THE

In the last edition of the Word Weaver, I waxed poetic about the concept: What would you attempt if you knew you could not fail. And, boy, did you guys ever rise to the challenge! I received eight articles and ten entries for the Sky writing challenge. To say I was giddy would be an understatement. I was thrilled that our membership stepped up and gave submitting to the Word Weaver a whirl. That’s what it’s all about—writing something awesome and then throwing it at the wall to see if it sticks. The contest entries were fantastic, and it was difficult to pick a winner. I had to read and reread them over and over again, and even then, it was hard to pick just one short story and one poem. Congratulations to everyone who submitted!

To continue on a theme, let me tell you about a phone call I received recently from my local newspaper. The editor/owner has known me for several years, and she had a proposition. In an effort to increase advertising revenue for the paper, for anyone who placed a half-page ad, she wanted me to visit their business, try their services, and then come back and write an article about it—kind of like an advertorial, but different. You see, I’m known around here as the Yes Woman. Why? Because I’m always up for an adventure. No obstacle is too large, no challenge too daunting that I will not at least attempt the journey. I may stumble, I may have to turn back, but rather than give up, I’ll always try to find another way around—unless the adventure involves

risk of death… or snakes… or spiders. Seriously, there’s no going around that (shudder). So, the idea morphed from a simple advertorial into a challenge to see what sort of situation I could get myself involved in and the resulting article about the mayhem.

I could have said, no. But where would that have gotten me? Life is an adventure. We thrive when we live our passions and follow our dreams. As I mentioned at the last round table, my editor and champion at St. Martin’s left during the production of Avelynn. That meant when it came time to offer on the second book in the series, I no longer had anyone invested in my story, or me as an author. They declined, and I was without a publisher. I could have let that stop the dream, but why would I do that when there are so many other amazing opportunities and options available to writers today? I’m the Yes Woman. Setbacks do not ruffle my feathers; they fuel the wind beneath my wings.

Keep writing, keep submitting, and keep sending your work out there. Don’t let the spectre of rejection thwart you! If you’ve got something to say, say it. Write your heart out. Never give up on the dream.

In gratitude,Marissa xo

Message from The WW Editor Marissa Campbell

Newsletterof the Writers’Communityof Durham Region

The Writers’ Community of Durham Region encourages writers at all levels; offers opportunities for sup-port, education and network-ing; and promotes the value of writers and writing.

Autumn 2016October-December

THIS ISSUE:

03 - Choose your Adventure by Maaja Wentz

04 - Are you Stuck in Analysis Paralysis? by Dorothea Helms

05 - Working through Edits by Rebecca Simkin

06 - Techniques for Writing Short Stories by Christine Iliadis

10 - Sky Challenge Winning Submissions by Brenda Harrison & Vivienne Bretherick

12 - Who's Who? Featuring David Moore by Gwen Tuinman

14 - Guidelines for a Writer by Sally Moore

16 - Pitching by Jenny Madore

18 - 10 Things I Learned at the Toronto Writers' Workshop by Laura Suchan

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WCDR Board 2016 -2017

The Word Weaver is published by The Writers’ Community of Durham Region as a service to its members and other interested parties.

Publications are invited to quote from The Word Weaver upon obtaining written permission from the President:

The Writers’ Community of Durham Region, Bayly Postal Outlet, P.O. Box 14558,75 Bayly Street West, Ajax, ON L1S 7K7 905-686-0211www.wcdr.org

Marissa Campbell, EditorLesley Cadham, Layout

Marissa CampbellVice President

Connie Di PietroTreasurer

Jenny MadorePresident

Janet NicholsSecretary

Jackie BrownRoundtable

Mel CoberWeb/Social MediaAdmin in training

Lisa LiscoumbMembership

Tamara CormackWorkshop

Lesley CadhamEvents

Dawn RiddochAdministrativeAssistant

Dale Long,Public Relations

Tobin ElliottMember at Large

WCDR NewsAssociate Membership only $35

Skip the Slush Pile WCDR online pitches October 15 - 25 Donaghy Literary Group

November 15 - 25 The Seymour Agency

December 15 - 25 Handspun Literary Agency

***WCDR Online Pitches are open to WCDR Members and/or WC Associate Members only ***

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You find yourself in a maze, pursued by a beast called Failure. You sprint away, manuscript clutched to your chest. Ahead lie two doors. One is oak, flanked by marble statues. It is guarded by a tweed-suited editor, crowned in a laurel wreath. He works for a big publishing house, so you rush forth, anticipating fame and accolades. Heart pounding, you peek inside his door where thousands of people read bestsellers in airports, libraries, and bookstores.

