Outreach International Romance Writers ©

2016 Online Workshops


 

Outreach International Romance Writers Chapter of RWA® offers online workshops and classes through the Outreach Online Campus.

Classes vary in length and are conducted via e-mail. Most run as e-mail listserv, much like your chapter and RWA® affiliated loops.

Some workshops may offer real time or live chats. Participants are subscribed into the list for the length of the class then unsubscribed when it’s over. These classes are open to anyone with e-mail capability wishing to participate.

*Invites are sent three days before the workshop begins. Deadlines are the first day if class. Late registrations are accepted at the discretion of the Campus Coordinator and instructor.

 

Workshop Fees:

OIRW MEMBERS NON-MEMBERS
30 Days $20.00 USD 30 Days $25.00 USD
Two Weeks $10.00 USD Two Weeks $15.00 USD

 

Check Payments:

Checks by request only.  Contact Campus Coordinator

 

OIRW Membership:

 

To join Outreach International Romance Writers click here.

 

Upcoming 2016 Online Workshops

Click for month: MAR | APR | MAY | JUN | JUL | AUG | SEP| OCT | NOV | DEC

**Cancellation and Refunds Policy:No registration fees will be refunded. All payments for a workshop must be received by the registration cutoff date. Payments received after the cut-off date can be applied to a future workshop of the Applicant’s’ choosing.

In the event a workshop is canceled due to unforeseen circumstances, such as instructors inability to teach his/her class, registration fees will be applied to a future workshop of the applicant’s choosing.

A Confirmation Letter of Payment will be sent promptly. Invitations to the workshop are sent 2 days prior to the start of class. If you pay for a workshop and do not receive a confirmation letter and an invite please contact the Campus Coordinator immediately.

Questions? For more information, please contact our Campus Coordinator.








2016 OWG MAR 4


















Let’s Plot Your Novel

Presented by Becky Martinez
Dates: March 1–31, 2016
Deadline March 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

The Plotting Process

Get the basics of different ways to plot your book and start to come up with what is necessary to get all the way through your book. Where should you start? How should you start? Do you need to outline everything? What if you would rather not plot at all? We’ll use the Plotting Wheel to get students started on their book. The Plotting Wheel can be used by outliners or people who want their characters to do the plotting.

Plotting Procedures

How do you know if you’re going in the right direction with your plot? What about subplots? What do you need to know about how to end your book? What if you’re writing a series and need to leave things undone? This class looks at the overall book and how to make certain you don’t shortchange your readers but that you also leave some questions for the next go-round. We’ll also look at ways to make certain all the plotting elements are in place in your storyline and get an introduction to building a story board.

Scene & Sequel

As you plot you’ll need to start thinking in terms of scenes and how to write them. Too often writers can come up with a story but don’t know how to start breaking it down into actual scenes and showing the reader the story, rather than telling it. This class provides an introduction to writing a scene and how to go between action scene and their reactions or sequel. These sessions include writing scenes and their sequels to see how they work.

Getting to the end

These sessions look at how to come up with a satisfying conclusion and how to insert teasers for the next book you might be planning if you’re working on a series and how to get a satisfying end if you’re writing a stand-alone book. We’ll also look at how to conclude the character arc and how to write a satisfactory conclusion that wraps up this story line while holding interest open for the next book in a possible series.

Instructor Bio:

Becky Martinez, who writes as Rebecca Grace, has focused on writing almost every day of her working life for the past 40 years. She is a former broadcast journalist who spent 30 years working in TV newsrooms and nearly ten years in public relations. For the past ten years she has been writing fiction and teaching writing classes, coaching individuals on their writing, and giving onsite presentations on writing.

She is published in mystery, romance, and romantic suspense and is co-author of a book on writing, Ten Steps to Creating Memorable Characters, published by Random House. Her latest book, Blues at 11, is a humorous mystery, set in the world of a Los Angeles television journalist. It was published by The Wild Rose Press in January 2015. Her previous book, Dead Man’s Rules, was also published by TWRP in 2014. Becky has also had several short stories and novellas published. Her short story, “Trouble in the Rockies” was part of the anthology, The Trouble with Romance, which was a New Mexico Book Award finalist. Her next short story, “One More Romance,” will be part of an anthology published by the Heart of Denver Romance Writers.

She is currently working on the second book in the Blues series and a follow up to Dead Man’s Rules.

 

 

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2016 OWG FOOTER 5

“Where The Heck Do I Start?”

An introduction into Self-Publishing

Presented by Kathryn Jane
Dates: March 1–31, 2016
Deadline March 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

You’ve written the book. You’ve decided to jump into the pond and self-publish. But you have no idea what to do next, how to send your baby off into the world alone. Relax. That’s what I’m here to share with you. Four weeks of lessons that will set you up to take the next steps.

Lessons will include

  • Definitions of terms you’re going to hear,

  • Explanations of subjects such as branding and distribution,

  • How to use social media, loops, signature lines and peripherals,

  • What to expect from the industry professionals you decide to hire,

  • Covers and copyright pages explained,

  • Series vs Stand Alone,

  • And much, much more.

Instructor Bio:

Author Kathryn Jane has self-published four books in her Intrepid Women Series since 2012, and learned more in the last two years than she ever thought possible as she stumbled and bumbled her way into the industry.

 
 

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Advanced GMC

Presented by Kat Duncan
Dates: March 1–31, 2016
Deadline March 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

You’ve read Debra Dixon’s book several times and used it to plot out one or more novels or novellas. You understand external and internal goals and their related motivations. You have a good grasp on conflict, and yet your novels either seem weak in the areas of tension and suspense, or agents and editors keep passing on your partials or fulls.

What’s missing?

What are you doing wrong?

Goals, motivations and conflicts can be fantastic, but they must also be presented in a way that motivates readers to read.

Take a fresh look at GMC with this workshop which will show you how to look at goals, motivations and conflicts from a reader’s point of view. We’ll explore ways to ensure that your GMCs will work together well as well as investigate how well you have applied them.

Come prepared to analyze novels on your bookshelf or e-reader (no TV or movies allowed) the way a literature professor would, and do exercises writing new scenes with instructor-given GMCs. And then apply the lessons learned to your own WIPs so that your GMC charts are not only crystal clear, but those GMCs flood the page with prose that rivets the reader’s attention like a bestseller.

