Category Archives: Mentoring

Writing Workshops with Kathy Page

 

Presentation at Invisible ThreadsKathy is an interested and generous teacher. She can see people’s individual strengths and she can step you around obstacles in the creative process in a very skilled way. You leave one of her courses with a lot of confidence and a sense of direction in your own work.
” Short Fiction participant

I enjoy teaching, and over the past twenty years have developed a range of workshops and courses, ranging from day or weekend workshops to ongoing university courses.  In the past few years, I’ve started to teach online as well. I’ve adapted some my existing workshops in ways that make the most of an exciting new medium that is in many ways ideally suited to the teaching of writing, and created brand new workshops as well. At the heart of all my teaching, is the writing exercise or experiment. Most of my exercises are original to my courses, or carefully adapted to them, and – as well as being exciting and enjoyeable – these exercises enable participants to come face to face with a writing challenge, and quickly discover how to meet it. I prefer to work with a small group (and, if possible, in a gorgeous setting!).

I have facilitated workshops for many arts organisations, universities, community centres and writing schools – including Banff Centre for the Arts, Continue reading Writing Workshops with Kathy Page

WRITING LIVES: memoir, creative nonfiction, fiction – a weekend workshop with Vicky Grut and novelist Kathy Page

Vicky Grut has been a friend and colleague of mine for almost as long as I’ve been writing. We first met when I was living at Carlton Mansions in Brixton, and later lived next door to each other. She’s a wonderful teacher and writer , and even though we live thousands of miles apart we  still occasionally  exchange work for a critique  and appreciate each other’s eagle-eyes.

Writing Lives is  fun,  practical weekend workshop for anyone seeking a fresh approach to writing from real experience – their own or other people’s. Over the course of the two days, using a mix of writing exercises, feedback and focused discussion, we will experiment with story-telling techniques, pace, theme and characterization, as well as exploring different ways of structuring material. We’ll also help you decide whether the story you want to tell would work best as fiction or non-fiction. Sunday morning will be set aside for a writing exercise inspired by a specific London location. We  reconvene in the afternoon to hear the resulting pieces of writing, give feedback and share final thoughts. The group is limited to 12 participants, and the  central London venue, near Blackfriars, is close to trains, busses and tube.

Workshop times: Saturday 15th: 10.30am – 5pm. Sunday 16th: morning for writing; 2pm – 4.30pm for the final session.

Course Fee: £150 includes a booklet of course materials, tea/coffee and a sandwich lunch on Saturday 15th. Book here.

 

 

Writing Workshops with Kathy Page in 2013

I’m looking forward  very much to workshops in Scotland, Norwich and London all taking place in June 2013.  I’m delighted to be co-tutoring with Marilyn Bowering at Moniack Mhor, and with Vicky Grut in London. 

Moniack Mhor3-8 June 2013:  Work in Progress, with Kathy Page and Marilyn Bowering, an Arvon residential course at Moniack Mhor, Scotland 

http://www.arvonfoundation.org/fiction-work-in-progress

 

writers centre norwich14th June,  2013: Workout for the Novel,  day workshop at Writers’ Centre Norwich

 

 

 

London Writng Workshop

15 + 16 JUNE 2013:  WRITING LIVES: memoir, creative nonfiction, fiction  a weekend workshop with Vicky Grut and Kathy Page

Venues and self-organized groups are very welcome to be in touch regarding  workshops and courses in 2013/2014.  I have to protect my writing time this year, and  while I will have some time for mentoring/MS consultancy, I don’t plan to offer my online or face to face  workshops unless the venue, registration etc. is already organized, leaving me with just the fun part to do… 

Workshops, Mentoring and Manuscript Consultancy

Mentoring & Manuscript Consultancy

Workshops & Courses

When I began to teach fiction writing in the UK there was a still a lingering prejudice against doing so. Shakespeare and Dickens had never signed up for creative writing courses and so, the argument went, why do we need them now? Isn’t writing a matter of talent – you’ve either got it or you haven’t?

Many great writers have also never been anywhere near a creative writing course; however, all of us, whatever our natural facility, do one way or another, have to learn how to write (and we have to keep on learning, because every book is different).

