Would you like to meet with an agent personally and talk one on one?
Falling is a list of conferences that will occur across the country this year and the start of next year. If you live in an area where any of them will be held I highly advise you to attend.
Agent-Conference Opportunities
There are plenty of opportunities for writers to meet agents face to face at writers' conferences and pitch their work in 2014 and 2015. Remember: Meeting agents in person is a great way to get past the slush pile. If an agent is interested in your work and requests a sample or book proposal, you can write "Requested Material" on your submission, making sure it gets a fair read and consideration.
Know that there are two types of conferences. There are general writers' conferences, that address a variety of subjects, and then there are specialized conferences, which usually tend to focus on a single genre-such as western, romance, or mystery. You will find both kinds in this list below.
Atlanta Writers Conference, Oct. 24, 2014, Atlanta, GA
Attending agents: Jennifer Udden (Donald Maass Literary); Beth Phelan (The Bent Agency); Elizabeth Kracht (Kimberley Cameron & Associates); Katie Grimm (Don Congdon Associates); and Nadeen Gayle (Serendipity Literary Agency).
Indiana Writing Workshop, Nov. 1, 2014, Indianapolis, IN
Attending agents: Jen Karsbaek (Foreword Literary); Whitley Abell (Inklings Literary); and Laura Crockett (Triada US). Also in attendance is editor Andrew Scott of Lacewing/Engine Books.
Windsor International Writers Conference, Nov. 13-16, 2014, Windsor, ON, Canada.
Attending agents: Nikki Terpilowski (Holloway Literary); and Christopher Rhodes (James Fitzgerald Agency).
Colorado Writing Workshops, Boulder, CO (Nov. 14) and Denver, CO (Nov. 15)
Attending agents: Rachelle Gardner (Books & Such Literary); Sarah Freese (Wordserve Literary); Shannon Hassan (Marsal Lyon Literary); Alex Barba (Inklings Literary); Sara Megibow (Nelson Literary); Sandra Bond (Bond Literary); Renee Nyen (KT Literary); Erin Buterbaugh (MacGregor Literary).
Arizona Writing Workshops, Phoenix, AZ (Nov. 21, 2014) and Tucson, AZ (Nov. 22, 2014)
Attending agents: Adrianna Ranta (Wolf Literary); Steve Laube (The Steve Laube Agency); and Claire Gerus (Claire Gerus Literary). The two workshops are identical, with the same schedule and faculty.
Eckerd College Writers' Conference, Jan. 17-25, 2015, St. Petersburg, FL
Attending agents: Bill Contardi (Brandt & Hochman); Lisa Gallagher (Sanford J. Greenburger Associates).
SDSU Writers' Conference, Jan. 23-25, 2015, San Diego, CA
Attending agents: This event hasn't posted its exact faculty yet, but has 10-25 agents in attendance each year.
The Kentucky Writers Conference, Feb. 6, 2015, Louisville, KY
Attending agents: Victoria Lea (Aponte Literary); Natalia Aponte (Aponte Literary); Brent Taylor (Triada US); and Alice Speilburg (Speilburg Literary).
Tennessee Writers Conference, Feb. 7, 2015, Nashville, TN
Attending agents: Greg Daniel (Daniel Literary); Lauren MacLeod (Strothman Agency); Brent Taylor (Triada US); Julie Gwinn (The Seymour Agency); and Cate Hart (Corvisiero Literary).
San Francisco Writers Conference, Feb. 12-15, 2015, San Francisco, CA
Attending agents: There are already about 20 agents confirmed. You can see them all on the conference faculty page on the site.
Portland Writers Workshop, Feb. 20, 2015, Portland, OR
Attending agents: Sandra Bishop (Transatlantic Agency); Adam O'Connor Rodriguez (Hawthorne Books).
The Seattle Writing Workshop, Feb. 21, 2015, Seattle, WA
Attending agents: Kathleen Ortiz (New Leaf Literary); Kristin Vincent (D4EO Literary); Genevieve Nine (Andrea Hurst & Associates); and Fleetwood Robbins (Waxman Leavell Literary).
Writer's Digest Conference East, late summer 2015, New York, NY
Exact dates coming when available, but this conference usually happens somewhere in late July or early August over the course of one weekend.
Thursday, October 9, 2014
Creating A hooking Plot
Here something else to interest. This was also sent to me in an email from GUIDE TO LITERARY AGENTS.
