The Writer - September 2020

e F ast e st
rsTh
o k Pr int e
B o ! e W o rl d
In t h
o re a n d get
!
r m
E
0 o
E
Order 1 0
5 B o ok s FR
2
Plus ...
Free by phone or email!
Call or email. We’ll answer all of your

questions, help you through every step, and even
work with you to save you money.
We answer our phones, and return emails
within minutes. (unbelievable, right?)
Get y
guide our FREE
book
today
.
It’s packed with great information,

paper and cover samples, and
ZOV^Z VɈ V\Y WYPU[PUN X\HSP[`
0[»Z HSZV H NVVK L_HTWSL VM V\Y
L_JS\ZP]L
Diamond 3D Covers
800-231-0521
:PTWS` JHSS LTHPS VY ]PZP[ V\Y
^LIZP[L[VNL[`V\YJVW`[VKH` info@48HrBooks.com
2249 14th St. SW • Akron, Ohio 44314
Contents September 2020
Volume 133 Number 9
FEATURES DEPARTMENTS
10 From the Front Lines
Stepping into
discomfort
Your thoughts matter
now, more than ever.
Here’s how to make
them known, and why.
BY YI SHUN LAI
12 Freelance Success
Fighting for freelancing
The battle against legis-
lation that would jeop-
ardize freelance writers’
careers is not over.
BY PETE CROATTO
36 Literary Spotlight
The Sunlight Press
BY MELISSA HART
38 Conference Insider
San Miguel Writers’
Conference & Literary
Festival
26 BY MELISSA HART
14 Opening a line of credit 26 Back to virtual school IN EVERY ISSUE

with your reader If you’re currently embracing the
2 From the Editor
The power of first lines in fiction. at-home digital revolution, here
BY JOSH SIPPIE are our favorite resources, tools, 4 Take Note
apps, and software to improve
20 Book PR in a social- your writing-from-home life. 40 Markets
distancing world 45 Classified advertising
Tips for marketing kidlit in the
34 Online learning
age of Zoom. resources 46 How I Write
BY RYAN G. VAN CLEAVE Since conferences aren’t back
on the table for most writers just
24 Stocking the shelves yet, here are some virtual learn-
Be honest: When was the last ing opportunities for craft-hungry
time you read a book on writing? scribes.
If the last one you bought was
On Writing by Stephen King, it’s
probably time to add some new
craft titles to your collection. Here
are a few recently (or recentish)
released books to bump to the
top of your TBR pile.
Cover: Helga Khorimarko/Shutterstock
writermag.com • The Writer | 1

FROM THE EDITOR
NICKI PORTER
Talking shop
Recently, I had the opportunity to host a writing Writers often need solitude to write (Lord
webinar as part of our “Summer School” virtual knows this writer does), but we can’t very well
learning series, an opportunity to offer craft advice learn from others when we’re holed up in our bun-
and support during a time when in-person writing kers. And connecting with other writers and pub-
conferences are out of reach. I’d spoken at plenty of lishing professionals is one of the very best ways to
live conferences, but this was my first online-only improve your craft and sense of the industry.
event as a presenter, not just a moderator. But how the heck do we do that in the middle
Turns out, it’s a little strange talking to a com- of a global pandemic?
puter screen instead of a room full of people. I Well, I have some ideas. And they may not be
clicked through slide by slide and idly hoped any- as easy or satisfying as meeting face-to-face, but
thing that came out of my mouth was resonating since precious few of us will be hopping on a
with listeners. As I paused for questions at the end, plane anytime soon, we’ll need to roll up our
my mouth painfully dry from being too afraid to sleeves and get creative – and get online.
pause for water (won’t they hear me gulp through 1. Virtual live events are happening all over the
the microphone?), I wondered how on Earth the literary community. Book readings, literary panels
session went and realized I had absolutely no idea. and discussions, virtual learning series like ours –
I couldn’t see anyone’s faces, hear anyone’s laughter, a few minutes on Google will reveal an abundance.
get any sort of sense of the energy in the virtual 2. Seek out fellow writers on social media. Use
room. All I could do was wait. Instagram and Twitter hashtags like #Writing-
Then the questions came pouring in. Almost Community, #5AMWritersClub, or #AmWriting
200 questions, in fact, all of them good and to gently and kindly join conversations. It’s fine to
insightful and engaging, and I realized very lurk for a while before you respond. But I think
quickly the 20 minutes I’d allotted for questions you’ll be surprised at how open strangers are to
wouldn’t be nearly enough time to address them sincere and friendly comments, especially in the
all. So I took a deep breath, gulped down some middle of a pandemic. (Remember: Seek com-
water, and dove in. munity, not self-promotion!)
I noticed something as I plowed through, 3. Join an existing writing community. Start
reading everyone’s questions and comments and lurking on message boards, Reddit, or Facebook
trying to answer them as fast as I could. My heart groups to see which one might be a good fit to
rate was higher, sure, but that’s because I was in dip your toes in. Lest you be skeptical, in January,
the hot seat, right? But my mouth also wasn’t dry I joined a Discord server on a whim, and its
anymore. My voice had shot up in pitch. I was members have become one of the largest pillars
talking a mile a minute. I was gesturing wildly of support, advice, and community in my life,
with my hands, though no one could see them. especially during a global pandemic. Online
But this wasn’t nerves. No, my nerves are more friends are real friends – don’t let anyone’s IRL
closely linked with nausea and a burning desire snobbery tell you differently.
to dive into an underground bunker and live We may not be getting together in person any-
there forever. This? This was excitement. I was time soon, but we can still support the hell out of
wildly excited to talk shop with fellow writers, each other online. So let’s start today by doing
and I could barely control it. just that.
Keep writing,
Nicki Porter
Senior Editor
@nickimporter
2 | The Writer • September 2020

This month on
Senior Editor
Nicki Porter
DIGITAL OPERATIONS writermag.com
Director of Digital
Contributing Editor
Leza Olmer
Melissa Hart
Audience Development Analyst
Copy Editor
Ryan Gillis
Toni Fitzgerald
Senior Digital Designer
Mike Decker
EDITORIAL BOARD
WordPress Developer
James Applewhite, Andre Becker, Eve David Glassman
Bunting, Roy Peter Clark, Lewis Burke
Frumkes, Gail Godwin, Eileen Goudge, SALES & MARKETING
Rachel Hadas, John Jakes, John Koethe,
Lois Lowry, Peter Meinke, Katherine Media Solutions Director
Paterson, Arthur Plotnik Alexandra Piccirilli
PHONE: 617-279-0213
EMAIL: apiccirilli@madavor.com
ART & PRODUCTION
Media Solutions Manager
Graphic Designer Shelley Cavoli
Jaron Cote PHONE: 617-706-9099
EMAIL: scavoli@madavor.com
OPERATIONS Client Services

clientservices@madavor.com
VP, Circulation Strategy
Social Media & Marketing Manager
Jason Pomerantz
Tim Doolan Summer school is still in session!
Operations Director
Cheyenne Corliss
Senior Marketing Associate Schools may be closed, but our virtual learning
Tommy Goodale
Senior Client Services & Operations Lead
Content Marketing Supervisor series is in full swing: We’re hosting a free writing
Andrea Palli
Anthony Buzzeo webinar each month all summer long! Space is
Operations & Human Resources
Coordinator
EXECUTIVE limited, so register today to secure your spot at
Toni Eunice
Client Services Associate Chairman & Chief Executive Officer writermag.com/webinars.
Darren Cormier Jeffrey C. Wolk
Accounting Director Chief Operating Officer
Amanda Joyce Courtney Whitaker Long days, short word counts
Accounts Payable Associate SVP, Sales & Strategic Partnerships Our most popular writing contest of the year is
Tina McDermott Stuart Crystal
Accounts Receivable Associate Content Director now live! Enter your best work in fiction OR non-
Wayne Tuggle Matt Martinelli fiction in 1,000 words or less to our Summer Flash
Contest. You could win $1,000 and be published in
our magazine, so don’t delay – submit your work
In memory of Susan Fitzgerald, COO, 1966-2018 today at writermag.com/contests.
Newsstand Distribution
Weekly Retail Service The Writer’s Critique Service
Want professional feedback on your writing? The
SUBSCRIPTIONS: 1 Year (12 Issues) US $32.95, Canada $42.95, Foreign $44.95
TO SUBSCRIBE: www.writermag.com/the-magazine/subscriptions Writer is here to help! Submit any fiction or non-
fiction manuscript of 4,000 words or less, and
CONTACT US: CUSTOMER SERVICE/SUBSCRIPTIONS:
The Writer US: 877-252-8139 CAN/INT: 903-636-1120
you’ll receive a detailed report on where your
Madavor Media, LLC
EDITORIAL EMAIL: work shines as well as where it could use a little
25 Braintree Hill Office Park, Suite 404
Braintree, MA 02184
tweditorial@madavor.com more polishing. Learn more at writermag.com/
Please include your name, mailing and TO SELL THE WRITER MAGAZINE
email addresses, and telephone number IN YOUR STORE:
critique-service.
with any correspondence. The Writer is Contact KPS
not responsible for returning unsolicited PHONE: 888-999-9839 FAX: 815-734-5240
manuscripts. EMAIL: RetailServices@kable.com
STAY IN TOUCH
The Writer (ISSN 0043-9517) is published monthly by Madavor Media, LLC, 25 Braintree Hill Office
Park, Suite 404 Braintree, MA 02184. Periodicals postage paid at Boston, MA and at additional mailing
Put our free e-mail newsletter to work: Check out our
offices. Postmaster: Please send changes of address to The Writer, P.O. Box 4300, Big Sandy, TX weekly newsletter, which offers highlights from our
75755-4300. Subscribers allow 4-6 weeks for change of address to become effective. Subscriptions
ordered are non-cancelable and nonrefundable unless otherwise promoted. Return postage must
website and the magazine and directs you to more
accompany all manuscripts, drawings and photographs submitted if they are to be returned, and no articles about craft from The Writer ’s vast archive. Find
responsibility can be assumed for unsolicited materials. All rights in letters sent to The Writer will be
treated as unconditionally assigned for publication and copyright purposes and as subject to unre-
the “Sign up for our free newsletter” link at the bottom
stricted right to edit and to comment editorially. Requests for permission to reprint should be sent to of our home page, enter your e-mail address, and
the Permissions and Reprints Department. The title The Writer is registered in the U.S. Patent and
Trademark Office. Contents copyright © 2020 by Madavor Media, LLC. All rights reserved. Nothing can
you’re in business.
be reprinted in whole or in part without permission from the publisher. Printed in the U.S.A.
twitter.com/ facebook.com/ instagram.com/

thewritermag TheWriterMagazine thewritermag

What a
BAD
REVIEW
can teach you
W
How the novel and the hen I tell people how many novels
I’ve published, I always leave out
review that ruined my one, my third novel out of 12, the
career for a year became ugly stepchild called Jealousies, a
disaster that ruined my career for a year and that
the novel and the review I’ve disowned all these years.
that actually saved it. Until now.
Before Jealousies, there was my first novel,
Meeting Rozzy Halfway, which, to my shock, was
By Caroline Leavitt a sensation. A short story I had written was lifted
from a slush pile to win a young writers contest,
and suddenly literary agents and publishers came
courting. I got a book deal for two novels! My
first novel, based on that short story, was
reviewed everywhere, on the radio and on TV,
and I was feted. I was in my 20s and so naïve that
I was sure that this would happen for me every
year, that none of it was a big deal. But then my
second novel, though it garnered some great
Mary Long/Shutterstock
reviews, didn’t sell as well, and the publisher – I

swear not because of me – went out of business,
and my then-agent got me signed with another
publisher that said it had plans for me.
“Not every novel that wants to be a tragedy
gets to be one. ” —Jane Smiley
Plans. Beware of plans. Who was I, a newish author

