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Vonnegut diagrams common successful stories and concludes that some masterpieces were created by artists who were poor storytellers. With video. In , unknowns could breeze into Amazon and other such places, and their indie stuff would sometimes rake in amazing sums. Cliff-hangers and sexual tension aren't enough in romance fiction, writes Parker. Without good characters, the reader is going to be dissatisfied.

Plot or Characterization? A great case in point is the story of Anne Shirley, the heroine of Anne of Green Gables and several sequels. That yields instant drama, which grows even more dramatic for Anne when she goes to a house on Prince Edward Island hoping to find a real home at last after years of drudgery and starved emotions And if you want to see a boatload of copy editors gasp and swoon, to say nothing about Margaret Atwood and Alice Munro, just mention Anne.

And yet the novel breaks many of the sacred rules of current fiction. In addition, every flouting of modern rules of story structure follows from there and finds its justification. Including too much backstory in the opening pages of a novel is a common mistake aspiring authors make: Too much, too soon. I have the whole rest of the book to show why they were there in the first place.

Jockers, Nastasi's examples: Margaret Mitchell, J. This pesky "question comes down to structure. Not what happened, i. Writing guides often use the term inciting incident, meaning the event or incident that propels a character or characters out of their status quo existence, igniting the plot. Part 1: The six essential elements of a plot Kathryn Lance , Part 2: What is the difference between a premise and a plot?

See also How to keep your readers turning pages. His LOCK theory: to have a gripping plot you must have a lead, who must have an objective; there must be confrontation and the ending must have "knockout power. It was a nightmare. Truby is a Yale Ph. I thought my head was going to explode. Everything he said made so much sense to me.

You tell the story through the moral issue the character is facing, through reveals, self-revelations, and reversals. He has a helpful Marshall Plan website. The book is now also available as software co-authored with Martha Jewett. See also her blog of the same name. And: I called the Plot Whisperer about a character chart and this one on finding the strongest climax. While it can be broken down into its component beats, the scene is the most obvious mini-story. They are the things that stay ever present when we talk about a great movie or great novel. Remember what happened after character A saw character B with another woman?

Rebecca Monterusso, on Jane Friedman's blog, "So what is a scene, really? Change through conflict. On the whole, stories are about change. And scenes are a boiled down, less intense, mini-story. They should do the same thing your global story does: upset the life value of the character and put them on a path to try and restore it. A narrative scene? Low-energy dialogue? Who will the POV character be? Where will it take place? See Scene Structure Checklist and other handouts.

And here's Part II. An intelligent dissenting view.

Young Writers' Camp | Continuing Studies

Sawyer, SFWriter. Google the phrase and you will find may other explanations and examples. Essentially, as Chekhov said, " if a gun appears prominently in the first act of the play, it had better play some role by the final act, or else the audience will feel cheated. How to use a storyline—say, a beloved farmhouse at risk of foreclosure — to create reader expectations and then satisfy them.

Beginning writers often fail to provide a payoff for a setup or a setup for a payoff. You need both, whether you're writing a novel, screenplay, short story, or op ed, says Pressfield. NY Book Editors, Feb. Because voice has so much to do with the reader's experience of a work of literature, it is one of the most important elements of a piece of writing. She explains her concept of the three voice centers: the voice from our head the rational voice: ideas strike us and set off thoughts and plans , the voice from our hearts the emotive voice: feelings, memories, longings, and passions , and our body voice language of the gut, hunches, intuition -- and talks about which are useful for plotting, which for character development and dialogue, etc.

Or are they the same thing? Write without overthinking what happens, and take note of what patterns you see emerge in your work that might suggest your natural strengths in voice. Finding that place is a challenging exercise in self-confrontation, says Meg Rosoff. Creating interesting characters "She wasn't doing a thing that I could see, except standing there, leaning on the balcony railing, holding the universe together. A writer only runs the risk of being preachy or dogmatic if he or she makes a character of one political belief less three-dimensional and human than that of another.

One author who has done so twice recommends making it clear that it's first and last name only; that you are only using the name, not modeling the character after the person; and reserving the right to ask for a different name if the name that wins is "just too far out there" or trying to make a joke.

Is your character demonstrative or reserved? Who is she comfortable with? To Lin, the scamp is the character that stands between freedom and tyranny. Every character needs to have motivations, no matter how unlikeable they are. See also the Character traits thesaurus in sidebar: affectionate, ambitious, bossy, brave, etc. The write-ups for each of these words make for interesting reading, whether you're writing fiction or a memoir!

Too many viewpoint characters creates distance from the story, not intimacy. A classic, lively "witty and opinionated" discussion based on lectures given at Cambridge of the fiction of Austen, Dickens, Fielding, Lawrence, Woolf, and others, noted especially for his discussion of "round" and "flat" characters. Walker, Booksie, A story centers around the struggle between protagonist and antagonist, Hero and Villain. Its focus comes from the Hero's Second, the deuteragonist the foil, the turncoat, the catalyst, the wingman, the sidekick. Morris, Omnivoracious, Part of Morris's Writers Don't Cry series of blogs on the craft of writing fiction.

Desire is the engine that drives both life and narrative. Description, place, and setting Am including examples from narrative nonfiction, as the principles apply in both genres; in nonfiction you draw them from observation or reporting, not your imagination. Davidson, Newfound, Vol. She speaks of setting as being almost like a character. Like everything else in a work of fiction, quoted words and phrases are inventions created to serve the purposes of the author. Paradoxically, because the meaning behind spoken language may be subtle, understanding it might demand more, not less, of the reader.

MFA literary fiction vs. With CIA help, writers were enlisted to battle both Communism and egg-headed abstraction. The damage to writing lingers. The view from the other side. One of the goals of this scheme is to avoid instructing the student on what to say, and, instead, to focus on how to say it better. In practice, though, it isolates the act of writing from much of what informs literary work.