Create an Awesome Plot That Grabs Agents & Readers -- Check Out this Month's Webinar and Agent One-on-One Boot Camp
Like I mentioned in the editor's letter, now is an amazing time to check out upcoming WD instruction if you are having trouble laying out your plot.
------
First of all, tomorrow's (Thursday's) webinar is taught by "The Plot Whisperer" Martha Alderson. It's called "How to Pre-Plot & Complete a Novel or Memoir in a Month," and it all starts at 1 p.m., EST, on Oct. 9. All registrants of this webinar will receive the ebook The Plot Whisperer Book of Writing Prompts by Martha Alderson.
WHAT YOU'LL LEARN:
-- How to structure your story in preparation of writing a fast draft
-- How to pre-plot the dramatic action plot and the character emotional development plot
-- The benefits of writing a fast draft from beginning to end
-- The importance of reaching the end before beginning again
-- Why pre-plotting ensures you'll finish your story in the allotted time
-- The best use of your time to reach your goal
-- The plot items you'll need to begin your one-month writing challenge
-- How to use the one-month deadline to your advantage
There's much more to know about the webinar. Check out the official page here.
------
Secondly, later this month, the agents at Talcott Notch Literary are teaching an Agent One-on-One Boot Camp called "Plot Perfect." It starts on Oct. 24. After hearing from agent Paula Munier on how to play out a superior plot, you will talk with the agent instructors on Blackboard and ask them questions; and then you will turn in your entire plot framework (similar to a synopsis) for a full critique from one of the Talcott Notch agents.
Find out all details of the Oct. 24 boot camp here on the sign-up page.
Check out both resources to help your plot.
Create an Awesome Plot That Grabs Agents & Readers -- Check Out this Month's Webinar and Agent One-on-One Boot Camp
Like I mentioned in the editor's letter, now is an amazing time to check out upcoming WD instruction if you are having trouble laying out your plot.
------
First of all, tomorrow's (Thursday's) webinar is taught by "The Plot Whisperer" Martha Alderson. It's called "How to Pre-Plot & Complete a Novel or Memoir in a Month," and it all starts at 1 p.m., EST, on Oct. 9. All registrants of this webinar will receive the ebook The Plot Whisperer Book of Writing Prompts by Martha Alderson.
WHAT YOU'LL LEARN:
-- How to structure your story in preparation of writing a fast draft
-- How to pre-plot the dramatic action plot and the character emotional development plot
-- The benefits of writing a fast draft from beginning to end
-- The importance of reaching the end before beginning again
-- Why pre-plotting ensures you'll finish your story in the allotted time
-- The best use of your time to reach your goal
-- The plot items you'll need to begin your one-month writing challenge
-- How to use the one-month deadline to your advantage
There's much more to know about the webinar. Check out the official page here.
------
Secondly, later this month, the agents at Talcott Notch Literary are teaching an Agent One-on-One Boot Camp called "Plot Perfect." It starts on Oct. 24. After hearing from agent Paula Munier on how to play out a superior plot, you will talk with the agent instructors on Blackboard and ask them questions; and then you will turn in your entire plot framework (similar to a synopsis) for a full critique from one of the Talcott Notch agents.
Find out all details of the Oct. 24 boot camp here on the sign-up page.
Check out both resources to help your plot.
$ New Literary Agents 10 / 9 / 2015
Back again.
I've been busy. I just completed the 7th draft for my novel. So I've been busy. Now I'm doing a reread.
In today's post I have names of two new literary agents you may be interested in contacting. I got their names and info from an email sent by GUIDE TO LITERARY AGENTS.
2 New Agents Seeking Clients & Queries NOW
Click on any name below to see the full mini-profile on the GLA Blog (with submission instructions). Good luck querying!
1. Patricia Nelson of Marsal Lyon Literary Agency
She is seeking: Patricia represents adult and young adult fiction, and is actively looking to build her list. On the adult side, she is interested in literary fiction and commercial fiction in the New Adult, women's fiction, and romance genres. For YA, she is looking for contemporary/realistic fiction as well YA mystery/thriller, horror, magical realism, science fiction and fantasy. She is also interested in finding exciting multicultural and LGBTQ fiction, both YA and adult. In general, Patricia loves stories with complex characters that jump off the page and thoughtfully drawn, believable relationships - along with writing that makes her feel completely pulled into these characters' lives and worlds.
