I write daily. I must. Creators—painters, photographers, musicians, and writers too—are like athletes: to keep in the game, you must stay fit. In order to strengthen our plots and dig deep into our characters, authors have to stretch their minds.

We can't do this by sitting in front of a computer for five to eight hours (or more) a day.

For me, even a hour or two's worth of scenery allows me to rethink work in progress. And because I have the great blessing of being married to a writer, we do our best to take our breaks together.

When we do, we walk.

Martin and Josie Cascade Falls MV

We are very fortunate in that we live in a beautiful place: San Francisco, California. If you're not opposed to taking in a few hills when you come upon one (a great cardio workout) it truly is a very walkable town. They say San Francisco is seven miles long by seven miles wide. On a normal day, we'll walk four to five of those. On a day in which we really want to get out of our heads, we'll walk as many as ten miles.

During that time, we talk: sometimes about our three wonderful kids, but mostly about our plots.

If you're a writer and you have a critique partner, you know the drill: you've chosen someone who knows and appreciates your work, understands your characters, and with whom you feel comfortable enough to explain the plot hole you may have fallen into.

Maybe they'll come up with an insight that you somehow missed. Maybe not. But just hearing you explain the concern out loud, you'll work through it. You'll have some sort of “Eureka” moment. 

Even if you don't, you'll be in sunlight. You'll hear others' conversations as you pass them. Something in the sky will catch your eye. Or maybe it'll be something on the bay. Or a front door of a house you've never seen before. Or wisteria is in bloom, and you it stops you in your tracks.

By the way, if you write but have not yet found a critique partner—and for that matter, if you are just dipping a toe in the process—check out the writers' collective known as the 85K Writing Challenge. There, you'll be inspired and challenge to come up with a daily word count that may result in the book you know lives within you. It is the brainchild of Author Julie Valerie, whose debut novel, Holly Banks, Full of Angst, will be out Fall 2019.

If we have the time, sometime we cross the Golden Gate Bridge and take in one of the many hikes in the trails in and around the tiny gem-like towns of Marin County. One of our favorites is in Mill Valley, California. Many of the houses are built on the lanes that zig and zag through the foothills leading up to Mount Tamalpais—or, as the Miwoks (first people of the area) called it, “the sleeping lady.”  This time of year, especially after a rainy season, a few of the falls that in the area are at full strength. The most accessible, and perhaps the most beautiful waterfall in this town is called Cascade.

I want to share it with you.

If you click onto this video you'll enjoy a tiny moment of zen.

—Josie

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Why Authors Choose to Self-Publish

AR-305239320

Most authors walk a financial tightrope. 

Hey, don't take my word for it. In a September 2015 an article on a recent Authors Guild survey of its members' incomes,  Publishers Weekly put it this way:

 

Authors Guild Survey quote

Yikes.

Thank goodness for self-publishing. It saved my career, and those of many other authors I know.

Even with four novels (one optioned for television) and two-nonfiction books published traditionally, as early as 2010 I'd dipped my toe into the choppy waves of self-publishing. My subsequent success with it is why I now self-publish exclusively.

Whereas self-publishing has grown by leaps and bounds in the past ten years, ours wasn't the first generation to discover its financial rewards. Jane Austen, Emily Dickinson, Marcel Proust, and Walt Whitman self-published their books. Misery loves great company indeed.

But before self-publishing became a financially viable option for the current generation of writers, traditional publishing—that is to say, print books, primarily by one of the Big Five New York publishing houses—was the only venue for the sale and distribution of books. Even ten years ago, the thing authors love to do most—write novels—was not possible without running an unwieldy gauntlet that put their manuscripts in front of any literary agency that might deem the book sellable to a publisher, and any publishing house editor who might actually like it enough to purchase it. 

Besides editing, printing, and distributing a book, part of the publisher's job is also to promote it. For doing so  the publisher holds on to anywhere from 80-92 percent of the book's retail price.

(Yep, some authors get only an 8 percent royalty. Worse yet, royalties are paid twice yearly, and they are only paid if their books "earn out"—that is, return any advance paid, which may not happen for years if at all, what with the other variables tied to this equation, including book returns, of which there are no cut-offs; and perhaps the payback of advances of other books as well.)