Are There Enough Good Reasons? I found the MFA program to be incredibly valuable, personally Paying tuition for time to do nothing but write can be inspiring. On a more professional level, the workshop environment introduces writers to critiques and criticisms alike and ideally trains them to know which comments to apply and which to ignore, and to seriously consider them all.

Katherine Silver. The Cornell program had no POC people of color. In my workshop we never explored our racial identities or how they impacted our writing—at all. Sevcik, The Stranger, "An instructor with an ethos of exacting excellence by means of brutal expectations probably doesn't belong in a hippy college full of sensitive snowflakes.

This level of competition means that such graduates need to have published books to secure even adjunct teaching positions, so micropublishing, Penton said, has become the backbone of the MFA industry. He concedes that, at the tenured level, mainstream publication continues to be a requirement, so anyone hoping for real success in academia still needs to work toward that. See also Why MFA?

Vaughn, Writers Digest, Trapper or Mountain Man. Wagon Train. But what was once viewed as either uncreative, a legal morass of copyright issues, or both, is now seen as a potential savior for a publishing industry still finding its moorings in the age of digital media. See his Book Genre Dictionary. At this interesting Penguin Books fiction-community site read its revealing FAQ you can sell your fiction eBooks and you can post chapters of genre fiction to be peer-reviewed.

Kim Wright, The Millions, Is it a mass sellout, a belated and half-hearted attempt by writers to chase the market? Or are two disparate worlds finally merging? Richard Thomas, Lit Reactor, Literary fiction is generally considered to be the opposite of genre fiction. Can we mix genres and double, maybe even triple our readership?

Can we even market our novels properly afterwards? Mystery, suspense, thrillers, crime novels, and cozies a potpourri, in random order! They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book. Among questions asked: How do you define a "crime novel"? Which authors paved the way for what you write now? What advice would you pass on to writers just starting out? Which author first got you hooked on crime? Are you more criminal than detective? How has crime fiction changed since you started?

What's the most pressing issue facing the mystery world? Her debut novel Everything We Keep reached over 1 million readers in the first year. Worth signing up to get reminders of blog posts, about both true crime and crime fiction. Workshops, master class events, crime fiction slam. Sample: "In the US, more people listen to podcasts than use Twitter regularly. Advertising revenue is moving to audio.

Publishers report declining ebook sales even as audiobook sales rise. Sandra Parshall, Living on the Page, "Have traditional whodunnits run out of steam, grown predictable, unable to surprise and entice readers anymore? Fans of traditional murder mysteries—as opposed to thrillers or suspense—still love the genre, but they have complaints. And publishers are cutting back on the number they publish. But e-books have crushed the mass market format, compacting it to a remnant of its former self. Any writer with talent should be able to do the same.

That includes cozy authors. Amanda Flower, PW, "An amateur sleuth, an unsuspecting victim, a quirky supporting cast, and trail of clues and red herrings are the main ingredients of a cozy mystery The cozy lesson is an average person can make a difference. Kindleboards , she says, is "Good for info. Some extremely savvy indie authors and marketers share information that would take hours and hours to figure out on your own. How do they decide which books to favor? We cannot afford true empathy. Sympathy, yes, but not true empathy. Crime fiction, good crime fiction, sneaks up on people.

Safe in our armchairs or beds, we consider the unthinkable—the violent death of someone we love—and admit to ourselves how unsafe and random the universe is. Smith, MysteryNet. Curtis's on Fifty Shades of What? At the second Books Alive conference , on the panel on the Mystery Market, novelist Donna Andrews made this distinction: In suspense novels, you know whodunit or is planning to.

The mystery is, Can X stop them? With mysteries, you don't know whodunit, and will find out at the end. This sent me looking for more on these distinctions between subgenres. For example there is more action in thrillers than in suspense. Scroll down for 16 different responses, including this one: "A mystery is a power fantasy; we identify with the detective.

Suspense is a victim fantasy; we identify with someone at the mercy of others. If you can disentangle it, it will lead you to the answer. Smith on MysteryNet. Mystery is an intellectual process, like in a whodunnit. But suspense is essentially an emotional response. With a mystery, you are tempted to look at the last page for the solution to the mystery. And there are military, science, medical, environmental, and other thriller subcategories. Steampunk suspense is apparently a subgenre of historical fantasy set in the Victorian era, urban gothic suspense with an element of science fiction. Other subgenres: historicals, culinary, detective, supernatural, caper, women in peril, noir, detective fiction, and classic whodunits.

If you're willing to go down the rabbit hole of more definitions, follow the Wikipedia links here and learn that Hollywood's film noir period early 40s to late 50s "is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography. Many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.

All story is character. While maintaining tension, leave room to breathe. Read all 7 and the explanations that go with them. Inside the Outside is one of those. The Flying Saucers. His three rules: "Bore me and die. Confuse me and lose me. Make me bettere or leave me alone. As our fears change, so does horror fiction. It has the capacity to expand its grip towards other types of fiction across human history.

Tips from the pros on writing horror. Lansdale, Ramsey Campbell, and a Who's Who of masters of the craft offering an education in the craft of horror writing. Edited by Joe Mynhardt and Eugene Johnson. Science fiction, fantasy, and speculative fiction When journalist-novelist Kathryn Lance interviewed Isaac Asimov for a Scholastic teen magazine she asked him at her editor's behest, "What is the purpose of science fiction? Simpson, this syndicate of geeks produces podcasts on the world of specuilative fiction, comics, TV, films, books, and games.

