Added: new section of “Better Writing Through Brevity” workshop, Feb 2015

My current session of this workshop is going so well that I’ve added another one for early 2015. We’ll read, write, critique, and edit short fiction of various lengths, including 140 characters, 1 sentence, 150 words, six sentences, under 500 words, under 1000. Previous students of this class have sold their final pieces to semi- and pro-rate SFF markets (in fact, I’ve just heard from one that she sold another piece — started in our workshop — this week!)

$50 for 4 weeks if you enroll by December 31, 2014: Sign up here

I will close registration for this workshop when we reach 25 students, to limit the group to a manageable size. If there are still spaces left on December 31, the price will go up to $75. And, yes, you can purchase a registration for a friend.

Please note: All workshops take place in my private online forum, so you can post questions, comments, and writing excerpts without worrying who will see it. Plus, since we have deadlines of a certain day, not a set class hour, you can be anywhere in the world and still participate! With everything online, you won’t miss a thing, no matter what time zone you’re in or what challenges you’re working around.

Wondering how this workshop will improve your novel? Read this.

How does the class work?

A week before the class begins, students will get an email instructing them how to log into the private online forum. Only people in the class will have access to the workshop space. (This means anything posted there is considered “unpublished” and if you like it when it’s polished, you still have the option to submit it for publication.) Anyone who logs in during that pre-class week will be able to start reading the samples in advance.

Each week, the class will be given a short lecture, required and suggested reading, and an assignment (or two). You’ll log into the forum to read the lecture and any of the sample fiction for the week that you haven’t yet seen, post questions or comments, and your completed assignment. Your fellow students will have an opportunity to critique your assignments, and you’re encouraged to comment on theirs as well. Just like any other workshop, the group environment gives you a range of feedback and ideas. I will be checking in each day to answer questions, and also give feedback on every submitted assignment.

If you are pressed for time, you could probably do the class in under 2 hours per week, with a more time devoted to your final project. However, you get out of it what you put in, and it benefits everyone to spend around 4 hours a week on the class, or more if they prefer. When we did this last year, the students who turned everything in on time, critiqued others’ work, and did all of the suggested reading, ended up with final pieces that they were able to submit to paying markets.


All required reading and suggested reading is posted to the forum in advance, so you can read ahead. Workshop participants are given access to the class space a week before we begin.

Week One: Micro Fiction (140 character fiction, 100/150 word fiction) – explores writing into a small space, and also writing more than you need and then cutting down.

Week Two: Micro Fiction (long sentence story, six sentence story) – explores pacing, flow, and plotting.

Mid-session check in: I send an email to each participant individually, checking in and giving feedback on your work to date.

Week Three: Flash Fiction (500 word story) – posted in the forum for all participants to read and critique.

Week Four: Flash Fiction Final (1000 word story) – emailed to me for a private critique once the workshop is complete.


Workshop schedule for the next 6 months, with Early Bird discounts if you sign up now

We’re half-way through our first week in my flash fiction workshop, and it’s going so well. I’m spending a lot of time on lessons, suggestions, and critiques, but it’s worth it to see reactions like these from my students:

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Don’t you wish you were taking it with us?

By request, I’ve updated my workshop schedule for the next six months. I’ll be offering three courses:

January 2015

“Editing 101″ – Definitions, editing marks, using (and creating) style sheets, important style manuals, levels of editing, and fact-checking. The basics of copyediting: concepts and skills necessary for line editing (also called copyediting), relying mainly on the Chicago Manual of Style,16th ed; editing vs. proofreading; tips for spotting tricky errors. The basics of developmental editing: what it is and isn’t, including the specifics of developmental editing in fiction. We’ll also cover rates, and working with clients, including querying about edits, maintaining an author’s voice, and related services. (Read more here.)

$75 for 4 weeks if you enroll by 11/30/2014: Sign up here (limited class size — already 1/3 full)

March 2015

“Plotting the Short Story” – By request! We’ll cover how to fit a whole story into different lengths: flash (1000 and under), mid-length short story (about 4000 words), and longer short stories (up to 6500 words). What do you put in and what do you leave off the page? Fundamentals of storytelling, prepping (including outlining, character arcs, and plot twists) and editing (including how to recognize the different moments of your story so you can move them around) are also covered.

$50 for 4 weeks if you enroll by December 31, 2014: Sign up here (already 1/5 full)

April 2015

“Nuts and Bolts of Submitting” – market directories and submission trackers, finding the RIGHT market, reading submission guidelines, meeting submission guidelines, when to query, how to write bios and cover letters, how to read rejections, and figuring out when to resubmit, revise, or trunk your work.

$50 for 4 weeks if you enroll by January 31, 2015: Sign up here


Moving, WFC 2014, and Other Updates

Also yummy food pics, if you just want to skip to the end.

In the last two weeks I’ve moved house (from my terrible, no good, awful apartment to a much better one), attended World Fantasy Convention 2014, and prepped for my next writing workshop, which starts this Saturday. So far I’ve really only had one day of “rest” in all of that, and that’s mainly because I slept through most of Tuesday. I’m not yet caught up enough to take a break intentionally, and for the first time in a long time, I’m actually okay with that.

See, I’m busy — so busy — but being out of the old apartment relieved so much stress that I no longer feel the world is a pile of bricks I can’t juggle fast enough. All of the things I have to do are just tasks. And, I’m tearing through them so quickly that I’m expecting to be caught up, for the first time in more than six months, within a week or so. That doesn’t mean I’ve done everything I wanted to do, but I am finishing up everything I needed to have done. Once I’ve got that list completed, I can focus on the writing, editing, and reading I’ve been trying to get to for far too long.

