As part of your conference registration options, you will be given the choice of one of the following Workshop Electives from each of the available time slots.
As you review the options, you will see that each class is marked with a Level. The Levels are a tool to help you determine which classes will be most beneficial FOR YOU. These same Levels are also used to to help you select Continuing Education Sessions. You can find Level Definitions by clicking HERE, or you may also use the link provided in the navigation menu to the right.
After reading the Level Definitions, make note the workshops and sessions you most want to attend and have it handy when you complete your registration.
IMPORTANT NOTE: You are encouraged to study the workshop sessions carefully before registering. In an effort to be as environmentally responsible as possible, handouts for sessions will not be available onsite. You’ll receive handouts for your sessions via email the week prior to conference. If you purchase the complete syllabus, that electronic copy will be included in your registration packet.
Workshop Elective Session 1: Saturday- 9:30 am – 10:30 am
WS 1: Critique or Consequences
A common misconception about critique groups is they strip away your individual style and voice. It can be circumvented, if you know how. This workshop offers advice on how to find critique partners, work with different genres, and how to blend your unique strengths and weaknesses to form a top-notch group, and avoid discouragement. Novelist and Novel Rocket president, Ane Mulligan, has been with her critique partners for over 12 years. She mentors the Penwrights, a large critique group that has seen most of its members published. She also led ACFW’s monthly course on Critiquing for two years. This workshop will discuss the attitude necessary to give and receive critiques, how to be tough on each other and dig deep, while remaining encouraging.
I. Finding partners
a. Where to find them
b. How to gauge writing levels
c. Large Group/Small Group?
d. Online or face-to-face?
II. Establishing Ground Rules for your Critique Group
a. Determining the ambiance of the group
b. Balancing submission with critiques
c. Uniformity of critique format
d. Proper attitude
III. Critiquing: How to help your partners refine their craft
a. Mechanics (handouts included)
b. Combining the group’s strengths and weaknesses
c. Moving beyond grammar correction and word choice
d. Learning to hear the music: allowing your partner to break the rules
e. Plot holes and story arcs
IV. How to process the critique
a. Establishing trust
b. When to ignore the suggestion
c. How to handle differences of opinion
d. What can’t be ignored
V. Q & A
WS 2: How To Build A Platform When You’re A Nobody
How to build a platform when you’ve never been published, no one knows you from Joe Schmo, and you don’t want to look or sound like an absolute narcissist.
1 Learn who you are
WHAT MAKES YOU YOU?
Developing confidence in yourself is critical to reaching out to potential future readership. What is it about yourself you would highlight when given a few minutes with a stranger?
2 Embrace Social Media
SUCK IT UP AND PRESS “ENTER”
It’s here and it’s not going anywhere. Learning to love social media might raise your hackles, but this is how you can connect with your peeps. So let’s learn how we do this in a way we can not only embrace but ENJOY!
3 Be Real
PEOPLE ENJOY AUTHENTICITY
Believe it or not, readers follow nobodies—when you’re authentic. They enjoy YOU. Authenticity is important, and vulnerable honesty is endearing. Selifes of a make-up less, stressed writer brings the reader into your angst over a well-put-together photo.
4 What NOT To Do
FAUX PAS OF PLATFORMS
Nothing turns a reader away than marketing, advertisements and narcissistic personalities. Learn how not to chase away potential readers.
WS 3: Writing Naked
Ami McConnell sees herself as something of a midwife and has learned that no two book- births are the same. Each is delightfully, terrifyingly, wonderfully unique. McConnell’s session will help provide context for your intensely personal journey. As a seasoned professional author, you’ll be encouraged and inspired by this session that focuses on being both vulnerable and authentic—not hiding behind anything—being honest and true and vulnerable with the reader.
WS 4: Good vs. Great
The Difference Between Selling and Slushing
Mary Sue Seymour, Nicole Resciniti, and Julie Gwinn
An in-depth analysis and step-by-step breakdown of the elements that make a manuscript sell.
WS 5: Sustaining a Lucrative Writing Career
This interactive class is perfect for serious money-making writers are in it for the long-haul and want to develop strategies that will help them sell today, tomorrow and long into the future
If you’re going to do something all your life, make sure you like it.” – Tony Bennett (at an interview on his 80th birthday)
1. Set new and fresh goals every year (or every season). Always have a long-range plan.
2. Keep the readers (and editors) guessing what’s coming next. Make your career as exciting as your novel.
3. Keep your name out there in front of editors and readers.
4. Know what makes people tick. Pay attention to real issues and write what’s relevant. Write real stories about real people doing real things.
5. Learn how to use social media to your advantage.
6. Let your brand lead the way as you make decisions.
7. Write Series. Keep it going. . .and going.
8. Be open to trying new things. Maybe you’ve sold well in the past, but things have slowed down. Maybe it’s a new season, one that requires a new genre. Don’t get stuck in a rut.