Read About Geek Syndicate. Outlines for science fiction and fantasy novels which real authors new and old used to sell their books to major publishing companies. In slow economy, romance writers steam to success. Meanwhile, total U. Nine out of 10 readers are women. Those are consumers who, if they wanted a book, they used to come to us, and now they go elsewhere. One author discusses her decision to go about it differently. Some authors believe that the financial incentives set up by Kindle Unlimited are reshaping the romance genre — possibly even making it more misogynistic.

See more on piracy in the romance field under Piracy. Click here to see a few top posts on running BookBub Ads campaigns. A three-book-a-year reader is usually picking up their three books in hardcover in airports or brick-and-mortar bookstores or receiving them as holiday gifts. But most fifty-book-a-year genre fiction readers are, by now, buying those books online, and most probably as ebooks—which usually means that half or more of them are self-published purchases.

Part of that is that Kindle has titles nobody else has, as some self-publishing entities just use the dominant platform and skip the rest. And almost no big publisher commercial content is included in Kindle Unlimited Indie authors and Kindle Unlimited have made the biggest inroads What's that about? Neely Tucker, Washington Post, Check out the archive! Paid subscribers to Publishers Lunch Deluxe got a useful summary of Harlequin's "Harlequin Horizons" self-publishing enterprise, an effort to make money from the romance writers it doesn't publish by selling them vanity publishing services.

Sharp rebukes from writers and writers' organizations included an announcement from Science Fiction Writers of America SFWA , which, concerned that the new 'self-publishing' venture's "sole purpose appears to be the enrichment of the corporate coffers at the expense of aspiring writers," declared that "NO titles from ANY Harlequin imprint will be counted as qualifying for membership in SFWA. It took a long time for real-life sex to catch up.

Openings, closings, and transitions best ledes and endings--favorite first and last lines--and a few transitions "As Orson Welles told us, if we want a happy ending, it depends on where we stop the story. She writes about straight news leads, anecdotal leads, scene-setting leads, first-person leads, observational leads zinger leads, and bad leads. With really good books, a powerful sense of voice is established in the first line. The point of a flashback is to illuminate the scene from which it digresses, to add dimension and tension to it. Inspiration for a good first line often comes after work, when he's done reporting but hasn't started writing.

Leon, Huffington Post, Feature ledes, sometimes called delayed, narrative or anecdotal ledes, unfold more slowly.

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They allow the writer to tell a story in a more traditional, sometimes chronological way. The objective is to draw the readers into the story, to make them want to read more. I line up with the fried-chicken faction.


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Fiction and narrative nonfiction stories are about overcoming major obstacles, quests, and transformations. The changes may not be all good. The story may be upsetting or depressing. So, we use scene transitions to skip periods of time or to change to a new location in the story, glossing over events that happen between the new and old times or locations. Some tips to keep them on track. They aren't as easy as they look. Historical novels and awards for historical fiction "Journalism allows its readers to witness history; fiction gives its readers an opportunity to live it.

The HNS conference U. In the first of her BBC Reith Lectures, the double Man Booker prize-winning author explores the complicated relationship between history, fact and fiction. This is how we live in the world: romancing. Once the romance was about aristocratic connections and secret status, the fantasy of being part of an elite.

The facts have less traction, less influence on what we are and what we do, than the self-built fictions. Cause and effect? Some participants read a version of a narrative that foregrounded facts that made it doubtful Washington would become the president; others read a narrative that made his presidency seem likely. Readers who read the doubtful version took longer to verify that he had indeed become president or to recognize that a sentence denying that he had become president was not true. Sarah Johnson, Historical Novel Society. See also Defining the genre Richard Lee.

Very specific! Can fiction and history really be kept secret? See special website edition of open-access academic journal Text: Fictional histories and historical fictions: Writing history in the twenty-first century ed. Tracks when and how usage patterns changed in history based on how often words and word combination appear in books over time and useful for avoiding anachronistic slang in historical fiction.

Tips: Don't hit reader over the head. If in doubt, leave it out. And more Why would a writer not wish to work with them when the period is clearly one in which they are interested enough to have based a book around? Well, largely because they can be immensely inconvenient. Sarah Johnson's site showing how certain art gets used and reused for covers on historical novels and Diane Ackerman's A Natural History of Love , hardcover edition. Art directors: your secret is out! Matt Philpott. Download PDF copy or click on links on various subtopics. Fascinating profile of Hilary Mantel author of Wolf Hall and Bring Up the Bodies --first of her life, and then of her life as a historical novelist--one trying to imagine real history.

When she is writing historical fiction, she knows what will happen and can do nothing about it, but she must try to imagine the events as if the outcome were not yet fixed, from the perspective of the characters, who are moving forward in ignorance. What she, the author, knows is history, not fate.

She might be appalled to have her entry in the same group as some of the bodice rippers on other sites to which this page links. And a good reading list for short story lovers. In order for a story to have both compression and expansion, it must find a way to let the tensions of the plot and the revelations of characters to come to this point where something closes while also opening up. While Novel holds forth for hours on end like a drunk uncle. Don't get him started on his wild youth, recounted in a dozen different voices.

Jason Gurley, WritingWorld. Subscribe to series here. So micro fiction is even flashier than flash fiction. The result was a rollicking, far-ranging conversation in which the authors discussed the state of the thriller, heroes and villains, the struggle for literary credibility, and how a murder is planned and executed. Finn, went to No. I have the story, and what I find I need to develop is stuff within the story that gives it the punch. Fascinating for the story of his life including his unsettled childhood and the bent way his father approached life , his intelligent comments about the current political situation in the United States, his gentle wit he went from working class to middle class to criminal class--he did not want to come across as English upper class , and what he says about the genre and his writing life.

