All slots in the writing course are now filled

The last slot was filled just a few minutes ago, almost exactly 2 days after the announcement. Ten hardy souls have joined me for this  journey.  The goal is to finish 10 novels that are crackling with zing. I’ll report progress as we go. But now it’s heads down again because I’ve got my own novel to finish.

You’re invited to join the novel writing workshop pilot

I am developing an online novel writing course and am looking for folks to pilot it with me and give me feedback. I’m thinking I want to limit it to 10-12 folks.

It’s free and will probably take two or three months to complete. If you join, your job will be to do the work. And there will be work. I’m thinking 10-15 hours of work per week. Please don’t ask to join if you don’t want to make this commitment. I only want folks who are serious and ready to give this a shot. In addition to the work, you’ll need to report your experience with the course as we go, sharing with me where you get stuck, what’s confusing, what’s helpful, what does and doesn’t advance your skill. In fact, if at some point the course just isn’t providing you any value, you are welcome to drop. That’s good feedback too.

It’s going to be a blended format that includes self-paced work and some type of weekly online meeting. I will be guiding the class. At the very least, we’ll meet and chat at my site. I don’t know if we’ll do a live meeting or not. Still working that out.

I struggled for many years, trying to figure this stuff out, then had a number of epiphanies during Orson Card’s boot camp and continued from there. Of course I still have lots to learn. But I want to share what I have.

I love teaching and have been teaching in one form or another for the last 20 years. I’m currently an education program manager at a large software firm. What this is all means is that I’m trying to build a course that guides folks through a process that will help them learn to WRITE novels. Not just talk about them.

So this is not a series of lectures with quizzes that test your ability to recall, although I will quiz you.

It’s not a course with an end goal of teaching you what I’ve learned about the concepts and principles of plot, character, and setting, although you will need to learn that.

This is about increasing your ability to get ideas, develop them, and then write.

It’s about doing the work. It’s about production. It’s about finishing product. And having a good time doing it.

If you already feel comfortable with your ability to finish novels, this is NOT the course for you.

You can learn more about the course here by clicking The Path in the On Writing menu.

Probably the only other thing you need to know is that the class is a PG-13’ish class. While the stories can deal with intense and adult themes, as the teacher, I’m not interested in working with stories with explicit or detailed sex or lots of language of the sort that would earn a movie rating more restrictive than PG-13.

Remember, this is a pilot. Even though I’ve taught about writing for a number of years to various audiences, there might be some rough spots. We might find we need to change the work requirements or activities or any number of things.

If you’re interested, click on the Contact link on the menu of my site, and shoot me an email.

Edit 1/30/15: I’m getting a number of excellent questions about the time commitment and schedule. Let me answer them here.

The gap I’m trying to fill

First, you have to understand that I am not interested in talking about novels and writing novels. I’m interested in helping folks finish novels. That’s a big gap I see in most writing instruction. It’s the gap I had. There was nobody to help me move from the theory to the writing, and writing all the way to the end. So this isn’t a class about novels. It’s a class where I hope to help you learn a number of techniques for developing and finishing one. And to learn those techniques, you have to actually use them. Which means you have to develop and finish a novel 🙂

So why 10 hours as a minimum?

If you’re a slower writer, it’s going to take you around 50 hours to develop and write a novel of 25,000 words. That’s the size of one of Louis L’Amour’s smaller novels (which we call sometimes call “novellas” today). It’s the size of some smaller romances. A lot of indies are writing serials around this size. If you want to write a 50k book, it’s probably 100 hours, maybe more. A 75k novel? 150-200 hours. The development and first draft of a 100k novel? 200-300 hours.

These are not exact times. Some writers are faster. But you get the picture. Writing a novel is a big project. And I’ve found that it’s just too hard to get any traction on less than 10 hours per week. When you spend much less time than that, you spend most of your time just trying to remember what the story is about. I’ve found it’s best to keep your writing engine hot, or at least warm.

So will these 10 hours be in meetings?

No. I don’t want to have a lot of meetings. That’s the beauty of online. We will have deadlines. But you should be able to complete you work during the times that suit you best.

What’s the course schedule?

I can’t give you an exact schedule. I haven’t timed everything. Figuring that out is part of what we’re doing in this course. But I do know what I want you to learn and how I hope to help you learn it. We’ll just have to see how far we get with each weekly 10-hour chunk.