Mostly, we write alone.  It’s a solitary process. But all writers, even the great ones, depend on some kind of feedback in order to develop their talents and skills. Published writers have editors, agents and other writers to advise them; emerging writers often make use of writers’ workshops, manuscript evaluation or mentoring with established authors. By working with a professional writer, they can obtain an informed and detailed response to a specific project from someone who is an expert in all aspects of the craft. This can move the work forward dramatically and  improve the attention a manuscript receives if/when it is sent to an agent or publisher.We learn to write by reading,  and by writing and rewriting and testing the results on our own ear, but also on readers –  trusted friends, an agent, or editor – and then, eventually, on some kind of wider public.

Workshops, courses and one on one mentoring relationships are all popular now. None of them are essential to becoming a writer, and they may indeed be anathema to someone who has an intensely private relationship with their work. But for many, participating in this kind of learning can be intensely stimulating and supportive. The writer still has to learn for him or herself, but the focus given by a workshop or manuscript consultation can save a writer time by bringing his or her attention to issues that might take much longer to identify when working in a vacuum. Naturally, teaching writing is a very sensitive business. It should attend not only to matters of craft and technique but also, just as much, to the process of writing itself.

 

The courses and workshops I offer are very much hands-on.  You work hard!  I  use writing exercises  so that students  learn by doing, rather than by being told what to do, and people generally go away from my workshops with new ideas,  greater confidence and a deeper understanding of the writing craft.

“The course was fabulous. I didn’t really know how to approach writing my book, what key pieces I needed to think through. Now I am in a totally different place, and ready to sit down and start writing. I found all of the weekly exercises very useful, as well as the order in which the exercises were given. Each one oriented me to key pieces of writing my book. I really appreciated your direction each week on what kind of feedback to provide to my group members. Your input was very directed and specific, and I felt either confirmed my instincts or provided me with a very effective lens from which to view my book.” – Karen Clark, BC.

 

I have twenty years’ of experience teaching fiction writing in workshop and academic settings, along with experience as a publisher’s reader in the UK, and as a fiction editor in Canada, and  an MA in Creative writing. Two recent novels, Alphabet and The Story of My Face, were listed for major literary awards.  I’m happy to  tailor workshops to suit particular needs or topic.  Depending on my  other commitments, I  can also offer offer manuscript consultancy, or mentoring: honest, practical and sensitive feedback on fiction or creative non-fiction manuscripts and project ideas, along with more general advice about writing and the writing life.

“Kathy never fails to understand exactly what I’m trying to do with my writing. She manages to explain in a clear and informative way exactly why and how it isn’t working (and also when it is) which leaves me armed and motivated to continue after every feedback session. Kathy critiques in such an open and positive way that I feel I’m working with an ally on my novel as opposed to a less personal tutor. I love being able to talk about my characters with somebody who knows them as well as I do. Top this with great value for money; I can’t imagine how I could have a better mentoring relationship than this.” Jackie Buxton, UK.

 

 

 

 

 

 

 


Mentoring and Manuscript Consultancy

 

Manuscript Consultancy

(Closed for 2015/2016)

Depending on other commitments, I can sometimes offer to read a manuscript, or part of it, and provide a written report which covers characterization, structure, dialogue, setting, story-line, voice, language, and anything else relevant to the piece, along with detailed notes and editing suggestions on the manuscript or Word file. For advice on long projects, such as entire novels, it is often best to begin with several early chapters and a summary of the rest. This may be all that is needed. My aim is always to enable you to learn how to develop your own work, rather than do the work for you.  A written format  normally works best, but telephone consultation via Skype is also an option.

I do sometimes advise as to whether, when, and how to submit work to publishers, but I do not put you in touch with them direct, and cannot guarantee results.

“Kathy manages to be both enlightening and inspiring. She has a wonderful ability to go right to the heart of serious weaknesses in a piece of writing without being distracted by more superficial flaws, which, once you correct the underlying problem, will often disappear. She has a fine sense of structure and an excellent ‘bullshit detector’—an invaluable skill. I’d be lost without her feedback.” Vicky Grut, UK.

Please use the CONTACT  (menu to the left) for further information or to enquire about rates for mentoring or manuscript consultancy

Mentoring

(Closed for 2015/16)

Mentoring also involves comments and reports,  but it is an ongoing commitment in which you work on a particular project, supported by my advice, for an agreed period of time. The exact nature of this is negotiated on an individual basis, but normally it involves deciding on an aim of some kind, and setting a regular deadline. For example, you might want to revise the first third of a novel, or to write a chapter, or draft short story, every month for six months.  Along with a detailed response to your work in progress, mentoring can include responses to specific questions about writing and the writer’s life, and advice as to how to sustain and develop your vision and keep going long-term.