If you, like me, caught part of Terry Gross's interview while driving somewhere, and hated missing the rest, you can catch them both online, thank goodness. Wonderful material. And then there's the memoir: The Pigeon Tunnel: Stories from My Life , about a far more interesting life than most of us have experienced! But she was. She taught him about suspense. Kristen Tsetsi's interview, on Jane Friedman's blog, , of the prolific author and publisher of action, superhero, steampunk, vampire, western fantasy, and mainstream fiction. An Interview with Novelist Tammy Greenwood Dan Blank, WeGrowMedia, Frank talk about the reality of reaching success as a novelist, and having a backup source of income in her case, teaching writing in San Diego.

Choose very few details, and choose ones that have trapdoors built into them in order to make the world of the story feel both familiar and unreliable. Understanding that the easiest thing for a reader to do is stop reading is something that my wonderful newspaper editors instilled in me.

It sets the bar too high for legitimate nonfiction. Paris Review Interviews with Fiction Writers In addition to the interviews, you can see a page of each author's manuscript Paris Review "Writers at Work" and "The Art of Fiction" interviews s through now -- online and these are wonderful. Click on "view a manuscript page"near top of interview and see a sample from an edited manuscript.

And read Heavyweights and High Spirits David Kirby, NY Times, , a review of The Writer's Chapbook for a look back at what the Paris Review was trying to do and did --as William Styron put it, "'The Paris Review would strive to give predominant space to the fiction and poetry of both established and new writers, rather than to people who use words like Zeitgeist.

Doctorow, The Art of Fiction No. Forster, The Art of Fiction No. James, The Art of Fiction No. Jones, The Art of Fiction No. And barely. Naipaul, The Art of Fiction No. Pritchett, The Art of Fiction No. Just like a carpenter who works as an apprentice and studies the master. You'll absorb it. Then write. If it's good, you'll find out. If it's not, throw it out of the window. To call a story a true story is an insult to both art and truth. The fictitious names in the novel represent real people, and the "key" is the relationship between the nonfiction and the fiction.

She explains why, usefully for others. A few techniques that can minimize the chance of getting sued for libel in fiction. This article ends with the names of several legal cases on the issue. Yet every fiction writer bases characters on real people. Memoirists and nonfiction writers identify people by name. How can writers use real people in their work without risking a lawsuit? Ruth was a talentless writer who aspired to literary fiction while writing restaurant reviews and articles for Cosmo This was my first experience of being fictionalized.

I still recall the yellow-white flash of queasiness, the mortification: a sense of powerlessness and an utter lack of recourse. Can I Be Sued? There has never been a tougher time to be a debut novelist - only a tiny fraction receive six-figure advances, and most manuscripts end up in the shredder. So, what makes or breaks the first-timers? Kate Kellaway reports and talks to five who made it into print. The numbers, though not a major worry, raise questions about the books the industry is publishing and what consumers want to read.

While publishers devote their attention to bringing new middle grade titles to market, the responsibility for putting their books into the hands of kids largely falls to librarians, teachers, and booksellers Much has changed about middle grade publishing since the debut of Harry Potter, but the core difficulty remains the same, according to Neville. Five years ago, ebooks were at 28 percent market share for traditionally published books; today they are at 20 percent. Why the drop? People are shifting from e-readers to tablets and phones that offer more distractions, and ebook pricing has gone up.

He was, rather, paid per installment. Oliver Twist, were issued in ten installments. On the other hand, he has built such high walls of academic verbiage and doctrinal framing around his work that only a few hardy souls outside his area of specialty will ever succeed in climbing them. Surprisingly, the works of highest quality came from the group being graded on quantity, because they had continually practiced, churned out tons of work, and learned from their mistakes.

The manuscript was rejected, but a month later a young editor picked it up from the reject pile. With some work and a new title—The Lord of the Flies—Golding's novel was published in Very enterprising! See their writing guidelines and succinct explanation of reading fees being one of the ways literary journals can afford to pay published writers: Contest vs. Even if you pay the author for a selection, it is not "work for hire" -- it is a permission fee and you are free to allow the work to be published in other anthologies, too--or consider a bonus fee for exclusive rights for a limited period.

The publisher does not need to own copyright on your work to publish it in an anthology. As a contributor to an anthology, know your rights! As editor or publisher of an anthology, be fair. Read all of her articles on the topic, whether you're assembling the anthology or being included in it. Don't give them away. Janie Reinart and Mary Ann Meyer and here she summarizes the practical steps she took and others might take. Books about writing fiction "Writing a novel is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.

Doctorow "I aimed at the public's heart, and by accident I hit it in the stomach. The rest of us just get up and go to work. McCormack, with whom I worked early in both our careers, was a legendary fiction editor who built St. Martin's Press into a major American publishing house. The key here is to grow a script organically rather than force the story into preexisting mechanics. Highly recommended. Biographer T.

Stiles recommends it for writers of biography, too. This is the edited transcript of those lectures, dissecting her works and those of others. As reader L. Kraus comments, "The best part of this book is its tips on how to construct an exciting plot-from developing plot conflicts to compounding the burdens on protagonists, to creating the seminal event in which all conflicts converge Rand also emphasized the importance of action to make visible a character's journey and that not all stories that record even a good character's impressions of the world make good stories If you can unite the two--if you can give a relevant and logical physical expression to the spiritual conflict you present--then you have high-class drama.

It's not just about characters and viewpoints, but those factors need a framework to define them, both for writing and for audience expectation. Brilliant insights into some of the best novels and novelists on the theme of love. Did celebrity culture speed his artistic decline? In her Washington Post review, Carolyn See wrote "fascinating book, especially if you're interested in publishing, or ever wanted to write, or find yourself currently in that notoriously tortured profession.