LTUE schedule posted

ltuelogoLTUE has posted its schedule for the upcoming conference Thursday – Saturady, Feb 12-14. I’m, of course, stoked to present and participate on the panels. But I’m also looking forward to attending some of the sessions.

Look at this one: How a Military Unit Works in Real Life: Zachary Hill, Brook West, Robert J Defendi, C. R. Asay, Mike Kupari (m)

Or this one: All about armor: Zachary Hill, J. D. Raisor, Kay Mildenhall, Charles B. Stanford (m)

Or what about this one: Law Enforcement: James Ganiere, Zach Hill, Robin Ambrose (m), which conflicts with one of mine, dang it!

Or this: Making Creatures Realistic to their Environment: Keliana Tayler, Brian Hailes, Jessica Douglas, Bryan Beus (m)

This: Applied Biotechnology: Derrick William Dalton, Mikki Kells, Charlie Pulsipher, Chersti Nieveen, Ali Cross (m)

This: How to Create a Language: Maxwell Alexander Drake, Dirk Elzinga, Valerie Mechling, Samuel Stubbs, Bryce Moore (m)

And tons of others.

Oh, and what about the keynote address on Saturday by Toni Weisskopf?

It’s going to be a great conference. I’ll be giving these presentations.

  • How to Build an Action Plot. In this one, Larry Correia and I team up to share a model of plotting that should make developing your action story much easier. Attendees will be able to use the methods on a novel idea Larry, Joe (Larry’s son), and I came up with called Mech Runners. Basically, Larry turned to Joe and said, “What’s awesome?” Joe said, “Giant robots, bandits, and murderers.” We took it from there.
  • How to Build a Romance Subplot. In this one, I team up with romance author LL Muir to share a model of plotting that should make developing your romance plot or subplot much easier. Attendees will be able to use the methods on a story idea Lesli and I came up based on The Hobbit. It’s called My Precious.
  • Tapping into the Power of the Story Setup. The story setup is a fabulous tool that’s not only helped me drastically cut down the time it takes me to develop my ideas, but it has also helped me develop better ideas. In this presentation, I will explain what the story setup is and how you can use it to help you nail your novel.

I’ll also be moderating or participating on these panels:

  • The Hero’s Journey & the Virgin’s Promise: Patterns and Archetypes for Better Characters:Michaelbrent Collings, Tracy Hickman, Blake Cassleman, Renee Collins, John D. Brown (m). Did I tell you I think the hero’s journey is stupid? This ought to be a fun one.
  • Action Sequences: John D. Brown, D. J. Butler, Peter Orullian, Adrienne Monson, M. Todd Gallowglas (m)
  • Self-Publishing Pros And Cons: Jared Abram Barneck, John D. Brown, Mikki Kells, Joe Vasicek (m)

Hope to see you there!

Audio production of “Loose in the Wires”!

starshipsofa-logoEarlier this year, Gary Dowell, an editor at Tony C. Smith’s District of Wonders contacted me, wanting to know if they could make an audio production of “From the Clay of His Heart”. I was, of course, delighted. Smith’s podcasts include the Hugo Award-winning Starship Sofa.

During our conversation, I suggested that if they were looking for a shorter contemporary fantasy with some more humor, they might also want to consider “Loose in the Wires”.

I can’t tell you how much I enjoyed writing that story.

It all started with one sentence.

I was generating ideas, brainstorming, and out popped this line: “Bill had two African gods in a Smucker’s jelly jar in his trunk.”

That was the trunk of his car. And these were, of course, live gods. But what would fit in Smucker’s jar? How did they get there? What would they do? And what was going to happen with Bill?

I loved the sound of that line, the image, the situation, but one snippet of an idea is not enough to build a story. I toyed around with the idea now and again. And then years later I was listening to O is for Outlaw by Sue Grafton. The voice of one of the characters was exactly what I needed. He was all hick. And as soon as I decided that’s what my character would be, the story began to hum with electricity. Very soon after that, I finished it. Orson Card published it in the debut issue of Intergalatic Medicine Show.

For a long time, I’ve wanted to make an audio production, but just haven’t had the time. Well, District of Wonders decided to pick that one up too.

The audio production of “Loose in the Wires” will be featured in their upcoming February, 17th episode.

I’m told the production of “From the Clay of His Heart” should be done soon. I’ll let you know the date it will be available as soon as it’s scheduled.