Instructor Bio:

Kat Duncan obtained her Bachelor’s Degree in Chemistry and German from Regis College in Weston, MA. She is a Fulbright Scholar who spent a year in West Germany before the fall of the Berlin Wall. She holds a Master’s Degree in Special Education from Gordon College in Wenham, MA. She tutors students from elementary through college and beyond in all subjects as well as study skills.

Kat writes romantic suspense for The Wild Rose Press and is an indie publisher of romantic suspense, historical suspense and non-fiction shorts on writing.

Visit her on her website: www.katduncan.net/writeabout
 
 

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Bookkeeping For Writers

Presented by Pepper O’Neal
Dates: March 1–31, 2016
Deadline March 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

This class is for writers who either don’t want to or can’t afford to hire an accountant to keep track of their business finances.

The class will deal will accounting practices, basic instructions in Quicken & Excel, how to set up your books, and includes useful tax tips for writers in the US and Canada.

Are you comingling your money for writing expenses and personal ones? Did you know that the way you are handling your income and expenses can affect whether all your writing expenses are tax deductible instead of just part of them? Did you know there are legal tax tricks that can save you money on income taxes? Do you know how deal with things like getting a tax ID number? Do you know how to avoid a random audit on your business and/or personal income taxes and how to keep red flags off your tax returns? The class will handle all this and more.

Lesson Plan:

This is a four week class with two lessons a week as described below and plenty of time for questions and responses:

1. Business or Hobby. Which category does your writing fall under? How to tell the difference, and what that difference makes with regard to your taxes.

2. Setting up your books. How to set up your books so that your expenses are tax deductible.

3. Basic Quicken. Step by step instructions. How to enter data, categorize it, and run reports.

4. Basic Excel. Step by step instructions. How to set up Excel to run basic formulas and act as an accounting system

5. Things You Need to Know Identity Protection. Tips that can help protect your identity, what to do if your identity is stolen

6. Tax Tips – Part One. What tax forms to file for the different types of businesses, how to avoid random audits, how to classify your business with the IRS, and how to keep red flags off your tax returns so you don’t get audited. If you have employees—state and federal payroll taxes, employee W-2s /1099s and when they apply to your business, how to set up an account to pay employee payroll taxes, pitfalls you need to be aware of as an employer. Independent Contractors, what they are and how they apply to your business. Independent Contractor Agreements and Non-Disclosure Agreements, when you need them, how to create them, and what to look for before you sign one as an independent contractor yourself.

7. Tax Tips – Part 2. Ditto to Lesson 6.

8. Legal Pitfalls. Things to watch out for so you don’t get sued, how to protect yourself, and what to do if the worst happens. Resources, links, and where to go for help when you need it.

Instructor Bio:

Pepper O’Neal has a doctorate in education and has taught a number of adult education classes on many different subjects. She currently works as a freelance researcher and author. When she was told by both of her publishers that she needed to have a website, she realized she needed to finally join the age of technology. She also realized she had two options. She could pay someone to design the site for her, or she could to do it herself. As she hates depending on others for things involving her career, she decided to learn how to use the free web-design software WordPress and Joomla. She took classes, hired experts for tutors, and picked the brains of her web-designer friends. After designing her own websites, she decided she liked doing it, and now she designs websites for others.
 
 

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2016 OLW APR 2



















Using Layering as an Editing Tool

Presented by Cassandra Carr
Dates: April 1–30, 2016
Deadline April 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

Layering is one of an author’s primary tools to take a good story and make it into a great story. Without layering, your story will not evoke the emotional response you desire in your readers. In this course you will learn the importance of layering in your stories, as well as how and when to layer. Different types of layering will be covered individually with examples given for each.

    Lesson One: What is layering and why is it important? How and when should you layer?
    Lesson Two: Layering external environment details
    Lesson Three: Layering outward/physical details
    Lesson Four: Layering inward/emotional details
    Lesson Five: Wrap-up and questions

Instructor Bio:

Cassandra Carr is a multi-published, award-winning erotic romance writer with Ellora’s Cave, Siren, Sybarite Seductions and Loose Id who lives in Western New York with her husband, Inspiration, and her daughter, Too Cute for Words. When not writing she enjoys watching hockey and hanging out on Twitter. Cassandra’s book Caught was recently named Best BDSM Book 2011 by LoveRomancesCafe and Impact was named BDSM Book of the Month for May 2012 by BDSM Book Reviews.

For more information about Cassandra, check out her website at www.booksbycassandracarr.com, “like” her Facebook fan page at www.facebook.com/AuthorCassandraCarr or follow her on Twitter at www.twitter.com/Cassandra_Carr

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Storytelling

Presented by Shannon Donnelly
Dates: April 1–30, 2016
Deadline April 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

“Storytelling, the language art that predates written history, is also a widespread, dynamic, and varied art form in the modern world.” National Storytelling Network

A good story is not just good writing…

There are workshops to improve your writing craft, to show more, to create characters, and on just about every aspect related to fiction. But a good story takes more than good writing: in fact, you can have poor or just okay writing, but still have a great story that grabs readers and sells its way into published book and movie deals. By taking a look at the technique of “story tellers” this workshop looks at how writers can spin a good yarn on the page.

As noted by an interview with Raymond Marr, assistant professor of psychology at York University in Toronto in an interview for: “The Secrets of Storytelling: Why We Love a Good Yarn (Jeremy Hsul, Scientific American)

“…the best stories—those retold through generations and translated into other languages—do more than simply present a believable picture. These tales captivate their audience, whose emotions can be inextricably tied to those of the story’s characters.”

This workshop covers storytelling techniques that writers can use from both the organic creative process and a more structured application of craft, with an emphasis on how working writers need both to be productive and consistent.