The narrative is full of information about pitiful print runs and lying editors and desperately bumbling ploys to sell books and the layers and layers of artifacts that surround the whole thorny, nutty conundrum that has to do with 'selling out,' whatever that is, and losing your 'integrity,' whatever that is. The entries are brief, knowledgeable, and highly entertaining, like hearing an exasperated friend rant about his or her area of expertise. Dated in details but not in basics of fiction writing. Surmelian why certain techniques work and where they are most useful for your fiction writing--with chapters on scene, summary and description, third person, first person, plot and plotting, character, stream of thought and interior monologue, traits of narrative prose and narrative style.

Writes Haley: "She calls one context the 'gritty fight scene' realism and brevity required and the other context the 'entertaining fight scene' realism and brevity optional. Understanding the difference is key to determining whether a scene involving violent action is plausible. The elements that make a novel stand out from the rest: "a powerful sense of time and place, larger-than-life characters, a high degree of tension, good subplots, and universal themes," how to construct stories and build suspense, elements needed to take a novel to the bestseller list.

They establish the crucial bond between writer and reader, setting us off on a path toward the heart or climax of a story, or they fail to do so. Ting Lam, B. I believe one of the most important skills as a writer is to be a good observer and listener. Careful observation, introspection, and reflection lead to concrete descriptions and dynamic narratives. My classes at DYWC often ask students to bring in various skills outside of writing as inspiration: art, music, and technology. Other days, you can find me chasing phantom runners, going on sketch crawls, and training to become the next Jedi master.

Alec Lowman , B. Alec Lowman is a Durham native and a graduate of Princeton University's program in creative writing. More importantly, he is a proud DYWC alum. After many summers as a camper and several summers working on the residential side, Alec is thrilled to be returning to his home as an instructor.

During the year, he teaches English at Jordan High School. He writes poetry, fiction, and to-do-lists. Scott Michaels, B. Ormand Moore, B. Ormand teaches English to 11th and 12th graders at Durham School of the Arts. He holds to the contention that listening to audiobooks is, in fact, reading. When looking for a place to live, Ormand believes that where the bookshelves would go is absolutely the first and most important consideration. He enjoys rolling on the floor and laughing with his two young sons and watching funny cat videos with them.

Sarah Paterson , B. Sarah is so excited to be back and teaching at DYWC -- the place where her own writing career started! After receiving a degree in Professional Writing from Elon University and working many years as a YWC counselor , she spent a few years as a communications writer and interactive media designer in Raleigh. Sarah loves off-kilter short stories, eye-opening nonfiction, and any reality TV show where people make dessert. Barry Peters, B. Barry began writing professionally in high school as a sportswriter for local newspapers.

After college he worked as an award-winning sportswriter and editor in Connecticut and Ohio, covering everything from Little League to the NBA. For the past twenty-eight years he has been a high school teacher.

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In addition to journalism, Barry has published poetry, fiction, and essays. Barry lives in Durham and teaches in Raleigh. Caitlin Prillaman, B. Caitlin is a novelist, playwright, poet, and educator from Chapel Hill, North Carolina. During the school year, she works as a teacher, tutor, and academic coach at Carolina Friends School.

She teaches creative writing classes to middle school students, but also works one-on-one with both middle and high school students in subjects ranging from writing to math to history and beyond. She also works extensively on her own projects, including the Lightspeed Theater Collection, in which she has developed multiple high-quality, age-appropriate scripts for middle school theater programs.

She is thrilled to be back on campus as an instructor. Leslie Schwartz, B. Leslie works as a middle school ELA teacher by day and runs a lot at night. She likes to complain about this running. On any given weekend, you may find her curled up with a burrito and a good book. Lately reading a lot of nonfiction, she is still a Potterhead at heart and will be a Gryffindor until she dies. Leslie lives in Raleigh with her husband, but they are too lazy to have any pets or kids. She'd name the houseplants, but they never live long enough.

Jackie Turnwald, B. Having traveled to 30 countries on five continents she has come to believe that only a truly engaged mind can experience the world. Ultimately, she believes in encouraging students to develop their communication skills through the artful use of language, a robust knowledge of literature, and the emotional intelligence that gives us all the ability to connect.

At the end of the day she returns to her husband, her Belgian Shepherd, and their ever multiplying numbers of chickens. Barry Yeoman, B. I also produce long-form radio documentaries and nonfiction multimedia projects, including The Gutbucket King, a biography of the New Orleans bluesman Little Freddie King. I have been an instructor at DYWC for two decades, mostly working with older teenagers. My classes are highly interactive and often involve physical activities. They require significant engagement from every student, including stretching their writing styles and reading aloud in class.

I am a particular fan of book- and magazine-length narrative nonfiction. They will live in Blackwell Residence Hall , an air-conditioned residence hall on Duke's East Campus and eat their meals in the campus dining halls. They are expected to have the independence and maturity to make responsible decisions for themselves about their health and safety, and to interact cooperatively with other members of the program community.

The drop off and pick up location for all day campers will be White Lecture Hall. All day campers must check in on Monday morning between am — am am. At check-in, day campers will pick up class assignments, camp T-shirt, writing supplies, and other important camp information and other important camp information.

Day campers and their families must arrange transportation to and from campus every day. Please note that classes begin promptly at am am and end at pm pm Monday through Friday the first week, and Monday through Thursday the second week. Staff members are not available to supervise day campers before the designated drop-off time or after the indicated pick up times. If the camper will not be attending class for any reason on a particular day, please call the administrative office at by am to leave a message with the Duke Youth Programs staff specialist.