2. Julie Gwinn of The Seymour Agency
She is seeking: Christian and Inspirational Fiction and Nonfiction, Women's fiction (contemporary and historical), New Adult, Southern Fiction, Literary Fiction and Young Adult.
I've been busy. I just completed the 7th draft for my novel. So I've been busy. Now I'm doing a reread.
In today's post I have names of two new literary agents you may be interested in contacting. I got their names and info from an email sent by GUIDE TO LITERARY AGENTS.
2 New Agents Seeking Clients & Queries NOW
Click on any name below to see the full mini-profile on the GLA Blog (with submission instructions). Good luck querying!
1. Patricia Nelson of Marsal Lyon Literary Agency
She is seeking: Patricia represents adult and young adult fiction, and is actively looking to build her list. On the adult side, she is interested in literary fiction and commercial fiction in the New Adult, women's fiction, and romance genres. For YA, she is looking for contemporary/realistic fiction as well YA mystery/thriller, horror, magical realism, science fiction and fantasy. She is also interested in finding exciting multicultural and LGBTQ fiction, both YA and adult. In general, Patricia loves stories with complex characters that jump off the page and thoughtfully drawn, believable relationships - along with writing that makes her feel completely pulled into these characters' lives and worlds.
2. Julie Gwinn of The Seymour Agency
She is seeking: Christian and Inspirational Fiction and Nonfiction, Women's fiction (contemporary and historical), New Adult, Southern Fiction, Literary Fiction and Young Adult.
Monday, September 22, 2014
Here is something else I got in an email. it is an article from Scripted Magazine.
Read the info below then chick to read the full article on Scripted's web site.
**
TV writer Eric Haywood takes you into the writers' room to share advice on "beats, breaking and blending."
If you're trying to break into television writing, don't miss William Rabkin's webinar on Thursday, September 25th onModern TV Drama: Tone, Style, and Pace, now ON SALE until September 19, 2014.
by Eric Haywood
In the previous blog post, I talked in detail about some specific tips for navigating the pitching process. This time, we're going to delve into the next few steps you'll be taking in the writers' room, all of which are meant to bring you closer to being ready to write an actual script. Essentially, what you'll be focusing on after pitching can be boiled down to three things: beats, breaking, and blending. These are the basic building blocks of crafting a story.
(And yes, in case you're wondering: today's post is brought to you by the letter "B.")
So your writing staff has successfully pitched some ideas for a given episode and gotten them approved by the showrunner. Great. Now what?
Now the writing staff must turn those pitches from vague ideas into actual, concrete storylines. This process is called "breaking stories," and it's another group effort in which you'll be expected to participate.
In order to minimize confusion among your episode's various stories, one of the first things you'll want to do is name them. In most cases, the stories will simply be assigned a letter, with the "A" story being the most important (and longest) in the episode, the "B" story the next most important, and so on. You'll most likely have a "C" and maybe even a "D" story (sometimes called a runner), and while it's fairly rare to have more stories than that, it's not unheard of. The number of stories will vary from show to show, but you can generally expect to follow the same basic A-B-C-D pattern.
Simply put, breaking a story means coming up with each individual scene for that story and arranging those scenes in their proper order as they'll appear in the script. A scene is often referred to as a "beat," and the terms are used pretty interchangeably. So you're basically taking the story idea (the pitch) and expanding it until you've literally broken it down into pieces, beat by beat.
Breaking a story is really just an extension of the pitching process, because the writing team will toss out different ideas for beats, and generally speaking, it's another best-idea-wins process. The beats get written down - usually on a whiteboard, allowing everyone to watch the story begin to take shape - and before you know it, you've got a complete beginning, middle, and end, with some cool twists and turns thrown in along the way. Then the writing staff repeats these steps for the "B" story, the "C" story, and - well, you get the idea. In each case, the goal is to simply figure out the right beats necessary to tell a satisfying, compelling story.
If the showrunner has been away from the room while all this is being done, she'll return once the stories are broken, and the writers will pitch each story to her, one beat at a time. You'll then receive feedback ranging from minor tweaks to major overhauls, and in some cases, you'll re-pitch the adjusted stories and hopefully get that highly-sought-after thumbs-up from the showrunner.
And now you're ready for the blend...
Read more tips on writing for TV...
Read the info below then chick to read the full article on Scripted's web site.
**
| Writers' Room 101: Beats, Breaking, and Blending | |
 | Jeanne Veillette Bowerman Online Editor ScriptMag.com |
TV writer Eric Haywood takes you into the writers' room to share advice on "beats, breaking and blending."