To captivate your audience, we’ll cover:

Characters And Hooks: Act 1

    Stage Presence
    Letting The Reader Play Too: Non-Verbal Communication

Basic Structure: Act 2

    Pulling the reader in: clear and engaging openings
    Pacing — sequence of events
    Ending has a sense of closure

Craft And Voice: Act 3

    Clarity, Clarity, Clarity
    Story Presented Efficiently and Keeps Listeners’ Interest
    Voice: Choice Of Language

Emotion and Innovation: Endings

    Unique or Creative Use Of language

Presenting The Sequence Of Events

    Voice: Choice Of Language
    The Meaning Of The Story Artfully Expressed Or Suggested

Instructor Bio:

Shannon Donnelly’s writing has won numerous awards, including a RITA nomination for Best Regency, the Grand Prize in the “Minute Maid Sensational Romance Writer” contest, judged by Nora Roberts, RWA’s Golden Heart, and others. Her writing has repeatedly earned 4½ Star Top Pick reviews from Romantic Times magazine, as well as praise from Booklist and other reviewers, who note: “simply superb”…”wonderfully uplifting”….and “beautifully written.” Her Regency romances can be found as ebooks on all formats, and with Cool Gus Publishing, and include a series of four novellas.

She also has out the Mackenzie Solomon, Demon/Warders Urban Fantasy series, Burn Baby Burn and Riding in on a Burning Tire, and the Urban Fantasy, Edge Walkers. Her work has been on the top seller list of Amazon.com and includes Paths of Desire, a Historical Regency romance.

She is the author of several young adult horror stories, and computer games. She lives in New Mexico with two horses, two donkeys, two dogs, and only one love of her life.

Shannon can be found online at sd-writer.com, facebook.com/sdwriter, and twitter/sdwriter.

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Writing The Continuing Series and/or Trilogy

Presented by Susan Palmquist
Dates: April 1–30, 2016
Deadline April 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

Do you have an idea for more than one book featuring the same characters? If so, this workshop will show you how to cultivate the idea and plan out not only the first book, but future books too. The lessons will take you from brainstorming to creating three dimensional characters, how to keep track of who’s who and what’s what. Examples of successful series books. Pitfalls and potential markets.

Instructor Bio:

Susan Palmquist is a freelance writer, author and also writes under the pen name Vanessa Devereaux. She’s the author of 42 books including mysteries, romances and erotica. She’s also the author of the bestselling e-book, How To Write A Romance Novel…getting it written and getting it published. When she’s not writing she’s teaching workshops and tutoring students. Prior to her writing career, Susan worked in public relations and was a book publicist for three years.

Find out more about her and her workshops at www.thiswriterslife.com, www.susanpalmquist.com, and www.vanessadevereaux.com.

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Save The Cat: Tips, Tricks & Beat Sheets from

Screenwriting Pros

Presented by Kit Fraizer
Dates: April 1–30, 2016
Deadline April 1, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

What do screenwriters know that novelists don’t? How do you use those principles to create a breakout novel? In Save the Cat: Tips, Tricks & Beat Sheets from Screenwriting Pros, you’ll learn the secret formula used to write award-winning films and how to translate these tools into novel-writing fiction.

Learn the tips and tricks of award-winning screenwriters, beginning with using a “Beat Sheet”—a bulleted “bones of the story” that’s visually clear and much easier to understand and organize than a traditional outline.

This interactive class provides easy-to-use tools of the screenwriting trade to clarify the novel-writing process, including examples derived from Academy Award-winning scripts and a hands-on approach to simplify your novel’s 15-point foundation and structure.

Get to the easy-to-understand “bones” of your story in just a matter of hours rather than days or weeks.

This class is interactive and illustrated with worksheets and examples that include:

    The Power (and meaning) of “High Concept” and how to create it
    How to create a Tagline (and why it’s important)
    How to craft a compelling Pitch
    How to turn your tagline into a winning story
    The 15 “Beats” found in Story
    How to turn those Beats into a fully realized, breakout story
    The formula to create a story that resonates with readers
    How to break through the “Sagging Middle” with a “Magical Midpoint”—the secret core of compelling Story
    Discover the Key to your “Opening Image,” the “Final Image,” and how they are related to your protagonist’s character growth
    How to use Pinterest and other tools to get organized and grow your readership
    Practice your pitch and improve your technique with fellow writers
    Learn from proven examples of famous screenwriters

Instructor Bio:

Kit Frazier is a bestselling mystery writer, award-winning screenwriter, and Texas Press Association award-winning journalist. Her freelance work includes features in numerous publications, including The Writer and Writer’s Digest.

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2016 OLW MAY 1



















Synopsis Writing with the Plotting Wheel

Presented by Becky Martinez
Dates: May 2–13, 2016
Deadline May 1, 2016
Fee: OIRW Member $10
Fee: Non-Member $15

Course Description:

Synopsis writing can be a real problem, but there is no need to fight over how to write a synopsis. Learn what you need to include in a good synopsis and then get information on how to use the Plotting Wheel to solve the synopsis problem with a minimum of hand wringing. The Plotting Wheel is a formula devised by Becky Martinez and Sue Viders that helps in the plotting process, but it can also provide an easy outline form to get the synopsis written. Go quickly around the wheel in ten easy steps and come out with a workable synopsis at the end!

Plotting your Synopsis

  1. Overview – The Plotting Wheel

A. Introduction to the Wheel

B. How it Works

  1. The Beginning

A. Knowing your Character

B. Catastrophe

  1. Setting the Stage

A. Crusade

B. Cause

  1. Moving the Plot Along

A. Challenges

B. Companions

  1. Finishing up the Plot

A. Crisis/Climax

B. Conclusion

  1. Putting it All Together

Instructor Bio:

Becky Martinez, who writes as Rebecca Grace, has focused on writing almost every day of her working life for the past 40 years. She is a former broadcast journalist who spent 30 years working in TV newsrooms and nearly ten years in public relations. For the past ten years she has been writing fiction and teaching writing classes, coaching individuals on their writing, and giving onsite presentations on writing.

She is published in mystery, romance, and romantic suspense and is co-author of a book on writing, Ten Steps to Creating Memorable Characters, published by Random House. Her latest book, Blues at 11, is a humorous mystery, set in the world of a Los Angeles television journalist. It was published by The Wild Rose Press in January 2015. Her previous book, Dead Man’s Rules, was also published by  TWRP in 2014. Becky has also had several short stories and novellas published. Her short story, “Trouble in the Rockies” was part of the anthology, The Trouble with Romance, which was a New Mexico Book Award finalist. Her next short story, “One More Romance,” will be part of an anthology published by the Heart of Denver Romance Writers.