All extended day campers must check in on Monday morning at White Lecture Hall between am — am am. At check-in, day campers will pick up class assignments, camp T-shirt, writing supplies, and other important camp information, and other important camp information. Campers participating in the extended-day option will return to the residence hall with the residential students. A counselor will be assigned to supervise this group of campers. What to leave at home: Neither the Program nor Duke University assumes responsibility for broken, lost, or stolen personal items. For that reason, we do not prohibit cell phones at camp.

At check in, campers will pick-up a camp T-shirt, writing supplies, and other important camp information and other important camp information. Day campers should be picked up at the White Lecture Hall by At check-in, campers will pick up a camp t-shirt, notebook, and other supplies. Campers should be picked up on the front steps of White Lecture Hall by Participants will NOT be able to check in prior to pm. Please note that there are no structured activities during the check-in period, but residential staff will be in the residence hall to help students get settled in their rooms and encourage campers to begin getting to know one another in an informal setting.

Prior to dinner, students will meet with their Living Group Counselor. After dinner, campers will participate in a camp-wide orientation session, addressing schedules, expectations, rules, and activities to build the camp community. If driving — All participants arriving by car must plan to complete check-in at the residence hall on Sunday by pm. If arriving by train — Students traveling by train should plan to arrive at the Durham Amtrak Station on the appropriate Sunday between the hours of pm and pm.

If flying — Please make arrangements to arrive at the Raleigh-Durham International Airport on the appropriate Sunday between the hours of pm and pm. Please accurately record your flight information on the transportation form you receive from our office. If the airline changes your flight schedule, please notify us immediately.

If your child is flying, it is necessary to check with the airlines whether or not your child will be considered an "unaccompanied minor. If your child is classified as an "unaccompanied minor" it is imperative that you record this information on your travel form or give this information to the Duke Youth Programs Office at or email youth duke. Airlines require the name, address and telephone number of the person s who will meet the student who is traveling as an unaccompanied minor. We cannot provide that information to you at this time. A staff member of the Youth Programs will contact you 2 - 3 days before the departure date to notify you of the name s of the staff members wearing Duke Youth Program staff T-shirts who will meet your child at the arrival gate.

You then must give this information to the airline with which your child will be traveling. Please ensure that Duke Youth Programs has the correct contact information where you can be reached during those days before the camp begins. A staff member, who can be identified by Duke Youth Programs staff T-shirts, will meet participants at the baggage claim area.

If you are delayed — On arrival day, if your flight is delayed, or you are delayed in your journey by car and will not arrive by the requested time, please call If you reach ananswering machine at that number, please leave a message; messages will be checked regularly. Participants must check out of the residence hall before noon on Friday.

Using technology to facilitate "aha!" moments - Dave King - TEDxOU

Participants who are flying home must schedule flight departures from the Raleigh-Durham International Airport between am and noon. Shuttles will transport participants to the airport during this time frame only. Please print out this registration form, complete it, and send it with a check made out to Duke University to:. The full payment is due at time of registration. If an account has an outstanding balance after May 15th, the registration will be cancelled and the non-refundable deposit is forfeited.

The request must be submitted in writing by the dates below to youth duke. In the subject line please indicate Refund Request. The medical condition must be documented by a physician as one that prevents participation in the program. In the case of a dismissal, no refunds will be issued. Duke Youth Programs reserves the right to cancel or not hold a session or program if the minimum enrollment requirements are not met or for any reason beyond Duke Youth Programs' control. If the minimum enrollment requirements are not met, registrants will be notified one month in advance and receive a full refund of the deposit and paid tuition.

For reasons beyond Duke Youth Programs' control, refund decisions will be made based on recommendations from Duke University. Participants who wish to change their registration from one session or program to another may do so only if space is available in the desired program. We will not be able to make any transfers between sessions or programs if there are less than two weeks remaining before the beginning of desired camp. Registered participants will receive an email from Duke Youth Programs with attachments to print and complete.

Please return these required forms as soon as possible or by May 3, An invoice for these services will be included in the transportation confirmation letter that will be sent to you before camp begins. These charges are due before the start of the session in which your child is enrolled. Individuals with disabilities or other special needs who anticipate needing reasonable accommodations should contact the Director of Youth Programs at or youth duke.

Written requests for consideration for reasonable accommodation and appropriate paperwork must be received 30 days in advance of the program start date. Where do I live? Who supervises me? Who are the instructors? What if I arrive at the residential dorm outside the designated check-in times? What if I am flying as an unaccompanied minor? What if I do not have room to pack my bed linens? What if someone wants to visit me? What if my parents need to contact me? What if I want to bring a laptop? What if my parents want to send me money? What if I need medical attention? What if I do not have health insurance?

What if I need to cancel? What if I need financial assistance? What if someone wants to send me something in the mail? What will I eat? What if I lose my meal card? What if I am unable to attend class? What if I am having difficulty retrieving my medical records? What if my travel arrangements change? Is transportation to and from the airport or train depot provided?

What happens on the weekend? What if I need directions? Our residential team of undergraduate and graduate students, and professional educators will supervise residential campers. The Director of Residential Life has experience working in an academic environment and counseling year old students. The Director of Residential Life supervises the undergraduate and graduate counseling staff. Each counselor has a living group of students. These staff members are on or near campus 24 hours a day and supervise the students in the evenings and on weekends. The Director of Residential Life and the program counselors are on call 24 hours a day.

The instructional staff is comprised of professional educators, university staff, freelance writers and other well qualified individuals. They are committed to inspiring and challenging their students. If your travel arrangements result in you arriving before or after the designated check-in time Sunday between the hours of 2pm and 4pm , please call the Duke Youth Programs residential office as soon as possible numbers will be provided to parents and participants prior to the Saturday before the start of camp. Because residential staff is not required to be present until the start of registration, there is no guarantee that you will have access to the dorm if you arrive before the designated check-in time.