If you're trying to break into television writing, don't miss William Rabkin's webinar on Thursday, September 25th onModern TV Drama: Tone, Style, and Pace, now ON SALE until September 19, 2014.
____________________
by Eric Haywood
In the previous blog post, I talked in detail about some specific tips for navigating the pitching process. This time, we're going to delve into the next few steps you'll be taking in the writers' room, all of which are meant to bring you closer to being ready to write an actual script. Essentially, what you'll be focusing on after pitching can be boiled down to three things: beats, breaking, and blending. These are the basic building blocks of crafting a story.
(And yes, in case you're wondering: today's post is brought to you by the letter "B.")
So your writing staff has successfully pitched some ideas for a given episode and gotten them approved by the showrunner. Great. Now what?
Now the writing staff must turn those pitches from vague ideas into actual, concrete storylines. This process is called "breaking stories," and it's another group effort in which you'll be expected to participate.
In order to minimize confusion among your episode's various stories, one of the first things you'll want to do is name them. In most cases, the stories will simply be assigned a letter, with the "A" story being the most important (and longest) in the episode, the "B" story the next most important, and so on. You'll most likely have a "C" and maybe even a "D" story (sometimes called a runner), and while it's fairly rare to have more stories than that, it's not unheard of. The number of stories will vary from show to show, but you can generally expect to follow the same basic A-B-C-D pattern.
Simply put, breaking a story means coming up with each individual scene for that story and arranging those scenes in their proper order as they'll appear in the script. A scene is often referred to as a "beat," and the terms are used pretty interchangeably. So you're basically taking the story idea (the pitch) and expanding it until you've literally broken it down into pieces, beat by beat.
Breaking a story is really just an extension of the pitching process, because the writing team will toss out different ideas for beats, and generally speaking, it's another best-idea-wins process. The beats get written down - usually on a whiteboard, allowing everyone to watch the story begin to take shape - and before you know it, you've got a complete beginning, middle, and end, with some cool twists and turns thrown in along the way. Then the writing staff repeats these steps for the "B" story, the "C" story, and - well, you get the idea. In each case, the goal is to simply figure out the right beats necessary to tell a satisfying, compelling story.
If the showrunner has been away from the room while all this is being done, she'll return once the stories are broken, and the writers will pitch each story to her, one beat at a time. You'll then receive feedback ranging from minor tweaks to major overhauls, and in some cases, you'll re-pitch the adjusted stories and hopefully get that highly-sought-after thumbs-up from the showrunner.
And now you're ready for the blend...
Read more tips on writing for TV...
NEW FREE VIDEO: "How to Get an AGENT"
Hello everyone.
here's something I got in an email that you may be interested in-- for those of you who are script writers:
![]()
![]()
![]()
To kick off the conversation, can I ask YOU something?
![]()
here's something I got in an email that you may be interested in-- for those of you who are script writers:
Hi Frances!
In case you're not keeping an eye on our YouTube channel, we've got a new FREE video for you:
This is a question almost all writers ask, but with SO MUCH misinformation online (from some of the top screenwriting sites!), you may be focusing on the wrong things.
In this Screenwriting Uncut episode, I spell out the TRUTH about how to get an agent — including the very BEST way... the next best way... and then the specific method to grab their attention.
Please share this video! And leave any questions or comments on the YouTube page.
ALSO, DID YOU MISS THIS ONE?
In this video, I explain how to master the craft of screenwriting. See, to really SELL your work, you have to write at a PRO level — which requires some degree of mastery of this delicate and nuanced craft. Here, I show you exactly how to get there.
(And yes, please share this one, too!) And leave any questions or comments on the YouTube page.
AND DON'T FORGET THAT YOU MUST WRITE TODAY:
If you haven't watched this one yet, please don't delay. It includes thescientific reason WHY you MUST write TODAY. If you've been procrastinating, it might be worth watching again.
Oh, and please share. (It really helps us, which is how we can keep helping you!) And leave any questions or comments on the YouTube page.
A Special Request
Now, if you're new to this newsletter, you may not realize something:
It's interactive.
Did you know you can REPLY to this email, and get a personalized response from me?
Did you know you can ask ANYTHING (about anything!)... and I'll give you a direct, honest, personal answer — one to one?
TRY IT! Reply now... and ask anything.
To kick off the conversation, can I ask YOU something?