She is currently working on the second book in the Blues series and a follow up to Dead Man’s Rules.

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The Question of Queries

Presented by Becky Martinez
Dates: May 16–27, 2016
Deadline May 16, 2016
Fee: OIRW Member $10
Fee: Non-Member $15

Course Description:

A good query letter can be every bit as important as the opening pages of your novel. It’s your first opportunity to show your writing skills to a prospective agent or editor. Make it count! Make it shine! A good query letter should make that editor and agent want to read your material instead of simply casting it aside to look at some other time. How can you learn to write the perfect query letter? What should be in your query? How do you start and how do you tell enough without getting too long winded? Here’s a chance to learn how to make those query letters sing and how to make agents and editors look forward to your work. Get practical information and the chance to work on your own queries and have them critiqued.

Instructor Bio:

Becky Martinez, who writes as Rebecca Grace, has focused on writing almost every day of her working life for the past 40 years. She is a former broadcast journalist who spent 30 years working in TV newsrooms and nearly ten years in public relations. For the past ten years she has been writing fiction and teaching writing classes, coaching individuals on their writing, and giving onsite presentations on writing.

She is published in mystery, romance, and romantic suspense and is co-author of a book on writing, Ten Steps to Creating Memorable Characters, published by Random House. Her latest book, Blues at 11, is a humorous mystery, set in the world of a Los Angeles television journalist. It was published by The Wild Rose Press in January 2015. Her previous book, Dead Man’s Rules, was also published by  TWRP in 2014. Becky has also had several short stories and novellas published. Her short story, “Trouble in the Rockies” was part of the anthology, The Trouble with Romance, which was a New Mexico Book Award finalist. Her next short story, “One More Romance,” will be part of an anthology published by the Heart of Denver Romance Writers.

She is currently working on the second book in the Blues series and a follow up to Dead Man’s Rules.

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Developing an Active Voice for Emotional Impact

Presented by Kat Duncan
Dates: May 2–31, 2016
Deadline May 2, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

Learn exactly how to use active voice to maximize the impact of your writing style. Kat will show you how to identify and fix passive sentences and explain when you should leave them alone and why. Kat will provide plenty of well-explained examples of how to develop an engaging active voice and use it to build tension and control pacing. Bonus: Learn simple techniques to design figurative language and action-emotion word combinations that will liven up your manuscript. Includes optional exercises.

Instructor Bio:

Kat Duncan obtained her Bachelor’s Degree in Chemistry and German from Regis College in Weston, MA. She is a Fulbright Scholar who spent a year in West Germany before the fall of the Berlin Wall. She holds a Master’s Degree in Special Education from Gordon College in Wenham, MA. She tutors students from elementary through college and beyond in all subjects as well as study skills. Kat writes romantic suspense for The Wild Rose Press and is an indie publisher of romantic suspense, historical suspense and non-fiction shorts on writing.

Read more about Kat at her website www.katduncan.net/writeabout

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Infusing The Romance Novel with Emotional

and Sexual Tension

Presented by Laurie Sanders
Dates: May 2–31, 2016
Deadline May 2, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

The romance genre is different from other fictional genres. In the romance genre, the ending is defined by the genre (at least according to RWA definition.) We know when we pick up a romance novel that no matter how dark it looks for the hero and heroine at the outset, they are going to end up at the end with the happily ever after ending.

What this means is that readers don’t read romance novels to find out what happens at the end. Instead, they choose romance because they want to be assured of that happy ending and they want to share vicariously in the journey of the hero and heroine as they meet, struggle, begin to fall in love, struggle again, and eventually overcome the obstacles that stand in the way of their happily ever after.

The heart of the romance plot is the ebb and flow of two kinds of tension — sexual tension and emotional tension. It is crucial to incorporate both kinds of tension into the romance novel.

In this workshop, we will cover the basics of both kinds of tension and how to incorporate them.

In this workshop, we will cover the basics of both kinds of tension and how to incorporate them.

•  We will look at character, plot, and the ways that characters and plot work together to provide the perfect atmosphere to build emotional and sexual tension.

•  Plot devices that fuel emotional and sexual tension

•  An overview of sexuality in romance novels

  Sweet
  Sensual
  Erotic
  Beyond vanilla erotic
  Where does your book fit
  Where do you want it to fit?

•  Spicing up a manuscript for the erotic market — it can be done — how?

•  Sexual tension isn’t just sexual

  Sexual tension has an emotional context as well
  Blending sexual and emotional components

•  Once you have the ingredients for emotional and sexual tension — then what?

•  Deep point of view is the key

  Using deep point of view to show internal character motivation, which builds conflict and
emotional tension
  Using deep point of view to show sexual attraction, which builds sexual tension.

•  Sexy is in the eye of the beholder — don’t be afraid to share your view of what’s sexy

•  Choosing the details that show and build sexual tension

•  Choosing the details that bring in the emotional component

•  Maintaining/building sexual tension and emotional tension after the characters have consummated
their relationship

•  Blending emotional/sexual tension for the happy ever after ending your readers are craving.

Instructor Bio:

Until July 2014 Laurie Sanders was the founder, CEO, and editor-in-chief at Black Velvet Seductions. In 2014 after almost 10 years as CEO and editor-in-chief Laurie was ready to take a step back to enjoy some time with family and to engage in her other long neglected hobbies. She sold Black Velvet Seductions to long time Black Velvet Seductions cover artist Richard Savage who now heads the company.

Laurie now keeps busy teaching online writing workshops for a global community of writers who attend her classes online through various RWA chapters and through her own site at lauriesplace.net. She maintains an active role at Black Velvet Seductions as a member of the company’s acquisitions team and continues to edit many of the manuscripts the company publishes through her Yellow Highlighter Classes.

Laurie teaches on a diverse range of topics covering subjects that caused the most rejections during her years as editor-in-chief at Black Velvet Seductions.

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WriteSEX: Defining Erotica with Erotica

Presented by Sascha Illyvich
Dates: May 2–31, 2016
Deadline May 2, 2016
Fee: OIRW Member $20
Fee: Non-Member $25

Course Description:

Sascha Illyvich is going to explore the daunting aspects of erotica in all its forms. He’ll discuss every aspect of writing sexy fiction from what makes a story erotic even if there is little to no sex involved. Writers of all genres will come away with writing tips that will benefit their careers. he’ll cover author marketing, what defines a story as erotic, things new writers need to consider and the business angle of writing erotica. Every week he focus on a different aspect of writing erotica.