“We are going to make you a star,” my new edi-
tor told me. “But we need you to be more com- who needed something
mercial.” I wasn’t quite sure what she meant, but I
was hooked on those words: Star. Commercial.
good to happen, to go
“We want to hammer out an outline with you and against an established
switch things up,” she told me.
What writer wouldn’t love to hear that? Fame! publishing house of people
Glory! And a whole new publishing house behind who were all smiling at
you! We began to have meetings, lots of meetings,
some with my then-agent, too, all of us sitting me, helping me?
around a table, and I was so eager for any crumbs
of appreciation and hope that if they had told me
to write about a lumberjack who decides to
become a fly fisherman, I would have. “Tell us old flame, they lit up. “That’s it!” they said. I wasn’t so sure.
what interests you,” they said to me, so I told But who was I, a newish author who needed something good
them. Human relationships. Loss. The thorny to happen, to go against an established publishing house of
tangle of family. Lies. Drama. Around the table, people who were all smiling at me, helping me? “Go home
their faces looked impassively at me. “Hmmm,” and write the outline,” I was told. “Then writing it will be a
my editor said. She tapped her pen. snap! We can have this book out in a year for you!”
They told me to go home and think up ideas, I went home. I stared at the walls. I paced. I drank coffee
which isn’t the way I was used to writing. Usually and then wine. I made up three characters: a woman who
what happened was something would haunt me, was a primatologist for no other reason than I was reading
something I didn’t understand, a question I about ape intelligence, her boyfriend who was obsessed with
hoped to answer, and then I would sit at my com- his old girlfriend, Zooey, and Zooey, who really didn’t have
puter. My first novel was about my older sister a character but was there just to add conflict. Except there
and how she had changed and pulled away from wasn’t any. It felt forced to me. I cried and called the editor
me, which had left me heartbroken. It was about and told her, and she said. “No, no, you’re just not used to
how and why my mother still pined for the man writing commercially. This is going to be great!”
who had jilted her years ago. I had written that I called it Jealousies, and the only thing I liked about the
novel to try to figure out why my sister didn’t love title was the s on the end. It took me a month to write an
me anymore, why my mom couldn’t move on. As outline. Every time someone asked me what Jealousies was
a writer, I wrote down the things that I obsessed about, I felt myself freeze, my words knotting in my throat.
over, like what if someone you love dies sud- “It’s about jealousy,” I said, and then whoever I was talking
denly? What if you always feel like an outsider, to would still look blank, or else they would say, “And?”
and you move to this community, but they don’t “It’s about a threesome,” I said, and I instantly felt
want you there either? But when I presented ashamed because the truth was it wasn’t about that. I didn’t
those ideas, my then-editor cleared her throat. really know what it was about at all. I just keep writing inci-
“Maybe you can write about love,” she said. “But dents. Here is where the two lovers meet. Here is where the
remember, switch it up.” old girlfriend shows up. And, oh, wait, here is where Emma,
OK, I could do that, I thought. So I threw out the chimp, shows up. “What if you make the chimp more
new ideas that no one liked, and when I blurted sentient?” my editor asked me. So I did, making Emma so
out an idea about a love triangle between three depressed she is found dead outside a window, but did she
people, a woman in love with a man who loves his jump? I felt ill when I wrote it, but when I showed the editor
the pages, she nodded her head. “Oh, this is good,” she said.
“Very good.”
Six months later, I turned the book in. I felt none of the
usual excitement, none of the hope or anxiety. Instead, I just
felt exhausted. I told myself that the reason why I didn’t feel
the way I did when I turned in my first two books was
because this was new to me, writing something commercial.
That everything would fall into place.
And then it didn’t. I had been writing to
Jealousies received only one review, shortly before actual
publication, from Kirkus, and it was so horrific, I still have it the market, to be what
memorized. Listen to my reprise of the Kirkus: More psycho-
pathology masquerading as fiction from the previously white-
an editor had wanted,
hot Leavitt who has no one but herself to blame for this to twist myself into
unholy mess that is filled with yards and yards of talk and a
tiresome chimp named Emma. something I was clearly
I stared at it, stunned and ashamed. My then-boyfriend not and didn’t want to be.
let me cry in his arms. My friends were polite and comfort-
ing, but no one actually said, “Well, I thought it was a good
read.” I was so ashamed, I didn’t come out of my apartment
for a month. I didn’t go to work, explaining I had virulent those five pages to the agent as well, thinking I
bronchitis. I couldn’t write. I cried to my then-agent, who could show her I was versatile.
told me, “You’re lucky just to be published. Next time might A week later, the agent called. “So I read the
be better.” I never once thought to ask, was it because I tried whole novel, and I’m happy to send it out if you
to be commercial? Or was the book really that bad? want, but honestly – it’s those five pages I want to
When my copies of the novel came, I threw them all out do. I could have read all night. I wanted more,”
onto the street except for one, which I kept hidden in the she said.
back of my closet. I never talked about that novel again. I was stunned.
It took me a year to start writing again. I made a new I wrote that novel obsessed, and it became
plan that involved getting a new agent, but to get her, I’d Coming Back to Me, and it was praised by Kirkus
have to show her something. I began writing a novel, about in a way that seemed as if they had forgotten how
a family and about love, the ideas about being commercial much they had hated me before. But I hadn’t for-
still floating in my head. I was terrified that it would garner gotten, and I considered their praise a fluke, and
another horrific Kirkus, that it would die like my previous when other publications began raving, my joy
book, but I kept on. was always still tempered by that bad Kirkus, a
When I was finished, as I was packaging it up, an image ghost haunting me. Still, that book did so well, I
hurtled into my brain: a man in an empty diner late at night, got another contract, and then another. I began to
feeding a bottle to a baby. I had no idea what it meant, what it have to have a career again. I got a wonderful new
was, except that I had to write it, so I sat at the computer, and publisher, and I became a NYT bestseller. Book
five pages came out in a fever. The man’s wife was mysteri- 12 came out this month, along with an anniver-
Mary Long/Shutterstock
ously ill. He had lost his job because he was taking care of this sary reissue of book No. 9, and I signed a contract
baby. His whole life was on hold, and he didn’t know what to for Book 13.
do except to tend this tiny baby. That was all I knew, but I Jealousies, I thought, had receded into the
couldn’t stop thinking about that story. So I packaged up past. Kirkus, I decided, had been just plain
“Fiction is such a world of freedom, it’s wonderful. If you want
someone to fly, they can fly.” —Alice Walker
wrong, and too bad for them, and too bad for me
for having believed them. Shored up with this
newfound confidence, I got out that review again
(yes, I had saved it), and reading it brought back
that intense flare of hurt, that shame. Stop this, I
told myself. Stop. After all, hadn’t I proved Kirkus
incorrect? But I read the review again and then
actually started to reread the book, and to my
surprise, I felt something different and astonish-
ing. Kirkus was right. The difference was that
now I knew why. Have a burning
The ape was indeed tiresome because that sim-
ian was tiresome to me to write. The characters question about
were indeed all talk and no action because I
didn’t love them, I hadn’t known what to do with
writing?
them, so I was forcing them through their paces. Send it to The Writer!
The writing did feel like a masquerade instead of We’re launching a brand-
the breathing aliveness of real fiction because I
hadn’t really been writing it from my gut. I had new advice column in our
been writing to the market, to be what an editor next issue!
had wanted, to twist myself into something I was
clearly not and didn’t want to be. Have a query about craft? Need
Rereading that review absolutely freed me. That some clarification on an aspect
Kirkus suddenly, instead of being a stain on my of the publishing industry?
career, a splinter of a terrible time in my life that Looking for career advice?
kept working itself to the surface but never got
free, was now a gift, bringing me clarity about what
Send us all of your unanswered
it meant for me to be a writer. Reminding me. questions for your chance to be
I teach writing now, online at Stanford and featured. We’ll publish all que-
UCLA, and I work with writers on their manu- ries anonymously, so you can
scripts, and I always ask them what’s haunting write to us without worry, and
them into writing their stories, what question
they want to ask for themselves. When they tell
any topic is fair game as long as
me they’ve studied the market, that they want to it pertains somehow to the
be commercial, I tell them not to. Instead, I tell world of writing.
them not to listen to all the noise out there, or at Email your queries to
the very least not to misinterpret it. Instead, I tweditorial@madavor.com
urge them to go deep and listen to themselves
because if they are being true to themselves, that
with the subject line “Advice
will make their art true. Column.” We can’t wait to read
GoodStudio/Shutterstock
Believe me, I tell them. I know. your questions!

—Caroline Leavitt’s 12th novel, With or Without You, will be
published August 4, along with a 10th anniversary edition of
her ninth novel, Pictures of You.

OFFICE
1. CAT MEMOS
Sure, you could litter that research
book you’re reading with square
sticky notes. But aren’t these three
GLOW-UP
1
feline sticky shapes way more fun?
$3.90, muji.us
2. VINTAGE AMERICAN
NOTEBOOK
Face it: You’ve spent enough These retro notepads are the perfect
time at your makeshift work- size to take notes on calls, host the
from-home desk. Or dining day’s to-do list, or tally up word
room table. Or couch. Your counts.
$7, radandhungry.com
writing – and your back –
2
deserve more. Spruce up your 3. ILLUSTRATED PEN HOLDER
WFH workspace this fall with “Prose over bros,” proclaims this
office supplies that are as tattoo-inspired pouch. Hear, hear.
$12, modcloth.com
aesthetically pleasing as they
are practical. 4. GILDED MECHANICAL
PENCILS
Pens have gotten the bougie
4
treatment for years. Why not pencils?
3
Brainstorm in style with these golden
mechanical pencils with a sleek
hidden eraser tucked underneath
their shiny caps.
$13 for a set of two; poppin.com
5. KRAFT DESK ORGANIZER

This drawer-tray combo, made from
recycled Forest Stewardship Council
5 (FSC)-approved materials, will please
both minimalist and eco-conscious
authors alike – and it’s budget-friendly
to boot.
$15.95, paperchase.com
6. MONITOR BOOSTER
Is the top of your monitor roughly 1
or 2 inches above eye level? If not,
it could be causing you to slouch or
angle your head downward instead
of staring straight ahead. Give your
screen a much-needed boost with
6 this chic monitor stand, which boasts
room for storage underneath and two
side pockets for phones, calculators,
or other small office supplies you
need to keep within reach.
$20, seejanework.com
FROM THE FRONT LINES
BY YI SHUN LAI
Stepping into discomfort

Your thoughts matter now, more than ever.
Here’s how to make them known, and why.
N
ot far from where I live voices we see and read in the world of I think some of you probably feel
now is a school with an commentary, “The story we tell the same. Or, worse, you might feel
MFA program that had, at becomes the world we live in.” like you don’t have anything to say that
one point, a marked focus And yet – the theater of the world is would be of interest in a wider world
on social justice. When I first saw it, I political. Everything from the way that is concerned with things you don’t
scoffed. “Ugh,” I said. “As if! You write nations are responding to COVID-19 see as being connected to your per-
because you’re driven to write, not to the murder of yet another Black personal craft.
because you have an axe to grind!” At son is political. For writers who are For now, I want to ask you to enter-
the time, the friends I said this to nod- affected by these things – hello, every- tain the idea of stepping into this
ded, or said “Riiight,” and I went on body – suddenly, the lens of politics potential discomfort. I don’t just mean
blithely, never once guessing that if you’re a writer of color or otherwise
maybe they were indulging my state- marginalized; I mean whoever you are.
ment, or maybe just indulging me. Now, more than Why? Because if you are getting this
I really did believe that we are magazine, you are looking for a way to
driven to write; that whether or not ever, the beliefs make your voice heard from the pulpit
you feel the need to address social jus- and convictions of of the page, and writers can forget that
tice came second. Sometimes, I still a group of people there are avenues out there beyond lit-
feel like this. Recently, I have penned erary magazines and the eventual
everything from essays on mailboxes
who have long books you will write. There are news-
to essays about my dad reading me a gone unheard are papers. And magazines. And all of
poem in my native language, and none needed. them are looking for fresh voices, for
of these was written with an eye on fresh opinions. Newspapers, in partic-
social justice. ular, want to hear from their public, on
It would not be inaccurate to phrase gets slapped on to what we do, no mat- their op-ed page.
what I believed another way: “Politics ter how badly we want to pretend it You know that page. It’s the one with
has no place in my art.” doesn’t exist; no matter how badly we headlines that may seem very weighty
But I’ve realized something very want to retreat into what we want to and whose bylines all seem to be people
important in the past decade or so see as our safe cocoon of wordplay. who are experts in one thing or another.
since I first claimed that social justice This month, I want to encourage But I have a secret for you: Most of
should come second to craft, and it is you to step out of your comfy writing these op-eds are, ultimately, written by
this: If you have a tool, you could use it corner and reach out. This is a difficult people who have either a lived experi-
to help build the world you want to task: Writing is a cozy activity, and I ence with something, work in the fields
see. If you have another vision that rarely want to use it to address things they’re writing about, or are just inter-
others don’t have access to, you could that feel uncomfortable. Some of this is ested enough to do the research. And
use this tool to help others to see that because the stakes feel really high – if I the breadth of topics covered is wide.
vision. And finally, the world we live in am going to put my beliefs out there in From the past week’s op-ed headlines
– both the intellectual world and our the world, be risky about coming for- alone: “Farmers of Instagram,” “Shelter-
physical world – only exists because of ward, I would prefer to do it at my ing Mom, for her safety and mine,”
the people we hear from. website or at my Medium account, “Preaching to pain.” My first-ever op-ed
In other words, to quote the found- where there is a smaller chance it will in a national newspaper covered base-
ers of the OpEd Project, an educational get discovered and therefore piled on ball peanuts. And a second I submitted
program that aims to diversify the by people who might disagree. was about the Taiwanese-American
diaspora – but it pivoted around my matter what stage of writing you feel matters to you – and that therefore
relationship with my parents. you have reached; no matter the size should also matter to others.
What I want to encourage you to do of your readership – to put words
this month is this: Recall something down on paper is to speak to an audi- Yi Shun Lai teaches in the MFA programs at
that’s sparked your passion, something ence of people who have long read Bay Path and Southern New Hampshire Univer-
that has interested you or that won’t majority-white writers; heard major- sities. Her book Pin Ups is forthcoming from
stop burning a hole in your creative ity-white voices; seen majority-white Homebound Press in September. Visit her at
pocket. I don’t care what it is, as long stories and lives played out on televi- thegooddirt.org.
as it matters to you. Then I’d like you sion and in movie theaters. Our very
to write an op-ed, and I’d like for you laws and society are built by people
to send it some place, so that some who are majority white. Some of you
other people might hear your voice. may say, “Well, that makes sense – if
By now, you are goggling at the page. a nation is majority white, why
You are thinking I am batty, because wouldn’t the stories that are told
some of you have never penned an reflect that viewpoint?”
op-ed before and don’t believe you I would answer you this way: The
would know how to. I am betting you subject at question here is not one of
have already done something very simi- quantity – it is a question of whether or
lar, though. Think of the last time you not these same people in power also
had a conversation about something believe in superiority of one color over
close to your heart. First, you made an another. For a long time, the people in
argument. Then, you lined up some evi- power believed that white was better.
dence to back up that argument, maybe In some circles, they still do. And so
two or three pieces. And then you went, white people’s books got published
and you made a nice little closing that over Black or brown people’s books.
hopefully made room for people to White people’s movies got made over
walk away from the argument feeling brown or Black people’s movies. And
curious. That is pretty much an op-ed, so I would add that it is time for white
right there. Now, you just need to com- writers to listen to, and read, Black and
mit it to the page. brown voices. We are writers. We know
Don’t know where to start? Well, that reading is by far one of the most THE
you probably started the conversation pleasurable ways to get to know people
about the thing you really cared about we are unfamiliar with. Let’s take this GOTHAM
because you had an experience or you
had some knowledge that you wanted
time to do that now. WRITERS
Now, more than ever, the beliefs
to pass on to someone else, right? and convictions of a group of people CONFERENCE
There. That’s what’s called a lede. It’s who have long gone unheard are
the beginning of every single op-ed. It needed. A national dialogue is of
is the thing that makes people sit up utmost importance, especially if that
and take notice. dialogue takes place in your communi-
I’m asking you to do this, to enter- ty’s newspaper.
tain the idea, because a diversity of
•••
voices is important. Because most of
you probably also have another job The more people we have speaking
October
that you are good at or have a lot of out with a diversity of voices and
lived experience behind you or have a experience, the better. The more op-
wide and generous curiosity behind
your desire to write in the first place.
Or probably all three of these things.
eds we can give editors to choose
from, the better. Don’t let your writ-
ing live only in journals and drafts.
2020
There is another aspect to this: If Let your lived experience and your
you are writing here in America, no GOTHAMWRITERS. COM
interests be seen as something that
FREELANCE SUCCESS
BY PETE CROATTO
Fighting for freelancing