Once I’m back to doing those things, I’ll be back to being me.

I spent most of October looking for a new apartment, and packing up the old one. At nearly the last possible minute, I found a great place — better than I’d hoped for — only a few blocks away, so I didn’t have to give up the great school system that was a big part of why I’d taken the old tiny, basement apartment in the first place. I spent another 9 days moving, one car load at a time, logging an average of 6 miles a day (according to my FitBit) just from walking up the steps of the other place, to the car, back down, get another load, walk back up the steps… multiplied by a hundred trips. I couldn’t afford to both move and rent a truck/hire movers, and my person who’d normally have helped ended up sick, so me and my son (okay, mostly me) did it all ourselves. The one thing I did pay for was an extra week of rent at the new apartment so I could start moving in a week early, and I’m so glad I did.

The up side to moving like that is that I got to deal with each car load of stuff away as I brought it over. Before we went for another couple of boxes, or tote bags full of books, I put what I’d unpacked exactly where I wanted it. By the time we were officially done moving out of the old place, the new apartment was a home. Curtains were hung, rugs put down, furniture in the right spots, dishes in the cabinets, clothes in drawers. I literally have only one box left to sort through, and there’s a chance most of that will be donated/thrown out. (Another benefit of knowing that I’d have to lug each box over by myself is that I only packed what I wanted, and managed to get rid of all the useless junk a person acquires over time before leaving.) I still need a few things — a living room rug, some bookshelves, since the one I’d been using came with the old apartment and had to stay there — but mostly, we’re happily settled in.

Which is good, because right after the move was finished, it was time for WFC.


New: Pay What You Can For Editing

Over the last few years as a freelance editor, I’ve raised my rates from my introductory offer to a level in keeping with both the quality of my work, and industry standards. As a member of the Editorial Freelancers Association and in my contracts with institutional clients, for example, my rates are competitive, fair, and most importantly, accurately compensate me for the decades of experience that I bring to each project. It took me a long time to feel comfortable asking to be paid a decent wage, and I know I deserve it.

But at the same time, I also know that I lose potential clients who can’t afford to pay a professional editor, and who instead have to turn to people who don’t have real editing experience, or not much of it, just because they’re cheap. Worse, some authors skip the editing process all together. I love speculative fiction, I love the genre community, and I have stressed – a lot – over the conflict between paying my rent and helping those who could really use it.

I’ve recently introduced new editing packages to further tailor what I’m offering to a client’s needs, in hopes that no one is paying more than they should. I’ve been taking clients with budget constraints as they come to me, without advertising, whenever I can. I’ve offered sales, and I’ve quietly told friends and clients that if they know someone in trouble, send them my way and I’ll give them a deal. Still, I worry that I’m excluding authors who didn’t know that I’d help if I could.

So I’m introducing a new program: Pay what you want for editing services.

Tell me everything you can about your project, and what you can afford to pay for it. I’ll get you on my waiting list, and when I have a cancellation or open spot in my calendar, I’ll go down the list, first come first serve. You’ll get exactly the same services you would have if you had booked at my usual rate, but at a cost you can afford.

Of course, there’s a limit to how many low-cost clients I can take on in a single month. You may have to wait a few weeks, or even longer, before I can fit you in. And if you come to me with a ridiculous offer, I’ll be honest about immediately turning you down. $50 to copyedit a 150,000 word manuscript is probably not going to happen, since that’s a solid week’s worth of work, or two (depending on the quality of the writing before I get to it). But I’ll take every job that I can. Shorter projects may even sneak into my schedule more quickly, if I’ve got a free evening.

I want every author to have a chance at a professional edit for their work before they send it out to a publisher, or publish it themselves. Writing is hard enough. You shouldn’t have to revise it alone.

If you’re ready to get started, fill out the contact form below.


Sign up now open for new online workshop! “Editing 101″, begins Jan 2015

Beginning mid-February, I’ll be teaching a 4 week intensive online workshop on the basics of editing. Like my other workshops, it will be held entirely online. Lectures will be sent out as PDFs, class discussion will take place in our private forum, and assignments will be due each week. This format allows students to participate on their own schedule, whether they’re working around a job or family commitments, or are logging in from anywhere in the world. During the workshop, we will cover: Identifying parts of a story, styles, tenses and perspectives, narrative arcs, and other elements that are potentially affected by the editing process. Definitions, editing marks, using (and creating) style sheets, important style manuals, levels of editing, and fact-checking. The basics of copyediting: concepts and skills necessary for line editing (also called copyediting), relying mainly on the Chicago Manual of Style, 16th ed; editing vs. proofreading; tips for spotting tricky errors. The basics of developmental editing: what it is and isn’t, including the specifics of developmental editing in fiction. We’ll also cover rates, and working with clients, including querying about edits, maintaining an author’s voice, and related services. I expect this to fill up quickly, so I’m posting it now for people who read my blog/Twitter/Facebook to get a jump on enrolling before I advertise anywhere else. Like with my other workshops, I’ll cap the number of students so we’re not too crowded.

Enroll now for only $75


If you’ve wanted to know more about editing so that you can polish your own work, or you’re thinking of branching out into a little freelance editing, this is the workshop to get you started.