Sadly, in traditional publishing, marketing is the last consideration—never the first—when purchasing a book from an author. Compared to other products as a whole—and entertainment products in particular, including films, music, magazines, and video games—it gets a negligible budget, if any at all.

Steve Hamilton Publishers WeeklyDon't take my word for it.  In this article regarding the breakup between bestselling thriller writer Steve Hamilton and his former publishing house, St. Martin's Press, Publishers Weekly outs its industry's dirty little secret: there is no there, there:

 A book can be beautifully written, have scintillating dialogue and a page-turning plot. But without the adequate marketing and promotion that puts it in front of a targeted audience, a book is as dead as a beached whale. 

At this point in time, most Authors Guild members are traditionally published. Coupled with the Hamilton/SMP breakup, the Authors Guild survey certainly makes an excellent case for the guild to reconsider what it must do to protect its members. For example, the guild—along with literary agents and intellectual property attorneys—should insist that any publishing contract contain clauses that:

(a) Succinctly spell out a yearly quantitative financial base for the book, with instant reversion to the author if not met. Right now, most publishing contracts hold onto rights forever, under the assumption that digital distribution means that a book never goes out of print.

(b) Outline an advertising budget, tied to an actual, very specific media plan for the marketing of the book—at least for the first full year in print—and allow for immediate reversion of rights if there is no follow-through.

Is it any wonder that hybrid authors—that is to say, those authors who have been published traditionally, but then, like me, elected to publish their books independently of a publishing house—are a growing breed? Of course not. Like everyone else, authors have to eat. They have to pay rents and mortgages. They raise children, and pay for health insurance, taxes, and all the other expenses that come with being self-employed.

I personally know many hybrid authors. Under the traditional publishing model, their advances and sales shrunk along with the demise of both chain bookstores, and the winnowing of independent brick-and-mortar bookstores in the most recent recession. Several of these authors were at the brink of financial disaster (homes soon to be repossessed, couch-surfing, near bankruptcy) when they made the decision to walk away from traditional publishing contracts. After doing so, they rolled up their shirtsleeves and did what they had to do to self-publish: write good books; have their books professionally edited and digitally converted; distribute their books—primarily as eBooks.

The successful one know they must also promote their books.

The good news for their readers: the books are priced lower than their offerings still distributed by their traditional publishers. 

The great news for these authors: now that they retain 70 percent of the book's retail price, they are making a sustainable living for themselves and their families.

Some are doing better than that, having already sold millions of books since starting this journey. Sylvia DayBarbara Freethy, Stephanie Bond,  Bella Andre, and Kate Perry are perfect examples of hybrid authors who took advantage of the changing bookselling marketplace to not just survive, but to thrive. And whereas Ms. Day, Ms. Andre and Ms. Bond still have one foot in traditional publishing, Ms. Freethy and Ms. Perry are in total control of every facet of their books' design, distribution and promotion. 

Another hybrid author who made the leap to indie publishing and never looked back was thriller novelist Barry Eisler. Recently, I had the opportunity to interview him for the International Thriller Writers Organization's e-zine, "The Big Thrill." Some of what Barry says regarding the advantages of self-publishing versus traditional publishing can be found in the article linked here.

However, some of our Q&A was cut. Since the questions are relevant to this post's topic, I've included them here:

JB: If there were one (or two, or three) things you could change about the publishing industry and the novelist’s role within it, what would it be?

BE: The first thing I’d like to change is the popular perception that organizations like the Authors Guild and Authors United primarily represent authors rather than establishment publishers. I have no problem with organizations advocating for publisher interests, but the dishonest way in which the AG and AU go about their publishing industry advocacy misleads a lot of authors. I could go on at length about this topic and in fact I have—so for anyone who wants to better understand the real agenda and function of these “author” organizations, I’d recommend starting with this article I wrote for Techdirt, Authors Guilded, United, and Representing…Not Authors.

JB: But isn’t it true that the AG speaks out on various topics of concern to authors, like unconscionable contract terms?