“Two years ago when I started writing I told myself that I was doing it for myself.  A release, I thought, the same way a girl writes in her diary: Dear Diary, I heart heart Steve, or Dear Diary, I hate my life. Writing was talking to a friend. I would get advice from my parents in Vancouver, my aunt in Halifax, my friend in Montana, and all my friends at home.  Is it horrible?  I would ask.  You can be honest. Everything they told me was contradictory and inconsistent.  Except for my mum, to her everything was beautiful. Adorable.  Prodigious. What I needed was one person I trusted and respected.  One editor that could be honest and tactful, professional and open minded.  Because writing is so subjective three opinions was already too many. Kathy Page became that person.  I let others read my work, but it is Kathy that I listen to. She never tries to change my style, (if I might be lucky enough to have a style), but rather encourages and shapes what I want to write. She encouraged me to enter the CBC Literary Awards, a contest I was not ready for, and with her help I was shortlisted twice.
When the magazine I wrote for replaced me with a new columnist, she believed I would find a better magazine.  Which I did. It is because of Kathy that I feel as though I can write not just for myself, but for the world.  Writing is something that should be created, loved, and then thrown into the hands of strangers to stand on its own.  Thank you, Kathy.” Tik Maynard, Canada. Read Tik in The Chronicle of The Horse.

“I enjoyed working with Kathy — a great mentor. Her incredible sense of story and her ability to recognize the heart of a narrative helped me distill my material into work that I am proud of. Kathy transformed the revision process into something dynamic and exciting.” Michelle Glennie, Canada.

Please use CONTACT  (menu to the left) for further information or to enquire about rates for mentoring or manuscript consultancy

More recommendations

“Kathy never fails to understand exactly what I’m trying to do with my writing. She manages to explain in a clear and informative way exactly why and how it isn’t working (and also when it is) which leaves me armed and motivated to continue after every feedback session. Kathy critiques in such an open and positive way that I feel I’m working with an ally on my novel as opposed to a less personal tutor. I love being able to talk about my characters with somebody who knows them as well as I do. Top this with great value for money; I can’t imagine how I could have a better mentoring relationship than this.” Jackie Buxton, UK.

“Thank you again for doing this. I can’t tell you how helpful this process is for me, on more than one level. Your comments are clear and helpful. I’ve really appreciated how you get past the superficial things right to the bones of my stories. That’s exactly the help I need – thank you. And of course for critiquing things on the surface too, where it’s needed.” Rachel Muller, Canada. Rachel Muller’s short fiction has been published by Hitchcock Magazine, and her young adult novels When the Curtain Rises, Ten Thumb Sam and The Solstice Cup are published by Orca Press.

“Kathy is a gem – prepared to defend a point, but creative enough to work round an author’s vision. I recommend her highly.” Keith Lord, USA.
 Keith Lord’s fiction has appeared in Duck & Herring, and is forthcoming in Dark Sky. He has completed a novel, Bank Street.

“Kathy Page’s questions open doors of discovery, making it possible to explore, invent, and create, in ways the solitary process rarely invites. Without her fine eye for line editing, ear for dialogue, and deep understanding of the importance of story, I would not have had the courage to experiment with points of view and structure. Her deep commitment to my writing made it impossible for me to give up. She is a mentor without an ego, whose criticisms, generous in detail and scope, make one want to strive for greatness.”
  Renate Mohr, Canada. Renate’s short fiction has appeared in The Antigonish Review and Room of One’s Own. She is completing a novel.

“I’ve relied on Kathy Page’s analytical and critical judgement for many years now. She manages to be both enlightening and inspiring. She has a wonderful ability to go right to the heart of serious weaknesses in a piece of writing without being distracted by more superficial flaws, which, once you correct the underlying problem, will often disappear. She has a fine sense of structure and an excellent “bullshit detector”—an invaluable skill. I’d be lost without her feedback.” Vicky Grut, UK. Vicky Grut’s short stories have appeared in magazines and collections including Random Factor (Pulp Books, 1997), Reshape Whilst Damp (Serpent’s Tail, 2000), Valentine’s Day: Stories of Revenge (Duckworth, 2000) and Volumes 13 and 14 of the British Council’s anthology New Writing. Awards for short fiction include the Asham and Ian St James prizes in 1999 and the Chapter One International Short story prize in 2006. Her novel, Understudy, is with a literary agent.

