What makes a story or novel compelling? How do we grip our audience and not let go? This workshop series will allow writers to convene once a week on Wednesday in the beautiful Frederick Book Arts Center to workshop through the opening pages of a memoir, novel, or short story. Each session will build upon what came in the week(s) before. Not only will writers have guarded time to work on their craft, but we will collaborate and peer critique each other’s work to really drill into what’s done well and what can further enhance the pages. All skill levels are welcome. We only ask that you bring an open mind, creative energy, and a positive attitude The workshop cycle will conclude with each participant receiving a beautiful in-house bound anthology of their finished work. 6-WEEK ITINERARY BELOW:

Week 1 (Oct. 1): “What makes a strong opening page?” In this session, we’re going to look at the opening pages of two pieces of published fiction that demand a reader’s attention. We will discuss what makes them memorable and why. Participants will then select one of three prompts to begin drafting the opening pages of their own stories. The class will wrap with anonymous readings and positive critiquing.

Week 2 (Oct. 8): “Tone and Intention” In this session, participants will pull up the pages they began working on in the previous class. We will discuss–and then put to practice–how changing a story’s POV and tense can shift the pacing, tone, and focus of the story. The class will wrap with anonymous readings and positive critiquing.

Week 3 (Oct. 15): “Nice to Meet You(r Characters)…” In this session, participants are going to begin fleshing out the stars of their story. By creating 3 primary characters and 3 secondary characters, we will be able to map out their distinct personalities without falling victim to a character being used as a convenient plot device. The class will wrap with anonymous readings and positive critiquing.

Week 4 (Oct. 22): “Say What You Mean” Character development can heavily rely on strong, authentic dialogue between protagonists. In this session, we’re going to look at examples of strong and not-so-strong dialogue, determining what makes dialogue good and why it’s essential in good storytelling. Participants will craft a scene between two or more characters that revolves around revelatory dialogue. The class will wrap with anonymous readings and positive critiquing.

Week 5 (Oct. 29): “The Devil is in the Details” In this session, we’re going to focus on reviewing our draft with a critical eye. What is the story actually about? Did the premise of the story–or the protagonist, even– change once the real work began? We will swap drafts and participate in peer reviews.

Week 6 (Nov. 5): “You’re Only as Good as Your Last Draft” In our final session, we’re going to focus on doing final swaps for additional peer reviews and learn why beta readers are an integral part of the writing process. An intro to Submittable and the submission process will also be discussed. We will close the class with participants sharing their own final draft if they so wish.