You fling open the door, but your path is blocked by the crossed pens of the real gatekeepers, yawning interns with stiff backs and bloodshot eyes.

“Not so fast. First, you need an agent.” They point to an antechamber where slush pile supplicants camp out like Black Friday shoppers.

Leaving them behind, you choose the second door. Its touch screen reads: “Create an account to self-publish.” You follow the menus and step inside.

Tropical heat envelops you, smelling of cheese, sweaty bedsheets, and the underlying scent of money. Between vines of Amazonian trees strut shirtless hunks, sirens in stilettos, and shady “suits” carrying briefcases that tick. You spy bags of money on the ground, but when you reach out to take one, a robot confronts you.

“You are not recognized by the algorithm.” Its voice is pure auto-tune. “First you must scale the mountain of discoverability.” He indicates an electronic Everest, where ant-sized authors ascend single file, like Klondike gold rushers.

Which door do you choose? This is your publishing adventure. Choose the first door and your masterpiece may languish perpetually in traditional

publishing’s slush pile limbo. The critical and financial rewards behind this door are well known, but reserved for few.

Self-publishing feels unfamiliar, even dangerous. Some associate it with trash. Others fear piracy, but obscurity is the greater danger. The challenge beyond both doors is the same—attracting readers. Novelists are the athletes of writing. Many play for fun, a few turn pro, but only the Michael Jordans and Wayne Gretzkys are immortalized.

You choose the second door and press “publish.” Fellow writers suspect your inner artist has been corrupted by market forces, your reputation tarnished. Their fears are groundless. Self-published authors can choose to write to the market or not. With that freedom comes final responsibility for quality.

Self-publish and your book will be available for anyone to criticize or praise. There will be no adult gatekeeper to discipline your childish inner artist, no insurmountable obstacles to soothe the fear of self-revelation, mediocrity, or fame.

To succeed on your quest, gather a party of experienced adventurers. Trust beta readers for feedback. Hire an editor and cover designer to make your book worthy. Study the routes taken by indie publishing heroes like James Joyce, Beatrix Potter, Hugh Howey, Amanda Hocking, and Andy Weir. You can scale the mountain and win treasure if you prepare, write well, meet professional standards, and choose your publishing options wisely.

Still scared? That’s okay. Life is an adventure.

Choose Your Adventure

by Maaja Wentz

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Are You Stuck In Analysis Paralysis?

The Writing Fairy® Eat My Dust Column

by Dorothea Helms

Read more about Dorothea Helms, a.k.a. The Writing Fairy®, at:

www.thewritingfairy.com

Are you wavering on what to do next in your writing career? Enter a contest? Query an editor or agent? Change the point of view in your novel? Write poetry? Start a freelance business? Take a risk and use sentence fragments?

If the answer is “Yes,” you may be stuck in analysis paralysis. I learned this term from my husband years ago when he worked for a large international computer company. He would often get frustrated by colleagues who agonized so much over making the right decision that they ended up not making a decision at all.

I recognize this phenomenon in the publishing world. One example I know intimately, because I struggle with it, is when to send out a piece of writing. Is it good enough? Should I bother entering that contest? Will that agent or editor even look at my submission? Ah yes, I’ve agonized many times over when to press send and let one of my babies go out into the cold, cold world.

One of the many lessons I’ve learned over my twenty-three years of freelancing is that ten years from any submission date, I’ll likely wish I could go back and rewrite the entire thing. I feel that way about my first Writing Fairy book, and yet I have wonderful notes from people across North America saying that little book changed their lives for the better. I’m glad I wrote and published it, mistakes and all. The problem is, if you wait for perfection, you’ll never put your work out there. My advice is to make a decision and go with it. If it backfires, make a different decision and go with that. Repeat as necessary. Any successful writer will tell you that persistence pays off.

Learn from these experiences as well. Back in the 1990s, I sent out two humour articles I thought were hilarious. Both were rejected. I took a critical look at the pieces and realized they were

too long. I went on and on with background that neither article needed. You know how boring it can be when you stretch out a joke…or an example in a column? Humour writing should be tight and punchy. I cut each article by half in word length, sent them out to other publications, and they were both picked up. Do I regret sending out the first versions? Not at all. I learned a lot from the process, and at least I was actively writing and submitting at the time. The main thing is to write.

Oh, and submit! It is better to have received a rejection for work submitted than to not receive a rejection because you didn’t send anything in. Remember that contest judges have to work with the submissions people send in. Yours may well rise to the top. Tired of receiving same-old-same-old suggestions, a magazine editor might love your unique take on a topic. By all means, rewrite to polish your work, but eventually you have to say “Enough” and press send.