I’ll be covering writing style in general for starters. For this class, we’re going to take our lessons deeper in plot, audio and marketing so that the author comes away with a more comprehensive understanding of the erotic business, be it romance or more adult oriented.

    Instructor Bio:

    Sascha started writing ten years ago, releasing poetry and an occasional short erotica story before focusing on kinky erotic romance in various subgenres. His books have been listed under the Road to Romance’s Recommended read list, as well nominated for the CAPA.

    He is also the host of the Unnamed Romance Show on Radio Dentata and continue to write for Renaissance E-books, and Total E-bound. Readers can find his work, plus free reads on his website www.saschaillyvich.com.

    He’s also part of the WriteSex Panel, a blog group that’s defining erotica for writers in any genre!

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    2016 OLW JUN 2























    My Story’s Been Rejected Now What?

    A Rewrite Bootcamp limited to 10 students

    Presented by Susan Palmquist
    Dates: June 1-30, 2016
    Deadline June 1, 2016
    Fee: OIRW Member $60
    Fee: Non-Member $65

    Course Description:

    It’s a common dilemma for both beginning and even published writers. The story you thought would garner you that first sale or another contract. This workshop will help you rework the story to see what’s working and what’s not.

    Instructor Bio:

    Susan writes under her own name and her pen name Vanessa Devereaux. She’s the author of 80 plus books, including writing how tos, mysteries and romances and a bestselling author of erotic romances and erotica. She pens three ongoing series called Perfect Pairing, Big Sky County and the bestselling Kalispell Shifters.

    She’s been teaching workshops for the last five years and is also a tutor for Writing Magazine Writing Courses.

    You can visit her website at www.thiswriterslife.com.

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    WordPress Workshop

    Presented by Pat Haggerty
    Dates: June 1–30, 2016
    Deadline June 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    An author today can hardly get by without having some kind of website. If you don’t have the resources to hire a web developer, then there’s a good chance that you might find yourself out in the Internet wilds, attempting to build a site all on your own.

    A quality site needs three things: vision, content, and a web site framework. The vision is the mental plan for the site and ideally it should be mapped to some brand that you are attempting to create. Once you see your site even roughly in your mind’s eye, you can start to assemble the graphics and text that will make up the site content. Finally, to get it all online, most authors will utilize some web development framework to simplify the actual development process.

    WordPress is one of the most popular web development frameworks. It’s easy to install, well supported, feature rich, and with a little guidance, easy to use. This class is designed to give you the skills you’ll need to take your vision and your content, and to use WordPress to bring your site to life.

    Course content will include:

      • Understanding WordPress and its place in the web development world
      • Obtaining a domain name and a WordPress enabled host
      • Differentiating between WordPress and WordPress.com
      • Determining when to use posts and when to use pages
      • Creating a Blog or brochure style site
      • Assembling pages
      • Adding images, text, and other media content
      • Editing images (Only basics)
      • Obtaining and installing WordPress plugins
      • Linking pages and creating navigation
      • Establishing a standard site look with themes
      • Backing up your site

    Lectures will be presented using videos and email discussions.

    Instructor Bio:

    After four years in the USMC, Pat Haggerty studied Actuarial Science and Computers at Georgia State University. He has spent the past 16+ years developing and delivering technical training courses for Learning Tree International and runs a successful consulting practice doing web application development for clients ranging from the United State Marines to Delta Airlines. Seven years ago, stuck reading a mediocre book in yet another hotel, Pat decided to try his hand at fiction. He may not be published, but these days you are much more likely to find him spending his evenings writing romance than code. Patrick is an active member of RWA, RWAustralia, RWNew Zealand, and is President for GCRWA, and OIRWA.

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    Writing Flashbacks

    Presented by MM Pollard
    Dates: June 1–30, 2016
    Deadline June 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    Flashbacks are a device that a writer must use with care, or she might lose her reader in that distant past, never to see that reader again. We’ll consider kinds of flashbacks, uses for flashbacks, and reasons not to use flashbacks.

    Flashbacks present a problem with verb tenses. Since a flashback is past, but you’re writing in past tense, how do you show the flashback is more past than past? Confused? Trust me, you aren’t the only one. The poorly written flashback is one of the most common reasons editors reject manuscripts.

    Homework will accompany each lesson. Your reward for doing your homework and posting it when due: feedback from MM Pollard. Think of homework as an opportunity for mini-edits by an editor.

    Instructor Bio:

    As an English teacher for fifteen years and, currently, as acquisitions editor and copy editor for Black Velvet Seductions, MM Pollard has had the mission to find and correct ungrammatical grammar, misused usage, problematic punctuation, and poor writing in others’ work.

    MM has helped many writers improve their language and writing skills through her fun workshops. Yes, the basics of English composition can be fun! She has presented or will present workshops on Writers Online Classes, Savvy Authors, Orange County RWA, and Celtic Hearts RWA, just to name a few. She is sure she can help you, too, master the fundamentals of English composition.

    Visit MM at her website MM’s Fundamentals of English – blog – mostly English-related information and a complete list of MM’s workshops.

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    Developing A Vocabulary for Writing Love Scenes

    Presented by Laurie Sanders
    Dates: June 1–30, 2016
    Deadline June 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    In my workshop Writing Emotional and Sexual Tension (which precedes this workshop in May) we cover the basic plot/conflict/character connections that fuel sexual and emotional tension in romance novels. If the plot, conflict, character do not work together to create the place for tension to grow no lesson on vocabulary will make sexual tension flourish…or love scene work.

    But, assuming the plot, conflict, and character pieces are in place—then there is a need for a strong vocabulary for writing love scenes. And that’s where we will focus in this workshop…which could be seen as part two of Writing Emotional and Sexual Tension.

