop will not only cover business basics, but advanced business because even a writer starting off can take notes and come back to them later as their business grows. Also knowing options ahead of you can help you plan your business growth.
Don’t miss this one.
WRITING FICTION SALES COPY
This workshop focuses on all the details in writing Fiction Sales Copy that will help your sales.
Boring always hurts stories and when boring comes through in sales copy, no one opens to the story.
You want your stories to sell more, this workshop gives all the tricks.
Seven major ways of composing sales copy for your novels or short stories or non-fiction works. This workshop goes over it all detail by detail. When to use which technique.
How much plot do you put in?
How do you tell your readers what your book is about quickly, without too much plot.
How to grab a reader from the sales copy and make them want to open the book.
You will be practicing writing on your own work all the way through. So everything you do in this workshop will be able to be used instantly on your own books.
And even better, you will understand by the end of the six weeks why certain techniques work and why others do not. In other words, this workshop will help you understand the reasons behind the sales copy you will write.
You want more sales? This workshop can’t be missed.
ADVANCED CHARACTER AND DIALOG
This workshop focuses on dialog and advanced character building skills.
Details of the major workshops associated with this Dialog workshop.
Character Voice and Setting workshop focuses on how to make your characters distinct. Basic and difficult character workshop.
Depth and Advanced Depth workshops focus on how to pull a reader down into your character in openings.
Character Development workshop focuses on how to build a character through a book, including secondary characters.
Plotting with Depth focuses on how much depth you need at various points in your novel to hold a reader into the book.
Advanced Character and Dialog now focuses on how to make a living, breathing character that comes alive to your readers.
If you think all dialog is equal, this workshop is what you need. How a character talks, how dialog is structured, and so much more is critical to keeping a reader in your story and believing your character is really alive.
This workshop will also cover a bunch of basics in dialog, including burying your dialog and when to do it and when not to.
As with many of these workshops, this is an awareness workshop as well as a skill-learning workshop. You need to be aware that these techniques are even possible before you can use them in your own books.
Depth Workshop is a prerequisite for this workshop.
This workshop focuses on what it takes to develop your original author voice.
How to help your original author voice come out. Things to do to help. And things not to do that kill an author voice.
Boring always hurts stories. Your original author voice, your personal voice, makes stories interesting and original.
The Character Voice workshop helps writers understand how to make characters distinct and different. Depth workshop helps you pull readers down into stories using characters.
But what sells stories and makes them memorable to readers often turns on the author voice. And since author voice is our natural voice, we can’t hear it or see it without training. That author voice seems boring to each of us, so writers often take out of their stories the very thing that makes the story original and different and memorable.
Some of the many details about this workshop
— An awareness workshop to start with. The only way to really understand some of these more advanced craft techniques is to become aware of the technique. That goes triple for author voice.
— How to see and identify an author voice, including your own. Once you see another author’s author voice and how it is used, you can see your own author voice much, much better.
— How to know when to use your author voice and when not to. How to even control author voice when you want to.
— How to do more author voice openings to pull readers into your stories. (This is talked about a little bit in Advanced Depth, but mostly Character Voice openings, not author voice openings.)
— How to sustain author voice, when to pull it back, how to spice it through your stories.
— And a ton more. A workshop suitable for a writer at any level. It never hurts to start understanding your author voice.
This might be the most eye-opening workshop we do for writers.
PLOTTING WITH DEPTH
You now know how to get a reader down into the depths of your story. But now, how do you hold the reader in your story through your entire novel?
Depth Workshop is a prerequisite for this workshops.
Once you know how to hold a reader with basic depth in openings, which is what the Depth Workshop focused completely on, how do you use that knowledge for chapter and scene openings later in the book?
When do you need to go back into heavy depth, when can you use light depth, and when should you use almost no depth?
Every book has a different structure, a different plot, but there are patterns, just as there are patterns in openings.
And every genre has a slightly different requirement for depth later in the book. That will be covered as well.
This workshop will cover many of the later chapter and scene patterns with a “if this happens, think about doing this” sort of style.
Also, there are many, many more tools in depth when it comes to later chapters and later scenes in a novel. You need to train your subconscious with these tools. That’s what this workshop does.
In other words, this workshop will give you an awareness of the tools and techniques you can use to make sure that once you have a reader down in a book, they will not leave.
This is made to follow Depth Workshop. You do not need to have taken the Advanced Depth workshop to take this workshop, but you need to have taken the basic Depth Online Workshop.
This workshop also goes nicely with Adding Suspense. But is not the same in the slightest. This workshop focuses on the structure of a book and when to use Depth tools and when to go light.