A very old picture! Working one-on-one at the computer with a young novelist. Photo by Barbara Machin.

Go to Workshops & Courses

 

On the Write Track/Ticket to Write

This is an  eight session online course during which participants create a complete narrative (fiction or non-fiction)  that centres on a journey of some kind.  It was developed for a group of writers in the UK, and seems to be going very well, so  I think I’ll offer it again. Please use the enquiry form to register interest  or ask for further information.

Ticket to Write

Writing Workshop with Kathy Page on Salt Spring Island, 8th & 9th October 2011

Storylines: a Workshop with Kathy Page

How does an idea become a fully-fledged short story, novel or non-fiction narrative? We’ll experiment with new ways to find and develop story ideas, and then begin to create the story itself. This workshop is an opportunity to start fresh work,  to develop something you have had in mind for a while, or even  to sidestep a block.

The workshop will be held 8th & 9th October 2011,  from 10 – 4 each day  in the author’s home on Salt Spring Island, British Columbia, and is suitable for all levels of experience.

Max class size: 12

Cost: $190 includes tea and coffee; students  bring their own lunches.

For further information about Kathy Page’s books and courses, please explore www.kathypage.info

To register, or for further information about this workshop,  email: kathypage@shaw.ca


Workout for the Novel (Online Writing Workshop)

 

http://www.freefoto.com/

For those contemplating,  or already embroiled in, a novel, Workout for the Novel offers a series of exercises to help you think through and develop your idea, as well as an invaluable forum for feedback and discussion. Each week we focus on a particular aspect of the novel you are developing:  your main characters, the best place and way to begin the story, overall structure, plotting, voice, and the structure and use of chapters. Some of the exercises generate writing that might later be used or incorporated into the novel and some are writing/think-pieces about the novel in progress which help you to see it more clearly. Students are in small groups of four to six. The course is open to beginners and more experienced writers alike, and it is equally useful for first draft or revision.  Allow at least  four hours a week – but remember,  those hours can be whenever, wherever and however you choose!

$225 for 8 weeks

Please use contact form on the menu to the left for further information. You can also use the RSS feed (above)  to keep in touch about future courses

Workout for the Novel is not running in 2013, though part of it will be offered as a face-to-face workshop at The Writers’ Centre in Norwich, 14th June.

 

Payment by cheque or by PayPal here

[wp_cart:Workout for the Novel with Kathy Page:price:225.00:end]

[show_wp_shopping_cart]

Comments from participants

“An excellent course. It was informative and stretching, certainly, to help me think outside the box. I feel I got a real sense of how to construct a novel, and just wish I’d done this ten years ago!” – Sue Goldswain, Victoria, BC, 2009.

“I felt I needed to do some revising of my story but was overwhelmed at the prospect and found it impossible to view it objectively. The exercises  were very good.  They provided a ‘way in’ to my story and also helped me to reflect on the nature of a novel.  I now feel I have a framework on which to build a future novel, and expect to refer back it frequently. I loved all the feedback. The other writers while honest looked for the positive and their enthusiasm was catching. Perhaps the most useful thing was the questions.   Kathy’s comments were incisive and thought–provoking. I liked the intensity; getting weekly feedback was highly motivating.” Gillian Campbell, 2009 Workout participant. Gillian’s novel  has been accepted for publication by Brindle & Glass.

“I’ve found this course hugely beneficial. It’s helped me, through the well thought-out tasks set each week, make step by step progress with developing a broad, overall view of my novel as a whole living, malleable “thing”… I’ve asked myself lots of questions, been asked lots of questions, and been prompted by the tasks to come up with ideas and answers in a way that I wouldn’t have managed on my own. I started this course with a handful of random scenes, only a few months into writing this first draft. I now have a much more focused sense of where the novel might be heading. It’s given me an energetic “kick” start, which is just what I wanted.” – Jane Rusbridge, UK, author of The Devil’s Music, Bloomsbury, 2009.