The battle against legislation that would jeopardize freelance
writers’ careers is not over.
F
or freelance writers hoping dreadful. Under this “gig economy” 3. The worker is customarily
the gig economy laws have bill, sponsored by Assemblywoman engaged in an independently
gone away as the nation tries Lorena Gonzalez, people who made a established trade, occupation, or
to regain its financial footing, living as full-time freelancers had their business of the same nature as the
it’s time to get re-educated and spring careers threatened. Under AB5, an work performed.
into action. independent contractor retained their
AB5, the California law that went status if they passed all parts of the Number two should rattle every free-
into effect this year, requires compa- “ABC Test,” which Jean Murray lance writer to their core. If you write
nies to handle independent contractors detailed in an article for The Balance: for a magazine, newspaper, or website,
as employees – with all of the red tape your client could get fined or penalized
Rouse and Fable/Shutterstock, r.classen/Shutterstock
and paperwork and benefits that go 1. The worker is free from the con- if they don’t treat you as an employee.
with it. The law was meant to protect trol and direction of the hiring As Debbie Abrams Kaplan with
drivers at rideshare companies such as entity in connection with the per- Fight for Freelancers – an organiza-
Uber and Lyft, which is great. What’s formance of the work, both under tion fighting similar legislation in sev-
not-so-great: Scores of freelance pro- the contract for the performance eral states – told me, most employers
fessionals – writers, actors, graphic of the work and in fact. don’t want one person going through
designers, musicians, and photogra- 2. The worker performs work that is an HR gauntlet if they won’t clock 40
phers – got grouped into this bill. outside the usual course of the hir- hours a week. Consequently, some
The initial consequences were ing entity’s business. contractors, says Kim Kavin, also of
Fight for Freelancers, are “putting a laid out his nuance-free objections to take better care of my daughter; I make
blanket statement out there like the limits of the independent contrac- a good living doing work I love; my
they’re just not going to work with tor. Because of “a simple classification schedule allows my wife to work a job
people from California,” period, even change,” they get none of “the benefits she loves. My objections to the bill
though two bills were introduced by and protections” that a traditional seemed to genuinely surprise him.
Gonzalez to improve AB5, one of employee receives. And these two peo- The move to independent con-
which, AB2257, spares freelance writ- ple do the exact same job! tracting, Kavin says, predates the gig
ers. New Jersey lawmakers tried to “Furthermore,” he added, “the com- economy. It has become essential as
pass a similar bill in late 2019 before pany that intentionally misclassifies layoffs and furloughs in media accu-
freelance writers helped derail the these workers as independent contrac- mulate post-pandemic, and some
rushed legislation; New York was con- tors no longer has to pay any of the freelancers have found stability.
sidering legislation before the corona- cost of these pro-worker programs, Kaplan is on pace for a record year;
virus pandemic paused Governor turning those labor costs into more Kavin anticipates making six figures.
Andrew Cuomo’s vow to examine the profit at the expense of its workers.” Jen Singer, another Jersey-based
bill’s impact. Massachusetts, Illinois, That said, there is hope. “We found member of Fight for Freelancers, con-
and Washington also introduced simi- that a lot of the problem is education,” tracted COVID-19 and accommo-
lar legislation. If Joe Biden gets elected Kaplan says. dated clients around her hospital stay.
in November, Kavin believes such leg- Your story as a freelancer can be (When she battled cancer, she wrote a
islation will go national. pitched to any number of local, state, book on the oncology floor.) Since the
“What’s starting to happen now is and regional outlets. That narrative – pandemic forced me to spend half of
these legislatures have gone remote, you’re not an exploited worker but my days attending tea parties and
and the big labor movement, the AFL- someone who has found empower- making PB&Js, I have invoiced more
CIO, have decided, ‘Well, let’s do it ment and stability in freelancing, than $10,000 in three months while
now. Let’s get back to the plan,’” Kavin which gives companies the ability to be landing pieces at four new outlets. I
says. The AFL-CIO reps Fight for Free- more productive and economical – can doubt I could make that money if I
lance has dealt with have been dismis- be repackaged to convince skeptical worked full time at any of the news
sive, says Kaplan. “They don’t legislators. Last November, I spoke to a organizations in Ithaca, New York.
understand how we work, and they staffer for New York State Senator One of our great skill as freelance
don’t care,” she explains. Robert Jackson, who sponsored one of writers is our ability convince strangers
In a January editorial for the Asbury the gig economy bills. He was receptive of the power of our idea. That skill has
Park Press, Charles Wowkanech, presi- when I broached my concerns in to be funneled toward an assignment
dent of the New Jersey state AFL-CIO, human terms: I can stay at home to nobody wanted. But it’s one we have to
complete.
And we can.
“This is an independent contractor
issue,” Kavin says. “There are tens of
millions of us in this country, but the
writers are in the position to make the
noise – and the noise is what gets
their attention.”
Visit fightforfreelancers.com or
fightforfreelancersusa.com to learn
more about this battle and information
you can use.
Ithaca-based Pete Croatto is a veteran free-

lance writer who has written for The New York
Times, The Christian Science Monitor, Publishers
vkilikov/Shutterstock
Weekly, Columbia Journalism Review, and many

other publications. He is also working on his
first book. Twitter: @PeteCroatto

OPENING A
LINE OF CREDIT
WITH YOUR READER
Illustrations by GoodStudio/Shutterstock, books by New Africa/Shutterstock
THE POWER
OF FIRST LINES
IN FICTION.
BY JOSH SIPPIE
IT
goes without saying that the
first line of your book is your
reader’s first impression of that
book. Nobody opens up a
book to the middle and starts
at chapter 19. That wouldn’t serve any practical
purpose. And even if they read the jacket copy or
the back cover, that’s not a part of the story. It’s
promotional copy.
The first line, though: That’s the first time the
reader dips their toe into the author’s world.
When the reader opens the book to that first
line, it’s as if they’re opening up a line of credit
with the author. But the tricky thing about that
credit is that it has no substance right from the
start. The reader could just give you one line and,
if they don’t like it, they can close the book and
move on to something else to read.
Hence why writing a first line is so important.
In a bookstore with thousands of books around
you, that first line – maybe the first two or three –
is often the only opportunity you have to hook
your reader. If they don’t like your beginning sen-
tence or paragraph, all they have to do is set your
book down and pick up another, opening up a
line of credit with that new author.
If, however, you get them with the first line,
they’ll read the second. And then the third. And
before they know it, they’ve arrived at the next flat. But in the first line? They don’t owe you a
chapter, and all the while, you are building that thing. So it better be good.
line of credit with the reader. Your margin of for- Stephen King likened first lines to an invita-
giveness grows the more they read and dive tion. It is up to that first line to convince the
deeper into your world. Once they sink their reader to hang around. Which means it is up to
teeth into the book and enjoy it enough that they you, the writer, to make that first line inviting
get through several chapters, the reader is willing enough for the reader to accept and stay around
to give you the benefit of the doubt if something for the second sentence. But how do you do that?
happens that they don’t particularly like, a section Here are six strategies commonly used by top
reads a bit awkwardly, or a piece of dialogue falls authors.
1
Making the reader curious Clearly this afternoon is different than other
One of the most surefire ways to get a afternoons, and that right there is enough curios-
reader to hang around is to get them to ity to drive the reader on to the next line.
ask meaningful questions after that first All three of these opening lines kick the cogs in
sentence. Questions that they immediately want the reader’s mind into motion. They start churn-
to know the answers to. That way, they have to ing up their own ideas, their own thoughts. They
keep reading in order to find the answers they’re start thinking ahead. In The Handmaid’s Tale, you
looking for. But since you only have a sentence or start thinking about the world around this gym-
two to prompt those questions, it may sound like nasium – what state it’s in and what that means for
a tall order. the characters inside the gymnasium. In The Night
Let’s look at some examples, starting with Circus, you start thinking about the aura of this
Margaret Atwood’s The Handmaid’s Tale: circus and the foreboding feel and what this circus
looks like. And, of course, in Red at the Bone, you
“We slept in what had once can’t help but wonder what this orchestra is, and
been the gymnasium.” why this afternoon, of all afternoons?
The fact that a reader picked up your book in
Right off the bat, the reader wants to know the first place means that they had some kind of
more. Why sleep in a former gymnasium? Was impulse to do so. Maybe they liked the title or the
there some sort of disaster? Was this a normal cover design or the jacket copy. But whatever the
thing for these characters or had something just case, they already opened the door and picked up
occurred to make them sleep there? your invitation, so all you have to do is give them
Or how about The Night Circus by Erin a reason to stay. It’s easier said than done, but get-
Morgenstern: ting them to ask questions, no matter what else
you hope to establish in those first few lines, is
“The circus arrives without warning.” the perfect way to get them to stay around.
2
She continues: “No announcements precede it, Introducing tension from the
no paper notices on downtown posts and bill- very beginning
boards, no mentions or advertisements in local As we go through more ways to keep
newspapers. It is simply there, when yesterday readers reading past the first few lines,
it was not.” keep in mind that these different approaches can
Why does it sound foreboding, more than and will be combined. Generally, each strategy is
exciting? What kind of circus is this? How does it going to, ideally, lead the reader to ask ques-
just appear? Where does it appear? Is this a magi- tions, to pique their curiosity and entice them to
cal circus? continue reading. But along with those ques-
Lastly, Red at the Bone by Jacqueline Woodson: tions come other elements, and one such ele-
ment is tension.
“But that afternoon there was Let’s look at a few examples. First up, Pachinko
an orchestra playing.” by Min Jin Lee:
This is such a subtle first line, but the intrica- “History has failed us, but no matter.”
cies are perfectly placed. Starting with the very
first word – “But.” Immediately, the reader’s That’s a pretty hefty first line. History has failed
intrigued: Who starts a book with the word us. So without even knowing who the character
“but?” Yet it introduces the curiosity of the line. or speaker is (assuming no prior knowledge of
But getting that conflict across in the first couple
lines is no easy task. It takes time to build a com-
plex conflict, but if you can introduce that conflict
sooner rather than later, well, all the better.
Take, for instance, the first line of Under-
ground Railroad by Colson Whitehead:
“The first time Caesar approached Cora

about running north, she said no.”
the book), we know that the entire weight of You can feel the conflict already. Not only the
human history has failed this speaker as well as inherent conflict of running north, along with the
others in the speaker’s world, and thus there is a namesake of the book, which brought about its
defiance that follows – but no matter. The fact own risks, but the conflict in the fact that Cora
that all of history has failed them does not trouble said no. However, Whitehead also includes the
the speaker. The juxtaposition of the massive fail- words “first,” meaning that it can be assumed that
ure combined with the speaker’s casual defiance Cora will say yes in a subsequent time.
4
creates natural tension for the reader.
Another example, from Such a Fun Age by Utilizing specificity
Kiley Reid: Specificity is such a great way to make
your opening invitation so much more,
“That night, when Mrs. Chamberlain well, inviting. It’s like sending an invita-
called, Emira could only piece together the tion that is so beautiful and eye-catching and
words ‘…take Briar somewhere…’ and pleasing that the recipient accepts without even
‘…pay you double.’” knowing what the event is for.
How about the first line of Paule Marshall’s
Without knowing the context of the situation, Brown Girl, Brownstones:
the tension is already baked in. What better way
to start than a choppy phone conversation where “In the somnolent July afternoon, the
the only things you hear are that Briar needs to unbroken line of brown stone houses
be taken somewhere – and that clearly it’s a spe- down the long Brooklyn street resembled
cial assignment because Emira is being offered an army massed at attention.”
double pay?
As we find out in the next few paragraphs, First of all – gorgeous. Second of all, who can’t
Emira is Briar’s babysitter, and Mrs. Chamberlain picture the exact scene she just painted? She
has called her at 10:51 at night to just get Briar could not have made it any clearer what we, the
out of the house. Cue even more tension. reader, are looking at. And if that first line is any
3
indication of what’s to come, you’d be right in
Identifying conflict assuming we’re all in for a treat.
Conflict is so often a driving factor in a The same goes with the 1929 classic Red Har-
story. Having a character at odds with vest by Dashiell Hammett:
another character, at odds with herself, at
odds with the world, with society, with a pet or a “I first heard Personville called Poisonville
politician or a vacuum cleaner – whatever the by a red-haired mucker named Hickey
source of opposition, it’s conflict that drives a story. Dewey in the Big Ship in Butte.”
It’s all about the details and the word choice. Here’s another, this one from The Martian by
If Hammett had begun with, “I first heard Per- Andy Weir:
sonville called Poisonville by a guy in a bar,” it
loses so much of its luster. It goes from so great “I’m pretty much fucked.”
to so what?
Oftentimes, that specificity pairs well with Alright then. Now that we know that, we can
conflict, tension, and questions, but even by itself, get into why he is what he is, and, for that matter,
the power of detail is remarkable. If you want to can he get unfucked? Because the fact that there’s
see how it can work altogether, however, look no a whole novel starting off with this one semi-bold
further than James McBride and his most recent pronouncement leads the reader to believe that
novel, Deacon King Kong: he will manage to unknot himself from this open-
ing status. But it’s hard to throw the protagonist
“Deacon Cuffy Lambkin of Five Ends into any bigger of a hole than by him starting out
Baptist Church became a walking dead like this.
6
man on a cloudy September
afternoon in 1969.” Presenting the ending as the beginning
This, like shock and awe, can be hit and
With just one line, McBride gives us so much, miss. It has to be done right because, by
and it starts with the specificity – telling us which beginning with a perceived ending, you
church Cuffy Lambkin is the deacon of, giving us are essentially giving away the final twist. The last
the weather report, the month, the year, the time of hurrah. You risk eliminating all tension by telling
day. And right there in the middle we have some of the reader how everything ended up. So it has to
the best and most concise tension and conflict you
can imagine – “became a walking dead man.”
5
Creating shock and awe
Shock and awe is a bold approach to an
opening, but if done correctly, it can rope
a reader quickly and easily. By starting the
reader with a guffaw, you can help them crave
more. A couple of excellent examples – first, The
Crow Road by Iain Banks:
“It was the day my

grandmother exploded.”
I’m sorry. Grandmother exploded today?

Questions, tension, conflict, it’s all there. What do
you mean, she exploded? Like dynamite or
inflated until she popped? Who is at fault for this?
Is anything being done about it?
It’s not every day that a grandmother explodes.
You’re giving your reader one of those rare days.
You can almost guarantee that curiosity will get
the best of most.
be done absolutely correctly, as in One Hundred
Years Of Solitude by Gabriel García Márquez:
“Many years later, as he faced the firing

squad, Colonel Aureliano Buendía was to
remember that distant afternoon when his
father took him to discover ice.”
Without knowing anything else about this

book, this opening line works wonders. Sure, the
end of Colonel Aureliano Buendía is forfeited in
the opening line, but what is gained is conflict,
tension, and more questions than you can keep
track of. For the conflict, well, if he ended up in
front of a firing squad, the conflict is guaranteed.
With tension: What happens with the firing
squad? Is there hope for the Colonel? Is he a bad
guy or just in the wrong place at the wrong time?
And for the questions, besides the ones that have
already come up, what was it about this after-
noon with his father? What does it mean to “dis-
cover ice?”
It’s a brilliant combination of so many success-
ful tactics, all rolled into one.
You don’t have that luxury with the first line.
The duty of a sentence Especially if it’s your debut novel or a reader’s first
No matter what approach you take, bear in mind impression of your work as a whole.
the saying that every sentence’s job is to get the But also remember that you’re not going to
reader to read the next sentence. If you come with please everyone. Some readers will delight in
that approach, you will always be evaluating each Weir’s bold choice to begin The Martian, but oth-
sentence on its merits to accomplish that end. ers will see it as cheesy or vulgar or hokey. Some
This comes into play both when you’re writing people will love the specificity of the red-haired
and when you’re editing. Every line should be an mucker in Red Harvest, and some people will say
invitation to read the next. What makes the first “so what?” to this level of specificity. You’re never
line so important is that you don’t have a line of going to please everyone. All you want is for
credit with the reader yet. those first few lines to allow for a substantial line
If they’ve made it halfway through the book, of credit being opened up by your reader. If you
maybe you don’t have to labor as much over each can do that, you’ve done all you can.
and every sentence. If a few don’t work, or a
whole paragraph is weaker than the rest, the Josh Sippie is the Director of Contests and Conferences at
reader probably isn’t going to drop the book Gotham Writers Workshop in New York City, where he also
right then and there. You’ve got a credit with teaches various blogging classes. His work has appeared in
them, they’ve made it this far, they’re generally the Guardian, McSweeney’s Internet Tendency, Hobart,
going to trust you and keep going – at least for a Cobalt Review, and more. Twitter @sippenator101, more at
while longer. joshsippie.com.