BE: Hah, the AG going after publishers is like Hillary Clinton going after Wall Street. I’ve had a lot to say about this, including thecomments I wrote in response to this post at The Passive Voice.For anyone who’s curious, just search for my name and you’ll find the comments, the gist of which is, when the AG wants to accomplish something, it names names and litigates; when it wants authors to think it’s trying to accomplish something but in fact isn’t (or, more accurately, when what it’s trying to accomplish is maintenance of the publishing status quo), it talks.

When the AG talks, it’s a head fake. The body language is what to look for in determining the organization’s actual allegiances and priorities.

Another thing I’d like to change is the generally abysmal level of legacy publisher performance in what at least in theory are legacy publisher core competencies. Whether it’s cover design, the bio, or fundamental principles of marketing, legacy publishers are content with a level of mediocrity that would be an embarrassment in any other industry. I’ve seen little ability within legacy publishing companies to distill principles from fact patterns (particularly patterns involving failures) and then apply those principles in new circumstances. Institutional memory and the transmission of institutional knowledge and experience are notably weak in the culture of the Big Five. My guess is that the weakness is a byproduct of insularity and complacency brought on by a lack of competition.

JB: Agreed. Having spent fifteen years in advertising before becoming a novelist, I was abhorred as to what passed for “marketing and promotion.

BE: I'd also like to increase awareness of the danger a publishing monopoly represents to the interests of authors and readers. No, I’m not talking about Amazon; “Amazon is a Monopoly!” is a canard and a bogeyman. I’m talking about the real, longstanding monopoly in publishing (or call is a quasi-monopoly, or a cartel), which is the insular, incestuous New York Big Five. An important clue about the nature of the organization is right there in the name, no? See also the Seven Sisters

Okay, another thing (and then I’ll stop because I could go on about this stuff forever): I’d like to see more choices for authors; new means by which authors can reach a mass market of readers; and greater diversity in titles and lower prices for readers.

Wait, that last set of wishes is already happening, courtesy of self-publishing and Amazon publishing—the first real competition the Big Five has ever seen, and a boon to the health of the whole publishing ecosystem.

Hybrid author success stories are now numerous. As author advocate Jane Friedman's wonderful blog points out,  Claire Cook, Harry Bingham, and William Kowalski are just a few other examples of hybrid authors who made the leap and never looked back.

Products are created from a perceived need. Industries are created by providing sales and distribution venues for products.

But sometimes how the product is distributed changes also how the product is purchased by its consumers. 

Books—in whatever form they take—will always be needed. They entertain, they provoke thought, they provide knowledge.

In publishing, books are the products. Still, how books are distributed and sold doesn't change how they are made: by authors with the perseverance to write a good story, and then do what they can to find readers who will fall in love with it. 

 

Like Mr. Kowalski, Ms. Cook, and Mr. Bingham, I love what I do. Now that 2015 has come to an end, I now know that all my hard work toward creation and release of the my latest four books and a novella (The Housewife Assassin's Garden of Deadly Delights, The Housewife Assassin's Tips for Weddings, Weapons, and Warfare, The Housewife Assassin's Husband Hunting Hints, Totlandia Book 5, and Gone with the Body) was worth it.

It is confirmed by my bookstore royalties. More importantly, it is substantiated by the many kind comments received from my supportive readers. 

Thank you, readers, for taking a chance on me, loving my characters, and chatting up my books with others who they felt might enjoy them, too. 

Here's to a wonderful new year filled with more great stories from your favorite authors.

—Josie

 

My NaNoWriMo Tips!

WriteWriteWrite
A tip a day keeps you scribblin' away.

Okay, not exactly a great line, but it gets the point across. And as my tips say here, "I'll edit on the back end."

And so will you–but first things first

Every day through November, I've been supporting those participating in National Novel Writing Month by launching posts on creative writing tips (usually by 12 noon PDT) that will help them reach their goal: writing 50,000 words in their novel.

Here are links to my tips:

Tip #1: Treat writing a if it is your career.

Tip #2: Outline the plot of your story.

