Instructor Q&A: Jodi Egerton

“When you crowdfund a book, you create buzz–before that book is even launched. Suddenly you have a whole group of backers ready to celebrate when your book is released. You’ve also got an automatic number of pre-orders you can share. Once the book is complete, your updates to your backers–planning

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Instructor Q&A: Carol Dawson

“When embarking on revision, every writer needs to enter a space that seems contradictory: both entirely objective (as if he or she was a reader picking up the work for the first time) and deeply in tune with the creative forces and intention that shaped the work’s first draft to

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Instructor Q&A: Greg Garrett

“Act Two of a novel is the place where the majority of the story happens, and where emotions and plot get ramped up to almost unbearable levels. It’s the largest part of the story, in every way.” -Greg Garrett Greg Garrett is the author or co-author of over twenty books

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Instructor Q&A: Stephanie Noll

“Genre often dictates chapter length. There are lots of ways that writers teach their readers how to approach a work, and chapter length can certainly contribute to that teaching.” -Stephanie Noll Stephanie Noll studied fiction writing at Texas State University, where she earned her MFA. She is a frequent storyteller

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Instructor Q&A: Charlotte Gullick

“Secondary characters are a chance to get to know your main character and your story better, so they offer pockets of insight in ways that, for me, I don’t always find with the main characters.” -Charlotte Gullick Charlotte Gullick is a novelist, essayist, editor, educator and Chair of the Creative Writing

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Instructor Q&A: Brittani Sonnenberg

“Character is intimately tied to place, and we are different people in different places. Setting our fiction in specific places helps us explore and map emotional geographies within ourselves, too.” –Brittani Sonnenberg Brittani Sonnenberg is the managing editor of Tribeza Magazine and the author of the novel Home Leave. She

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Instructor Q&A: Sara Kocek

“All strong novel openings have a few things in common (a clear, attention-grabbing protagonist, a compelling voice, a sense of what’s at stake for the protagonist, etc.) but there’s no single go-to trick (at least not that I know of!) for how to achieve that. Besides, that would take all

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Instructor Q&A: Chaitali Sen

“The only universal purpose of a scene is to transport readers toward the end of the story. That doesn’t mean the only concern of scene is plot. Description, memories, thoughts, and background information are all important to engaging the reader and moving them toward the end of your story.” -Chaitali

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Instructor Q&A: Katherine Catmull

“To uncover and refine your own writer’s voice, you need to do a lot writing. It won’t come pouring out the first time you tap a keyboard.” -Katherine Catmull Katherine Catmull is the author of Summer and Bird (Dutton Young Readers/Penguin), one of Booklist’s 2012 Top Ten First Novels for Youth

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Instructor Q&A: Jennifer Ziegler

“Writing is, above all, a matter of faith – in yourself, your story, and your characters. If you trust that things will fall into place, they almost always will.” -Jennifer Ziegler Jennifer Ziegler is the author of over 25 books, including everything from stand-alone novels to series work to TV

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