Keynote Address: Paul Harding
We are thrilled to welcome Paul Harding, winner of the 2010 Pulitzer Prize for Fiction as our keynote speaker. Paul will read from and then discuss his hauntingly beautiful first novel, Tinkers.

To read about Writers' Day 2011 presenters, click here.

COST:

NHWP Members: $135.
Non-members: $195. Not a member? Join today and save.

IMPORTANT REGISTRATION INSTRUCTIONS:

You MUST click the "Will Attend" button while registering. (Failure to do so will mean none of your selections will be recorded.)

Choose ONE class or panel discussion in each session. Jot down the session number and letter, for example, 1E, to facilitate your online registration.

When you are ready to register, click on "Register Now" button at the end of this page and follow the prompts. Complete your registration by selecting your choices from the menus. Payment is due at the end of the registration process. You will receive an automated confirmation email detailing your Writers' Day selections.

To register by phone, call us at (603) 314-7980.

SESSION 1: 10:00 - 11:15 a.m.

1A. Meet the Keynote - Paul Harding

Join Pulitzer Prize winner Paul Harding for an intimate discussion about the craft of writing. Says the San Francisco Chronicle, “In Paul Harding’s stunning first novel, [Tinkers] we find what readers, writers and reviewers live for: a new way of seeing, in a story told as a series of ruminative images, like a fanned card deck.”

1B. Your Book Starts Here: Three-Act Structure for Book Writers in All Genres (Also offered in Session 2J) - Mary Carroll Moore Sold Out!

Books often start with a simple yearning to explore new territory: fascinating topics, characters who won’t leave you alone, a good story. But manuscripts get unwieldy, fast. One out of ten writers never finish their manuscripts because most first-time book writers get lost without good structure and planning. Mary Carroll Moore, award-winning author and a PEN/Faulkner nominee, will guide you through a simple and successful book-writing process that can take your book from idea to publication, a process using a three-act structure that eases organization and makes a manuscript vivid and engaging to readers. Find out why Aristotle believed that three acts formed a perfect structure for all stories, why humans lean toward beginning, middle, and end, and why we crave the emotional catharsis of that format in literature too.

1C. Out of the Lab: Writing “Experimental” Fiction with Emotional Heft - Tim Horvath

So-called “experimental” writing has the reputation of being loftily intellectual, cold, sterile, and aloof, too obsessed with matters of language and representation to speak to our everyday obsessions, our loves and lusts and fragile hearts. In this class, we’ll explode this myth and show how writing that plays with form, language, and the ground rules of narrative itself can be just as stirring and moving as more linear, straightforward prose. In addition to examining a number of successful examples, we’ll do some writing of our own, taking experimentation out of the lab and into the messy, invigorating world. Goggles are optional.

1D. A Life Sentence: Column Writing - John Clayton

Pulitzer Prize–winning columnist Red Smith from the New York Times once said that writing a column was easy: “All you do is sit down at a typewriter and open a vein.” Things have changed. Instead of typewriters, we use laptops and iPhone apps, but the part about the vein is still true. Even in a dramatically changing media landscape, if writing is in your blood, there are tricks of the trade that will make your writing good to the last drop. Whether you want to weigh in on politics or sports, food or wine, humor or history, this session will help you in your quest to engage, amuse, and inform your readers. We will discuss choosing subjects, narrowing focus, and writing leads and endings, and we’ll share research tips. Most importantly, you’ll learn the one thing that every columnist discovers — inspiration is a fickle friend — and ways to overcome that reality.

1E. Pioneering Poetry in Pictures: Elements of Digital Poetry - Mary Ann Sullivan

“One can foresee the day when phonographs and cinema will be the only recording technique, and poets will revel in a liberty hitherto unknown” (Apollinaire, 1917). In a speech he gave in Paris in 1917, Guillaume Apollinaire predicted that the writing of poetry would shift from the tangible printed page to a new audiovisual medium. In this poetry workshop, using the poet Apollinaire as a springboard, we will observe seven types of digital poetry: kinetic, video, interactive, programmed, audio, code, and hypertext. We will explore how traditional poetic techniques such as metaphor, symbolism, tone, meter, and juxtaposition can be used in this engaging new poetic form. You will plan an adaptation of one of your poems to digital media and discuss the challenges that emerge from your plan.

1F. Demystifying Social Media Today - John Herman

Go beyond the buzz. Learn the right tools and strategies for enhancing your writing career. Today’s authors must use social media to promote themselves and their work. Join us as we demystify it all, sharing strategies for blogging, vlogging, Flickr, Twitter, podcasting, live video casting, YouTube, Skype, Facebook, and more. Find out why John Herman has been called a “new-media guru” (Boston Globe), “a writer, a media maker and a compulsive ringleader” (Pitchfork), and someone “in demand as a spokesman for the new revolution in communications media” (NH Magazine).

1G. Getting Abroad: A Workshop in Literary Translation - J. Kates

Literary translation of prose or poetry is a form of close critical reading. There is no single definitive translation, and that’s part of the fun, because no two people will read the same piece in exactly the same way — nor, indeed, is the same translator likely to write the same piece twice the same way, if enough time and experience intervene. For a writer, translations are literary snapshots. This workshop will introduce you to how the possibilities and limitations of literary translation — the relationship of word-for-word renderings to finished equivalents, the questions we ask of the literature we work on, and the choices we must make in conveying our translations to readers who can’t read the original — all help discipline and expand our own writing. The workshop doesn’t require proficiency in a second language. All you need to get started is a nodding acquaintance with a second language and a command of English.

