Tag Archives: annabelle carr

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This is why you registered for Crossroads

You come for the classes and the comraderie. If you’re a returning Crossroader, you already expect to have a good time, learn a bunch and leave inspired to write more. Well, here’s a run-down with (almost all) our workshops coming up this weekend.

We dare you not to be excited!

 

 

List of 2013 Crossroads Workshops

 

delilah_slider25 Steps to Being A Traditionally Published Author, Even Lazier Edition

Delilah Dawson

Instead of reading my 7,000-word guide to getting a traditional publishing deal, come listen to me talk about it–and answer the questions you’re afraid to ask. From finishing your first draft to getting an agent to what happens after your book is on the shelf, it’s possible to sell a book without having an MFA, a friend in publishing, or a reality TV show. Hint: it involves a lot of hard work.

 

IMG_1454Anatomy of a Book

Emilie P. Bush

Whether you plan to self publish or enter a deal with a commercial publisher, knowing your gutter from your half title page is important. Topics include publishing terms, an up-close and personal look at what a book interior SHOULD look like and the basic “rules” of layout.

 

Digital Storytelling

Tim Regan-Porter

Should you write differently for digital media? If so, how? What tools are best for telling a compelling story? This panel will address a variety of issues in writing for the web, tablets, and mobile.

 

Fiction Writing Tips

Cate Noble

Deconstructing story: the elements of compelling fiction, with tips for nurturing your writer’s soul.

 

Freelancing is Out; Entrepreurism is In

Kristin Luna

At one point in time (think: way back pre-2010), a writer could simply survive off of freelance assignments. But in 2013, the market has drastically changed and freelancers are forced to evolve with the times. Now, publications expect writers to be a one-stop shop: from the crafting of a story to the photography and right down to publicity and social media promotion. In order to rise to the top of a diluted market, there’s one thing you have to be: an entrepreneur.

 

CarrieHowlandGetting Past The Gatekeeper: How to get your work noticed by an agent

Carrie Howland

Getting an agent is a tricky business, and can seem overwhelming. How do you write the perfect pitch? How do you find the right agent in the first place? How do you stay out of the dreaded slush pile?! Agent Carrie Howland of Donadio & Olson, Inc. will answer these questions and more to help you on your way to finding, and building a lasting relationship with, an agent.

 

How to Build Your Story

Margaret South

Learn the secret of telling a great story. Master your use of turning points to heighten meaning. Give yourself the opportunity to get the story right the first time.

 

If Writing Is Easy, You Ain’t Doing It Right

Joe Kovac Jr.

Tons of pointers, tips, advice and other random nonsense you may or may not need to survive the writing process. (Lesson One: It is anything but a process.) But if you sign up for this session, we’ll discuss the oft-maddening act of turning out page-turning stories, and how to know if you’re pushing yourself enough to do it.

 

Shawn DurhamI Wrote an Awesome Book … and You Can Too

J. Shawn Durham

So you’ve finally written that awesome, super duper, kickass best selling tome, eh? But now that you’ve penned that awesomeness, how are you gonna let the world know about it? Welcome to 21st century authorship, where it’s not just enough to be Next Faulkner, Ellison or Morrisson. You also have to get your I-net game up. You ready?

 

Making History Live (in Fiction)

Anthony Grooms

You’ve researched the historical facts, but how do you blend them into lively fictional scenes? The speaker will discuss strategies for scene writing for historical fiction.

 

Making The Most Out of Murder and Mayhem

Barry Reese

The heyday of the bloody pulps might have been the Thirties and Forties but the movement has gained new legs in recent years with the rise of New Pulp. What is it and why might it be the salvation for small press writers? Award-winning New Pulp author Barry Reese will take you through the ins and outs of the New Pulp world, including where and how you can become a part of it.

 

Never Say No: Building A Portfolio In The Gig Economy

John Rhett Thomas

With expertise in website development, social media, publishing, and project management in the comics industry – both as a writer and an editor – John Rhett Thomas will field questions on a variety of discussion points, including how to get and keep a freelance writing job, operating within the “gig” economy, and working for – and as – an editor. He will also highlight the importance of “never saying no” (with a few caveats) when you start your freelance writing career. And, oh yeah, comic books.

 

Novel Writing 101

Sarah Domet

Have a great idea for a novel, but you can’t seem to get started? Or, have you found yourself halfway through your novel, but stuck and stumped? In this session we’ll explore novel writing basics, from character development to story arc. We’ll take a look at what drives a novel, and we’ll examine techniques and exercises to keep you focused, creative, and working toward the completion of your first draft.

 

Kat+ZhangPlanning the YA Trilogy

Kat Zhang

The three-book structure is getting endemic. But looking at all the cases of “second-book syndrome” and complaints about overstretched plots, do all stories fit neatly in 3 books? And how does one go about selling a trilogy anyway?

 

Poems from Oblique Lexicon

Judson Mitcham

My ongoing project is a collection of poems called Oblique Lexicon. Emily Dickinson said, “Tell all the truth but tell it slant,” and that is the guiding principle of these poems. My session will involve a reading from the collection.

 

David Iserson 210Putting Words in Other People’s Mouths

David Iserson

I wrote a funny young adult novel and my day job is writing for film and television. I’ll discuss how to get started in those various kinds of writing, balancing different projects at once, and if I can get it on the plane, I’ll try to bring candy.