If you're on this list and you're NOT participating in FAST Screenplay... would you mind if I asked "Why not?"
If you've thought about joining, but you're not sure... or you've decided against it... or you're hesitating... could you let me know the reason?
Don't worry. I won't pressure you.I'm just looking for feedback.
See, I spent 5 years building this system (and 10 years before that developing it)... I put my career on hold for 15 years to build it. And:
100% of writers who complete the system as instructed
achieve professional results.
But, frankly, I'm not a salesman; I'm a filmmaker. (Maybe you can relate? Think about how much you resist the selling part of screenwriting!)
And it's possible I'm doing something wrong — which harms yourchances of success. But I have no way of knowing if you don't tell me.
So I could really use your help. I'd love some feedback.
In exchange for your time, I'll give you a bonus 20-minute Skype (or phone) conversation if you join FAST Screenplay before the end of September (within the next 12 days). We'll chat within your first week, to make sure you get off to a great start! (Email me after signup to arrange it.)
Simply reply here, and let me know your thoughts about FAST.The website, the free reports, the videos, the newsletters, the YouTube or Facebook pages — anything you want.
Even if it's bad! (Especially if it's bad!)
And don't forget to ASK anything, too!
Until next time, remember to TAKE ACTION... and enjoy the process.
Have a great weekend!
Jeff Bollow
Embryo Films
FAST Screenplay
Embryo Films
FAST Screenplay
Wednesday, September 10, 2014
Hello, Readers!
Happy September! I want to start off by directing you to an article from Writers Digest titled :
Literary agent Kimiko Nakamura breaks down five things you can do as a writer to put yourself in the best position to impress (and land) a literary agent:
Happy September! I want to start off by directing you to an article from Writers Digest titled :
HOW TO BE A WRITER LITERARY AGENTS WANT —by Literary Agent Kimiko Nakamura
The part of the article that I want you to pay attention to the most is the section on
YOUR QUERY
and
YOUR MANUSCRIPT
They were written from the point of view of an actual literary agent. The two sections discuss the exact same things I tell writers. However, if you read what I have said coming from an agent, you may take the advice seriously.
To read the article:
All agents, admittedly or not, have a wish list-markers that help us determine which writers are primed for our representation. With hundreds of projects flooding our inboxes daily, writers who follow these simple guidelines can catch the eye of an agent and rise like a lotus blossom out of the slush pile. Here's how to do it. Read more...
Thursday, September 4, 2014
Do you have a book written that you would like to enter into a contest?
3 OCTOBER WRITING CONTESTS
WritersMarket.com lists hundreds of contests for writers of fiction, nonfiction, poetry, writing for
children, and more. Here are three with October deadlines:
WritersMarket.com first.)
WritersMarket.com lists more than 8,000 publishing opportunities, including listings
for contests, magazines, book publishers, literary agents, conferences, and more. Log in
or sign up today to start submitting your work.
Click to continue.
3 OCTOBER WRITING CONTESTS
WritersMarket.com lists hundreds of contests for writers of fiction, nonfiction, poetry, writing for
children, and more. Here are three with October deadlines:
- Atlas Shrugged Essay Contest is offered annually to encourage analytical thinking and
- excellence in writing-open to high school seniors, undergrads, and graduate students.
- More than 80 cash prizes, including a $10,000 top prize. Deadline: October 24.
- Gerald Cable Book Award is offered annually for the best previously unpublished
- debut poetry collection. Top prize is $1,000, publication, and 25 copies of the book.
- Deadline:October 15.
- Indiana Review Fiction Contest is offered for the best previously unpublished short
- story. The winner receives $1,000, publication, and contributor copies. Deadline: October 31.
- Bonus contest! Writer's Digest Popular Fiction Awards is an annual prize for the best
- previously unpublished genre fiction (up to 4,000 words). There are six categories:
- romance, thriller, young adult, crime, horror, and sci-fi. There is one grand prize of $2,500 cash,
- a trip to the
- 2015 Writer's Digest Conference, and more! Each category winner also receives $500 cash,
- recognition in Writer's Digestmagazine, and more! While it has an early bird deadline
- of September 15, the hard deadline is October 15.
WritersMarket.com first.)
WritersMarket.com lists more than 8,000 publishing opportunities, including listings
for contests, magazines, book publishers, literary agents, conferences, and more. Log in
or sign up today to start submitting your work.
Click to continue.
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