Read more about Dorothea Helms, a.k.a. The Writing Fairy, at www.thewritingfairy.com

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A great deal of ink has been dedicated to the topic of encouraging aspiring writers to complete their first draft. It’s an important

milestone to reach, and you should definitely celebrate when you arrive at this point, but what do you do after that?

More than likely, the first draft of your first novel is still a long way from being publishable. If you intend to publish it yourself, as I am, you will want a structural edit done by a professional before you get down to proofing for spelling and grammar. A fresh set of eyes on your work will help you gain the perspective you need to turn a good story into a great one.

A structural edit is the kind where you are given feedback on plot, characterization, pace and flow, and are offered suggestions on where to focus when editing your next draft. It’s a really important step in getting your work to market, but it can be overwhelming to try and figure out which advice to heed and what process to take to incorporate all those recommendations. When I recently received my work back from the editor I hired, there were almost six hundred comments in the track changes sidebar, and a lengthy email highlighting global issues. It was a lot to take in.

The first thing you should probably do is let it rest. Read the comments over and then put the work away for a while. Let it gestate. When you crack it open after a month has passed, your initial shock might be replaced with more of a can-do attitude. Remember that you aren’t obliged to do anything an editor suggests, but they have pointed out things they feel need to be addressed, and you should at least be thinking about it.

You might need a complete rewrite, starting from scratch. At first, I thought I did, but my comments were mostly asking for a lot more specificity and clarity. I could probably work these in as I went along, once I decided what overall changes would fix the issues that my editor had brought to light. If you have a lot of world building details to add, sit down and sketch out what these are in detail before adding them into the work. Draw a map if you need one. Create a timeline. Work out how your magic system functions (if you have one), or what the political situation is in your story world, or its history. Make sure your background details are really solid before you dig back in to the work to make changes.

It’s also very likely that your plot needs some attention. The book The Story Grid by Shawn Coyne can help with this process. Shawn Coyne is a professional editor with many years of experience, who came up with a method that helps authors understand how to think about their work in order to improve their story. While the process is somewhat laborious (I wouldn't recommend doing the grid before writing a first draft), it is well worth the trouble after the fact. You’ll find that it's a lot easier to write up a plot summary once you've written the novel. By following his method, you will be able to better see where the storytelling is working and what the story still needs.

Finally, be patient with yourself and keep working at it. If you find you aren’t making progress as fast as you’d like, consider if you are being reasonable. After all, you are making art, and creativity should never be rushed.

Working through Editsby Rebecca Simkin

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There are many intriguing elements to a short story; each has its place within the written composition. Most techniques can also be used when writing a fiction novel. Below is a list of techniques that will come in handy when writing your short story.

Initial Situation: Circumstance in which the protagonist finds him/herself at the beginning of the story.

Incident: A piece of action occurring at a definite time and place. This may consist of a character’s thought that he/she is experiencing.

Plot: A series of related incidents outlining the protagonist’s conflict. Your story moves forward with increasing interest and tension to a climax.

Trigger Incident: This starts the main conflict of the story and provides an explosion to set the plot in motion, changing the initial situation.

Climax: From the Greek word meaning, “ladder.” The Climax is

the highest rung on the ladder of excitement. It’s the point at which the main conflict is resolved.

Denouement: From the French word meaning, “unravelling.” The concluding comment or incident throws additional light on the climax, explaining any details the climax left out. In a story with a strong theme, it may hint at the meaning behind the story.

Theme: The underlying thought or attitude towards life that the story illustrates. It must be a universal statement that applies to all, but not necessarily a moral.

Exposition: Background information necessary for the reader’s understanding of the initial situation and protagonists’

problem(s). The writer begins conflict as soon as possible and delays some exposition until after securing the reader’s interest.

Flashback: An incident taking place in the memory of a character. It presents an event taking place prior to the story. This introduces background information after the conflict of the story has already begun.

Setting: Consists of time, place, and circumstance of the incident.

Summarizing Passage: Rapidly skimming over events that occur during hours, days, or months that compresses time in a short passage.

Mood: A character’s state of mind and emotions at a given time. This can be given through the actions/attitudes of characters, or with

TECHNIQUES FOR WRITING SHORT STORIES

by Christine Iliadis

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Situational: What happens is not what the readers believe should have happened.

Pathos: A situation or incident that evokes sadness or pity from the readers.

Allusion: An obvious, familiar reference to either mythology, history, famous literature, or the bible.

Anecdote: Opposite to Allusion, in which the writer offers a personal story.

Although there are many techniques, they can be woven together to form a compelling story. Some techniques are crucial to the creation of your fiction, others add depth and richness to your work.

I hope these techniques are useful for all your fiction writing needs!

a description of the setting. It is also known as atmosphere.

