Wait, What?! Writing Killer Plot Twists – Cynthia Owens
As readers, we all love to get into a good book with great characters and an engrossing plot line. We also like to guess what’s going to happen. But what we love most of all are those moments when you’re bowled over by some totally unexpected that you didn’t see coming, yet when you read it, it makes complete sense.
Break Your Story Into Three – Beth Henderson
Three. It’s a magic number.
Three is used as an element in fashion, in art, in interior design. It is used to present arguments to persuade others to act or respond or believe that a particular conclusion is valid.
Stuck in the Middle: Getting From Set-Up to The End 2-Week Intensive Workshop – Tere Michaels
This class focuses specifically on the middle of your story, the bulk of the action that takes place after the set-up and builds up until you reach your “disembarking point” and the book’s ending.
Edits to Your Story That Aren’t About Grammar – Mary Marvella
We will explore elements to look for in our books and ways to go back to the beginning after we think the story is over and make sure the end works or if we need to add details earlier or delete things that don’t work.
Ripping Hearts and Engaging Minds: Writing Angst Effectively – Tere Michaels
In this workshop, we’ll talk about internal and external trauma, how much is enough/too much, what tone you’re going for and how to use angst effectively, and most importantly, how to write a satisfying ending.
Making Memes Using Stencil, Book Brush, & Canva – Melba Moon
Each week we will have four people (first come first serve) send a book cover which will be used to make memes live.
Mary’s Nifty Nine Editing Checklist – Mary Marvella
I edit a lot of books with the same kinds of mistakes. Why not have a plan to help you?
Make Your Suspense Keep Readers on the Edge of Their Chairs 2-week Intensive workshop- Mary Marvella
Let’s look at editing away the stuff that doesn’t involve our readers to create that final draft readers can’t put down!
Gut Punch: Using Emotional Conflict as Plot Intensive 2-week Workshop – Tere Michaels
We’ll examine the difference between internal conflict and external trauma and how they can bring a reader closer to the character – or drive them away.
Writing Historical Romantic Suspense – Beth Henderson
Whether you want to change history (as alternative allows you to do in various ways, just jump in your time machine) or insert characters into an earlier era and give them a crime to deal with or a crime in the making if someone is hunting them, or use actual historical personages – or not – in a real historic mystery setting…well, this workshop will touch on them all.