Tip #3: Don't give up!

Tip #4: Meet your word count first; then edit.

 Tip #5: Show, don't tell.

Tip #6: Recognize when your" backstory" is really your story.

Tip #7: Chapter doesn't work? Fix it in "post."

Tip #8: Why every story needs a beginning, a middle and an end.

 Tip #9:What to do when your story is boring, even to you.

Tip #10: Better late than never. Here's why.

Tip #11: Choose the right writing voice. If your voice is wrong, change it.

Tip #12: Stuck? Change your writing pattern.

Tip #13: Make your readers love your hero.

 Tip #14: Is writing a craft, or an art?

Tip #15: 3 ways in which you sabotage your creative writing process.

Tip #16: How to get out of "paragraph paralysis."

17. The emotional depth of your characters is important.

18. Writing a novel is a marathon, so pace yourself.

19.Scene needs a rewrite? Try changing the point of view.

20. Write the way George Clooney acts: with confidence.

21. Every word counts. Here's why.

22. If your dialogue doesn't match the character, fix it! Now!

23. Make sure your novel isn't half-baked.

24. It's not what you mean, but how you phrase it.

25. Yes, you need an agent. Here's why.

 

Good luck with your own manuscript. I look forward to buying your book, too!

 Josie

 

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Join me at Screenwriters World Conference 2013!

True-Blood

BOOT CAMP: ANATOMY OF A NOVEL BECOMING A TV PILOT

Instructors: Josie Brown and Laurie Scheer

WHEN:
Friday September 27, 2013 / 1-4pm

 WHERE: 
2013 Screenwriters World Conference West

Hyatt Regency Century Plaza
2025 Avenue of the Stars, Los Angeles, CA 90067

FEE:   $149 
(Boot Camp Only; See Below for FULL Attendance Packages)

 

Game of Thrones. True Blood. Silver. Bored to Death. Gossip Girl. What do these television shows all have in common?

They were books before they were adapted as network, cable, or premium channel shows.

Turning a book into a screenplay, or a teleplay is an art form onto itself. And turning a screenplay or teleplay into a book is one way in which you can get your project noticed by producers, as well as give it another revenue-generating platform.

Join me, along with Laurie Scheer (Media Goddess, former  producer for ABC, Viacom, Showtime, and AMC) for this seminar, which outlines the necessary steps writers need to take to move their literary work onto transmedia platforms. 

Laurie and I will discuss in detail our working relationship throughout the entire process–from mere idea to sold pilot–so you too can sell your prose within the vast television marketplace.

 
Topics covered:

• Adapting literary prose into script format.
• Preparing a TV bible, series treatment, project synopsis
• Selling yourself as a transmedia writer
• Understanding the television development process
• Playing the game-knowing what to ask for when your project is picked up
• Reality Check: Collaboration, or Take the Money and Run?
This is an interactive BOOT CAMP workshop consisting of lecture, presentation, in-class exercises, discussion, and Q & A ending session.
 

I hope to see you there!

— Josie

2013 SCREENWRITERS WORLD CONFERENCE WEST
ATTENDANCE FEE PACKAGES:

About

Registration  

$599.00 
$549 early bird price available until July 19, $599 regular price effective July 20, $699 on-site price effective September 27.

Includes the full program starting at 5:00 pm on Friday, all of Saturday, and Sunday for Screenwriters World Conference West and Writer's Digest Conference West including access to both the Writer's Digest and Screenwriters World Pitch Slams.


$499.00 

$449 early bird price available until July 19, $499 regular price effective July 20, $599 on-site price effective September 27.
Includes the full program starting at 5:00 pm on Friday, all of Saturday, and Sunday.

$349.00 
$349 regular price, $449 on-site price beginning September 27.
Saturday Only option includes Pitch Slam and all other conference activities on Saturday, September 28.


 $749.00 
For the group. Individual Full Conference registration for you and your writing partner! Great deal, two attendees for $749.