Suspense: A feeling of anxious uncertainty instilled in the readers about the outcome of a series of events. This can be pleasurable or painful.

Protagonist: The main character that is accredited the most attention in the story.

Foreshadowing: Hinting future events in the story to the readers.

Irony: Comes in three forms:

Verbal: A character says the opposite of what is really meant.

Dramatic: What the characters think is different from what the readers know to be true.

Techniques for Writing Short Stories (cont'd from previous page)

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FREE-EXPRESSIONS.COM/STORY-MASTERS

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by Brenda Harrison

Wispy clouds swirled above, a unicorn…a horse…a hammerhead shark…or a jellyfish floated in a vivid blue and white puffy sky. Five rambunctious, stair-step children lived for those days and tumbled outside one after another, early in the dewy-grass summer mornings. They stood, backs arched as hands shielded eyes from blinding, scorching sunshine. Each child checked the sky, strained to see the cotton ball clouds needed for a perfect sky-watching day. Once spotted, the kids ran back into the house.

"C'mon Mom, it’s a perfect day for the sky game!" they shouted in unison.

Rescued from the never still wringer washing machine, she grabbed a quilt and headed outside. Quilt smoothed, the little ones fell onto it and nestled up to her.

Mom with her active imagination found the first and best shapes. The year-apart kids laughed with glee when a real airplane was spotted with white tails trailing behind as it tattooed a perfect sky. They heard it as it ripped through a fraction of sky above. Pudgy fingers pointed. Kids outlined where perfectly-formed cloud shapes appeared in a vibrant, blue sky. Everyone saw different visions above—faces, pigs, cars, trains, houses, and fish. The children shrieked with delight when they finally spied the same thing mom or another kid imagined as they snuggled together.

On many sunshiny, cornflower-blue sky days, the children watched for an hour or more—even the two

hyperactive kids. They searched, squinted, and finally saw many imagined shapes in the copious fluffy, drifting clouds that rolled along the ever-changing blue sky canvas. They all quickly spotted and shouted out what the cloud shapes were as they flew by, too quickly sometimes for everyone to see the vivid imaginations their siblings named.

The sky game was such a long time ago. Revived again thirty-something years ago when I had children and eagerly pulled out the crawling quilt I made for my daughter. I had hoped she would stay on it and sit quietly, so I could look off into the powder-blue sky as I searched for more puffy cloud shapes. She was too young then to see and understand, but it wasn’t long before all three of us—mother, daughter and son—searched and imagined faraway places and the animals that roamed there, like giraffes and elephants and tigers, oh my. It was a great pastime that kept the children still awhile. What delightful memories it brought back!

Over the years, mesmerizing skies and white puffs hypnotized me every now and then. There I was again as I looked off into the clouds until I saw a shape that caught my eye. The sky game began again as I imagined what the shapes were: angels, faces, cats, bunnies, and cars. Shadows and shapes retreated, jumped out, and rolled along in white, fluffy clouds. Blink and the creature was gone. My daydreamer's imagination lured me into yet another cloud on a warm, sunny, beautiful blue jay-blue sky day. Wanna play?

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by Vivienne Bretherick

On felted wings to meadows steep incline,in seas of flowers violet, white and reds.In nature’s beauty I live for briefest time,to skim on top of fields of yellowed heads.On orange black and softly rested wings,stained glass shapes reflected on my skin.Fill moments with simple will which bringsalong a sense of peacefulness within.

Wings upon my back to take me up above, enough to cast simple shapes on cloudy skies.I know no other worldly needs but loveto glide above the meadows, not too high.On my wings no misty rush of air againthat I would be swept upon a cooler breeze,where after death a new life would begin in gentle peace, to flutter above clouded trees.

And when my time on earth is done I mustupon a silken leaf to wait the final fly.Feel the sun or falter in the windblown dust,my wings will simply fade away as soon I die.My spirit free to leave them far behind,no fluttering shadows left or to be found. And now, in another world of different kind,still high but cast no shadow upon the ground.

'Sky' by Brenda Harrison and

'Upon my Wings' by Vivienne

Bretherick are the winning

entries of the Word Weaver

'Sky' Challenge

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A stickler for accuracy, every hour of his writing is preceded by three hours of research. When asked how travel impacts his craft, David will answer with a quote from Reverend George MacLeod (1932), “To travel and not be changed is to be a nomad. To change and not to travel is to be a chameleon.”

WW: What is the benefit of writer grants and awards aside from the financial aspect?

DM: I think writers need strokes of encouragement to offset the often disheartening journey to becoming known.

Earlier this year, I was awarded The Inkslingers Grant for a piece I wrote called My Broken Heart, about the experience of my heart stopping in the middle of an afternoon and a subsequent heart surgery. The win represented an affirmation from my writing peers. You did well. Keep it going.