    In this workshop we’ll cover:

    •   Anatomy—what to call those male and female parts
    •   Genre and how genre considerations impact love scene development and love scene vocabulary
    •   Creating specific sensual experiences–specific reactions
    •   Verbs and their role in love scenes–how to use verbs to soften or sharpen a love scene
    •   The language of fantasy—how it differs from the language of reality—how to incorporate both
    •   Hard words–soft words–sensual words which should you use?
    •   How to unite the languages of love and lust so that the balance between the two remains correct for your chosen genre
    •   Sexual experience is part mental, part physical, part emotional…how do you convey each part of the experience?
    •   Developing a vocabulary for each part of the experience—mental—emotional—physical—spiritual

    Though it will be helpful to have taken the Writing Emotional & Sexual Tension Workshop prior to this workshop it is not a requirement. The two workshops do work well together, but work well independently as well.

    Instructor Bio:

    Until July 2014 Laurie Sanders was the founder, CEO, and editor-in-chief at Black Velvet Seductions. In 2014 after almost 10 years as CEO and editor-in-chief Laurie was ready to take a step back to enjoy some time with family and to engage in her other long neglected hobbies. She sold Black Velvet Seductions to long time Black Velvet Seductions cover artist Richard Savage who now heads the company.

    Laurie now keeps busy teaching online writing workshops for a global community of writers who attend her classes online through various RWA chapters and through her own site at lauriesplace.net. She maintains an active role at Black Velvet Seductions as a member of the company’s acquisitions team and continues to edit many of the manuscripts the company publishes through her Yellow Highlighter Classes.

    Laurie teaches on a diverse range of topics covering subjects that caused the most rejections during her years as editor-in-chief at Black Velvet Seductions.

    Read more about Laurie at Lauriesplace.net. Contact her at Laurie@Lauriesplace.net.

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    2016 OWG JUL 1


    Synopsis Writing Boot Camp, limited to 10 students

    Presented by Susan Palmquist
    Dates: Dates: July 1–15, 2016
    Deadline July 1, 2016
    Fee: OIRW Member $50
    Fee: Non-Member $55

    Course Description:

    This is an intensive workshop where students will write both a short and long synopsis. It’s more one on one and therefore should be limited to ten students.

    Instructor Bio:

    Susan writes under her own name and her pen name Vanessa Devereaux. She’s the author of 80 plus books, including writing how tos, mysteries and romances and a bestselling author of erotic romances and erotica. She pens three ongoing series called Perfect Pairing, Big Sky County and the bestselling Kalispell Shifters.

    She’s been teaching workshops for the last five years and is also a tutor for Writing Magazine Writing Courses.

    You can visit her website at www.thiswriterslife.com.

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    Body Talk: Lying, Loving &

    The Secrets of Body Language

    Presented by Kit Fraizer
    Dates: July 1–31, 2016
    Deadline July 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    We’ve all heard the sage advice “Show don’t tell,” but how do you “show” emotions? How do you convey to the reader that the tall, dark, smooth-taking “hero” is really an axe murderer?

    I learned much of the secrets of Body Language (especially deceit) working with an FBI profiler, Austin Police Department and TexSAR—the Texas n Search & Rescue Squad.

    Reading the secret signals of Body Language is key to *showing* the character’s subconscious emotions or intent with body language, and the hero or heroine’s perception, or misperception, of non-verbal clues.

    There’s a big difference in body language, when a moan could mean, “Ooh, baby,” or “Ow, you’re on my hair.”

    Body Language *shows* what your character is feeling—it brings your reader more deeply into the story, sparks emotional reaction, and reader-investment in falling in love with your characters.

    Consider this: Is your heroine attracted to the hero even though he ruined her family business?

    Is your hero knocked silly by love at first sight? Does this make him angry or resentful?

    Body language shows the reader vital clues to your hero and heroine’s subconscious emotion and motivation without coming right out and “telling” the emotion and motivation.

    Learn the secrets of the stages of sexual attraction, even when the character is unaware—which adds a layer of excitement and intrigue to the push-pull and spark of an exciting new relationship.

    It can also subtly lay road signs for the rocky passage ahead. It can even signal that a villain is in the midst . . .

    This class includes the body language of sexual attraction, deceit and revelation, as well as non-verbal clues that signify true intent, character and a foreshadowing of outcome.

    The class includes:

      • The signals of the spark of sexual attraction
      • Why the attraction works–and when it doesn’t
      • The body language of deceit
      • Signs of anger or betrayal
      • The signs of growing affection, and eventually love
      • Tips, tricks and advice from an FBI Profiler, an Austin police detective and other law enforcement personnel

    Instructor Bio:

    Kit Frazier is a bestselling mystery writer, award-winning screenwriter, and Texas Press Association award-winning journalist. Her freelance work includes features in numerous publications, including The Writer and Writer’s Digest.

    Kit is certified in Search and Rescue and is a consultant with law enforcement, including two federal agencies.

    She lives on the Colorado River just outside of Austin, Texas.

    Follow her blog at http://kitfrazier.com/wordpress/, friend her on https://www.facebook.com/kitfrazier and join her on Twitter: @kitfrazier

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    Austen to Aliens, Writing The Classic Tough Chick

    Presented by Jacqui Jacoby
    Dates: July 1–31, 2016
    Deadline July 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    As martial artist, Jacqui Jacoby is interested in self-defense and how women are portrayed in the media. At first, it seemed as if it was only Hollywood showing women in a tough light. With heroines such as Sarah Conner of the Terminator movies, and Ellen Ripely in the Alien films, women were the ones saving the day when men were being blown up or eaten.

    This workshop covers such topics as how to portray tough chick heroines. We will discuss different types of self-defense techniques and how to build a tough chick heroine from the inside out. What kind of women make up the tough chicks and what are they like in their everyday lives? What drives them to become tough? What kind of hero must stand beside her and what kind of villains will she face?

    In class we will discuss:

    The evolution of the heroine over in last decade: from a woman needing a knight in shining armor to rescue her … to the modern chick who wields the sword herself.

      • The evolution of the modern hero – coping with a tough chick in his life
      • Villains – it’s no longer just a man’s war
      • Characterization of touch chick – she does have a soft side
      • Romancing the Tough Chick
      • Tough Chicks: The Physical Aspect
      • Question and Answer period

    Instructor Bio:

    An award winning writer and a ten year veteran of martial arts, Jacqui Jacoby’s career is multi- faceted. With her trusted computerized day planner, Miguel, by her side, she is able to work in many aspects of the writing community: as an author and contributor to the Kiss of Death as well as RWR Magazine; as a chapter volunteer and contest judge, and as a workshop presenter, both live and online.