marigis/Shutterstock

BOOK PR
IN A
S O C I A L- D I S TA N C I N G
WORLD
Tips for marketing kidlit in the age of Zoom.
B Y R YA N G . VA N C L E AV E
M
arketing books is never easy. But Thankfully, Mike Onorato, vice president of
now that COVID-19 has changed publicity at Smith Publicity, advises doing exactly
the world in so many ways, the lit- that. “Be ready to be active. There’s still the need
erary landscape has altered accord- for books and authors, and you’ll need to be
ingly. Face-to-face book signings ready to work. Media is asking for quicker and
are out. So, too, are live readings and other in- tighter turnaround times on interviews and
person activities that authors depended on to byline article requests. We’ve seen some media
drum up interest in new titles. prefer email interviews that can quickly be turned
Given that, what’s a PR-seeking author to do? into quotes to run in a piece. You’ll need to be
I ran into this dilemma earlier this year. I had ready to go when asked.”
a picture book come out this summer from a As a magazine writer who regularly interviews
regional press, and the first PR-related thing I did people for my articles, if I can’t uncover how to
when COVID-19 hit? Confirm my website and reach you in, say, 45 seconds, I’ll move on versus
social media were current and had clear, easy-to- keep struggling. I assure you that one of your
use ways to contact me. peers has their vital information readily available
“SOCIAL MEDIA IS MORE IMPORTANT
THAN EVER AS A TOOL FOR CONNECTING
WITH POTENTIAL RE ADERS.”
and can offer me what I need to complete my piece. Don’t independently. The illustrator of each book has
think that just nonfiction writers get approached for quotes, been invited to participate in the launch of the
either. My 2011 novel-in-verse about a school shooting, book he illustrated.”
Unlocked, earned me multiple unsolicited interviews in the Why include the illustrator in a book launch?
first year alone. It’s polite, for one thing. A good illustrator is truly
But if you don’t want to wait for PR to come your way – a co-creator for a picture book. For another thing,
which it doesn’t always do – you can generate interest in that’s someone else who can carry the conversa-
yourself and your work via social media. Onorato says, “It’s tion in a meaningful way. Perhaps most impor-
the one connection we all have to the world now. Be active tant, though, is this – working in collaboration
on social media, and use it to share opinion pieces you’re means that a virtual launch’s audience is larger
featured in and otherwise connect with the world. You want than what Sanders could’ve gathered solo. Lever-
to strike that balance between offering commentary/opinion aging networks beyond your own is a great strat-
and encouraging others to buy or check out your book.” egy to get new eyes aimed your way.
Though he warns to “be aware of sounding too salesy.” Michelle Houts, the author of a dozen books
To see what Onorato means, I give you New York Times for young readers, is taking full advantage of
bestselling suspense and kidlit author Jonathan Maberry. Zoom sessions. She reports, “I recently had Zoom
Check him out yourself on Facebook, Twitter, or his “Three visits with students in Texas and California. Nor-
Guys with Beards” podcast. Why? He’s a master of keeping mally, I talk about how I write from a one-room
audiences engaged while still sharing the 411 on his schoolhouse in Ohio. Last week, I decided to put
(many!) new products. Additionally, he’s translated the my computer on the ground and go ring the
growing interest in his work into a well-attended series of school bell for my Zoom audience. How amazing
affordable Zoom webinars that he offers on topics such as is it that a bell rung in Ohio can be heard in Texas
“The Art of the Pitch,” “Writing Fight and Action Scenes,” and California!” The kids loved it, Houts says, and
and “Act Like a Writer.” why wouldn’t they? This is just one creative way
Florida-based picture book author Rob Sanders has a to leverage a virtual encounter with readers that
couple of suggestions for getting work “out there.” His you couldn’t replicate at any in-person event.
first? Make recordings of your books available. “When I Kidlit author Alethea Kontis – who goes by
receive requests for recorded book readings,” he says, “I Princess Alethea – has been doing live virtual
work with my publishers to seek permission. Then, using readings in makeup and costume every day for
pages of the books I’ve already poured into a PowerPoint weeks. She’s now shifted this to a twice-a-week
presentation, it’s easy to record myself reading on Zoom format with a special “Deprincessed” Q&A on
and share the screen to show the PowerPoint of the book Saturday. “It’s simulcast on Instagram and Face-
as I read. I then upload that recording to a personal You- book,” she says, “with a personal profile live pre-
Tube channel, so I have a link to share with the person show where I get to chat with my friends. I’ve
who had made the request.” seen an increase in sales (though not huge) as a
(For those who worry that Sanders might be giving too result, and I’ve made some amazing new friends
much away, he only makes the link available to the person (which is the better part). As a result, I’ve now
making the original request.) been asked to teach a couple of creative writing
About his second tip, Sanders explains, “I have two books classes to teens, which I’m very excited about.”
releasing this summer, and I’m working with my local indie The school district of San Angelo, Texas,
bookstore and The Writing Barn out of Austin, Texas, to recently invited picture book author Carol Gor-
produce virtual book launches. One launch is being spon- don Ekster to be part of a Zoom author flash to
sored by one of my publishers, and the other I’m doing share with students and teachers the love of
a time – with personal responses to teachers and parents
who mention my books. I’m also trying to be helpful by
amplifying independent bookstores whenever I can on
social media. It’s a win-win because when I link to an indie
and tag them, they often like and retweet/repost, which
helps the visibility for both of us.”
Spiro also takes the initiative to reach out to organiza-
tions because they have much larger followings than she
does. “I recently did a webinar for an international STEM
group, which resulted in a nice bump in book sales,” she
explains, “and this week, I’ll be recording a ‘Live from the
Library’ video for the Chicago Public Library Foundation –
previous guest readers have been the Obamas, Oprah, and
Chicago’s own mayor, Lori Lightfoot.” That’s some pretty
good company.
I’ll end with one final idea that some writers will love,
and some writers will despise. The blog. If you have the
time, interest, and dedication to do one well, it’s a fantastic
way to be found online and help establish yourself as both a
quality writer and a subject-area expert.
For example, I’ve been running OnlyPictureBooks.com
for some time now, but quite recently I’m starting to see real
momentum: My number of unique visitors per month has
nearly doubled in the COVID-19 age, likely because people
are at home more, consuming more digital content than
normal to pass the time. While I don’t run ads on my site, I
do have affiliate links to allow guests to buy any mentioned
reading and writing. Ekster also became “Talka- books, and those sales numbers now bring in more than a
book certified” – a new network venture aimed couple of Starbucks Vanilla Sweet Cream Cold Brews each
at “connecting children’s authors and illustra- month. Best of all, my visibility in the kidlit world has vastly
tors with the young readers inspired by their increased thanks to this blog.
work.” She adds, “I’ve also done Instagram Live Let’s be clear – it took two years of steady, standout
readings and discussion of picture books with work to get to this point, but the reality is that book PR is
TutoringYoutoExcellence.com.” far more of a long-term commitment than an only-when-
More and more services like Talkabook are a-book’s-coming-out task. While we all may hope and
emerging as people realize the thirst for virtual lit- pray that the world returns to a pre-COVID-19 sense of
erary entertainment and education supplementa- normalcy, the capacity to reach people without engaging
tion is bigger than ever, and, quite likely, growing. them in live face-to-face fashion is necessarily a corner-
My last case study in book PR is with chil- stone of any sensible book PR plan of today or tomorrow.
dren’s book author Ruth Spiro, who had a busy Pandemic or not, these PR tips will serve authors well
spring preparing to launch a new book on April moving forward.
7. Then everything changed. “It was supposed to Here’s the thing to hold onto – each and every writer I
be a big book for [publisher] Charlesbridge, too, spoke with about book PR agrees on two encouraging points:
and I’m imagining boxes of books just sitting in • Books can still find new audiences.
warehouses and empty stores…so disappointing,” • Books can change people’s lives.
she says. After a short moment of feeling lousy The path to your book’s success is now likely different
about bad luck and unfortunate timing, Spiro got than what you’re used to. But stay focused, try new things,
to work on creating fresh plans. and – above all – don’t give up. We need good writers and
marigis/Shutterstock
“Social media is more important than ever as a good books in the world more than ever.
tool for connecting with potential readers,” she
says, echoing what Onorato and others told me. Ryan G. Van Cleave is the author of 20 books and a frequent contributor
“I’m really focusing on these connections – one at to The Writer. Visit him at RyanGVanCleave.com and OnlyPictureBooks.com.

Stocking
the shelves •
Be honest: When was the last time you read a book on writing?
If the last one you bought was On Writing by Stephen King,
it’s probably time to add some new craft titles to your collection.
Here are a few recently (or recentish) released books to
bump to the top of your TBR pile.
cepera/Shutterstock

Actually, the Comma fiction-writing space with a subjects ranging from lan- Writer, The Fiction Writing, The
Goes Here: A Practical follow-up book, Elements of guage and craft to rhetoric Plot, and The Revision. Along
Guide to Punctuation Fiction. In Elements, Mosley and audience. Kirkus the way, the book is littered
BY LUCY CRIPPS tackles character develop- Reviews calls it “a jam- with light-hearted illustrations
Every piece of punctuation, ment, voice, plot, description, packed book of advice for from Evan Wondolowski as
from the “stern, opinionated, revision, and more, all demon- would-be writers.” well as quotes, prompts, and
and unswayable” period to strated by rich examples. notebook-style blank pages
•
the “raucous giggles of the Library Journal calls it “a no- for writers to fill as they read.
winking semicolon,” gets its nonsense guide worthy of The Science of Storytelling: “Dufresne’s close attention to
due diligence in this compact shelf space with Strunk and Why Stories Make Us myriad details of fiction writ-
grammatical guide. It also White’s The Elements of Style Human and How to Tell ing makes this a strong choice
includes a section on “the and E. M. Forster’s timeless Them Better for anyone who thinks they
‘not punctuation’ points,” Aspects of the Novel.” BY WILL STORR have a novel or short stories
including the @ symbol, the Award-winning journalist, in them, but don’t know how
•
number sign, and the amper- author, and writing teacher to begin,” writes Publishers
sand, as well as a handy Every Day I Write the Book: Will Storr uses neuroscience Weekly.
chart comparing the punctua- Notes on Style and psychological research to
•
tion preferences in AP, CMS, BY AMITAVA KUMAR teach readers how to draft
APA, MLA, and The Blue Advertised as the On Writing the most compelling and Write On, Sisters!: Voice,
Book style guides. for academic writers, this powerful stories in The Sci- Courage, and Claiming
book from novelist and liter- ence of Storytelling. (The Your Place at the Table
•
ary scholar Amitava Kumar book is based on Storr’s pop- BY BROOKE WARNER
Dreyer’s English: serves as a handbook on ular writing courses and “What is voice? What
An Utterly Correct Guide style for students and profes- workshop of the same empowers women to speak
to Clarity and Style sors alike, but even nonaca- name.) Storr pairs academic up, out, boldly, truthfully? And
BY BENJAMIN DREYER demic writers will find plenty research with examples from why must women claim a
This critically-acclaimed to learn from in Kumar’s modern culture, from William place at the table?” asks
handbook from Random book, too. In addition to Shakespeare and James Bald- Brooke Warner, hybrid-press
House’s copy chief, Benjamin advice and interviews with win to The Simpsons and founder and author of Green-
Dreyer, uses humor and wit authors of all genres, Kumar Star Wars. “If you want to Light Your Book and The
to tackle all things grammar, also includes exercises, write a novel or a script, read Magic of Memoir, in the intro-
from punctuation marks to tools, and recommended this book. It is clear, compel- duction to her latest book on
split infinitives. “This work is habits to encourage readers ling, and tightly shaped,” publishing. “These questions
that rare writing handbook to develop a healthy and reg- praises The Sunday Times. are at the heart of Write On,
that writers might actually ular writing ritual. Sisters!, which is also a clar-
•
want to read straight ion call to women to write, to
•
through, rather than simply Storyville! An Illustrated speak and be heard, and to
consult,” praises Publishers Murder Your Darlings: Guide to Writing Fiction recognize the myriad influ-
Weekly in a starred review. And Other Gentle Writing WRITTEN BY JOHN ences – historical, cultural,
Advice from Aristotle DUFRESNE, ILLUSTRATED BY economic, emotional – at play
•
to Zinsser EVAN WONDOLOWSKI when it comes to how we
Elements of Fiction BY ROY PETER CLARK “You need at least two skills express ourselves and allow
BY WALTER MOSLEY Poynter Institute senior to be a fiction writer,” John ourselves to be heard.” War-
Walter Mosley is perhaps scholar Roy Peter Clark (How Dufresne writes in the intro- ner showcases the barriers
best known for his award-win- to Write Short, The Glamour duction to Storyville! An Illus- that have historically impeded
ning and bestselling novels, of Grammar, The Art of X-Ray trated Guide to Writing women in publishing and pro-
including the wildly popular Reading, etc.) returns to the Fiction. “You have to be able vides encouragement and
Easy Rawlins series, but in how-to world of writing with to write and you have to be advice for overcoming both
2009 he also published This a compilation of his favorite able to tell a story. Telling a internal (silencing an inner
Year You Write Your Novel, a writing advice, almost like a story is the harder of the critic, dealing with rejection)
practical beginner’s guide to greatest-hits album for word- two.” Dufresne tackles both and external (lack of financial
writing fiction that’s still smiths. More than 50 of sides of the fiction-writer’s stability, double standards in
beloved today. A decade later, Clark’s favorite books on challenge in four straightfor- the industry) obstacles to get-
now he’s returned to the writing are included, covering ward sections: The Fiction ting published.

BACK TO
SCHOOL
there’s one thing stay-at-
IF home orders taught us –

besides how small our
houses feel when you can’t go out or
which stores in town are your best
bets for flour, yeast, and toilet paper –
it’s just how much can be done from
the comfort of home thanks to our
computers and smartphones. Zoom
graduation parties? Livestreamed lec-
Illustrations: figures by Helga Khorimarko/Shutterstock,
tures? Virtual instruction? All possible,

pixel icons by Sylverarts Vectors/Shutterstock
thanks to tech-savvy audiences and the

power of the internet. If you’re embrac-
NOTE: We’ve provided prices ing the at-home digital revolution too,
or price ranges for products
that charge a fee; if no price is
here are our favorite resources, tools,
listed, the resource was free apps, and software to improve your
as of press time. writing-from-home life.
Screen that allows you to mark when you could do an evening ses-
Whether you’re working you’re free and allow your sion, but afternoon works
on a manuscript with an edi- source to select the time that better with your naptime
tor, illustrator, or co-author, works for them. It’ll sync with schedules, and morning
you might often wish you both of your calendars and meetings are completely out
were in the same room to even send a reminder before of the equation. One group
hash out ideas, plot holes, your interview begins. member has the most free
or marketing strategies. FREE FOR BASIC USAGE, time on Thursdays and Tues-
Screen allows multiple users $8/MONTH FOR PREMIUM, days, but Wednesdays would
to share screens at the $12/MONTH FOR PRO work in a pinch. Another
same time, so one of you Calendly.com group member can only
can be sketching an illustra- meet after 3 p.m. Doodle
tion while the other fleshes allows all members of the
out the accompanying Doodle group to vote on the times
prose. It also has drawing Doodle operates similar they prefer, the times they’d
and highlighting capabilities, to Calendly, except it allows allow, and the times they just
so you can make edits or larger groups of people to can’t make work, letting
create brainstorming flow- vote on the times that work groups pick a meeting time
charts together in real time. best for them instead of that works best for as many
And thanks to a partnership selecting just one meeting. users as possible.
with Slack, you can initiate a Say you’re trying to pick a $4.49/MONTH FOR BASIC
Screen meeting in any Slack time for your writing group to USAGE, $5.99/MONTH FOR PRO
conversation. meet virtually: Personally, Doodle.com
FREE TO JOIN MEETINGS,
$10/MONTH TO HOST
Screen.so
Calendly
Skip the back-and-forth
email communication with
your sources about when to
set up an interview with
Calendly, a scheduling tool