  $149
The Boot Camp only option allows registrants to register for Boot Camps offered on Friday, September 27. There are two boot camp time slots: 9:00 am, and 1:00 pm. Josie and Laurie's "Anatomy of a Novel Becoming a TV Pilot" is on Friday, September 27, 1pm. Each boot camp is three hours long and is $149 each. Please see the agenda page within registration to make your boot camp selections.

Game-of-thrones

Join me at Pitchfest!

Leo and Carey Great Gatsby

Hey, if it happened to F. Scott Fitzgerald, it can happen to you.

One of America's most celebrated authors died penniless, his greatest opus, The Great Gatsby, nearly forgotten…

Except by Hollywood.

Since his death, his book,  has been adapted for the screen an extraordinary five times.

It's also been an opera, a ballet, a musical, a straight play, and get this: two video games.

 Can you increase the odds that your book will find its way onto the silver screen?

Is a novel an alternative route to get your screenplay into the hands of producers?

The answer to both these questions is a resounding yes. To find out how, join me in Los Angeles on Saturday, June 1, 2013, where I'll giving a workshop with the incomparably divine Laurie Scheer at Pitchfest called, "Adapting your Screenplay as a Book" .

Details are below.

It'll be worth it,

— Josie

 

Photo: Leonardo DiCaprio and Carey Mulligan
in Baz Luhrmann's The Great Gatsby 

Adapting Your Screenplay as a Book
4:30pm – 6:00pm – Academy Five
with Josie Brown & Laurie Scheer
So, you’ve pitched your screenplay and a few agents have said, “I could sell that idea if it were a novel.” Know that you’re not alone. So, what should you do? Josie Brown, best-selling novelist and Laurie Scheer, d-girl extraordinaire and publishing mentor, guide you through a workshop presentation that includes in-class exercises, tangible examples, and an extensive Q&A segment to help you determine how your screenplay will look as a book. With the majority of studio projects being produced from existing properties and franchises (books, comics, games, apps, etc.), adapting your screenplay into book form is an option many screenwriters have found success doing—and many others are considering it. Before you begin the process of writing prose vs. script, there are a few elements you need to know.

 
Click here to register for Pitchfest 

Click below to see a trailer from the movie, THE GREAT GATSBY


My NaNoWriMo Tip #15 is on authors sabotage their writing, and their careers.


NaNo15
It's NaNoWriMo Month
!

(National Novel Writing Month, for the uninitiated…)

For those of you who have begun writing your first book, every day I'll repost my fave creative writing tips here, just for you. 

Here's Tip #15, for Thursday, the 15th…

The previous day's post can be accessed on this page, too.

Here's to your success as an author,

— Josie Brown

Don’t forget to enter my HOUSEWIFE ASSASSIN’S GUIDE TO GRACIOUS KILLING contest, for a chance to win a $100 gift card to the bookstore of your choice!

 

 

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An excerpt, not my own: the poetic prose of Proust.

JSS 1
These passage, about the power of fiction, comes from Swann's Way, the first volume of French novelist Marcel Proust's epic masterwork, In Search of Lost Time. It is voiced by his narrator, a young Marcel, while sitting in a garden at his parents country estate, outside the small French town of Combray.


This long passage comes in the form of a single paragraph. The punctuation is all Proust's work. He was given to paragraphs that could run up to five pages and sentences,
at times, of up to a thousand words. My husband, Martin, put reading Proust on his must-do list.

"At sixty-one,  I've already outlived Proust by ten years so I thought it was time to get started," he explained to me.

Already Martin has move on to his second volume, Within a Budding Grove.

He recommends that you read this passage more than once. "I've read it a half dozen times, and I think I've absorbed Proust's meaning…mostly."

See if you feel the same way.