“The course has been wonderfully helpful.  As a totally novice writer I did not have the framework to start attacking the rewrite. The exercises are very good challenging, informative.  As for the group feedback ‘If somebody calls you an ass, you can tell them to go to hell!  But if 10 people call you an ass, get a saddle!’  (I live in Texas!) It’s really true in any creative discipline.You have to know what others see in what you created.” C. Ellen Hart,Texas, 2010

“I’d rate the course as excellent for anyone serious about tackling a novel. The weekly exercises encourage the budding novelist to wrestle with many of the major, practical considerations required to get the project underway, and to try solutions that work for them and the particular story they have in mind to tell… Absolutely the best thing you did for me was to use the ‘track changes’ option to edit my chapter on the fight between the rat and the dog. I saw the difference in the power and simplicity immediately and have both versions on file for future reference when writing scenes that ‘show.'” David, 2009

Deeply, deeply engaging. It made me think about many issues that I simply did not know underlie the craft of writing a novel. It allowed me to participate in a community of like-minded peers who are living the struggle and joy that I am finding in writing. It taught me a great deal about the discipline I need to move from an initial idea to a finished work.” – Roelf Woldring, Toronto, 2009.

“The course far exceeded my expectations. With each exercise I found I moved a step forward, which, in my experience of this difficult process, is quite an accomplishment. In writing my own submissions, I was forced to face some of my weaknesses, which I do a ridiculously good job of ignoring. Reading the submissions of my group members, was instructive as well – it’s so much easier to spot the errors in the writing of others. That having been said, it also makes it easier to return to your own work and face the same issues with a renewed understanding. The site was very user friendly. In terms of your responses it worked well for you to wait until we’d all had our say. You have a real talent for cutting to the quick in a most charming and supportive manner. It’s quite astonishing how you do it.” – Renate Mohr, Ottawa, 2009.

“The course was fabulous for me. I didn’t really know how to approach writing my book, what key pieces I needed to think through. Now I am in a totally different place, and ready to sit down and start writing. I found all of the weekly exercises very useful, as well as the order in which the exercises were given. Each one oriented me to key pieces of writing my book. I really appreciated your direction each week on what kind of feedback to provide to my group members. Your input was very directed and specific, and I felt either confirmed my instincts or provided me with a very effective lens from which to view my book.” – Karen Clark, Salt Spring Island, BC, 2009.

“I loved it. I looked forward every day to new postings. Found it quite demanding but that was good. I was worried that I would never get my novel right and the course made me see that a close third viewpoint and present tense would make all the difference. I learned to trust the input of the group and to see things as a reader would.  I learned a lot by trying out different approaches, looking at plot, character and so on, in depth, revising the first chapter, killing my darlings. Suddenly realised how to end the novel in a convincing way, which was wonderful. I felt that you looked long and hard and gave advice that was thoughtful and considered and fairly easy to assimilate.” – Jackie Jacques, UK, author of Someone to Watch Over Me, Piatkus Books.

“I thoroughly enjoyed this course. I learned basic concepts, and got specific ideas for ways to improve my own work. The site worked very well, no problems. It was easy to navigate and was well organized. I enjoyed reading the general discussions, liked the diversity of opinions. The weekly sessions were all useful, and took me through the basics of novel writing, from using description to developing character to pacing the plot. The format of completing a weekly task, then posting it for the group, then giving and receiving feedback, kept me on track.The order of the sessions was particularly well thought out, starting with a general overview of our original plan (in a fun way!), and ending with a map of where we now intend to go. The most useful for me was week #4, structure because I hadn’t really considered that enough before. The most daunting was week #6, chapter, because it suddenly brought all the various elements together. I was amazed at all the thoughtful and insightful comments I received. There’s an opportunity to learn from both giving and receiving feedback. It was nice to have a small group because it takes a fair amount of time to read others’ work – although I found taking time to read critically was valuable to me as a writer.” – Anna Wozniak, Victoria, 2009.

“I really enjoyed the course. Working fulltime and writing on the subway to and from work meant that the online/anytime schedule really helped. The site does everything it needs to do in a simple easy to understand format. The best insight I received was on the pacing and detail of the exercises where you had us create scenes. I really enjoyed your approach as well as learning which authors you follow & respect and I really appreciated your comments on my chapter – extremely useful. Thanks for your invaluable feedback and advice.” – Francis Vanderhoven, Toronto, 2009

“My overall feeling about your course is that it was wonderful. I finally saw the light and that was thanks to your repeated comments that I had to concentrate on people doing and thinking things. The course worked extremely well for me and I enjoyed everything about it. The group I was in worked fine for me. Their comments on my work were thought-provoking and helped goad me on to make improvements, but your comments were my break-through. I suddenly feel I know exactly what I should be doing. I just have to get busy and do it.