ProWritingAid skim your content for tone to songwriters will especially
No computer software help ensure your prose enjoy the rhyming dictionary
can replace a trained editor, matches your subject mate- database.
but it can serve as a gram- rial and target audience. Both MONTHLY LICENSE $9.95,
matical safety net before your Grammarly and ProWritin- ANNUAL LICENSE $99.95,
work meets a professional’s gAid offer plagiarism check- 2-YEAR LICENSE $149.95
eye. ProWritingAid goes ers in their premium Masterwriter.com
beyond basic spellcheck to versions, a boon for writers
provide writing suggestions and editors alike.
tailored to what type of writer FREE FOR BASIC USAGE; OneLook
you are (fiction, nonfiction, $29.95/MONTH, $59.95/THREE It’s happened to all of us:
blogger, academic, copy- MONTHS, OR $139.95/YEAR We know that a word exists
writer, etc.) in addition to flag- FOR PREMIUM to describe someone or
ging spelling and grammar Grammarly.com something, but we can’t for
errors. The software also the life of us come up with
offers integration with Micro- that word. Enter the One-
soft Word, Scrivener, Google Cliche Finder Look reverse dictionary,
Docs, Final Draft, and most If you’re prone to clichés which encourages writers to
web browsers. and you’d prefer a more type a phrase or related
FREE FOR BASIC USAGE, streamlined way to identify word so the site can display
$20/MONTH OR $79/YEAR FOR them, try Cliche Finder, which a variety of related words. A
PREMIUM will flag all the potential over- simple search for “baby kan-
Prowritingaid.com used phrasing in your prose. garoo” reveals joey, for
Cliche.theinfo.org example; “wine god” sug-
gests both Bacchus and Dio-
Grammarly nysus, but also “bacchanalia,”
Similar to ProWritingAid, MasterWriter “dionysiac,” and Silenus, a
Grammarly is another popu- Why stop at a dictionary lesser-known companion of
lar grammar checker that also or thesaurus to find just the Dionysus. You can also ask
offers writing suggestions to right word? MasterWriter questions, like “Who is Big
help writers trim redundan- has both, along with search- Bird’s friend on Sesame
cies, overused words, or pas- able databases of word fami- Street?,” or solve crossword
sive voice. It cannot be lies, allusions, idioms, clues when you don’t know
tailored for specific genres, intensifiers, onomatopoeia, all the letters.
but the premium version will and more. Poets and Onelook.com

This Word Does doll;” “disappointment, lately. HaikuJAM encour-
Not Exist cheese, clock”) for writers to ages poets to collaborate to
Refresh this page to see a use as a jumping point for a create haiku-style three-line
brand-new word invented by work of fiction. poetry. You write one line,
AI, complete with a full defi- Writingexercises.co.uk another writer contributes
nition and sample sentence. another, and a third person
The results are fun but also finishes the poem with a
surprisingly inspiring: Why Brainsparker final line. Syllable restric-
not write an adventure story Brainsparker is a block- tions aren’t enforced, but
about a run-in with klepto- busting app that provides cre- the app does cap users at 17
pods, the site’s fictional word ativity prompts in the form of words per line.
for “a terrestrial marsupial big questions: “What if any- Haikujam.com
that readily collects water thing were possible?” one
and stores it in the pupal prompt asks. “Who do you
stage,” or a yimba, “a small need to forgive?” asks TheBrain
brown shark, with a reddish another. Want to start a daily Do you prefer to brain-
body and no tail?” Could the freewriting session? Schedule storm via mind mapping?
antagonist of your story be a a daily reminder, and Brain- TheBrain may be your new
proudhonir, or “a person, sparker will send you a best friend. Create virtual,
especially a male one, con- prompt at random at the moveable, and searchable
victed of treason or numer- specified time. Choose from mind maps with this free app
ous other offenses?” a variety of themed prompt that can accommodate more
Thisworddoesnotexist.com “packs” to curate your deck than 500,000 items. Users
of prompts, including ones for can also upload files and
developing characters, fiction events to store data or
WritingExercises. story starters, crafting blog research in a more visibly ori-
Co.Uk posts, or setting big goals. ented format. Want to share
This free site has a wealth of Free, in-app purchases to your map with others to get
generative writing prompts, access specialty packs feedback or share progress?
including Random First Line, Brainsparker.com Simply send them a link to
Random Dialogue, and Town your Brain, and they’ll be able
Name Generator. “Take Three to access it via web browser,
Nouns” is especially helpful HaikuJAM no software required.
for freewrites: The site selects In an age of social dis- FREE FOR BASIC USAGE,
three nouns at random (“fear, tancing, many of us are $219 FOR THEBRAIN PRO
rope, pipe;” “death, cave, craving more connection Thebrain.com

Journalist’s Answer the Public Otter
Toolbox If you maintain a blog or a Raise your hand if you
This website, maintained by website – or write for one reg- love transcription. Precious
the Society of Professional ularly – you know how hard it few hands in the crowd?
Journalists, is updated regu- can be to come up with new That’s what we thought.
larly with relevant resources story ideas on a regular basis, Luckily, Otter offers 600 min-
for current news stories; for especially if you’ve been writ- utes of free transcription
example, at press time, it ing about a subject for years. each month, and many jour-
highlighted resources helpful But one of the best ways to nalists say the results are
for writers covering the create useful, creative content surprisingly accurate. You can
COVID-19 pandemic, the in your niche is by answering also use it to record and tran-
2020 election, and the Black queries from your target audi- scribe a meeting in real time
Lives Matter protests across ence. Guess what? Your tar- via Zoom.
the United States. get audience asks Google FREE FOR BASIC USAGE,
Journaliststoolbox.org their burning questions every $8.33/MONTH FOR PREMIUM,
day, and the search tool $20/MONTH FOR TEAMS
Answer the Public allows writ- Otter.ai
Jsafe ers to easily see what people
Designed for women in are asking search engines
journalism who’ve faced about any given topic. Pro Diaro
harassment or abuse as a users can also export each list If you’ve always wanted
result of their writing or of queries as a CSV file for to be a better journal-keeper
career, Jsafe – a collabora- future reference. but haven’t found the time to
tion between the Coalition FREE FOR LIMITED DAILY do so regularly, ask yourself if
for Women in Journalism SEARCHES; $99/MONTH OR it’s the journal itself that’s the
and the Reynolds Journal- $948/YEAR FOR UNLIMITED problem. Would it be easier
ism Institute – is a free app SEARCHES to keep a Diaro journal on
that allows writers and AnswerthePublic.com your phone, where you can
other media workers to log in thoughts, moments,
report threats or violence and memories whenever you
easily and upload photo or Acronym Finder have a spot of free time via
video evidence along with a If a source references an an app? Your journal entries
text account of what acronym you’ve never heard can be searched, sorted, or
occurred. Users can also of, you can find out what it filtered by date, so you won’t
request a follow-up from the stands for easily at this free waste time paging through
Coalition for Women in Jour- database of more than entries trying to find a certain
nalism to help connect with 1,000,000 listings. You can moment. It also syncs to
a lawyer, a therapist, or also search both U.S. and Dropbox, so you can access
other resources. Canadian postal codes at the it from any device via your
womeninjournalism.org/ same site. Dropbox login.
jsafe Acronymfinder.com Diaroapp.com

Draft Scrivener would choose Final Draft,”
We all know about Word On the off chance you once praised Guillermo del
and Google Docs. But Draft is haven’t heard of Scrivener, Toro.) It automatically formats
a handy alternative designed you should know it’s one of and paginates scripts, lets
especially for writers, with an the most popular word pro- users collaborate in real time
abundance of features too cessing tools for longform on drafts, and lets writers log
long to print. Instead of sav- writers. While navigating sec- “alternate dialogue” to store
ing a file as “Manuscript V1,” tions of an 80,000-word novel different versions of lines
Manuscript V2,” and so on, in Word can get tiresome – so directly in the document.
Draft allows users to save much scrolling! – Scrivener $249.99 FOR NEW USERS,
multiple drafts within the allows users to organize sec- $99.99 TO UPGRADE FROM
same document, making it tions of prose and rearrange FINAL DRAFT 10, $129.99 FOR
easy to see what you them as needed, the way you STUDENTS OR TEACHERS
changed in version six as might rearrange analog note- Finaldraft.com
opposed to version 12. A cards or manuscript pages to
robust set of analytics report- find the best fit. It also
ing allows writers to see includes automatic screen- Notability
which post lengths, publica- play formatting for screenwrit- Notability’s creators
tion times, title lengths, and ers and exporting capabilities want users to “fall in love
average Flesh reading levels for Microsoft Word, RTF, Final with note taking” again. Not
perform better with audi- Draft, and PDF. only can users type or hand-
ences. Other handy elements $49 FOR STANDARD USERS write notes via the app, but
include “Hemingway Mode,” AND $41.65 FOR STUDENTS they also can export notes
which removes deletion capa- AND ACADEMICS as PDF documents – and
bilities so writers can’t re-edit Literatureandlatte.com/ annotate PDFs as well,
the same sentence 20 times scrivener meaning you can revise your
instead of moving forward novel draft (or suggest revi-
with a first draft, and a daily sions to a friend’s) on the go.
word count tracker that Final Draft 11 You can also record audio,
shows your average word Final Draft is often billed work on multiple notes
count per day over time. as the software for screen- simultaneous, and export
Draftin.com writers and is widely used by files via AirDrop, Dropbox,
people in the industry. (“If Google Drive, and more.
one could marry a program – $8.99
or even elope with one – I gingerlabs.com

Dayboard for example, or To Write, To estimated word-per-minute
This tool starts with a Edit, To Submit. Authors can average, it’ll also tell you how
simple question: What are use this framework to man- many butt-in-chair hours you’ll
your five most important age deadlines, tackle novel need to spend in order to
items to work on today? Log revision, launch a website, or meet your goal.
them in, and every time you develop a marketing plan, Omnicalculator.com/other/
open a new tab, you’ll see but since the framework is nanowrimo
your to-do list – a gentle so customizable, it can also
reminder to complete them be used to outline a book or
instead of going down yet organize nonfiction research. RescueTime
another Google rabbit hole. FREE FOR BASIC USAGE, If you find yourself com-
You can also block distracting $9.99/MONTH FOR BUSINESS plaining that you can’t “find
websites – Reddit, YouTube, CLASS, $20.83/MONTH FOR time to write,” it might be
Twitter, etc. – until your tasks ENTERPRISE. helpful to see where you are
are complete. Users can also Trello.com spending your time. Rescue-
elect to have Dayboard send Time automatically tracks
a gentle pop-up reminder of how you’re spending time on
your outstanding tasks when NaNoWriMo your computer and offers
you spend time on non-work Calculator simple one-click tracking for
related sites. Although named after offline tasks, making it as
FREE FOR BASIC USAGE; National Novel Writing Month, simple as possible to see
$5/MONTH FOR PRO where participants attempt to where your minutes and
Dayboard.co write 50,000 words in one hours are going. Users can
month, this handy calculator set productivity goals, track
is helpful for writers of all how their writing time has
Trello stripes. Let’s say you have a improved or lessened over
At first glance, the popu- 10,000-word article due in time, and allow RescueTime
lar product management tool two weeks. You know you to block distracting websites
Trello might seem better need to write at least 667 for a set amount of time.
suited to corporate life or words per day to hit your FREE 14-DAY TRIAL;
group projects. But authors deadline, but life gets in the $18/MONTH, $72/YEAR
often use Trello, too, even way, and now you’re behind. RescueTime.com
without co-authors or collab- How much time do you need
orators. At its most basic to budget for this piece? This
level, Trello asks users to calculator will adjust itself Forest
write tasks on drag-and-drop based on how many days you If your dinging, vibrating,
“cards” and sort them into have left and how many notification-flashing phone is
columns based on comple- words you still need to write, more of a distraction than the
tion: To Do, Doing, and Done, and if you enter your internet on your laptop,

Forest is the app for you. myNoise Hipstersound
Users set a timer on the app Some people can’t write If you find yourself miss-
and get to work doing other without music. Some people ing the ambient sounds of
things. Each timer represents need perfect silence. But for your local coffee shop under
one planted “tree.” If the user people who can’t write in a quarantine, Hipstersound is
exits the Forest app or noise vacuum but also find here to help. Free users can
attempts to use another out- music too distracting, ambi- listen to the buzz of a busy
side feature on the phone, the ent noise is the perfect solu- Texas café, charming Parisian
tree will die; if they success- tion, and myNoise has an cafes, or the gentle hum of a
fully complete the timer with- abundance. Listen to rain on quiet restaurant; premium
out outside distractions, the a tin roof, Gregorian chants, members have even more
tree will be added to their per- or the bubbling sounds of a options, such as restaurants
sonal forest. The twist: Each fish tank. Each track comes in Denmark and Rio de
adult tree earns virtual coins with the ability to customize Janeiro or the lively sounds
that can be saved and ulti- each element in the sound- of a cafeteria.
mately used to plant a real scape, so if you’d prefer FREE FOR PUBLIC TRACKS;
tree in Africa, thanks to a more waterfall and wind- $29/YEAR FOR PREMIUM
donation partnership with chimes and less birds and Hipstersound.com
Trees for the Future. You can cicadas in your audio Japa-
even hold your writing group nese Garden, it’s a breeze to
accountable by agreeing to adjust it accordingly.
plant trees together at the Mynoise.net
same time, and if anyone
uses their phone during the
allotted time, all the group
members’ trees will die.
How’s that for motivation?
$1.99
Forestapp.cc
Online learning
resources
Since conferences aren’t back on the table for
most writers just yet, here are some virtual
learning opportunities for craft-hungry scribes.
Classes, seminars, Gotham Writers known for regularly hosting

& courses Workshop workshops for children’s
Though based in New York authors in Pennsylvania and a
Black Writers City, Gotham has offered an large annual gathering in New
Collective abundance of online courses, York; however, it’s increased
This summer, Victor available to writers at any online-only programming in
McGlothin is teaching a location across the country. recent months due to the
90-day online writing course Since live classes are cur- coronavirus outbreak. Sched-
called “The Writing Coach: rently unable to meet in uled multi-day workshops for
How to Start Fast and Fin- NYC, the organization has the fall include “Developing a
ish;” writers can sign up for also added Zoom courses to Series in Chapter Books”
the Black Writers Collective its repertoire, meeting “live” (Aug. 30 to Sept. 2, $699),
newsletter to be informed of at scheduled times once a “The Advantages and Disad-
the course launch date as week via videoconference. vantages of Writing Novels in
well as find out about future Writers can also watch Inside Verse and Novels in
online course offerings. The Writing, Gotham’s weekly Vignettes” (Sept. 15 to Oct.
organization also maintains a free Zoom talk show, which 21, $499), and “Creating an
large digital library for Elite occurs every Wednesday Image System That Works for
Collective members, which from 1 to 2 p.m. EST. Your Verse Novel” (Oct. 28 to
contains a wealth of eBooks PRICES VARY DEPENDING ON Nov. 25, $299).
and audio recordings about LENGTH AND CLASS OPTION PRICES AND DATES VARY.
craft topics ranging from plot Writingclasses.com Highlightsfoundation.org

development to avoiding
writer’s block.
MEMBERSHIP STARTS AT Highlights Jane Friedman’s
$10.99/MONTH Foundation Online Classes
Blackwriters.org The Highlights Foundation is Jane Friedman hosts a

variety of one-day virtual Rowell and Tommy Orange, on Oct. 17 partners with the
classes, taught by herself among others. Frankfurt Book Fair and
and others, on her website, Fallforthebook.org begins at 9:45 GMT. Best of
JaneFriedman.com. all, it’s completely free of
PRICES VARY PER CLASS; AVER- charge for registrants.
AGE $20-30 Montana Book OCT. 17
JaneFriedman.com/ Festival Selfpublishingadvicecon-
online-classes This two-day event will be ference.com
held entirely online, allowing
everyone in the country to
Writing with experience this celebration of Nonfiction Writers
Maggie Stiefvater all things literary. All readings, Conference
Maggie Stiefvater, a No. 1 panels, and workshops will This conference has always
bestselling New York Times be hosted online, as will book been conducted online, so
novelist, teaches writing pro- and merchandise sales, so there’s no need to change
grams around the country attendees can easily support the programming due to the
but decided to take her authors and publishers in vir- COVID-19 pandemic. Writers
teaching online when the tual attendance at the festival. can attend live webcasts or
COVID-19 pandemic struck. SEPT. 10-12 choose to purchase record-
Her online seminar, available Montanabookfestival.com ings and translations
for downloadable purchase instead. If you purchase a
on Etsy, includes eight hours registration tier higher than
of videos on the creative Write on the Sound basic live event access, you
writing process, transcripts, This Pacific Northwest can also register for up to
and a 140-page accompany- conference will be held three 15-minute ask-a-pro
ing digital notebook. entirely online in 2020, from consultations with agents,
$99 sessions and workshops to marketing experts, book
Etsy.com/shop/ writing contests and manu- coaches, etc., conducted by
MaggieStiefvaterShop script critiques. Conference phone or over Skype.
organizers also hope to add NOV. 12-13
Online events in virtual networking opportu- $99 FOR LIVE ACCESS ONLY,
nities as well as an online $199 FOR LIVE ACCESS AND
Fall for the Book bookshop. RECORDINGS, $275 FOR LIVE
This free Virginia literary OCT. 1-4 ACCESS, RECORDINGS, AND
festival, now in its 22nd year, Writeonthesound.com TRANSCRIPTS
recently made the decision Nonfictionwritersconfer-
to host all events online. ence.com
Furthermore, instead of four SelfPubCon
days of programming, Fall The Alliance of Indepen-
for the Book will extend its dent Authors sponsors inter-
programming from Septem- national online conferences Learn with
ber through November. twice a year for self-published The Writer
Headliners include Rainbow authors. This year’s fall event online!
The Writer is proud
to host live, virtual-only
webinars, too!
Visit writermag.com/
webinars to learn more.