Plotting with depth is a critical skill to learn to hold a reader through a book. Or at least be aware the skills and techniques are there.
Adding Suspense to Your Writing Workshop
(This will be offered as a classic workshop soon.)
If a person comes up to you and asks you how you add suspense to your writing and you don’t automatically know the four or five main ways, this workshop is for you.
Suspense is a major plotting and craft tool to keep readers from leaving your books. And suspense can and often should be part of every type of fiction. Romance, science fiction, thriller, mystery, you name it, any book can be improved with knowledge about how to add suspense to your writing.
Suspense is where plot connects to craft.
And yes, we will talk in passing about the small sub-genre of “suspense” one week.
But this new workshop is about adding suspense to all your books to hold your readers in your story. Don’t let another reader stop on one of your books. Learn how to add in suspense.
Character Development Workshop
After you set up a great character in your opening, then what? How do you develop the character into a living, breathing, memorable character?
This workshop fits with the Depth Workshop and Character Voice Workshop. All three work together and you can take them in any order. Or even all at the same time.
Instead of focusing on only the openings, this workshop will focus on the development of a character through a story. All kinds of characters in every genre.
Characters make a story memorable. We all describe books by the memorable character. A Travis McGee novel. Or a Jack Reacher novel. Or an Alex Cross novel. Or a Dirk Pitt novel. Or a Smokey Dalton novel. Or a Poker Boy story. And on and on and on.
Memorable characters, well-developed characters, are why publishers put the character names on the covers of books. Readers want to read more by those characters.
Among the many areas worked on in this workshop:
— Character background without information dumps that bore.
— Know how to do characters that become the emotional heart of a story.
— Know how to make a character memorable.
— How to make a character become larger-than-life.
— How to make a character come off the page and actually live in reader’s minds.
— Character Pacing
— How to develop memorable, living characters while writing into the dark.
— And so much more, including many, many professional writer tricks of the trade.
There are only seven basic plots. What makes a story unique is the character development. That development is what this workshop is all about.
Important for all genres.
In the Depth Workshop, writers learned how to get readers down into stories with character depth.
In Advanced Depth, the focus is how to open chapters and scenes in different ways, as well as alternate openings.
In the Character Voice Workshop, the study concerned on how to make characters different.
The new Character Development Workshop now takes the character work into the first third and middle of the books, to make characters round and alive and memorable to the readers when they finish your story or book.
Along with the Depth Workshop, this is a don’t miss workshop.
ADVANCED DEPTH WORKSHOP
Learn even more ways to keep your readers from ever leaving your stories.
Requirement: You must have already taken the Depth Online Workshop to take this one. (Information on that below.) This advanced workshop takes off where the Depth workshop ended.
And here are just some of the things we are going to cover in this workshop.
— How to hold readers in chapter and scene openings, once you have a reader down at depth.
— Shortcuts of depth.
— How to set character mood to help depth.
— How to use suspense to increase the power of depth in a story.
— How to use the correct levels of depth in different projects.
— Character voice and character attitude in creating depth.
— Depth with tags of all sorts, including character tags and setting tags.
— Depth increased by the correct use of pacing.
— Character pacing to increase depth. (If you don’t think characters inside stories have different pacing levels, just sit in an airport and watch people.)
— Depth killers to avoid. Things that will knock readers out of books faster than anything, such as too many names for the same character (among many other killer problems).
And so much more.
This workshop will also talk regularly about reader expectations in stories. It will be taught in the same style as the first Depth workshop with examples of each concept and assignments to test your skills in certain areas.
If you want to know what levels are possible to take your writing, this is the workshop for you.
It will be an eye-opening workshop, we promise.
MAKING A LIVING WITH YOUR FICTION WRITING
(Offered only as Classic)
Turn your dream into reality (without ever having to have a bestseller).
Every writer works and thinks differently. In this new world, no one road will get you to that dream of making a living with your fiction. But knowing how to set up goals and knowing which path to walk remains critical to success.
This workshop will help you find the right path for your fiction writing.
Kristine Kathryn Rusch and I both made a living for decades in the old system, and four years ago we moved to the new world, to the indie world of publishing. And now we are making even more money.
We now bring that knowledge to this workshop to help others.
Sometimes using parts of both traditional and indie systems might be right for some writers. Other writers only want to go indie. This workshop will cover both those paths and many others.
And this workshop helps you avoid wrong turns and bad decisions as much as possible.
So for a six week workshop online, we are going to help writers figure out how to get from dreaming of making a living with fiction to knowing it can be possible and how they can get to the dream.