As an alternative to waiting for the staff to arrive, consider driving to the local store to get last minute supplies or take a tour of Duke's West Campus. If you arrive after the designated check-in time, call the dormitory for your program and provide an estimated time of arrival phone number will be provided prior to the start of camp.

The office will then contact the residential staff and put them on notice. A staff member of the Youth Programs will contact you 2 or 3 days before the departure date to notify you of the name s of the staff members wearing Duke Youth Program staff T-shirts who will meet your child at the arrival gate. For departures, please schedule for your child to leave within our requested time-period 8 AM — 12 PM. If transportation service is requested outside of said period, we may not be able to provide transportation. What if I do not have room to pack his or her bed linens?

Bed linens can be mailed to our office prior to the start of camp. Participants can also purchase linens at the local store. Any leave of absence must be arranged in advance with the camper's residential counselor. Residential counselors can be contacted by calling the residential office this number will be available at check-in. Campers must be picked up at and returned to the residence hall at the pre-arranged times.

Since our schedule is filled with recreational and instructional activities, we discourage long periods of time away from the program. These informal interaction times serve an important role in building community among peers and counselors. Each residence hall will have an office where parents may call and leave messages for campers during the camp session. This phone number will be available at the program check-in. The residence hall office phone will have an answering machine if no one is present in the office to take the call.

Messages will be checked regularly throughout the day. In the case of an emergency you may also call the main Youth Programs office at , Monday-Friday ampm, or the Director of Residential Life this number will be available at check-in. Though not a requirement, participants in the program can bring a laptop. However, the camp will not be responsible for loss or damage to the computer and equipment.

Parents should contact the residential office and leave a message with the residential director to discuss money-wiring options. Parents will be called for advice and recommendations if the problem does not require immediate medical attention. If the problem is serious, the staff member will arrange for medical treatment at the Duke Student Clinic, Duke Hospital, or other nearby medical facility.

You will receive an email from Youth Programs with information about the Health Form, which will need to be completed and returned to the Duke Youth Programs office before the beginning of camp. It is imperative that all parts of the form are thoroughly and legibly completed. Youth Programs staff will refer to this form for contact information in the event of a medical emergency.

Medical personnel will refer to this form whenever medical treatment is necessary; this form is the only guide a health care provider will have in case of an emergency. Duke University requires all Youth Programs' participants to have health insurance. If you do not have health insurance you may purchase temporary health insurance through a local insurance agency. Assurant Health short-term health insurance broker is recommended by the programs. Please feel free to contact us for suggestions. All cancellation requests must be made in writing emailing us at youth duke. For more information about the cancellation process, please see the cancellation policy.

Duke Youth Programs sponsors a limited number of need-based partial scholarships. Completed applications, along with all requested supplemental documents, must be received by February 16, Incomplete packets will not be considered. Applicants will be notified about award decisions by March 16, NOTE: Duke Employees, if you are awarded financial aid then you will not be eligible to receive the Duke employee discount.

Mail should be sent to participants in care of our administrative office in the Bishop's House. The mailing address is:. Please understand that mail delivery to participants will take at least 2 extra days, as the mail must travel from the US Postal Service to the Duke Postal Service to the Duke Youth Programs office and then to the participant. Also, Duke mail does not deliver on Saturdays. All program participants eat in the campus dining halls. Camps that have classes on East Campus will have all meals in the Marketplace. Camps that meet on West Campus will have breakfast and dinner in the Marketplace and lunch on West Campus.

Participants can choose from a variety of vegetarian and meat entrees, vegetables, breads, sandwiches, salad bar, drinks and desserts. Lunch for all campers residential, extended and day campers is included in tuition. Please contact the Duke Youth Programs office for assistance in getting medical records.

What if my travel arrangements have changed? Please contact the Duke Youth Programs office at as soon as possible regarding any travel changes. Residential campers will have the opportunity to participate in a variety of activities that are organized by the residential counseling staff. Click on the links below, click on the directions button on the upper left corner, and enter the address from which you're traveling. Skip to main content. Young Writers' Camp. Why should parents select this camp or teachers recommend it?

Field trips to local businesses, art museums, gardens, and dance festivals are a regular feature of our classes. While campers are given class time for quiet writing, they also draft, revise, and edit collaboratively. After an academic day of writing classes, many of our extended day and residential campers choose physical afternoon activities such as sports and drama. Show, don't tell. Whether you're writing a narrative, informational, or argumentative essay Common Core English Lang.

Arts Standards Alert! Write about what you know: even if one writes fantasy, one always draws on personal experience. Campers learn to initiate, plan, develop, organize, and revise and edit their writing. In fact, as part of instruction, our teachers offer campers various editing tips. Once campers come to see themselves as writers, then the mechanics and grammar have a context, begin to matter and make sense from within. Many campers become more comfortable with public speaking.

We begin each morning with a writing activity in which the whole camp participates and at the end of which, 10 to 15 volunteers have the opportunity to share their writing orally. During classes, instructors regularly invite campers to share their works-in-progress orally with classmates. Every academic day ends with a time called Readers' Forum, where 15 to 20 volunteers share from their self-composed texts.

During the second week, a group of 15 to 20 campers are selected by their instructors to read from original works at the Regulator Bookshop on 9th Street in Durham, NC. On the last night of camp, 35 to 45 campers volunteer to share their writing in a Readers' Theatre called Final Celebration.

While no camper is ever forced to read in front of other campers, instructors strive to create a nurturing environment that encourages campers to share work. Parents are encouraged to attend! Friday, June 28, Check out for Residential Students. Must depart by noon. Friday, July 12, Check-out for Residential Students. Friday, July 26, Check-out for Residential Students.

