For all of you in the greater Salt Lake City area, we have three major publishing houses–Tor, Baen, and DAW–donating lots of free goodies for the signings.40 free hardcovers, ARCs, and other promo stuff. Some of it you can’t get in stores. For example, you can get a free ARCs of Larry Correia’s VENDETTA while they last.
Here are the folks that will be there along with my beautiful self.
Tracy Hickman (THE author who started the whole Dragonlance line with Margaret Weis)
David Farland (Runelords, Golden Queen, etc.)
Larry Correia (Monster Hunter)
Dan Willis (More Dragonlance novels)
Paul Genesse (The Dragon Hunters)
Jaleta Clegg (Nexus Point)
Plus short story authors Eric James Stone & Brad Torgeson
Come to the one at Barnes & Noble from 11 am – 1 pm or the one at Borders from 3 pm – 5 pm. See my calendar for address and details.
A cracking good story idea requires five critical elements.
Until you have all five, you’ll struggle to plot. You’ll write a few scenes and run out of gas. You’ll feel like the story just isn’t going anywhere.
And that’s because it isn’t. It can’t. A story isn’t a story without all five elements.
However, once you develop these five things, your story will suddenly roar to life. There are a few other elements that are important as well, but these five things form the core of the story setup.
In this course you’re not going to merely learn about all of those story elements. You’re going to go deep and learn what can only be learned by actually doing the work and developing story idea after story idea with personal one-on-one feedback from someone who knows what they’re doing.
When you finish, you won’t just know story theory. You will be a story idea machine. And you will be that because you have put in the work. The right work.
Again, this is not a course full of lectures and videos. This is a course where you’re going to work. And develop the insights and skills that only come from doing the work.
You’re actually going to:
Come up with story setup after story setup after story setup
And improve them with one-on-one feedback.
It’s going to:
Eliminate years of you wandering about in the story wilderness trying to figure things out on your own.
Put you miles ahead of other writers who have no idea what’s really at the core of story.
You are going to learn how to develop killer story ideas on purpose instead of on accident. Which means you’ll be able to do again and again. Reliably. Like clockwork.
Course details
The focus of the class is not on learning about story, although you will do that. The majority of your time will be spent on developing stories.
You can’t become a carpenter by watching videos and reading books about it.
You have to get out on the work site, cut wood, and pound nails. You have to make the mistakes all beginning carpenters make, get feedback, and improve.
The same goes for writing.
And you’re going to work in this class. You develop 21 story setups. In fact, you develop more because the 21 are just the ones you turn into me. And with each one your skills, insights, and abilities grow.
In the beginning, your setups will be bare bones. By the end, they’ll be fully developed setups that beg to be written. Setups you can use to immediately write the first draft of your novel, whether that’s in outline or chapter form.
Here’s what you do each week.
Week 1.
Uncover the secrets of what’s really at the heart of story and how to generate ideas.
Define your genre requirements
Create story setups 1-3
Week 2.
Uncover the secrets to compelling characters
Create character sketches
Create story setups 4-7
Week 3.
Uncover the secrets to formidable obstacles
Create story setups 8-11
Week 4.
Uncover the secrets to interesting casts
Create story setups 12-15
Week 5.
Uncover the secrets to managing multiple storylines and series
Create story setups 16-19
Week 6.
Create story setups 20-21. These are your capstone projects where you apply everything you’ve learned and take it to the next level
In this class you develop story idea after story idea after story idea. You are going to be marinated in the work of developing characters, THOMs, goals, obstacles, settings, casts, and more. And because of that, each week will not only bring an explosion of insights, but new skills and abilities.
Every week you get two private, one-on-one, live sessions with me where you get encouragement and feedback on what you’ve developed. And you’ll have access to a private Facebook group where you can apply the principles to brainstorm even MORE ideas for each other’s stories.
At first you might feel a bit shy and worried about your ideas and abilities. But you’ll soon get over that. By the end of the course you’ll be one of those people that can generate terrific ideas easily. And you’ll be able to do that because you will have put in the work to become a different writer.
What’s the price?
Hours of one-on-one instruction from a professional editor or author costs thousands of dollars. An MFA program can cost $25,000 to $30,000 or more!
But this course won’t cost anywhere close to that.
Plus you’re going to learn things here you’ll never get in an MFA program (I know. I was accepted into a top-ranked program).