My intent is to be a career writer, to add to the literary wealth of the world. Being able to include ‘award-winning author’ in my writer bio lends credibility and becomes part of the foundation to build on. It acknowledges that my goals are both reasonable and attainable.

WW: Please share a piece of memorable writing advice you’ve received.

DM: My publisher connected me with writing coach and best-selling thriller author, Joanna Penn. I remember emailing her about a scene that wasn’t developing. She replied, “Trust your genius. Your answers are already there in what you’ve written. Go back over your work, and you will find the clue you’ve forgotten.” I read back to a little kernel of dialogue between two characters and immediately recognized the solution to my scene dilemma.

WW: How have your writing skills been sharpened by participating in the question-and-answer site Quora?

DM: Joanna Penn recommends submitting reviews of restaurants, hotels, and venues. If you can write in a way that elicits reader response, you are writing well. Over a period of six months, I committed to answering one or two questions each day. By the end of last year, I had become one of the top five literary sources on that site with over 60,000 readers worldwide. I learned the importance of reliable information, shared in a concise and careful tone. Part of the skill is reading

D a v i d M o o r eDavid Moore is a multi-faceted author who fuels his writing life by creating music every day. His narratives evoke emotion as surely as his guitar, mandolin, or violin. The rhythm of his prose and verse follows the beat of the Irish bodhorán, African djembe, and sometimes Holy scripture.

by Gwen Tuinman

Who’s Who?

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into the question to see what’s behind it. Similar to characters in a story, there is often subtext underlying an enquiry.

WW: Into which writing camp to do you fall—plotter or pantser?

DM: My writing is character driven, so I consider myself a pantser. Before they hit the page, each character has an extensive backstory and detailed map of interrelationships. Instead of forcing characters into what I want to say, I let them speak for themselves. As a result, the plot tends to generate in an organic, rather than a contrived way. I think my approach stems from an understanding of authorship in scripture. Christ is the author of our faith, but instead of acting as a puppet master, pulling our strings, he allows us to be ourselves in the world. Relationships motivate and constrain us, and so it is with my characters.

WW: In what ways does your drama training weave itself into your storytelling?

DM: Drama studies at the Manitoba Theatre Workshop has afforded me an understanding of script, direction, and staging. I see the scene as it unfolds—how characters are positioned in relationship to each other in the space and how perspective changes as a character moves through a physical space. Understanding how that happens in theatre translates into my being able to draw readers into living the scene with me.

WW: Are there benefits to exploring the setting of your novel through travel as opposed to literature or internet?

DM: Traveling to a location allows you to see the lay of the land in a way that Google Earth never can. When I walked through the front door of the Lanyon Building at Queen’s University in Belfast, I quickly discovered I’d misrepresented the space in my novel. Had I not travelled there, I’d have never known. In Scotland, I experienced the clarity of the air, and lushness in places where there

ought not to be green growth but there was. There is much to be learned about culture by moving among people for whom living in a place is familiar and mundane.

WW: Discuss the themes that appear in your work.

DM: My first novel, Broken Faith, explores a number of themes, the core one being resilience—that new life is possible after horrendous suffering. Foster Prentice is the protagonist, but the story revolves around a victimized yet ever optimistic young woman named Faith. I am currently editing and revising a second novel whose foundation is built on Irish folklore, which as I discovered through my recent travels to Northern Ireland, continues to be suppressed there in an active and vigorous manner by the English. The theme of this novel is reviving those ancient tales.

My next project will be a memoir about the experience of being diagnosed with coronary artery disease, having a stent put in my heart, and learning to cope with diabetes. For men my age, most health related literature is of a medical nature. I want to write about being the healthiest and strongest I’ve been in my life and to convey that health is more than an absence of disease in the physical body. We need to focus on spiritual, emotional, and mental health as well.

You can learn more about David Moore at www.hdmoore.ca.

Who's Who?(cont'd from previous page)

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GUIDELINES FOR A WRITERby Sally Moore

It’s tough being a writer. All writers are good writers, but it’s tough being a good writer. You

have to be tireless—when we have so much else to do—creative, innovative, and insightful, when deadlines are an absolute. You have to pull out your heart and watch it bleed for an hour while others accuse you of being idle (and often, “others” means ourselves).

Recently, many of my most talented writing buddies have been discussing what is an all too familiar phenomenon in writers: the I can’t write for toffee syndrome. Oh, we’ve all had recent successes. Our stories have placed in contests, blog posts were published, speaking engagements offered, and we’ve attracted the interest of agents. But somehow, we feel it isn’t enough, and every word we now write stinks.