LITERARY SPOTLIGHT
BY MELISSA HART
INSIDE LITERARY MAGAZINES
The Sunlight Press

Reviews, essays, poetry, fiction, and craft reflections from new and
established authors are welcome at this online literary journal.
I
n the midst of domestic and choly but winds its way to hope.”
worldwide unrest, sometimes When evaluating personal essays,
you just need to take 10 minutes Burrell and Patel look for submissions
to read for pleasure. Rudri Bhatt that focus on the writer’s personal
Patel and Beth Burrell, co-founders story but also speak to a universal
and editors of The Sunlight Press, want theme. For short fiction, they’re inter-
to provide material for literary leisure ested in exciting language, a sense of
time. “Whether you read a short story conflict, and narrative arc.
or an essay or you want some tips on “A lot of the fiction submissions we
the craft of writing, our magazine is a get are great in terms of prose, but they
welcome balm in this news-driven don’t really say anything,” Patel says.
world,” Patel says. “Plus, it’s a great way “We’ve had a couple of stories we were
to support writers.” on the fence about. They’ve had great
The Sunlight Press is a 501(c)(3) language and compelling characters,
nonprofit, digital literary journal in but we ultimately passed because there
search of both new and established really wasn’t a story – they were more
voices. Editors seek essays, book just an homage to great writing.”
reviews, poetry, flash and short fiction, Crafting publishable flash fiction is
and reflections on craft – whether that particular tricky, she says. “Especially
craft is writing, art, dancing, or work- in flash, you have to say what you want
ing as a professional juggler. “We want to hear the to say quickly under 1,000 words. A
“You don’t necessarily have to be a ways people turn toward good flash fiction piece opens with a
writer to submit something,” Patel light and hope, whether conflict, has a compelling character
says. “We had a circus performer share it is through the arts, that you care about, and includes an
how she explores her performing and culture, spirituality, or ending that is open to the reader’s
being a trapeze artist. We look for humor, and also how interpretation. It’s basically taking
edgy craft essays about any of the per- some kind of small moment and let-
they respond to the
forming arts.” ting it explode on the page and having
darkness and navigate
it mean something,” she concludes.
Tone, editorial content
unknown spaces.”
Editors at The Sunlight Press look for Length: 750-2,000 words. Contributors
poetry submissions that show com- Genres: Fiction, personal essays, Lee Nash has published several poems
mand of language, meter, and prose. poetry, book reviews. in the magazine. “She takes everyday
Burrell points to Kara Bachman’s “Mis- subjects and offers a fresh take on
ter Lonely” (4/10/18) and Tammy Payment: Varies. them,” Patel says. “Our poetry editor
Takahashi’s “Heart of Light” (1/14/20) Submission format: Email with found her work witty and amusing,
as examples of the poetry she likes to genre in subject line. simple on the surface but conveying a
publish. “Both poems are particularly Contact: Editors Rudri Bhatt Patel
bigger truth.”
moving, offering starkly different per- and Beth Burrell at
On 6/6/17, The Sunlight Press pub-
spectives on a relationship,” she says. thesunlightpress@gmail.com,
lished Nash’s poem “You Too Must Eat
“‘Mister Lonely’ is graphic and dark, thesunlightpress.com.
of the Honeycomb,” about a cashier
while ‘Heart of Light’ begins melan- reflecting on a customer at the
check-out line who is breast-feeding and deeply revealing about the stages submissions, erotica, or heavily reli-
her two-year-old son. She writes: of grief,” Patel says. “There is such an gious stories and essays. “We look for
economy of words, but it doesn’t take traditional and experimental prose
“All the while away from the power of her sentiment. that takes us by surprise or ends
she is leaking, giving, The way she wrote it is stunning.” ambiguously. We appreciate writers
and I want to reach over, She also admires Cathy Ulrich’s who submit finished work that is well
break another convention, short story “A Bouquet of Stars” worked over, every word counting,”
gently prise them apart, say, (11/25/18), which explores the rela- Burrell says.
It’s time. You’ve done enough.” tionship between an astronaut and her She and Patel love publishing work
wife. “The language is palpable and by emerging writers, “especially if
Jacqueline Doyle’s essay “Dear immediately conjures up all these dif- their writing is a fresh take on a topic
Maddy” (6/16/19) commanded editors’ ferent images,” Patel says. “Ulrich art- or examines a new theme,” Patel
attention with this opening paragraph: fully explores this astronaut’s explains. “We’re hoping The Sunlight
“Most letters ask for a reply. Not a sui- relationship with her wife, showing the Press is a stepping stone in a new writ-
cide note.” Doyle tells her story in pain of going on missions. She cap- er’s trajectory.”
numbered sections that offer reflection tures the topic in a way I’ve never quite
on the suicide of the writer’s 47-year- seen before. It’s the kind of flash that Contributing editor Melissa Hart is the
old aunt, weaving in insights about art teaches readers something new.” author of Better with Books: 500 Diverse Books
and mental illness. to Ignite Empathy and Encourage Self-Accep-
“She writes about the themes of sui- Advice for potential contributors tance in Tweens and Teens (Sasquatch, 2019).
cide and loss in a way that feels unique Editors aren’t interested in political Twitter/Instagram: @WildMelissaHart.
Join
us all
summer
long
for…
Learn expert craft instruction from the

comfort of your home with The Writer’s
Summer School, a virtual learning series
for writers of all experience levels!
S PO NSORE D BY
Learn more at writermag.com/webinars.

CONFERENCE INSIDER
BY MELISSA HART
San Miguel Writers’ Conference &

Literary Festival
Receive expert craft instruction from top authors – and escape the dead of
winter – at this renowned five-day conference in beautiful San Miguel de Allende.
H
ow can we be more cultur-
ally sensitive in these chal-
lenging times? When is it
OK to write about experi-
ences that aren’t our own? These are
two of the questions that international
faculty members and attendees at the
San Miguel Writers’ Conference &
Literary Festival will debate in Febru-
ary 2021.
Every year, authors and passionate
book lovers from Mexico, Canada, and
the United States converge in the colo-
nial-era city of San Miguel de Allende
for five days of workshops, cultural
events, and keynotes. “I really love that
we’re a genuinely tri-cultural confer-
ence,” says director Susan Page. “We
get to know literature and writers from
all three of these countries.”
Many of the event’s 90-minute
workshops and intensive three-hour Ian Williams was one of the featured authors at the 2020 San Miguel Writers’ Conference.
workshops are offered in Spanish, and
all conference keynotes are simultane-
ously translated with earphones to
either Spanish or English. If you’re not donations – to the teens who have “We work with every kind of
able to get down to Mexico in 2021, the progressed the most with their writing writer,” Page says. “We have workshops
conference offers at least 12 workshops skills,” Page says. for people who are doing personal
that people can take online, along with writing or writing a memoir for family.
live-streamed keynotes from bestsell- What you’ll learn If you’re writing a project that you
ing authors. Some participants opt to register for the hope to publish or sell, you’ll shorten
One of Page’s favorite parts of the conference’s “Pleasures of Reading your learning curve by attending a
conference is the free workshop annu- Package,” which gives them access to conference.”
ally offered to 100 teen writers from keynotes and panels, open mics and Past workshops include how to pol-
local high schools. Several give a pub- book signing receptions. Others register ish your first 10 pages, how to find
Photos by Sean Regan
lic reading of their work before the for “The Whole Enchilada,” a package your voice in memoir and essay, how
keynote address on Friday evening. that includes every event the conference to write dialogue, revision strategies
“We present three mini-laptop com- has to offer, including 90-minute work- from a literary agent, and how to use
puters – more if we obtain the shops and three-hour intensives. social media to build community and
will talk with you about your particu-
lar issue.”
Each year, keynote speakers host
roundtable discussions with eight
attendees. “You’ll be sitting at a table
with one of these major figures in the
world of literature for an hour and a
half in discussion with that person,”
Page says. “People have experiences
that change their life, that are unfor-
gettable. Once, eight people at Alice
Walker’s table were going at such a
rate after the event ended that they
went to her hotel room, someone
opened a bottle of wine, and they had
this whole evening together with
Alice Walker.”
Author and keynote speaker Tommy Orange signs a book for Mittie Roger at the 2020 event. Advice for first-time attendees
San Miguel de Allende, Page says, is “an
introduction to the real Mexico, and
not just the beaches.” Attendees not
an audience for your work. Past work- participating in three-hour master
shops have included “The Art of Vil- Conference: San Miguel Writers’ classes can sign up for guided tours of
lainy,” “Shamanic Origins of Poetry,” Conference & Literary Festival the city’s art galleries, historic churches,
“Writing Across Cultures,” and “Litera- Dates: February 10-14, 2021 and pre-Columbian pyramids.
ture of the Harlem Renaissance.” She suggests that attendees learn
Cost: From $295
“We have many workshops in pub- about the keynote speakers ahead of
lishing and marketing,” Page says. Location: San Miguel de Allende, time and read at least one of their
“You’ll identify the best route to publi- Mexico books. “They’ll be mingling through-
cation for your particular work – Contests: Fiction/poetry, annually out the five days, and if you can walk
should you self-publish, work with a up to someone like Margaret Atwood
hybrid publisher, look for an agent? Contact: Conference director and say, ‘I have question about this
You’ll also learn how to promote your Susan Page through website at book or this character,’ and if you have
book once it’s published.” sanmiguelwritersconference.org something to engage in with a speaker,
you’ll have a very rich experience.”
Featured presenters And befriend people early in the
In 2021, keynote speakers are Mexican Elizabeth Kracht, Amy Gottlieb, and week, she says. “Find people who are
author and political scientist Yuri Her- Judyth Hill. supportive and excited about your
rera, Canadian poet and novelist Mar- “We pride ourselves on providing project. One of the best things that
garet Atwood, author and journalist attendees with numerous opportuni- happens at a writers’ conference is that
A’Lelia Bundles, and Outlander series ties for intimate contact with our key- you make connections. People at our
author Diana J. Gabaldon. notes, agents, industry insiders, and conference have met and formed small
Conference faculty includes univer- faculty,” Price says. “You can sign up support groups with writers from
sity professors who’ve taught literature for individual consultations with around the world.”
and writing for years, distinguished these people and bring your project
bestselling authors, professional edi- and any problems you might be hav- Contributing editor Melissa Hart is the
tors, and other industry insiders. In ing. Maybe you can’t figure out how author of Better with Books: 500 Diverse Books
2021, attendees can take workshops to connect the chapters or how to to Ignite Empathy and Encourage Self-Accep-
with Gerard Helferich, Dinty W. start the book or how to do better tance in Tweens and Teens (Sasquatch, 2019.
Moore, Cecilia Woloch, David Corbett, research. There are experts here who Twitter/Instagram: @WildMelissaHart

MARKETS
COMPILED BY TONI FITZGERALD
develop the skills needed to execute the
Group work
role, and tips on finding a job in that
career. Degree type: Certificate. Contact:
IAP Career College. 888-322-5621.
iapcollege@fabjob.com
Many writers want to hone their craft but don’t want to commit to
iapcollege.com/program-category/
or pay for a full-blown MFA program. Luckily, many local and online
certificate-courses-online
classes, workshops, and certificate programs can support writers’ needs
without obliging them to commit several years and multiple paychecks
LitReactor Online classes that allow
to the cause. While MFA programs are valuable for many reasons, local
craft workshops can be helpful as well. Consider these options: participants to study what they want,
when they want across a variety of topics,
• Writing centers. Most big cities have a writing center that offers from finding one’s critical voice to sci-fi,
work space, breakout sessions, and critiques. middle-grade novels to short fiction, erot-
• Libraries. The place where the written word is most sacred often ica to noir. Workshops allow students to
plays host to writing groups. submit original work for peer review and
• Colleges and universities. Not only will you be instructed by top-level also critique other writers’ work. Contact:
writers, but chances are you’ll also come out of your course with a LitReactor, 5404 Whitsett Ave., #175, Val-
certificate in hand. ley Village, CA 91607. info@litreactor.com
• Adult learning centers. Geared specifically toward working adults, litreactor.com/classes/upcoming
these programs typically offer a plethora of trade courses, including
computer courses and even writing workshops. MasterClass with James Patter-
• Bookstores. Countless authors pass through on book tours, often
son The bestselling author teaches how
staying an extra day to lead a course or two. Take advantage.
to create characters, write dialogue, and
• Community centers. Within its daily or seasonal programming, your
keep readers turning the page. The class
local community center may offer a writing workshop or a summer
includes 22 video lessons, interactive writ-
camp for teen writers. In some cases, these courses are free.
ing exercises, a workbook with notes from
each lesson, and an outline of one of Pat-
terson’s bestselling novels. Contact: Mas-
Information in this section is provided to digital storytelling, flash essays, historical terClass. Email through website.
The Writer by the individual markets and essays, spiritual writing, and more. masterclass.com/classes/james-patterson-
events; for more information, contact Classes are offered year-round. Contact: teaches-writing
those entities directly. Creative Nonfiction. 607 College Ave.,
Pittsburgh, PA 15232. 412-404-2975. Penn Foster Career School While
» NON-MFA WRITING information@creativenonfiction.org
creativenonfiction.org/online-classes
earning the Freelance Writer Career
Diploma, students learn techniques and
PROGRAMS
skills for entering publishing as a freelance
ONLINE Elizabeth Ayres Center for Cre- writer. Courses cover submissions, sourc-
24PearlStreet Non-degree online ative Writing Online instruction, coming material, and working with editors
classes in fiction, nonfiction, and poetry munity, and writing retreats. Course and agents. Students may also choose a
led by nationally recognized writers. Pro- topics include writing through trauma, specialization: literary fiction, genre fic-
gram available on a rotating basis with the writing for children, poetry, and fiction. tion, or nonfiction. Degree type:
option of three course lengths: 8-week Contact: The Elizabeth Ayres Center for Diploma. Contact: Penn Foster Career
studios, 4-week workshops, and 1-week Creative Writing. Stacia M. Fleegal, Direc- School. Student Services Center, 925 Oak
intensives. Contact: Fine Arts Work Cen- tor. sfleegal@creativewritingcenter.com St., Scranton, PA 18515. 800-275-4410.
ter in Provincetown. 24 Pearl St., Provinc- creativewritingcenter.com infoims@pennfoster.com
etown, MA 02657. 508-487-9960. pennfoster.edu/programs-and-degrees/
gleghorn@fawc.org IAP Career College Offers a selection writing-and-language-skills/freelance-
web.fawc.org/24-pearl-street of part-time professional certificate writer-career-diploma
courses, including book editor, book pub-
Creative Nonfiction Small online lisher, and freelance writer. The self- Poynter Institute A series of webinars
classrooms, personalized instructor feed- directed online courses give explanations and online seminars covering topics
back, and student forums. Topics include of each career, exercises to learn and including interview techniques, rewrite