They all need a great writer. This class will explore every type of superhero fiction. Lexcorp and Oscorp have each funded opportunities for us to make the deadliest villains. Well, this is the course for you! Go ahead, and take an existing world, be it sci-fi, fantasy, action, video game, or other, and mold it to your image — want to know the consequences if Luke Skywalker missed when he fired at the Death Star? Do you wish vampire hunter Blade would go after Edward? What does Sauron do for fun?

Well — quit waiting for the authors to answer these questions — write it yourself! In this class, we will create well-rounded, dynamic characters by going out into this great, big, beautiful world of ours. Students will use their senses to observe the vibrant characters in the real-world to then create unforgettable, believable characters for their stories. Students will participate with independent writing, paired and group writing, as well as analyzing excerpts from texts, films, and music.

Writers will draw inspiration from their observations and then let their imagination take over. Where will your observations take you? In this course, we will examine how we can use myths, tales, and legends to inspire our own writing about contemporary subjects. We will look at myths themselves and modern-day versions of myths, and we will think about how myth teaches us about plot in fiction. We will also look at photographs, antique letters, and everyday objects to challenge and stretch our ideas of what constitutes a myth and how myth can be used in our own fiction writing.

How about fantasy-mystery? Or graphic-poetry? Do you like to write Sonnets, Haikus, or Free Verse? This workshop will help you explore different types of poetry writing, including the pre-writing process, post writing, and presentations of your poetry. We will also analyze classic poems looking for patterns, and key elements of good poetry writing. Together with your fellow deities you will create the world around the small port town of Redemption. Communally, you will design the magic system that this world operates on as well as the political conflicts, the world history, and the monsters and creatures that inhabit it.

Then design characters that will interact with the other characters created in the class.

One Author's Aha Moments - Writing Revelations with a Focus on the Young Adult Market

Is it in the characters? In their adventures, escapes, and loves? Is it in the action-packed plots, with their devious villains and all their nefarious schemes? Students will construct a horror premise, develop dynamic characters who may or may not fall during the chase scene, and tell a truly terrifying tale. Where will horror fiction take you?

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Students will participate with independent writing, paired and group writing, as well as analyzing excerpts from texts, films, and music to create truly terrifying stories. Join us for a terrifying journey into Horror Fiction! They're all called into adventures! In this course, your heroes and heroines will hear that call, face obstacles, and maybe save the day. Their fates are up to you - Will she slay the dragon?

Will he escape his destiny? Can they survive the perils and traps of your world? Campers will create adventures and workshop together to hone their stories into fierce and challenging journeys and quests. You'll fill your worlds with monsters and mentors, pitfalls and paradise, villains and victory - and in the process, create an adventure for the ages. However, many of the most successful characters in fiction are made so by their expertly crafted personas. In this course, we will explore how to build character from the outside in. We will study the development of masks and persona in fiction, photography, and film, and we will use our findings to inspire our own fictional characters.

This course will expose you to debate and speech, along with personal essay writing and even poetry! Come discover the alchemy of argument. Whom would you contact? If they ask you to write a screenplay for the first show, how would you begin the process? In this workshop, you will answer all those questions while viewing some of the latest, Emmy-winning TV shows and exploring how their writers got their start. Students will also complete their own screen play and practice pitching their ideas.

Session 1 Morning High School Classes Instructor : Michael Beadle Course : Wordsmithery Welcome to the realm of word magic, where you can play with puns, wrestle with rhymes, and sling some slang. We'll unearth the power of our voices and draw inspiration from powerhouse writers, past and present, like Morrison, Margaret Atwood, Emily Dickinson and Angie Thomas. Our territory: friendships between girls and growing up; rebellion and discovery; shattering polite silences, defying expectation and more. Read all about it! Campers enrolled in Journalism will get a crash course in interviewing, news writing, editorial writing, copy-editing, page layout, and design.

We will collaborate to create an online newspaper, complete with news, sports, and features articles, as well as editorials, columns, and cartoons. In addition to honing their writing skills, campers will have the chance to bring their perspective to local or global issues and voice their opinions.

Come get the full journalism experience press pass not included. Instructor : Ormad Moore Course : Experimental Fiction: Different Voices, Different Perspectives Writing in the voice of various personalities and from different perspectives is part of the magic of fiction. This class will equip you to write authentically from different identities and employ versatile narrative points of view, like the subtle and powerful close third person.

Beneath our civil society and behind the masks we wear, darkness lurks -- political, social, ethical, spiritual. All those things we don't talk about in polite society, we'll write about As a result, our fiction will embrace, as one critic wrote, "a healthy confusion of pleasure and disquietude. Maybe you have some experience at the open mic, but you need to polish your skills. But the college admissions essay can help put you in that spot.

By showing admissions officers who you are beyond the statistics test scores, grades, class rank, etc. Creating effective and compelling personal narratives —stories with a point — is the goal of this course. Through daily writing activities, students generate material they can mine for memorable college admissions essays. In addition, students practice with actual application questions, role-play admission interviews, and hear from a college admissions consultant who provides insider advice and tips about the admissions process.

We will hone the skills required to make your piece pop with pizazz. Class members will delve into character development, creating stellar scenes, drama and finding humor as we mine life experiences. The goal is to help you find your voice to write prose like a pro. We will explore ways to drop your reader right into a vivid place and intense experience. Our experiments and discussions will yield insights into this vital form of storytelling that is a visceral as poetry and as world-creating as fiction.

Bring your memories, your instincts for striking diction and images, and your eraser. We will be inspired by reading published Bizarro reading, by art, and by the news stories of the day. Remember, with great power, there must also come great storytelling. In this course, you will explore our world to create your own.

See how the air around us makes for the actions within. Be prepared to flex your imagination and breathe life into worlds of your own.