It’s exciting as each success crosses our writing desk, but that excitement quickly dissipates before the horror that we will never write anything as good, that fairies must have worked through us because it could not have come from our own addled brain. This is a common phenomenon that happens, yes, even to Steven King from time to time. (One cannot imagine this, but I hear it’s true.)

Accepting this as universal author truth, the question then becomes, what can we frail writers do about it? How do we tame the evil genie, who pops out of his bottle on a far too regular basis to taunt and torture us whenever our story is not recognized, our words will simply not come, some horrible book makes a million, or the guy you went to high school with, whose English homework you constantly had to rewrite for him, publishes his third book and gets a big write up in The Globe and Mail?

Here are five things you can do that I swear will jolt you out of your swirl of self-debasement:

1. Read a book. If you like it, it will restore your faith in the medium. If you hate it, you will say, “Hey, I can do better than this!”

2. Read something you wrote from around the time you first realized you wanted to be a writer. Chances are, it’s pretty good. It will have a raw, earnest quality that will remind you why you wanted to express yourself. If it fails to impress you, you can see how far you’ve come and how far you can still go, and that’s affirming

3. Send an SOS to your writing group. Tell them that writing is for crazed navel-gazers or idiot savants, and you want to run away to join a nunnery in Peru. Trust me, they will respond. And if you dare not to write something that day, you will face the good-natured wrath of those who love and respect you and your writing. If you don’t have a writing group, join or form one. They are a powerful resource in a writer’s toolkit.

4. Write from a prompt, alone or in a group. Take a photograph, a random page from a book, a character you love, and write. No judgement, no endgame. Just put words on a page. Then get ice cream and forget about it for two days.

5. Do nothing. Take a walk or a bike ride. Go to a movie, play a game, or call non-writer friends and talk about anything but writing. Your subconscious may be trying to tell you that you are controlling the process too much, and you

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are pushing it too hard. Pull back and let it breathe. It will stop being so critical when it is not so tired.

Things not to do when you are in this, I can’t write for toffee, mode:

1. Don’t call your agent or editor or publisher to complain about your writing career. The best time to talk to literary professionals is when you are at the top of your creative game. Crisis is not a good time to switch to a business mindset and unleash your self-doubt upon the world.

2. Don’t threaten to stop writing and tell yourself and everyone you know that you will never write again. No one believes you, and you will just have to apologize to your friends and yourself later.

3. Don’t revise or submit anything unless you are certain it’s ready. This is not a time to inflict your negative feelings upon your manuscript.

4. Don’t believe that you are alone or this won’t pass. You aren’t, and it will.

5. Don’t believe that you aren’t a good writer. Everyone is a good writer. Everyone has something to share. The person with few literary skills can write a powerful piece if they are honest about their emotion.

So, when you are at the lowest ebb of the writer, when the words just won’t flow and you doubt that you can measure up, remember: this is normal. This is a skill you need as a writer, to rise above the rejection, the growing pains and isolation, and keep writing. And you don’t have to do it alone. Attend a writing event, conference, workshop, or a reading. Commune with others of your toffee kind. Remember the WCDR motto: “Writing Doesn’t Have to Be a Solitary Act.”

Guidelines for a Writer (cont'd from previous page)

While creating and promoting our WCDR Skip the Slush Pile On-line Pitches, it became apparent that some of our members have been avoiding the daunting task of promoting their polished manuscripts. Avoid no longer.

Agents, editors, and publishing houses openly search for the next breakout novel, and your pitch is a straight declaration of what your story/novel/novella is and why they need to snatch it up. You believe in your story, right? You wouldn’t have spent the time writing it if you didn’t. So, instead of stalling at the point where things really get interesting, take that leap.

'What is the hook that makes readers want your novel over another book?'

The hardest part in preparing a solid pitch is boiling all the amazing stuff happening in your book down to what the agent/editor needs to know in order to make a decision. Focus on ‘What is this novel about?’ and ‘What is the hook that makes readers want your novel over another book?’ If traditional or hybrid publication is your goal, you not only have to write a great book, you have to write a great book that has a unique premise or high concept twist that is unlike all the other books coming up the pipe.

I’ve spoken to several agents about what they want to see off the top, and each of them said that after the author’s name, title, genre, and final word count, the first thing they want to read is

a sentence or two of introduction. Is the novel a standalone or the first in a planned trilogy? What’s the voice, tone, and theme? Don’t get into everything here, just include a sentence to root the agent in what they are looking at. Comparable titles are a great way to get that done.

Choose [comparable titles] well and the image they evoke for the agent/editor can hook their interest.