    You can visit her website at: http://www.jacquijaxjacoby.com/

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    “Swear to Tell the Truth”:

    How to Write Realistic Courtroom/Legal Scenes

    Presented by Jody Lebel
    Dates: July 1–31, 2016
    Deadline July 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    This workshop is for all writers of any genre and any skill level who want to create clean courtroom scenes and/or understand the functions of the court.

    The lessons – Week 1

    Lessons 1 & 2 – Courtrooms. What is the “bar”? Who is allowed and who is not in a courtroom? Where does everyone sit? Closed courtrooms vs open courtrooms vs judge’s chambers. Dockets. Short writing homework.

    Lessons 3 & 4 – Types of courts. Jury vs bench trial. Felony vs. misdemeanor. Civil/family/Juvenile/Probate. Short research homework.

    The lessons – Week 2

    Lesson 5 – The ‘Players’. Short dialogue homework.

    Lesson 6 – Lingo. Short dialogue homework.

    Lesson 7 – Writing legal scenes. No homework.

    The lessons – Week 3

    Lessons 8 & 9 – Trials Part 1. Short ‘find the error’ homework.

    Lessons 10 & 11 – Trials – Part 2. Short scene writing homework.

    The lessons – Week 4

    Lesson 12 – Sentencing and mitigation. Short writing homework.

    Lesson 13 – Crime Scene – Short homework.

    Lesson 14– Depositions and EUOs. Let’s talk Cops.

    Wrap up and Goodbye!

    Instructor Bio:

    Following sixteen years as a travel agent (more travel than money) Jody Lebel switched gears, returned to school and became a court reporter (more money than travel). She swapped jetting off to fun and exotic locations for reporting the cases of murderers, rapists, and thieves who are, by the way, almost never in a good mood. Being assigned to the chief judge in Broward County exposed her to a wide spectrum of cases; from funny to tragic to bizarre to downright creepy. She has reported everything from a homeless guy who had jumped the turnstile on the Metrorail and was now in jail for not having a quarter, to the Tamiami Strangler, a serial killer who murdered six women.

    I have participated as a panel member in multiple writing conferences on the subject of writing accurate courtroom, legal and police scenes. On my last panel the speakers consisted of a judge, an attorney and myself as the court reporter. I revamped this in-person session to form an on-line class which allows me to expand the lessons, and assist writers to construct solid, realistic legal/police scenes.

    I am a criminal court stenographer by day, and have been working in the field since 1997 in both southern Florida and Massachusetts.

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    Intensifying Emotion

    Presented by Laurie Sanders
    Dates: July 1–31, 2016
    Deadline July 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    Are your characters missing out on peak emotional experiences? You know the symptoms. They are having adventures, attending events, suffering incidents and episodes that should be highly emotional, and yet their accounts of these exploits read flat, uneventful, without any real rise and fall in their emotional tenor.

    What about when they need to react to someone else’s emotional experience? Do they seem wrapped in a straight-jacket, unable to respond empathetically to anyone else’s emotional experiences?

    Characters that don’t really experience the peak emotional experiences in their fictional lives are death to stories because these characters cannot deliver the vicarious emotional experience the reader sought when they picked up the book, story, or manuscript in the first place.

    During this four-week workshop we will dig deep into our characters’ emotional lives to examine the nuanced and abstract nature of emotional experience so that we can better understand how emotional experience is different from physical and mental experience. Understanding how emotional experience works and how it differs from other types of experience will allow us to better capture the complex and often abstract nature of emotional experiences within our stories.

    We’ll dig into character base emotional states and will examine how a character’s base emotional state impacts his or her emotional experiences on both the micro and macro scale and how this state also influences the larger emotional changes which take place over the course of a story as a character’s base emotional state gradually changes through the process of falling in love.

    We will look at emotional empathy and examine the many roles that empathy plays in our character’s emotional experiences and how we can better use empathy to get readers to vest emotionally in our characters and in their emotional experiences.

    We’ll cover character dissociative disorder, which happens when the character moves away from their center during peak emotional moments, sometimes to the point that they become disengaged from their bodies altogether and describe their experiences from an omniscient or almost omniscient perspective. (This is also known by the common name shallow point of view.)

    We’ll cover some generally poor advice which has made authors self-conscious about which words they use when they are conveying emotional experiences. We’ll cover things like when we should name an emotion and when we should and should not use the word felt.

    We’ll provide an intervention for those troublesome characters that have been taught to be seen and not heard and whose early training comes through as characters who do not give voice to their feelings at all. Instead they take the tact of nearly pantomiming their feelings. Their hearts pound fast when they are scared. Their eyes glaze over when they are bored. They stomp their feet and kick things when they are angry, but you will almost never hear a sentence that has to do with a feeling inside of them enter their narrative.

    While it is good to show emotion through action, and while sometimes the action is enough to convey an emotional reaction it shouldn’t be the only tool the character has for conveying his or her emotional experiences. Emotions are too nuanced to convey clearly through charades.

    This class is a good primer on big picture aspects of writing emotion, why writing emotion is different than writing thoughts, or physical action, and why you need different tools to write emotion well. It is a great precursor to the Developing An Emotional Vocabulary Class which delves deep into the associations that people make with emotion to help provide class participants with a rich, varied, descriptive vocabulary with which to create the emotional worlds of their characters.

    Instructor Bio:

    Until July 2014 Laurie Sanders was the founder, CEO, and editor-in-chief at Black Velvet Seductions. In 2014 after almost 10 years as CEO and editor-in-chief Laurie was ready to take a step back to enjoy some time with family and to engage in her other long neglected hobbies. She sold Black Velvet Seductions to long time Black Velvet Seductions cover artist Richard Savage who now heads the company.

    Laurie now keeps busy teaching online writing workshops for a global community of writers who attend her classes online through various RWA chapters and through her own site at lauriesplace.net. She maintains an active role at Black Velvet Seductions as a member of the company’s acquisitions team and continues to edit many of the manuscripts the company publishes through her Yellow Highlighter Classes.

    Laurie teaches on a diverse range of topics covering subjects that caused the most rejections during her years as editor-in-chief at Black Velvet Seductions.