This is a nuts and bolts business and money workshop, not a craft workshop. This workshop will work for you if you are just thinking of writing your first novel or if you have twenty novels written and want to finally make a living with the work.
And this workshop will be blunt, clear, and straight forward, as everyone has come to expect from me and Kris.
If you want to learn how to sell a few more copies of one book, take the Promotion workshop. If you want to learn how to build a career and make a living with your fiction over decades, this workshop is the one for you.
(Offer only as Classic)
Kris and I are two of the most prolific long-term writers working today. And we have done that year-after-year for thirty years. Well, finally we decided to tackle the one area we have been avoiding in teaching.
That’s right, we’re finally going to teach that skill. And in this new indie world, productivity is a critical skill to have.
If you followed my blog last year and watched me write twelve novels, three nonfiction books, and thirty-plus short stories while working a day job with WMG Publishing and workshops, you know what productivity is. Kris and I can teach you how to do that and a lot of other ways of being productive.
If you are tired of looking back at a year and wondering why you didn’t write more, this workshop is for you.
If you think you just write too slow, this workshop is for you.
So for a six week workshop online, we are going to help writers become more productive and learn habits and techniques that will keep you productive for years to come. Six weeks of videos, five assignments. If you want an extra book per year, or just more stories, and can never seem to make it happen, this new workshop starting in September is for you.
We can all find extra time, but most writers don’t know how to convert that extra time over months and a year into more stories and novels.
This is a nuts and bolts workshop, not on craft workshop. This workshop will work if you want to write a first novel or just add more novels and stories to your yearly output. The techniques and methods we will teach in this workshop will work for all levels.
WRITING AND SELLING SHORT STORIES
In this new world of publishing, short stories suddenly became critical to the success of any writer.
This workshop functions as a business and a craft workshop. We will show you how you can make a lot of extra money from short fiction, and how to write major short stories for any genre.
Kristine Kathryn Rusch, who helped set this workshop up (even though I do the talking) is the only writer in history to be in all four Dell Magazines (Asimov’s, Hitchcock’s, Analog, and Ellery Queen). She has done that in the same year four times now. She won the Asimov’s Reader’s Choice Award six times, and reader’s choice awards for Analog and Queen as well.
Kris also is the only person on the planet to win the Hugo Award for best professional editor and for her short fiction.
I was also on the Hugo Award five or six times for my editing. Kris edited The Magazine of Fantasy and Science Fiction and Pulphouse. I also edited for Pulphouse, for VB Tech, and for Pocket Books, all in short fiction. Kris and I also won a World Fantasy Award for our editing of short fiction work.
Kris and I both have written well past 400 short stories each. And been professional short fiction editors.
We now bring that knowledge to this workshop to help others learn how to write and sell short stories.
Short stories play a major role in our new world of publishing. Any writer wanting to make great money needs to know how to write short fiction, even if they only write one for an invite anthology or a promotion. Discoverability is everything these days, and short stories help in more ways than possible to imagine.
This is a nuts and bolts business and craft and money workshop. All three. We will cover it all.
And this workshop will be blunt, clear, and straight forward, as everyone has come to expect from me and Kris.
If you want to learn how to write and sell short stories and improve your discoverability and make more money with your writing, this workshop is the one for you.
HOW TO WRITE THRILLERS
(This will be offered as a classic workshop soon.)
Taught by Dean Wesley Smith, author of at least two dozen thriller novels under various names. First taught here at the coast, this workshop will help you not only learn how to write a thriller, the hardest genre of them all to write, but this workshop will help you speed up all books when you want to.
This workshop combines a lot of different areas of how to relay to the reader to keep reading. From plotting to pacing to character and so much more. Some people call thrillers “big books.” That’s because thrillers often require scope, multiple characters, and other skills this workshop will help you get a handle on.
If readers can put your books down while reading them, if they stop along the way, if they give reviews that it was slow, this workshop will fix those problems.
HOW TO WRITE SCIENCE FICTION
(Offered Only as a Classic Workshop)
Put together by Kristine Kathryn Rusch and Dean Wesley Smith. Kris is the only person to have won the Hugo Award for her writing and her professional editing of The Magazine of Fantasy and Science Fiction. Dean edited as well at Pulphouse and Pocket Books, writing and editing Star Trek for over ten years. He also wrote Men in Black original novels and many, many other very popular science fiction books.
Right now Dean is also writing two science fiction series under his own name and Kris is also writing two science fiction series under her own name as well as have short stories appear regularly in Asimov’s and Analog magazines. In fact, she’s won the Asimov’s Reader’s Choice Award five times and the Analog one a few times.