Enjoy,

–Josie

 "Next to this central
belief which, while I was reading, would be constantly reaching out from my
inner self to the outer world, towards the discovery of truth, came the
emotions aroused in me by the action in which I was taking part, for these
afternoons were crammed with more dramatic events than occur, often, in a whole
lifetime. These were the events taking place in the book I was reading. It is
true that the people concerned in them were not what Françoise would have
called 'real people.' But none
JSS2of the feelings which the joys or misfortunes of
a real person arouse in us can be awakened except through a mental picture of
those joys or misfortunes; and the ingenuity of the first novelist lay in his
understanding that, as the image was the one essential element in the
complicated structure of our emotions, so that simplification of it which
consisted in the suppression, pure and simple, of real people would be a
decided improvement. A real person, profoundly as we may sympathize with him,
is in a great measure perceptible only through our senses, that is to say,
remains opaque, presents a dead weight which our sensibilities have not the
strength to lift. If some misfortune comes to him, it is only in one small
section of the complete idea we have of him that we are capable of feeling any
emotion; indeed it is only in one small section of the complete idea he has of
himself that he is capable of feeling any emotion either. The novelist's happy
discovery was to think of substituting for those opaque sections, impenetrable
to the human soul, their equivalent in immaterial sections, things, that is,
which one's soul can assimilate. After which it matters not that the actions,
the feeling of this new order of creatures appear to us in the guise of truth,
since we have made them our own, since it is in ourselves that they are
happening, that they are holding in thrall, as we feverishly turn over the
pages of the book, our quickened breath and staring eyes. And once the novelist
has brought us to this state, in which, as in all purely mental states, every
emotion is multiplied ten fold, into which his book comes to disturb us as
might a dream, but a dream more lucid and more abiding than those which come to
us in sleep, why then, for the space of an hour he sets free within us all the
joys and sorrows in the world, a few of which only we should have to spend
years of our actual life in getting to know, and the most intense of which
would never be revealed to us because the slow course of their development
prevents us from perceiving them. It is the same in life; the heart changes,
and it is our worst sorrow; but we know it only through reading, through our
imagination: in reality its alteration, like that of certain natural phenomena,
is so gradual that, even if we are able to distinguish, successively, each of
its different states, we are still spared the actual sensation of change."

 

Both of these paintings were created by John Singer Sargent. The first is called Rose-Marie Ormond Reading in a Cashmere Shawl, and the second is, simply, Man Reading.

NaNoWriMo Tip #11: What It Takes to Write a Novel.

Chapterbook2008I got a very sweet email from a reader once, who asked if I could go to an online post where her sister had written a book, read it, and give her encouragement.

I have a sister. If I weren't already published, I could see her wanting to help me in this way.

I had to decline, for several reasons: I had a pending deadline to meet with my editor, and a book launch. When under deadline, I have to keep my head down, and doing my own plotting and scheming.

In fact, I shouldn't even be writing this post, but it touched me so much that one sister would reach out to a perfect stranger to help another.

There are other reasons published authors decline. For example, if they followed through on every request they got to the same question, they would never be writing at all. Others decline for legal reasons: they never want someone coming back and saying, "She used my plot!"

So did Shakespeare, and he's been dead for four hundred years. Go figure.

If she — or you — are  serious about her writing, that is, if you see writing fiction more as a craft (and possibly a livelihood) than a hobby, you should immediately join (or at least go to a first couple of meetings of) one of the many writers organization that nurture aspiring writers, such as Romance Writers of America or Mystery Writers of America.

Here's the beauty part; you have to write in these genres in order to join.

There are local chapters all over the country (and in RWA, they even have national online chapters for specific genres, such as YA, Paranormal, Regency, etc).

By doing so, you will learn from others the ins and outs of the craft (plotting, dialogue, voice, etc.) as well as the "business" end: how to team up with a lit agent, who will put you in front of an editor who "gets" your voice ; or how to self-publish, if you are anxious to see it out in the world in a shorter time frame. (Going the agent to editor to pub date could take two years or more, on average).

These organizations have guest speakers who are published authors who share with you their own bumps in the road on their journeys to publication. You'll take workshops. You'll listen to literary agents explain their end of the business.

And if they sell what you write, you can give them your elevator pitch. Who knows, it may be a match made in heaven.

This, my friend, is an aspiring writer's life.

(A published author's life is a whole OTHER post. But not for today. Like I said, I've gotta keep my head down. As if.)

Within a writers' group, she'll make friends with other writers, both published and aspiring, who may be looking for "critique partners:"  others who will read it and give advice on where she can strengthen a plot point, or her dialogue.