The cost of this course is $799. And I personally guarantee your results. You’ll be totally oh-my-gosh-I’m-so-happy-I-took-that-class satisfied, or I’ll give you your money back. No questions asked.
Now’s your chance to stop spinning your wheels. I can’t tell you how much I wish I’d had something like this when I’d started:
The secrets about the true core of story.
The secrets about how to come up with ideas.
Actual work with personal one-on-one feedback.
Laser focused on what actually matters, not a bunch of ridiculous writing rules.
When you finish, you will be a story idea machine.
You won’t know plotting. That’s a different course and set of skills. You won’t know how to write chapters. But you’ll know how to create the engine that powers all the rest of that. You’ll know how to create the core that makes awesome plots and chapters possible.
If you want to take this course, click the button below and contact me. I will tell you exactly how to apply.
I’m not going to be able to accept everyone who wants to take the class. I have a very strict limit on the number of students I can work with. So you need to get your application in before the deadline of midnight, December 11th.
If you write stories and want an opportunity to learn from some major pros, then you will want to be at this event.
If you’re not a romance writer, you might be tempted to think that the topics won’t apply to you. Don’t be fooled. Story is story. And these storytellers are pleasing huge numbers of readers.
I will be there. I have two presentations. But I can tell you that when I’m not sharing what I’ve prepared, I’m going to be in the sessions listening to these superstars.
I have been making progress on my next novel. Today, I revised the second draft up to the climax. Tomorrow, I get into it. It’s going to be an awesome battle with lots of heroics. Can’t wait. You’ll notice the progress meter. I thought the book would be 35k. A quickie. But it’s probably going to end up at 60k. Almost twice as long, but still the shortest novel I’ve ever written.
You’ll note the word count on CODG is steadily rising. Today, I experienced a delightful AND maddening turn.
I find outlines to be immensely useful tools for story development. Of course, there are many more tools in the box–outlines can’t do everything. For example, there are times when you’re drafting a story that you write something and it suddenly generates new options for the story that you in no way could have imagined without getting to that point in the draft. You can get a lot of ideas with an outline, but drafts generate still more. Sometimes the options that present themselves while you’re drafting are so right they give you goosebumps. I got one of those today. Of course, part of why it was so good was not only that it put the character in a perfect dilemma and the reader in a perfect chapter cliffhanger, but also because it was completely unexpected yet logical.
This all sounds so good, right? Well, the story turn was so unexpected, it startled me. It’s thrown my outline off. Which means I’m going to have to now revise the working outline. I was tempted to make the story fit. After all, I DO have a deadline. But this story turn is so freaking juicy that I cannot justify the hackery. Besides, working outlines are made for revision.
I’m riding by the seat of my pants today folks, and it’s exciting. I think readers are going to love this turn.
Sometimes, despite our best efforts, mistakes make their ways into the text. Omissions are common. For example, a missing “the” or “of” can be hard to see; your magical mind just fills these tiny words in.
Some omissions are hilarious. I was editing Raveler a few days ago and ran across a howler that made me laugh and laugh.
In one scene Shim is angry about the Bone Faces. When he sees their ships, I meant to have him exclaim with some indignation that they were “Coming to plunder under our noses while we’re tied up here.”
What I wrote was “Coming to plunder our noses while we’re tied up here,” which is a different type of threat altogether.
And then there are the aaarg! omissions. Like leaving the names of awesome folks who provided valuable input out of your acknowledgements. (Head smack!)
Yes, I’m guilty of such an idiocy.
I’m very recently guilty. Like, today guilty.
The good thing about indie publishing is that I can make changes and upload them immediately. I have already fixed the ebooks. The big paperbacks will be fixed on Monday. But these folks deserve better. To make amends, I’m going to spotlight them here, right now, for all posterity.
For excellent feedback on the full manuscript, I want to thank Stephen and Liesl Nelson.
A few years ago, I posted on this website, asking if anyone would be willing to read and report their response to a beginning I wanted to test. These folks stepped up and responded in grand fashion, helping me make the beginning better.
Adam Teachout Alexis Cooper Cameron Wilson David West Eric Allen Hyrum Grissom Justin Fisher Krista Hoeppner Leahy Laurel Amberdine Lindsey Tolis Mark Holt Martin Cahill Melanie Goldmund Merrill Nielson Nick Dianatkhah Ray Solomon Wes Amodt
All of you rock. And may the Bone Faces never come to plunder your noses.
The Utah chapter of the Romance Writers Association is holding a 