 

Story Telling in a Digital Age

Erick Erickson

The attention span of the average person has shortened considerably in the digital age. Instant on, instant off, and instant change affect the experience of connecting through words. This session will focus on capturing and keeping attention in a digital age.

 

The Author/Editor Collaboration

Marc Jolley

Mercer University Press Editor Marc Jolley will discuss the role of an editor and the ways authors and editors collaborate to make a better book

 

The Not-so Gentler Sex: How to Write Women. And Sex.

Delilah Dawson

Whether you’re trying to help your female lead leap off the page or make sure your hero’s love interest isn’t just a cardboard cut-out, there’s an art to writing women. Which leads us right into romance, sizzling chemistry, and the bedroom. Things might get bawdy, but they’ll stay honest, and this once prudish Southern girl is more than happy to answer all your questions about the inside and outside workings of women in fiction.

 

The Seven Questions That Will Revolutionize Your Writing

Lauretta Hannon

Go straight to the heart of the matter as we explore the most critical lessons and solutions for your project. Expect to be energized and inspired by this lively, thought-provoking session.

 

Submit To Your Editrix: The Pleasure of Dominating Text

Annabelle Carr

The relationship between a writer and her editor can be intense to say the least—yet it can yield transcendent results. As both a consumer nonfiction editor and a literary fiction writer, I’ve put considerable thought into that delicate balance between dominance and submission. In this session, we’ll explore the twisted psyche of the magazine editrix and learn from some of literature’s greatest copyslingers. Think of it as text therapy for your freelance career.

 

BerniceMcFaddenTrusting the Voice: The Art of Listening, Writing and Living

Bernice L. McFadden

It’s easier to trust the creative process when you also trust that a greater force is guiding that process. Bernice L. McFadden discusses her personal journey from aspiring writer to published author by moving beyond fear by believing that a greater force was guiding her creative process.

 

Writer VS. Studio

Adam Torchia

The process of screenplay development in the contemporary movie studio. This will include both the studio and writer’s perspective, the art of navigating the fine line between art and business.

 

Andrew-Hartley-02_-300x214Writing in Multiple Genres

A.J. Hartley

Most successful writers work in only genre, and trying to do otherwise can be dangerous for both your craft and your career. But only writing one kind of book has perils of its own–not least of which is boredom for the author and his or her readers. This session will explore the issues and possible solutions for writers trying to navigate writing and publishing in more than one category.

 

Writing Poems That Get Published

Kelly Whiddon

Want to write poems for a bigger audience than your mom and your cat? This session will tell you how to construct poems that sing off the page and have editors take notice.

 

IMG_1435Writing Stories That Will Sell

Nathan Edmondson

Want to write like it’s your job? Or have a job writing? All you need to do is throw some sex and gunplay into the plot, maybe blow a car or two up, and you’re halfway there. Or is there more to it?

 

 

 

Annabelle Carr is the editor of Savannah Magazine.

Interview with editor Annabelle Carr

Editor Annabelle Carr will be at the first ever Freelancers Summit, October 5 in Macon

What do you enjoy most about writing?

I love the moment when I finally know what I’m writing about—the heart of the story—and I get this huge surge of energy. It’s almost worth the sensory depravation required to sit down and write in the first place. The sooner I “see” the story, the better. Sometimes I have to write the whole story or article first and I finally“get it” on the last line. Then I know I’m in for a big edit. So I’ve developed tools for “getting it” sooner, because magazine deadlines are unforgiving.

In order to edit, the same thing has to happen. You have to see the heart of the piece. It’s like striking a vein of gold. Once you find it, you can follow it and do good, honest work.

What do you look for most when hiring staff writers and freelancers?

I look for people who can put me, the reader, right into the story. It’s all about engaging the senses and bringing the page to life. Once I find someone who can do that, I look for structure and organization. I need someone who can build a story arc quickly and find the meaning in things that other people can’t see. But what really makes a writer is his or her ear. Good prose sings. It has pitch, timbre and rhythm.

TO LEARN MORE FROM ANNABELLE CARR REGISTER FOR THE FREELANCERS SUMMIT

What’s the best way to pitch a story, and what’s the most common mistake freelancers make?

Don’t pitch a story. Pitch four. Dedicate a couple of lines to each idea, and write them in the voice of the magazine. Trying to sell a story is like playing roulette. What are the odds your single pitch is going to hit me on a day when I need exactly that story? It’s much more effective to introduce yourself to the editor as someone with many great story ideas, someone reliable who gets the voice and intent of the magazine. Remember: an editor is always looking for people with solutions to her problems. I have a lot more to say about this at Crossroads!

In addition to your magazine work, what other sorts of writing do you do?

I write very short fiction. I’m working on making my pieces longer, but too many years of editing have made me terrified of the extraneous. I’m fascinated by characters who appear to be broken or trapped but attempt to escape using whatever they find lying around. I guess you could call it emotional “MacGyver-ing.” I think it’s interesting that a move from despair to anger is a move in the right direction, because it’s a step closer to empowerment. I’m also working on a novel that plays with the same themes.

What’s the best piece of advice someone has given you about writing?

At graduation for my MFA, novelist A.J. Verdelle was generous enough to take me aside and tell me, “Even if you think you don’t have time or energy to write every day, read every day. You can stay part of the writing world by reading. That way, you’ll find that you have to write, so you’ll make time.” As a single, working parent, I don’t know what I’d have done without that advice. Even though I write and edit consumer nonfiction all day, I have to make time to read (and hopefully write) literary fiction at night.