skills, and more as part of Poynter’s ALASKA Los Angeles Writers Group Los
NewsU. Contact: News University, c/o 49 Writers Courses and workshops for Angeles, California. Creative writing
The Poynter Institute for Media Studies, varying levels. Elements courses cover workshops, classes, groups, and private
801 Third St. South, St. Petersburg, FL include nuts-and-bolts writing techniques coaching for writers of all genres. Some
33701. 727-821-9494. info@poynter.org and run six to eight hours long while workshops focusing on using art as writ-
poynter.org/newsu genre-based workshops alternate between ing inspiration. The organization also
fundamentals and advanced technique, produces off-site writing retreats. Con-
Stanford Continuing Studies Stan- running 12 to 15 hours. Special topics also tact: Los Angeles Writers Group. 323-
ford University’s online writing program offered. Contact: 49 Writers, Inc. P.O. Box 201-1601. lawritersgroup@gmail.com
offers a wide selection of courses for adult 140014, Anchorage, AK 99514-0014. lawritersgroup.com
writers of every level. Topics include nar- info@49writers.org 49writers.org
rative voice in nonfiction, pitching a mag- San Diego Writers, Ink San Diego,
azine, writing habits, personal essay, short CALIFORNIA California. Multi-level classes and one-
story, historically based fiction, revision, Book Passage Corte Madera and San time workshops in multiple genres,
YA novels, and poetry. Also offers the Francisco, California. Writing courses including fiction, nonfiction, memoir,
Online Certificate Program in Novel from craft basics to tips on publishing playwriting, and poetry. Basic and
Writing. Degree type: Certificate. Con- held at a famed San Francisco bookstore. advanced certificates also offered in
tact: Stanford Continuing Studies. 365 Craft topics include memoir, the antago- novel writing and memoir writing.
Lasuen St., Littlefield Center, Stanford, nist, travel writing, blogging, and inten- Degree type: Certificate. Contact: San
CA 94305. 650-725-2650. sive writing weekends. Contact: Book Diego Writers, Ink. 2730 Historic Deca-
continuingstudies@stanford.edu Passage Corte Madera. 51 Tamal Vista tur Rd., Suite 202, San Diego, CA 92106.
continuingstudies.stanford.edu/ Blvd., Corte Madera, CA 94925. 415-927- 619-696-0363.
writing-certificate/writing-certificate 0960. Book Passage San Francisco. 1 Ferry programs@sandiegowriters.org
Building, San Francisco, CA, 94111. 415- sandiegowriters.org/programs/classes8
University of South Florida-St. 835-1020. Email through website.
Petersburg St. Petersburg, Florida. bookpassage.com/classes-workshops University of California-Berkeley
Writers focusing on the culinary world Extension Berkeley, California. A post-
can take advantage of the Food Writing Conejo Valley Adult School Thou- baccalaureate writing certificate program
and Photography certificate, which takes sand Oaks, California. Dedicated to help- to prepare for the MFA. Helps build regu-
place both online and in person. Students ing adults enrich their lives, for lar writing practice, grow portfolio, and
must take 12 credits in this graduate cer- professional and personal goals, including gain credentials. Flexible schedule of eight
tificate program, which will hone mass through its writers’ program. Previous required courses in a variety of topics,
communication skills and teach ethical topics have covered nuts and bolts screen- from YA novels to children’s picture
and legal issues that could arise in culi- writing and creative writing workshops. books, story structure to American fic-
nary media. Degree type: Certificate. Contact: Conejo Valley Adult School. tion. Degree type: Certificate. Pre-requi-
Contact: USF St. Petersburg. 140 7th Ave. 1025 Old Farm Rd., Thousand Oaks, CA sites: Bachelor’s degree. Contact: UC
South, St. Petersburg, FL 33701. 727-873- 91360. 805-497-2761 ext. 1201. Berkeley Extension. 510-643-1110.
7748. Email from website. AnneB@ConejoAdultEd.org extension-letters@berkeley.edu
foodwriting.usfsp.edu conejoadultschool.org/Generalclasses/ extension.berkeley.edu
writers-program.htm
Writers’ Village University Offers a University of California-Los Angeles
regularly updated schedule of online writ- The Grotto San Francisco, California. A Extension Los Angeles, California. Cer-
ing courses for every level, as well as cer- writing community that offers classes tificate programs in screenwriting, cre-
tificate programs in Fiction MFA, Short (virtual, for the time being) in genres ative writing (fiction or nonfiction), and
Story MFA, and Creative Writing. The including fiction, nonfiction, journalism, journalism. Students must take six or
more than 200 courses and workshops spoken word, poetry, and social media, eight courses, depending upon the pro-
range from two to 16 weeks and cover seven days a week and for different gram, which may be completed in person
topics from comedy writing to literature lengths of time. Six-month fellowships or online. Some free classes also available
studies. Annual $99 membership fee. offered through application. Contact: The during COVID-19 pandemic. Degree
Degree type: Certificate. Contact: Writ- Grotto. 490 2nd St., 2nd Floor, San Fran- type: Certificate. Contact: UCLA Exten-
ers’ Village University. Email through cisco, CA 94107. info@sfgrotto.org sion. Email from website.
website. writersvillage.com sfgrotto.org/classes/upcoming-classes writers.uclaextension.edu

MARKETS
University of California-San Diego manuscript. Individualized guidance from INDIANA

Extension San Diego, California. Cre- instructors through a series of workshops: Indiana Writers Center Indianapolis,
ative writing courses on fiction, creative short story, fiction, essentials of creative Indiana. Writers of all levels participate in
nonfiction, children’s writing, poetry, writing, and more. Degree type: Certifi- fiction, poetry, and nonfiction classes and
stage and screenwriting, and the business cate. Contact: Emory University. Emory workshops. Topics have included essay
of writing. Also offers humanities and Continuing Education, 2635 Century writing, story writing, novel writing,
writing certificates in children’s book Pkwy NE, Suite 300, Atlanta, GA 30345. travel writing, editing and proofreading,
illustration, children’s book writing, copy 404-727- 6123. Email through website. mystery, and getting published. Course
editing, and technical communication. ece.emory.edu/creative_writing lengths vary from single days to eight
Contact: UC San Diego Extension. La weeks; all classes currently online. Con-
Jolla Campus, 9600 N. Torrey Pines Rd., ILLINOIS tact: Indiana Writers Center. 1125 Brook-
La Jolla, CA 92037. University City Cen- Story Studio Chicago, Illinois. Offers side Ave., Suite B25, Indianapolis, IN
ter, 6256 Greenwich Dr., San Diego, CA several programs, including Words for 46202. 317-255-0710.
92122. 858-534-3400 ahl@ucsd.edu Work for business writers, creative writing, sarah@indianawriters.org
extension.ucsd.edu/courses-and- and online interactive weekly courses. One- indianawriters.org/pages/classes-workshops
programs/creative-writing day workshops are also available, covering
topics such as grammar, blogging, and IOWA
Writing Pad Los Angeles, California. meditation. All classes online only through Iowa Young Writers’ Studio Iowa
Two locations in LA and one in San Fran- at least July. One-on-one manuscript review City, Iowa, July. High school students
cisco offer writing classes according to and youth writing camps also available. spend two weeks in the summer at the
genre, including children’s and YA, fic- Contact: Story Studio. 4043 N. Raven- famed Iowa Writers’ Workshop. Students
tion, writing for actors, nonfiction, TV swood, #222, Chicago, IL 60613. 773-477- choose between three tracks: fiction,
writing, screenwriting, and more. Also 7710. info@storystudiochicago.com poetry, or creative writing (a mix of
available are a plethora of resources, spe- storystudiochicago.com genres). Classes are presented in seminars
cial events, and online classes. Contact: and workshops of 12 people or less.
Writing Pad Headquarters. 688 S. Santa The Writer’s Studio Chicago, Illinois. Enrollment deadline: See website. Con-
Fe Ave., #303, Los Angeles, CA 90021. Studio workshop courses that meet for tact: Iowa Young Writers’ Studio. Stephen
213-325-6910. hello@writingpad.com four or eight weeks and cover topics from Lovely, Director. The University of Iowa,
writingpad.com editing to basic creative writing, character 24 PH, Iowa City, Iowa 52242. 319-335-
development to mastering detail. These 4209. iyws@uiowa.edu
COLORADO courses are open to the public and take iyws.clas.uiowa.edu
University College Denver, Colorado. place both in person and online. Contact:
Offered online and at the University of Graham School, The University of Chi- KENTUCKY
Colorado campus, this certificate program cago. Gina DiPonio, Program Director. The Carnegie Center for Literacy &
lasts 10 weeks, and no GRE is required to 1427 E. 60th St., Second Floor, Chicago, Learning Lexington, Kentucky. Seasonal
apply. Learn the skills of writing and revi- IL 60637. 773-702-0595. writing classes in a family-friendly learn-
sion, as well as insight into the publishing writersstudio@uchicago.edu ing center. Some classes are free, and those
process. Credits may be applied to a grahamschool.uchicago.edu/noncredit/ that do require payment are for a low fee.
future arts and culture master’s degree if certificates/writers-studio/index Adult writing courses cover fiction, non-
so desired. Degree type: Certificate. Con- fiction, poetry, multi-genre, and publish-
tact: University College, University of The Writers Loft Chicago, Illinois. A ing. The center also runs writing contests,
Denver, College of Professional and Con- writing community with courses in short book series, and the Young Women Writ-
tinuing Studies. 2211 South Josephine St., stories, plays, biography, memoir, and ers Project. Contact: The Carnegie Center
Denver, CO 80208. 303-871-4785. more taught by bestselling author Mary for Literacy & Learning. 251 West Second
ucolsupport@du.edu Carter. Classes currently by Zoom. Work- St., Lexington, KY 40507. 859-254-4175.
universitycollege.du.edu/pwri shops consist of six two-and-a-half-hour info@carnegiecenterlex.org
evening sessions that cover technique, carnegiecenterlex.org
GEORGIA feedback, and a half-hour of writing. The
Emory University Atlanta, Georgia. first class is free. Contact: The Writers MARYLAND/WASHINGTON, DC
The certificate in creative writing is geared Loft. Mary Carter. 206-618-3747. Johns Hopkins University Balti-
toward adults who want to improve their mary@immediatefiction.com more, Maryland, and Washington, D.C.
writing skills and develop a publishable thewritersloft.com Graduate certificate in science writing.

Part-time program with locations in both Director, P.O. Box 304, Royal Oak, MI array of genres: fiction, nonfiction, script-
Baltimore and D.C., plus online classes. In 48068. 248-589-3913. info@springfed.org writing, comedy, poetry, songs, and busi-
five courses, students learn the skills to springfed.org/index.php ness. Also offers teen classes and
write about science, medicine, and tech- one-on-one sessions. All classes currently
nology. Topics cover journalism, social MINNESOTA taught online. Contact: Gotham Writers
media, digital and print, craft, creative The Loft Literary Center Adult and Workshop. 555 8th Ave., Suite 1402, New
writing, and editing. Degree type: Certifi- youth classes for ages 6-17, as well as York, NY 10018. 212-974-8377.
cate. Contact: Johns Hopkins University, online options. Adult and online classes contact@gothamwriters.com
Zanvyl Krieger School of Arts & Sciences. cover fiction, creative nonfiction, and writingclasses.com
Advanced Academics Programs, 1717 poetry, as well as a variety of genre-spe-
Massachusetts Ave., NW Washington, cific classes, screenwriting, playwriting, MediaBistro New York, New York. In-
D.C. 20036. 844-417-0874. graphic storytelling, and more. Youth person courses in New York City and
aapadmissions@jhu.edu classes are mainly held in the summer and online courses and boot camps. Topics
advanced.jhu.edu/academics/certificate- are broken down according to age group. include query letter writing, blogging,
programs/science-writing Scholarships available. Classes online- copywriting, and nonfiction book propos-
only through at least end of August. Con- als, as well as social media how-tos, copy
MASSACHUSETTS tact: The Loft Literary Center. Suite 200, editing, and journalism. Contact: Medi-
Emerson College Boston, Massachu- Open Book Building, 1011 Washington aBistro. 825 Eighth Ave., 29th Floor, New
setts. Certificate programs in copy editing Ave. South, Minneapolis, MN 55415. 612- York, NY 10019.
and screenwriting. Learn craft, technique, 215-2575. loft@loft.org loft.org/classes support@mediabistro.com
and skills to improve knowledge in the mediabistro.com/courses
specific field. Students have three years to NEW JERSEY
complete the program. Degree type: Non- The Writers Circle North-central New The New School New York, New York.
credit certificate. Contact: Department of Jersey. Weekly writing courses, from Certificate in screenwriting. Students will
Professional Studies and Special Pro- workshops for children to adult classes for complete a script for a full-length feature
grams, Emerson College. 120 Boylston St., all levels in genre-specific sessions, fic- film, learning character, story, action, dia-
Boston, MA 02116. 617-824-8280. tion, nonfiction, and poetry. One-on-one logue, and more. Courses may also be
professionalstudies@emerson.edu coaching, editorial services, and summer completed online. Degree type: Certifi-
emerson.edu/academics/professional- sessions for teens also available. Courses cate. Contact: The New School. 66 West
studies/certificate-programs currently online; usually held in Morris- 12th St., New York, NY 10011. 212-229-
town, Montclair, South Orange, Maple- 8903. opencampus@newschool.edu
GrubStreet Workshops, manuscript wood, and Summit. Contact: The Writers newschool.edu/public-engagement/
critiques, and young writers groups in Circle. Email through website. 973-900- screenwriting-certificate
Boston and online. Scholarships available. 0415. writerscircleworkshops.com
Courses cover short fiction, personal New York Writers Workshop New
essay, book-length memoir, playwriting, NEW YORK York, New York. Offers free writing classes
publishing, promotion, professional 92nd Street Y New York, New York. and presentations at various New York
development, and more. All classes cur- Advanced workshops in writing, poetry, Public Library locations, in addition to
rently online. Contact: GrubStreet. P.O. fiction, and memoir led by authors and mid-level and advanced workshops at God-
Box 418, Arlington, MA 02476. 617-695- scholars such as Mark Doten, Alex Dimi- dard Riverside Community Center and the
0075. info@grubstreet.org grubstreet.org trov, and Leo Schaff. Master classes and JCC in Manhattan. Courses are also offered
literary seminars also available, focusing online via Skype. The group also hosts non-
MICHIGAN on topics such as poetry, fiction, and fiction and fiction pitch conferences. Con-
Springfed Arts Royal Oak, Michigan. Shakespeare. Classes currently online- tact: New York Writers Workshop.
Educating writers about their craft, be it only. Contact: 92Y. 1395 Lexington Ave., newyorkwritersworkshop@gmail.com
in the form of prose or song, and perfor- New York, NY 10128. 212-415-5500. newyorkwritersworkshop.com
mance of works. Courses in poetry, mem- Email through website. 92y.org/Uptown/
oir, fiction, YA fiction, and creative Classes/Adults/Creative-Writing Stony Brook Southampton Chil-
writing take place both in person and dren’s Lit Fellows, Southampton, New
online. Writing workshops and mini- Gotham Writers Workshop New York. Year-long certificate program for 12
camps for teens also available. Contact: York, New York. Workshop classes in New children’s book writers from Stony Brook
Springfed Arts. John D. Lamb, Executive York City and online, covering a wide Southampton’s MFA in Creative Writing

