Skip to main content

Writers Interviewed - an Algonkian Writer Conference Event in The Big Apple

What are they doing? Are we talking New York?

Just a cute little piece on writer types with novels to workshop and pitch who are talking about one of our Algonkian Writer Conference events in New York. Will it prove it's possible to learn, be inspired, and have a good time all at once? Seriously though, this one is what we call the American Idol of our events. We have no Simon as such, and we don't tolerate that type of person, but we're firm and no gratuitous unproductive back-slapping is allowed. Following days of tension, on Saturday night, at our Post Pitch Cool Down, drinking is mandatory, followed by various forms of absurd behavior, if deemed appropriate. Whatever works for purposes of catharsis.



If you want follow up information and commentary, link to http://nycpitchconference.com.

And if you wish to learn more about Algonkian Writer Conferences: http://algonkianconferences.com

Enjoy!

Comments

  1. Gordon Nielsen9:35 PM

    A follow-up from a Suite 101 review article:

    "Often times, the pitch is not working because the novel is not working. Algonkian Writer Conferences uses the pitch as a diagnostic tool for examining the major fictional elements that propel and sell a novel."

    This is one reason Maui writers conference closed down, i.e., because they didn't use the tactics above. Huge lines of writers, little time, and a bunch of irate agents listening to writers pitch a bunch of crap with a lot of uh and um thrown in for good measure.

    Pitching is a total waste of time unless you know how to do it and use wisely for the right person. Getting a reaction to make changes to your novel would be a bonus, yes.

    ReplyDelete
  2. Pitching has been a waste of time for me at all conferences, but I didn't know what the hell I was doing! One wrong impression and you're f**ked.

    ReplyDelete
  3. Erika Marsh10:07 PM

    Algonkian Writer Conferences just posted a good piece about using the pitch to "wag the novel dog" ... it's the second post down on this blog.

    ReplyDelete
  4. David Sward2:03 PM

    The Algonkian Writer Conferences are composed of cells of craft workshops, even in the context of the larger events. The conference focus is divided into three or four crucial areas, and the critique, though fair, can be devastating for some. But if you really want to hear what you need to repair or add to your novel, and test the commercial appeal of your premise as well as the effectiveness of your pitch--which becomes a sharp query letter--then Algonkian conferences can be of tremendous help. btw, marketing your ms is a whole different skill than writing a novel.

    ReplyDelete
  5. Gordon Nielsen2:34 PM

    From the new Algonkian Writer Conferences site:

    Algonkian emphasizes that you, the aspiring author, must understand and master three major areas pertaining to novel writing before you can hope to realistically compete in today's market. First, the art of the drama as it applies to structural technique, i.e., plotting and complicating the story. Writers in Algonkian Writer Conference events are provided with study guides and assignments that provide background and practice in the art of creating strong story lines and fully engaged characters. Without a moral dilemma, or an antagonistic force, minus real stakes or a core source of dramatic tension to resolve, you have a flat and quiet tale, as well as non-sympathetic characters. An understanding and application of dramatic technique not only cajoles you into facing these primary issues, it provides you with a map for evolving tense plot lines, regardless of genre.

    ReplyDelete

Post a Comment

Worthy WE Wisdom

The Six Act Two-Goal Novel

What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur.  NOTE:  "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves...

"Top Ten Worst Pieces of Writing Advice" (and it gets worse)

OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER'S WORST ENEMIES . If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like  ruinous viral memes through the nervous systems of America's aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, "Where the hell did you hear that?" Yes, the primal question: WHERE THE HELL DID YOU HEAR THAT? Inevitably, many will point to their writer's group . Ahhhh, of course , you think. Why just recently at an Algonkian event , one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a n...

What Makes a Good Memoir?

By Paula Margulies As a publicist, I'm sent books of all genres by authors interested in my services, but lately I seem to be on the receiving end of a lot of memoirs. I've also spoken to a higher-than-usual number of memoir writers, who either telephone or approach me with questions at writer's conferences. The bulk of these conversations have to do with why their memoirs aren’t selling and what the authors can do to make them better. My first suggestion for all memoir writers is to take a look at their market and identify the different types of people who would want to read their book. This is tricky, for while many memoir writers have done a good job of detailing certain aspects of their personal history, a number of them have not thought about who might be interested in reading what they've written. A lot of memoirs I've seen recently are nothing more than personal recountings of an individual’s experiences – some of which are, indeed, memorable. But I...

Labors, Sins, and Six Acts - Official Novel Writing Guide - All Genres

An ideal first stop... You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel. But the cutting edge of the developmental peels and prods as presented makes an initial big assumption, namely, that you are honestly desirous of true publication either by a classic publisher or traditional literary press , and therefore, willing to birth the most dynamic and can't-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying?   Perhaps, but you must know, it won't be easy. Labors and Sins First of all, the method-based assertions and information we've gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contr...

Loglines and Hooks With Core Wounds

HOOK OR LOG WITH CORE WOUND AND CONFLICT Your hook line (also known as logline) is your first chance to get a New York or Hollywood professional interested in your novel. It can be utilized in your query to hook the agent into requesting the project. It is especially useful for those pitch sessions at conferences, lunches, in the elevator, or anywhere else. When a prospective agent or editor asks you what your book is about, your high-concept hook line is your answer. Writing one also encourages a realization of those primary elements that will make your novel into a work of powerful fiction.  The great novel, more often than not, comprises two stories: the exterior story or plot line, and an interior story focused primarily on the protagonist, one that defines and catalyzes her or his evolutionary arc throughout the novel. For example, a protagonist with a flaw or core wound that prevents her from achieving a worthwhile goal is forced to respond to a lifechanging event instig...

"High Concept"? Sufficiently Unique? - Write a Tale That Might Actually Sell

Aspire to be a great genre author? So what's your high concept?...  If you fail to grasp the vital importance of this second question, you will fail to conceive much less write a publishable genre novel - thriller, mystery, fantasy, horror, crime, SF, you name it. Just not going to happen. Don't let any writer group or self-appointed writer guru online or writer conference panel tell you otherwise. You're competing with tens of thousands of other aspiring authors in your genre. Consider. WHAT IS GOING TO MAKE YOUR NOVEL STAND OUT from the morass of throat-gulping hopefuls who don't know any better? Believe it or not, 99.5% of the writers in workshops all across the country *do not* arrive with a high-concept story. If anything, their aborning novel child is destined for still birth. They strut forward proudly waving their middle or low concept tale while noting how their hired editor from Stanford, or Iowa, or the Johns Hopkins MA program just "loves it!...