Kris and Dean, with Dean doing most of the talking, will lead you through how to write science fiction short stories and novels. You’ll learn all the sub-genres of the field, as well as how to write in each and what is required of each.
How to do science fiction series? That’s included, as well as some study of the classics and what made them classics in the field.
How to come up with ideas, how to build your science fiction worlds without needing orbital mechanics, and so much more.
Again, this will cover both short fiction and novels. Science fiction is such a huge genre, but we’ll try to pack it all in a short six weeks.
HOW TO WRITE SERIES NOVELS IN ALL GENRES
(Offered only as Classic)
Taught by Dean Wesley Smith with the help of Kristine Kathryn Rusch. For both of them, many of their hundred plus novels each have been in series. And there are many, many skills to writing successful series books that hold readers from one book to another.
This workshop will cover series in all genres, from fantasy, science fiction, mystery, and even romance, which is a genre difficult to write series in. This workshop will talk about character threads through novels, plot arches, setting threads, and so much more, including how to even see that you might have a series idea. And with this new indie world, series are popular and sell better when a writer can do it correctly.
So everything you need to know about writing a successful series.
CHARACTER VOICE AND SETTING
(Offered as a Classic Workshop Soon.)
If you want to learn how to get down inside character’s heads and stay there, this workshop teaches you that and so much more. And if critiques tell you your setting seems thin, you need this workshop.
An intense craft workshop that will help you learn how to develop memorable characters, memorable settings, and learn how to write multiple characters that can be told apart. Gain control over your own characters and learn the techniques that make a character and the setting around each character come alive to a reader.
Taught for six years here on the coast, but now has moved online.
PACING YOUR STORY
A Critical Workshop for So Many Writers to Take
Ever wonder how a writer makes you stay up all night reading? And sometimes when the story doesn’t really hold you? This workshop teaches you the tricks and skills that will keep your story moving at the pace you want it to move.
From writing slow family scenes to fast action scenes, you will gain the control of the reader that you always wondered about.
This will cover a vast amount of information and writing techniques. From short stories to novels and series novels, this class applies to everything you will need to know about how to keep a story moving and the readers turning pages.
A Critical Workshop for So Many Writers to Take
How to keep a reader reading from chapter to chapter and from scene to scene.
There are many ways besides the standard “hero hanging from a cliff” that the name of the technique is named after. In fact, there are six major cliffhangers and each week in this course will cover another way to keep your readers hooked into your stories. It will also cover how to speed up your stories and even understand when a scene or chapter should end.
Understanding how to use the major cliffhanger techniques will jump your sales and keep readers coming back to your work.
Offered only as Classic
Writers seldom know what genre they write in. Every wonder why your book isn’t selling well?
Maybe it’s because you put your book on the wrong electronic shelf. Not only will this workshop teach you how to identify genres, but also will teach you the structure of all the major genres. That way if you decide to write a story or a novel in a certain genre, you will understand what you need to do.
This workshop goes down inside the structure of each genre and many subgenres. You will understand genre when you finish this workshop.
IDEAS TO STORY
Offered only as Classic
How to generate ideas for stories and then how to turn the ideas into solid stories. Professional writers never wait for the muse.
We know how to take anything and make it into a story. This workshop will get you over all the fears of starting and give you an entire bag of tools and tricks to take almost nothing and turn it into a story that sells.
From basic opening tricks to story structure, this workshop covers it all.
HOW TO SIGN UP
Step One: In an e-mail or snail mail letter, answer the following questions. Please number each answer.
- Full Name
- e-mail address
Step Two: Also in the letter include the following:
1. Pick the workshop number and name of the workshop you are signing up for. Classic workshops just give the name.
(You can sign up for more than one if you like. We had a number of people do that and they seemed to do fine. In fact, we had one great writer who did five regular workshops at one time, but I would not suggest that. (grin))
Classic workshops you can do all five because there is no schedule on them. And you can go and come from them as often as you like into the future.
2. List an alternate workshop or date in case the workshop is full by the time you get signed up. I will e-mail you if that is the case to work out a solution. (That has seldom happened in the last seven months, so no real worries about that.) No reason to list an alternate on the Classic Workshops.
1. Send answers to: email@example.com with the subject header WORKSHOP only in the subject line. Or mail to WMG Publishing Online Workshops, PO Box 479 Lincoln City, OR 97367
2. Send full payment of $300 for each regular workshop or $150 for each classic worksho. Payment can be sent by check to the above address or by Paypal to Dean@deanwesleysmith.com. Checks should be made out to WMG Publishing and please put the workshop number and workshop name on the check.
(If a regular workshop is full and you have paid for it, I will refund your money, so no worry there either.)