Comparable titles highlight what you’re pitching. They are quick and succinct. Imagine taking two other books, authors, well-known characters, or sometimes television shows or movies that have similar styles, themes, or voice and mash them together to accentuate what your novel is about. Choose them well and the image they evoke for the agent/editor can hook their interest. Choose them without proper consideration and your pitch will be dismissed. Too obscure and you’ll lose the impact. Too boastful and they’ll be disregarded. Stating that your book is the next Harry Potter or Game of Thrones isn’t helpful—even if it’s true. Remember to keep it short—one sentence, two if you absolutely must. Keep your comparable titles relatively current. And keep it tight—never a gratuitous word.

Not everyone will understand the comparisons you choose, but if you’re pitching to industry professionals who represents your genre, they will, and that’s all that matters. Here are two that I’ve been complimented on by several agents, which

by Jenny Madore

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What's your hook? Character? NemesisBelieve in your Story

Title ComparisonsBio

Pitching

might demonstrate how it works.

WATCHER UNTETHERED is book one of a planned trilogy, which blends the sultry eroticism of J.R. Ward’s Black Dagger Brotherhood with the street-wise complexities of Sons of Anarchy.

IN THE SHADOW is the first novel in a planned series, which blends the romance and historical adventure of Susanna Kearsley’s Mariana with the suspense and violent period detail found in the TV series Spartacus: Blood and Sands.

In the next 150–200 words, you’ll want to ensure you have all the elements of good storytelling...

So, with your comparative titles working for you, let’s focus on the body of the pitch. In the next 150–200 words, you’ll want to ensure you have all the elements of good storytelling: setting, main character, main plot, obstacles, and stakes. Hook the reader with your high concept. Focus on your protagonist, his/her goal, and the obstacles he/she must overcome. Subplots, secondary characters, and all the added gooey bits that make your writing delicious don’t get a mention. Sorry.

Another important thing to remember is that your pitch should be written in the same voice and tone as the novel. If your protagonist is a sassy cigarette girl from a 20s flapper bar then let her voice, or the tone of the era, come out in the pitch. Likewise, if your hero is an aristocratic politician fighting the good fight, let’s hear him and his world.

...you want to draw the agent/editor into the conflict and leave them hanging so they ask for more—so they ask for a full manuscript.

Start off introducing your main character, his/her goal, and what is standing in the way. Again, keep it tight and consider word selection. A pitch should be as well written as the novel itself. Cover the main turning points, the struggles of your character (internal, external, world), and what’s at stake. Wrap it up with a hook. Unlike a synopsis where you detail the ending, in a pitch you want to draw the agent/editor into the conflict and leave them hanging so they ask for more—so they ask for a

full manuscript.

The last thing you include is a quick author’s bio, which outlines any current awards, publications, education, pertinent organizations you belong to, or relative information that makes you an authority on the subject of the novel. If you won the English award back in high school, leave that out. If you wrote a book that centres around a rebel teen bucking the foster system, and you’ve been fostering runaways for the past decade, add that in.

Then thank the agent/editor for their time and attention, and your pitch is written.

Author Name:

Title:

Genre:

Word Count:

Comparative Titles: One sentence

Pitch: 150–200 words

Bio/Awards/Education/Relative information: A couple sentences

Thank the reader.

Before you hit send, ship it off to two or three of your besties or critique partners to have a read. If they know your work, they can help by giving you an objective opinion. Another great idea is to join the private WCDR Online Pitch Page on Facebook and read through the pitches and responses posted there. You don’t have to pitch if you’re not ready, but you can learn a lot by hovering in the background and reading the responses of the agents and editors each month.

It may sound like a lot to consider, but take it section by section, knowing what you want to accomplish. Hook them with the high concept. Set the tone of your story. Impress them with the quality of your writing. And if you need help, just ask. Your WCDR board is happy to work with you.

Good luck,

Jenny

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Pitching (cont'd from previous page)

Title Comparisons

With the support of eleven professional editors and literary agents, Chuck shared many insider tips. Here are ten “publishing truths” that surprised me:

1. You absolutely need to establish an effective social platform.

Social platform is defined as your visibility as an author and your ability to market your own book through Facebook, Twitter, blogs, e-newsletters, and other social media. For a non-fiction author like myself, a platform is a must.

2. There are good reasons to have an agent.

These types of workshops are the easiest way to get your work in front of an agent. For a relatively modest fee, you can purchase appointment time with the agent of your choice. Practice your verbal pitch until you are confident saying it but

not so polished it appears rote. Agents have unique relationships with publishers and can easily contact people to whom you have no access. They also know exactly who to call, how to squeeze every penny from revenue sources, and how to market internationally and to Hollywood.

3. Authors need to do more than just write the book.

Authors need a finished book, but they also need a one-page synopsis, a one-paragraph elevator pitch, and an established social platform. They also need to do their research on everything from agents to market niche to competition.