Regarding structure and function of the site, it suited me just fine. I would rate it vg and I would also rate the weekly sessions and exercises vg. It seemed to me they led me on in a logical manner until I finally saw the light.” – Catharine Dixon, Ontario.

“I came to the workout with an idea and now have the first chapter and a clear path to the end.” – Michelle Glennie, Montreal, 2009.

“The course far exceeded my expectations. With each exercise I found I moved a step forward, which, in my experience of this difficult process, is quite an accomplishment. In writing my own submissions, I was forced to face some of my weaknesses, which I do a ridiculously good job of ignoring. Reading the submissions of my group members, was instructive as well – it’s so much easier to spot the errors in the writing of others. That having been said, it also makes it easier to return to your own work and face the same issues with a renewed understanding. The site was very user friendly. In terms of your responses it worked well for you to wait until we’d all had our say. You have a real talent for cutting to the quick in a most charming and supportive manner. It’s quite astonishing how you do it.” – Renate Mohr, Ottawa, 2009.

“It was absolutely fabulous!! I found it all both fascinating and extremely useful, and I’m SO glad I signed up for it. I came to love the women in my group and I hope to keep in touch with them. Our projects were certainly different, but there was a lot of overlap and connection. They were all very insightful and supportive, keen-eyed but kind; they pointed out many useful elements in my work and I also really learned from reading their comments on everyone else’s work.I am a bit of a techno-peasant but even I found my way around the site after a while. Whenever you suggested questions (to ask of ourselves or the others) I found they provided important keys into the writing. Nothing was redundant. I learned a tremendous amount from the group’s posts, both on my work and on everybody else’s. Also, analyzing their work was great for stretching my novelizing (sorry!) muscles. Although I’ve been editing books for years, they’ve mostly been non-fiction, so scrutinizing things like plot structure and point of view were somewhat new to me. You always had very useful and relevant things to say. I don’t know how you had time to do it all!:” – Marlyn Horsdal, editor, Salt Spring Island, BC. Marlyn’s novel  Sweetness from Ashes  was published by Brindle & Glass in 2010.

Resources for Writers

Books on Writing

The Art of Fiction, John Gardner:  “Whatever the genre may be, fiction does its work by creating a dream in the reader’s mind.”

Steering the Craft, Ursula  K  Le Guinn:  pithy observations, examples  and great exercises. “The sound of language is where it all begins and what it all comes back to.”

Mystery and Manners, Flannery O’Connor:  “You ought to be able to discover something from your stories. If you don’t,  then probably no one else will.”
Thing Feigned or Imagined, Fred Stenson: “However you orchestrate your fictional text, you will confront the need  for something that makes the story move and urges the reader to move with it.” Thoughtful, direct, great examples.

The Agony and the Ego, ed. Claire Boylan:  original essays by writers such as John McGahern, Deborah Moggach and John Banville, among others.  Includes Fay Weldon  editing  herself with reproductions of the original text. A wonderful book, but  out of  print,  so snap it up if you find and second hand copy.

The Paris Review Interviews (several volumes): masters and mistresses of the craft reveal all, including a page of draft work showing editorial changes.

On Writing, Steven King:  writerly advice blended with autobiography. Very accessible.  “Let me urge that you take your story through at least two drafts; the one you do with the study door closed and the one you do with it open.”

Writing Fiction, A Guide to Narrative Craft., Janet Burroway:  A course book  that includes an anthology of contemporary short fiction,  useful discussion topics and exercises. Everything you need is in here, though it is expensive, and somewhat verbose.

The Writing Life, Annie Dillard:  “The line of words fingers your own heart.  It invades arteries, and enters the heart on a flood of breath; it presses the moving rims of thick valves; it palpates the dark muscle strong as horses, feeling for something, it knows not what.”
Self -Editing for Fiction Writers, Renni Brown and Dave King.  Basic, practical advice on how to make your prose more compelling.

Self -Editing for Fiction Writers, Renni Brown and Dave King:  basic, practical advice on how to make your prose more compelling.

Links

The Writers’ Union of Canada

The Federation of BC Writers