9. Go with the flow during hard economic times. Supplement your book income.
10. Go the distance as a researcher. Get your facts right.
11. Throw arrogance in the trashcan.
12. Move those OOP books.
13. Handle poor reviews in an easy-going way.
14. Guard what you say about editors, publishing houses and agents.
15. Maintain credibility. Be a person of your word.
16. Take care of yourself. Most writers don’t get enough sleep.
17. Be unique. Don’t follow the pack.
18. Learn creative marketing strategies, then enjoy the process.
19. Fall in love with the written word all over again.
20. Always have a backup plan. You never know when you’ll come to a fork in the road.
Workshop Elective Session 2: Saturday- 11:00 am – 12:00 pm
WS 6: Soul Care for Storytellers (Panel)
Allen Arnold, Kristy Cambron, Katherine Reay, Mary Weber
Soul Care for Storytellers: A breathe-deeper approach to the writer’s calling.
In the Greek, the word soul literally means: breath. It’s life itself. One of the most neglected areas of a storyteller’s world is the internal arena of their soul. Nothing has a greater impact than soul care on an author’s identity, marriage, relationships, and imagination. In this session, a fellowship of four share their unique experience as writers and publisher from this perspective. The group will share a complete care package in (4) key areas of soul-care: SPIRIT, SOUL, BODY, and COMMUNITY, drawing back the curtain on the impacts of the writing life and offering up quick-hit strategies for attendees to walk away empowered to pursue the full scope of the writing craft.
SPIRIT, SOUL, COMMUNITY and BODY each form a quarter of a circle and if one portion is neglected, the writer’s ability to create will be imbalanced (i.e. cannot roll like a wheel). Key questions and actions to consider on the writer’s journey:
o Question: How do authors get taken out at this deepest of levels?
o Question: What happens to our stories when the soul shuts down?
o Question: What are ways to nurture the soul?
o Question: How does God continue to breathe life into us and how do we then breathe this life into our stories?
o Action: Steps to start slow – short list of elements/benefits for self-care in SOUL, SPIRIT, BODY and COMMUNITY
o Action: Change the narrative – ways to think about our wellbeing when our vocational world is so wrapped up in the cerebral
o Action: Takeaways for self-care that can help your creativity and writing
WS 7: Do I Have a Voice?
Find your voice, your wiring, and your audience.
Each author is a unique creation of God therefore each author has a story only they can tell in the way God created them to tell it. This workshop helps writers understand and find their voice, how to write in their soul language, and how to take both their voice and their style and find the audience God has for them.
I. What makes you unique
II. What is the elusive concept of voice and how do you find yours?
III. The importance of a memorable voice
IV. What’s your style?
V. Learning how you work best is the key to an effective and sane writing life. How are you wired?
VI. Who are the people God has given you to write for? How do you find them and better yet, reach them with your stories.
WS 8: Get Out of the Dumps!
Turning Backstory into Character Development
Tips on identifying and eliminating backstory and info dumps in a novel
“Too much backstory in the first chapter.” It’s the response every author dreads. It’s the one sure-fire way to get a book rejected. Backstory, everyone says, should be delivered with an eyedropper throughout the text. But HOW do you do that when so much information is necessary for the reader to understand what’s going on? This class breaks down what a backstory dump looks like and offers three main solutions to using “what came before” to support the plot, development the main characters, and provide motivation for supporting characters.
WS 9: Working with an Agent in the New Publishing Economy
With the advent of self-publishing and the expansion of small presses, it’s fair to wonder who needs an agent in the new world of publishing.
What is the role of an agent in today’s changing publishing climate, and how does a writer go about finding one? In this workshop we’ll explain what an agent does (and doesn’t do), explore methods for researching and approaching gents, and discuss what a healthy author/agent relationship looks like. Chip has been a literary agent for nearly 20 years, and has been one of the busiest agents in the United States, so he knows how to talk about agenting roles and elationships. But Chip is also an author, and understands the problem authors face: “Publishers won’t talk to me unless I have an agent, but agents won’t talk with me until I’m published!” So come join us, bring your questions, and let’s try to create a realistic plan for finding and working with a literary agent who is a fit for you.
WS 10: How to Write for ABA While Keeping Your CBA Values: Part Two
Natasha Kern and Karen Solem
As opportunities for fiction writers within CBA are shrinking both with publishers and with the CBA stores, how to write the kind of story you are committed to but for the general marketplace.
Workshop Elective Session 3: Saturday- 2:00 pm - 3:00 pm
Workshop Elective Session 4: Saturday- 3:30 pm - 4:30 pm
You must be at least 18 years old to attend conference without a parent/guardian present with you at all times.
Participation of an individual presenter, agent, editor, or publisher in the ACFW conference does not constitute endorsement by ACFW. Conference attendees are advised to use due diligence and take personal responsibility when choosing industry professionals with whom to schedule appointments or enter into agreement.