4. Write a good query letter and send it to multiple agents.

From your research, select about seventy agents who might be interested in your book. Then, send queries

to seven of them and wait two to three months for an answer before following up.

5. Are memoirs fiction or non-fiction?

Seventy-five percent of agents treat memoirs as fiction and need to see a synopsis and a finished book. The other twenty-five percent treat them as non-fiction and need a non-fiction book proposal. Be ready for either. Most agents are interested in narrative driven memoir with characters that are self aware. Readers of memoir expect more from the characters in the book than they do for themselves.

6. Why do I need to be on Twitter?

Twitter is not just for tweeting your friends. It is also a media site to gather information, such as agent updates, requests for submissions, and book deals. Chuck said if you are not on Twitter, you need to get on Twitter.

7. What should be on my website?

Do not make a website to

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With support from the WCDR Scholarship Fund, I was able to attend the Toronto Writers' Workshop at the Toronto Marriott Airport Hotel on August 20th. Led by Writers' Digest Books author and editor Chuck Sambuchino, this was a full-day intensive look into how to get your work published, covering everything from establishing a social platform and how to get an agent, to your publishing options in today's market.

THINGS I LEARNED AT THE TORONTO WRITERS' WORKSHOP

by Laura Suchan

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sell books—it scares people off. Instead, create a “loose connection” to your subject matter (best chocolate chip recipes or true Canadian crimes, for example) and become the go-to person online for a unique audience. Then, casually mention your books on your site.

9. How is a Non-Fiction Book Proposal Different?

When writing a non-fiction book, you do not need to have a completed book before submitting a book proposal. A non-fiction

book proposal is a business document for your book. There are three parts: Your subject—what is this book about and why is this book unique? Your platform—who is going to buy it? How many people are in your network? And your credentials—why are you the one to write this story?

10. Why should I go to a Writers' Workshop?

In addition to the wealth of tips, insider secrets, humorous anecdotes, and author networking, it is a

fabulous place to buy face-to-face ten-minute pitches to established agents and editors who are actively seeking new material. Just remember to do your research and target the best agent for your work in terms of genre, publishing contacts, and markets.

I am already looking forward to my next Writers' Workshop, so I can expand my literary network, improve my social platform, and increase my confidence in my ability to become a published writer.

Word Weaver Member Cha l lenge

Winter 2016'FALL'

Deadline for submissions is: December 1Limit 500 words per entrywcdrwordweaver@wcdr.org

10 Things I Learned at the Toronto Writers' Workshop (cont'd from previous page)

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Full-Day Master Classwith

Kelley ArmstrongSunday, November 27

Page-Turning Fiction

Genre fiction is all about entertaining and engaging the reader. This workshop will focus on ways to keep readers up into the night, turning your pages. Armstrong will provide strategies for maximizing reader engagement starting with the pre-planning stages and continuing through to tips and tricks for picking up the pace in a completed manuscript. Kelley Armstrong is the author of the Cainsville modern gothic series and the Age of Legends YA fantasy trilogy. Past works include Otherworld urban fantasy series, the Darkest Powers & Darkness Rising teen paranormal trilogies, the Nadia Stafford crime trilogy and the co-written Blackwell Pages middle-grade fantasy trilogy. Armstrong lives in southwestern Ontario with her family.

Register Now at www.WCDR.org

photo credit Kathryn Hollinrake

Thursday, October 20 · 7-9 p.m.

Centre for Food · Atrium

Durham College · Whitby Campus

1604 Champlain Avenue · Whitby

Phoenix Anthology Launch

Anthologies will be for sale for $10.

Many of the contributors will be present to sign their pages and to perform a short reading of their pieces in the anthology.

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WCDR Members,Welcome!

NEW MEMBERS

Cathy BarclayAyelin BarriosCarol BruceKathy FootitDave Frolick

RETURNING MEMBERS

Andrea EdwardsJessica OutramLinda SansaloneDr. Virginia WintersBonnie Stewart

AFFILIATE MEMBERS

Hyacinthe Miller

We welcome your input! Send questions/comments/article ideas to: wcdrwordweaver@wcdr.org

No one should act upon advice given without considering the facts of specific situations and/or consulting appropriate pro-fessional advisors. Please note: Submission does not guarantee publication. We reserve the right to edit submissions at our discretion.

Chris IliadisLori LittletonSusanne RobsonKali Schmidt

Bookapalooza 2016!

Mass Book Launch and SaleSaturday, November 19th,

1604 Champlain Ave, Whitby10am - 3pm

An event for writers, readers, and holiday shoppers.

www.Bookapalooza.ca