MARKETS
and Literature. Writers work indepen- ing multi-week workshops. Free phone 512-499-8914. wlt@writersleague.org
dently with faculty and then convene in consultations and teen summer program writersleague.org/6/Classes
July and January for a publishing and edit- offered. Classes currently offered online.
ing conference. During the year, fellows Contact: The Attic Institute of Arts and VIRGINIA
complete one publishable YA or middle Letters. 4232 SE Hawthorne Blvd., Port- The Muse Writers Center Hampton
grade manuscript or either a series con- land, OR 97215. 503-236-0615. Email Roads, Virginia. Creative and creative
cept with one completed manuscript or through website. atticinstitute.com/classes writing classes in journaling, poetry, nov-
three separate manuscripts. Degree Type: els, memoir, creative nonfiction, flash
Advanced certificates in creative writing. Literary Arts Portland, Oregon. Rotating memoir, professional development, out-
Deadline: Nov. 15. Contact: Southampton schedule of writing classes ranging from lining a story, blogging, magazines, pitch-
Arts. Chancellors Hall, Stony Brook one or two days to eight weeks. Past topics ing, reading in public, grammar, and
Southampton, 239 Montauk Highway, include memoir boot camp and travel more. Courses held for various lengths of
Southampton, NY 11968. 631-632-5030. essays. Class size limited to 12 students. time – from one day to eight weeks – and
southamptonarts@stonybrook.edu Scholarships available. Contact: Literary at all times of the day. Contact: The Muse
stonybrook.edu/southampton/mfa/ Arts. Susan Moore, 925 SW Washington Writers Center. 2200 Colonial Ave., Suite
childrens_lit St., Portland, OR 97205. 503-227-2583. #3, Ghent, Norfolk, VA, 23517. 757-818-
la@literary-arts.org literary-arts.org/ 9880. muse@the-muse.org the-muse.org
The Writing Institute at Sarah what-we-do/oba-home/workshops
Lawrence College Bronxville, New WriterHouse Eight-week classes are
York. Adults and young writers can take PENNSYLVANIA made up of 5 to 12 students, though some
advantage of the writing program offered Community College of Philadel- half-day, one-day, and two-day seminars
at The Writing Institute at Sarah Law- phia Philadelphia, Pennsylvania. The do allow for 18 students. Topics range
rence College, with courses on fiction, Creative Writing Academic Certificate from the sonnet to travel writing, memoir
nonfiction, memoir, and poetry. Addi- includes both creative writing and litera- to voice, agents to fantasy writing. Youth
tional topics include flash fiction, screen- ture courses, as well as workshops. In the writing programs and scholarships are
writing, and story mapping. Two students Portfolio Development course, students available. Currently classes only available
will be chosen for the Kathryn Gurfein prepare to apply to four-year writing pro- online. Contact: WriterHouse. 508 Dale
Writing Fellowship. Contact: The Writing grams and develop works for publication. Ave., Charlottesville, VA 22902. 434-296-
Institute. 914-323-6170. The certificate credits may be applied to 1922. programs@writerhouse.org
writinginstitute@sarahlawrence.edu. an English or liberal arts associate’s writerhouse.org
sarahlawrence.edu/ce/writing-institute degree. All classes online through fall
semester. Degree type: Certificate. Con- WASHINGTON
OHIO tact: Community College of Philadelphia. Classes and Workshops Seattle,
Clifton Cultural Arts Center Cincin- 1700 Spring Garden St., Philadelphia, PA Washington. Non-credit writing classes in
nati, Ohio. The CCAC holds ongoing cre- 19130. 215-751-8000. screenwriting, novel and short story writ-
ative writing workshops with a maximum ccp.edu/academic-offerings/all-offerings/ ing, sci-fi and fantasy, and more. Many
class size of 8 students. Course takes place liberal-arts/academic-certificate- courses are co-sponsored by the University
twice per week with different instructors programs/creative-writing of Washington’s Experimental College.
for each section. Contact: Clifton Cul- Contact: Classes and Workshops. 425-
tural Arts Center. P.O. Box 20041, Cincin- TEXAS 949-8040. office@Rekindleschool.com
nati, OH 45220. 513-497-2860. Writers’ League of Texas Austin, classesandworkshops.com/writing-classes
info@cliftonculturalarts.org Texas. Courses open to members and
cliftonculturalarts.org/classes/creative- non-members of all experience levels. Hugo House Seattle, Washington. Gen-
writing Topics include structure, pacing, finding a erative classes, workshops, discussion-
critique partner, social media, writing based sessions, and reading courses
OREGON with emotion, using metaphors, submit- focusing on writing and literary craft. Ses-
The Attic Institute of Arts and Let- ting, research, revision, and more. Half- sions range from half-day to weekly for 10
ters Portland, Oregon. A private literary day and full-day Saturday classes and weeks. Young writers mentor program
studio that offers creative writing work- weeknight sessions available. Currently also available. Contact: Hugo House.
shops in poetry, fiction, nonfiction, mem- classes only available online. Contact: 1634 11th Ave., Seattle, WA 98122. 206-
oir, personal essay, storytelling, and more. Writers’ League of Texas. 611 S. Congress 322-7030. welcome@hugohouse.org
One-day sessions offered as well as ongo- Ave., Suite 200 A-3, Austin, TX 78704. hugohouse.org/classes

Classifieds
READERS should use caution when entering
into any legal contract with a literary service
CONTESTS
offering agenting-type assistance; publishers who
charge, rather than pay, an author for publication; $"--'03&/53*&4$PMPSBEP1SJ[FGPS
publishers who require a purchase before 1PFUSZ IPOPSBSJVNBOECPPLQVCMJDBUJPO
publication and contests that charge high entrance 4VCNJUCPPLMFOHUIDPMMFDUJPOPGQPFNTCZ+BOVBSZ
fees. The Writer also recommends requesting a list 5IFFOUSZGFFJODMVEFTPOFZFBS
of references and submission guidelines before TVCTDSJQUJPOUP$PMPSBEP3FWJFX0CUBJODPNQMFUF
submitting a manuscript. If you have any concerns HVJEFMJOFTCZTFOEJOH4"4&PSWJTJUJOHXFCTJUF
regarding the advertiser’s commitment or claims, $PMPSBEP1SJ[FGPS1PFUSZ $FOUFSGPS-JUFSBSZ
please contact the advertiser and make certain 1VCMJTIJOH $BNQVT%FMJWFSZ $PMPSBEP4UBUF
all questions are answered to your satisfaction.
ADVERTISERS We do not accept ads from agents
6OJWFSTJUZ 'PSU$PMMJOT $0IUUQT
or businesses that charge a reading or marketing DPMPSBEPQSJ[FDPMPTUBUFFEV
fee; Subsidy Publishers: Copy of contract. In
order to effectively handle questions from our
readers regarding the products and services of our
advertisers, the staff of The Writer asks that you
provide us with some supplemental information,
especially for first time advertisers. Examples
EDITING/CRITIQUING
include—Contests: Fee requirements, prizes and if
purchase is necessary to qualify; Correspondence
Schools: Copy of student’s contract, copy of PROFESSIONAL EDITOR, Award-winning Author
critiqued assignment, documentation if course is (Bantam, Berkley/Ace, others) offers extensive
accredited; Editing Services: Resumes showing critiques, respectful in-depth editing. Fiction, non-
qualifications of service providers, a sample fiction, juvenile/YA. Carol Gaskin 941-377-7640.
critique, general cost of services; Literary Services: Email: Carol@EditorialAlchemy.com or website:
General cost of services, resume of service www.EditorialAlchemy.com
providers, verification that at least 50% of business
income is from commission on sales. For our
private records, please provide us with a street
HIGH-QUALITY EDITING FOR WRITERS of
GET
address and contact telephone number. The Writer
reserves the right to reject or cancel any advertising Fiction. Can be especially helpful to unpublished or
which at its discretion is deemed objectionable, first-time writers. Honest, constructive, meticulous
misleading or not in the best interest of the reader. feedback. Free sample edit. New Leaf Editing.
Send Your Ad To: The Writer, Sales Account www.newleafediting.com or e-mail
SOCIAL
Manager 25 Braintree Hill Office Park, Suite 404 martikanna@comcast.net
Braintree, MA 02184 or call (617) 706-9099 E-mail:
scavoli@madavor.com Major credit cards accepted.
Unlock the potential of your manuscript!
Want to write a good book? I can help.

CONFERENCES Helga Schier, PhD,
published author and former
Follow us
publishing executive, offers
powerful, comprehensive,
personalized and effective
on Twitter
editorial services.
“When Helga entered the picture, my manuscript

went from promising to a published and critically
acclaimed book.”
– Ed Driscoll, award-winning comedian and writer
withpenandpaper.com 310.828.8421
helga@withpenandpaper.com
@thewritermag
SERVICES
YOUR
BUSINESS.
OUR
READERS. Professional Book Proofreading
Fast, affordable, and reliable book editing services
For more information about how you recommended by award-winning authors and publishers.
can connect with thousands of writers, FREE consultation and cost quote for all projects.
contact Shelley Cavoli at 617-706-9099 or Phone: (989) 390-7109
scavoli@madavor.com. Mark@ProfessionalBookProofreading.com
ProfessionalBookProofreading.com
HOW I WRITE
BY ALLISON FUTTERMAN
Maya Shanbhag Lang

A
fter receiving glowing ahead of time. With my first novel, it
praise and positive reviews all started with the opening sentence,
for her debut novel, The which popped into my brain. I didn’t
Sixteenth of June, Maya know a thing about the characters. I
Shanbhag Lang was working on her wrote the book sentence by sentence,
second novel when everything like building a house plank by plank.
changed. After her mother developed For me, fiction is an exercise in uncer-
early-onset Alzheimer’s, Lang became tainty, in venturing into the dark. The
her caregiver while also caring for her mystery is what keeps me going. I’ll
own young daughter. It wasn’t her plan write pages and pages that don’t wind
to write a memoir, but then again, she up in the final book, but they help me
didn’t plan the to learn my characters.
experiences that
led her to write Editing
What We Carry. I edit way too much as I’m going,
The result is a which is ridiculous. It’s sort of like I
memoir that feel the need to make the intro per-
explores the com- fect, which is like picking the perfect
plex relationships wallpaper for a foyer before the house
between mothers is built. It’s not efficient. I’ll hem and
and daughters. haw over a certain paraphrase and
Impactful and poignant, What We Fiction is like listening later might cut that whole page. The
Carry may not have been what Lang to someone’s heartbeat most important thing is to get a draft
wanted to write originally, but it was through a stethoscope. written and then take a look with
clearly meant to be written. Memoir is like open- fresh eyes – as a reader would receive
heart surgery and it. I’ve gotten quite ruthless with edit-
Switching to memoir ing. I’m willing to cut if something
holding someone’s
I never intended to write a memoir. I isn’t working.
didn’t set out to do this. I was actually
heart in your hands.
working on a novel, taking care of my Writing routine
daughter, and trying to build my things in me that were activated by the When I’m in a groove, I try to write
career. My mother had early-onset process of caretaking. according to my daughter’s schedule. I
Alzheimer’s, and her health was declin- write between 9:30-3:00. I really try to
ing rapidly. She came to live with me, Nonfiction vs. fiction be in the work and not distracted by
and I became her full-time caretaker. It was hard. With fiction, you’re social media or email. Sometimes I
To give myself some relief, I’d sit down shielded and protected. You’re a few have a day where I don’t produce much
and write a Facebook post about our degrees removed with fiction, but not writing. But I look at what I have and
day or something that happened. It with nonfiction. Fiction is like listen- absorb it and sit with it. And I think
might be humorous or it might be ing to someone’s heartbeat through a that time is necessary. It doesn’t yield a
about a struggle. My editor saw the stethoscope. Memoir is like open-heart lot of results. There’s no pileup of
Photo by Beowulf Sheehan
posts and said, “I think this is a book.” surgery and holding someone’s heart in pages, but you need those days of tend-
And I said, “I can’t write a memoir.” your hands. ing to the soil to get the harvest.
But that first night, I wrote the first 70
pages. I realized that I did need to Fiction starting point Allison Futterman is a freelance writer based
write about this stuff. There were When I write fiction, I know nothing in Charlotte, North Carolina.

Submit your very best work in
any genre – fiction or nonfiction –
in 1,000 words or less. LEARN
MORE AT
writermag.com/
DEADLINE: contests
August 12, 2020
GRAND PRIZE:
$1,000 and publication
in our magazine

The Writer - September 2020

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The Writer - September 2020

Uploaded by

Copyright:

Available Formats

e F ast e st

Call or email. We’ll answer all of your

It’s packed with great information,

14 Opening a line of credit 26 Back to virtual school IN EVERY ISSUE

Cover: Helga Khorimarko/Shutterstock

writermag.com • The Writer | 1

2 | The Writer • September 2020

OPERATIONS Client Services

twitter.com/ facebook.com/ instagram.com/

writermag.com • The Writer | 3

reviews, didn’t sell as well, and the publisher – I

Plans. Beware of plans. Who was I, a newish author

Believe me, I tell them. I know. your questions!

writermag.com • The Writer | 7

5. KRAFT DESK ORGANIZER

Stepping into discomfort

Fighting for freelancing

Ithaca-based Pete Croatto is a veteran free-

Weekly, Columbia Journalism Review, and many

writermag.com • The Writer | 13

“The first time Caesar approached Cora

“It was the day my

I’m sorry. Grandmother exploded today?

“Many years later, as he faced the firing

Without knowing anything else about this

writermag.com • The Writer | 19

20 | The Writer • September 2020

writermag.com • The Writer | 23

24 | The Writer • September 2020

writermag.com • The Writer | 25

IF home orders taught us –

tures? Virtual instruction? All possible,

thanks to tech-savvy audiences and the

writermag.com • The Writer | 27

28 | The Writer • September 2020

writermag.com • The Writer | 29

30 | The Writer • September 2020

writermag.com • The Writer | 31

32 | The Writer • September 2020

Classes, seminars, Gotham Writers known for regularly hosting

craft topics ranging from plot Writingclasses.com Highlightsfoundation.org

34 | The Writer • September 2020

writermag.com • The Writer | 35

The Sunlight Press

Learn expert craft instruction from the

writermag.com • The Writer | 37

San Miguel Writers’ Conference &

writermag.com • The Writer | 39

develop the skills needed to execute the

40 | The Writer • September 2020

writermag.com • The Writer | 41

University of California-San Diego manuscript. Individualized guidance from INDIANA

42 | The Writer • September 2020

writermag.com • The Writer | 43

44 | The Writer • September 2020

Unlock the potential of your manuscript!

Want to write a good book? I can help.

“When Helga entered the picture, my manuscript

Maya Shanbhag Lang

46 | The Writer • September 2020

You might also like