    Read more about Laurie at Lauriesplace.net. Contact her at Laurie@Lauriesplace.net.

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    2016 OWG AUG 1

    Realities of the Paranormal Workshop PT 1

    Presented by Renee Pellegrino, Cindy Carver
    Dates: August 1–31, 2016
    Deadline August 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    COMING SOON

    Instructor Bio:

    COMING SOON

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    Author Marketing and Branding Workshop

    Presented by Cassandra Carr
    Dates: August 1–31, 2016
    Deadline August 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    This workshop will help students address seven areas of marketing and branding that are most relevant to writers.

    •   Lesson One: Introduction to Branding and Platform
    •   Lesson Two: Book Launches, Signings and Knowing Your Audience
    •   Lesson Three: Blogging, Tours and Hops, Working with Bloggers
    •   Lesson Five: Author Pages On Amazon and Goodreads; Google Author Rank; Reviews; Cross Promotion
    •   Lesson Six: All About Websites
    •   Lesson Seven: Marketing Plans, Street Teams, Newsletters and Promotional Products

    Instructor Bio:

    Cassandra Carr is a multi-published, award-winning erotic romance writer with Ellora’s Cave, Siren, Sybarite Seductions and Loose Id who lives in Western New York with her husband, Inspiration, and her daughter, Too Cute for Words. When not writing she enjoys watching hockey and hanging out on Twitter. Cassandra’s book Caught was recently named Best BDSM Book 2011 by LoveRomancesCafe and Impact was named BDSM Book of the Month for May 2012 by BDSM Book Reviews.

    For more information about Cassandra, check out her website at www.booksbycassandracarr.com, “like” her Facebook fan page at www.facebook.com/AuthorCassandraCarr or follow her on Twitter at www.twitter.com/Cassandra_Carr

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    Grammar and Style Basics

    Presented by Kat Duncan
    Dates: August 1–31, 2016
    Deadline August 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    What’s a style or a voice and where do I get one? Whether you “get” grammar or not, your style and voice come from how you use grammar. This grammar-based style-enhancing workshop is for writers who don’t “get” grammar or for those who think they don’t want to get it. Proper use of grammar and style makes a story flow smoothly, page after page. Poorly constructed sentences and paragraphs ruin the pace of your novel and make editors and agents pass up your manuscript. Let me guide you through a review of basic grammar terms, punctuation and capitalization, some clever ways to combine sentences and sentence pattern techniques you can put right to use the day you learn them.

    Instructor Bio:

    Kat Duncan obtained her Bachelor’s Degree in Chemistry and German from Regis College in Weston, MA. She is a Fulbright Scholar who spent a year in West Germany before the fall of the Berlin Wall. She holds a Master’s Degree in Special Education from Gordon College in Wenham, MA. She tutors students from elementary through college and beyond in all subjects as well as study skills.

    Kat writes romantic suspense for The Wild Rose Press and is an indie publisher of romantic suspense, historical suspense and non-fiction shorts on writing. Visit her on her website: www.katduncan.net/writeabout
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    PTSD for Fiction Writers

    Presented by Kathryn Jane
    Dates: August 1–31, 2016
    Deadline August 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    The tools needed to respectfully portray characters dealing with PTSD. This is a broad layman’s overview – who, where, what, when, why, and how – of PTSD’s effects on individuals, families, acquaintances, interpersonal relationships, careers and other situations.

    Instructor Bio:

    Presenter Kathryn Jane’s extensive academic research of PTSD was done as a mature student, and the information she will provide is based on research papers, research interviews, and personal experience. Visit her on her website, www.kathrynjane.com

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    Developing A Vocabulary for Writing Emotion

    Presented by Laurie Sanders
    Dates: August 1–31, 2016
    Deadline August 1, 2016
    Fee: OIRW Member $20
    Fee: Non-Member $25

    Course Description:

    Developing a vocabulary for writing emotion could be seen as part two of the Writing Emotion Class. In Intensifying Emotion, we discovered that describing an emotion and describing an emotional experience are not always the same thing. Emotional experiences are different from other experiences in several key ways, which explains why we need to use different tools and techniques when describing emotional experiences. In this workshop we’ll focus on expanding our vocabularies in order to describe the emotional experiences our characters have in ways that are unique and specific to each character’s specific background, past experiences, field of reference and other important character aspects. After this class, authors will never again need to feel that their descriptions of emotional experiences are dull, uninspired, and the same book to book. We’ll learn how to use words to increase the emotional intensity of our characters’ experiences and our readers’ levels of engagement with our characters.

    In Intensifying Emotion, we learned that it wasn’t horrible to use an emotion’s name…but that we needed to go further…to describe the emotional experience more deeply so that we were conveying not just that the character felt sad…but what the experience of feeling sad felt like inside the character. This is where a broad, diverse, multi-sensory vocabulary comes in.

    Emotions have nuance, they have resonance, they can be compared to other experiences and to other things using similes and metaphors. In this workshop we’ll work to develop a vocabulary for describing THE EXPERIENCE of an emotion by delving into the complex network of abstract connections that all of us make when it comes to our emotional experiences.

    We’ll develop a vocabulary for describing emotional experience using:

    •   Simile
    •   Metaphor
    •   Color
    •   Shape
    •   Tenor
    •   Resonance
    •   Movement
    •   Solidity
    •   Texture

    And more….

    Instructor Bio:

    Until July 2014 Laurie Sanders was the founder, CEO, and editor-in-chief at Black Velvet Seductions. In 2014 after almost 10 years as CEO and editor-in-chief Laurie was ready to take a step back to enjoy some time with family and to engage in her other long neglected hobbies. She sold Black Velvet Seductions to long time Black Velvet Seductions cover artist Richard Savage who now heads the company.

    Laurie now keeps busy teaching online writing workshops for a global community of writers who attend her classes online through various RWA chapters and through her own site at lauriesplace.net. She maintains an active role at Black Velvet Seductions as a member of the company’s acquisitions team and continues to edit many of the manuscripts the company publishes through her Yellow Highlighter Classes.

    Laurie teaches on a diverse range of topics covering subjects that caused the most rejections during her years as editor-in-chief at Black Velvet Seductions.

    Read more about Laurie at Lauriesplace.net. Contact her at Laurie@Lauriesplace.net.

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