In other words, an ongoing support group.

Almost every published author I know (including me) has found some success in this route, so I want to pass it forward.

My very own RWA Chapter, in San Francisco, actually put together a book for aspiring writers. Writing Romance: The Ultimate Guide on Craft, Creation and Industry Connections, is filled with insightful essays of life in the trenches. You should check it out. In fact, you'll find an essay or two from me in there.

I've also written a slew of creative writing tips in celebration of last year's National Novel Writing Month (NaNoWriMo).

If you don't have time to go this route, perfectly understandable. I wish you luck on your own road  to publication. I'm just hoping to pass along a shortcut in an industry which is changing so rapidly that you need a hovercraft to get to your destination: publishing novels, and being successful at it.

Warp speed, writer!

— Josie

_______________________________________

READ ALL OF MY NaNoWriMo TIPS, IN ORDER, HERE…

__________________________________________

I've got a question for you, and be honest:  Have you psyched yourself out about writing? If so, can you now psyche yourself UUP, and START writing? 

Happy National Novel Writing Month,

— Josie

This Saturday, take my writers’ workshop in Sacramento…

Sacramento-river

Here are the deets. Hope to see you there!

— Josie

Sat May 19, 2012 / 9am check-in / Ends at 12 noon
SACRAMENTO, CA 
Sacramento Valley Rose Romance Writers Chapter

Holiday Inn Rancho Cordova
11269 Point East Drive, Rancho Cordova, CA 95742

Josie's Workshop: "“Your First Scene, Line, Paragraph: Making a Great First Impression”

If you’re going to sell your novel, capturing the hearts and minds of those who will read it first – your dream agents or editors – is tantamount.

In this workshop, participants will learn:

1. 4 Page-Turning Tips Every Story MUST Have
2. The Best Place to Start Your Story, and Why (Believe it or not, it’s may not be where you’ve got it now…)
3. When (and When Not) to Use a Prologue
4. How to Integrate a Backstory without Slowing the Pace of Your Narrative
5. How and When to Balance Dialogue with Narrative

Because these are interactive workshops, prior to the event participants are welcomed to mail Josie the very first scene of a work-in-progress (no more than eight pages, double-spaced) that they feel exemplifies their process.

From what is sent in, she will choose a handful for positive, insightful examples of voice done well.

Hooray for Hollywood….

TrueHollywood Lies
I love the Southland.

Warm, dry heat. Palm fronds waving lazily in the breeze.

The inevitable celebrity sighting. "Is that….Nah! Can't be! Too  (fill in the blank: tiny/old/young/fat/doesn't look anything like the fantasy I had in mind)…"

I'll be making my way to Los Angeles this weekend, where I'll be hosted by the Los Angeles Romance Authors. Here's the deets, below.

Hey, if want to get into an LA frame of mind, click this link to hear a scat/jazz version of Hooray for Hollywood…

Or if you've got a hankering to talk writerly things, come join us!

 

— Josie

Sun April 15, 2012 / 10am – 12noon
LOS ANGELES, CA
Los Angeles Romance Authors

Sportsmen's Lodge Hotel, 12825 Ventura Blvd, LA CA 91604

Attendance costs $5.00 for members and $10.00 for visitors.
Your first visit is free!

Josie's Workshop: "“Your First Scene, Line, Paragraph: Making a Great First Impression”

If you’re going to sell your novel, capturing the hearts and minds of those who will read it first – your dream agents or editors – is tantamount.

In this workshop, participants will learn:
 

1. 4 Page-Turning Tips Every Story MUST Have
2. The Best Place to Start Your Story, and Why (Believe it or not, it’s may not be where you’ve got it now…)
3. When (and When Not) to Use a Prologue
4. How to Integrate a Backstory without Slowing the Pace of Your Narrative
5. How and When to Balance Dialogue with Narrative

Because these are interactive workshops, prior to the event participants are welcomed to mail Josie the very first scene of a work-in-progress (no more than eight pages, double-spaced) that they feel exemplifies their process.

From what is sent in, she will choose a handful for positive, insightful examples of voice done well.