1H. Book Buzz: Publicity Explained - Michele Filgate and David Corey

What is book publicity? Why is it important to a book’s success, and how can authors get more of it? We’ll explore these issues and more as we discuss what happens during the publicity process, what to do if your book isn’t getting the media attention it deserves, and how you can be helpful along the way. Topics will include the types of freelance help available, online book promotion, ways to craft press material, ways to secure and promote bookstore events, the art of the pitch, and the art of the interview.

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SESSION 2: 11:30 a.m. - 12:45 p.m.

2I. How to Win a Pulitzer: Panel Discussion - Michele Filgate, Erika Goldman, Paul Harding and Rebecca Sinkler

A vast number of books are published and self-published annually. It’s easy for a book to slip past critics’ attention and barely be noticed. So how did a book written by a debut novelist and published by a small press win the most prestigious literary prize in the United States? Join the dream team of Paul Harding, editor and publisher Erika Goldman of Bellevue Literary Press, book critic and indie bookseller Michele Filgate, and 2010 Pulitzer Prize head judge for fiction Rebecca Sinkler for an in-depth discussion about the journey Tinkers took: from concept to manuscript to edited text to published book to the big win. The panel will share the incredible story behind the 2010 selection for the Pulitzer Prize for Fiction.

2J. Your Book Starts Here: Three-Act Structure for Book Writers in All Genres (Also offered in Session 1B) - Mary Caroll Moore

Books often start with a simple yearning to explore new territory: fascinating topics, characters who won’t leave you alone, a good story. But manuscripts get unwieldy, fast. One out of ten writers never finish their manuscripts because most first-time book writers get lost without good structure and planning. Mary Carroll Moore, award-winning author and a PEN/Faulkner nominee, will guide you through a simple and successful book-writing process that can take your book from idea to publication, a process using a three-act structure that eases organization and makes a manuscript vivid and engaging to readers. Find out why Aristotle believed that three acts formed a perfect structure for all stories, why humans lean toward beginning, middle, and end, and why we crave the emotional catharsis of that format in literature too.

2K. Viva the DIY Revolution! (Also offered in Session 4S) - Steve Almond

For years, there’s been a stigma associated with self-publication. But as the traditional top-down publishing model continues to contract, that’s changing. The means of producing books has become cheaper and more accessible, similar to changes in CD production in the music industry a decade ago. In this informal (and hopefully freewheeling) lecture/discussion, we’ll discuss the risks and opportunities afforded by the print-on-demand revolution and what it means to build a readership “from the bottom up.”

2L. Journalism: Hook Them With Your Lead - Deb McKew

It’s one thing to write an informative magazine article; it’s another to get someone to read it. That lead paragraph has a mighty job to do: not only does it have to be catchy and interesting to read, but it must illustrate your story. In this fun, interactive workshop for journalists (novice or not), you will learn to write a lead for different types of news articles, including feature stories, editorials, columns, and sidebars. You will learn what it means to attract a reader’s attention and how to transition from your engaging lead into the heart of the story.

2M. Writing in Open Forms: Poetry Workshop - Jeff Friedman

In his essay “Reflections on Vers Libre,” T. S. Eliot stated that “the most interesting verse which has yet been written in our language has been done either by taking a very simple form, like the iambic pentameter, and constantly withdrawing from it or taking no form at all and constantly approximating to a very simple one.” Poets who write in free verse or open form attempt to discover the shape of their poem in the course of writing but frequently rely on structures that have been common to the best poetry for hundreds of years. In this workshop for beginning and advanced writers, we will examine a few of these structures in poems from the past and present and then write our own poems. There will be two or three fun in-class writing exercises. The goal of the class will be to get a good start on at least two new poems.

2N. Robots and Dragons and Zombies, Oh My! - James Patrick Kelly

Although the genres of science fiction, fantasy, and horror each have their own unique attributes, their literary DNA is closely related. In each, the writer must build strange new worlds that stand in stark contrast to the everyday yet reflect concerns that all of us share. The worlds of speculative fiction must be consistent, and their boundaries must be well defined. There is a saying among practitioners of the fantastic: “Where anything is possible, nothing is interesting.” The challenge for the writer is to explain just enough without bogging down the narrative with lumps of exposition. And because these are all genres of popular fiction, once writers master their craft, they must still place their work in a topsy-turvy market. Join us for an intense session of world building and plot doctoring and a snapshot of what’s hot and what’s not. For those with an undiminished sense of wonder, the yellow brick road awaits. All levels welcome.

2O. Historical Fiction: A Primer - Chris Castellani

If you are writing fiction set in a distant place or time, you continually face the same nagging question: how much historical detail belongs in the story, and what’s the most effective way to use it? Maybe you’ve logged many hours of research and want that hard work to “show”; or maybe you’re going for that “timeless” setting and want no backdrop at all. Whatever the case, you will have to wrestle with this question in virtually every paragraph. In this seminar, we will brainstorm solutions to common problems, share practical strategies for revision, and look at a few passages from stories and novels that address this question of history.

2P. Some Stuff That Will Make Narrative Writing Easier and Some Stuff That Will Make It Far More Difficult - Bret Anthony Johnston
Sold Out!

This talk will be something of a fast-paced catchall. We will explore as many things (such as plot and characterization and point of view and setting and dialogue) as time allows, and we’ll try to better understand the alchemy that leads to satisfying narratives. Our approach will be practical and pragmatic — all highfalutin notions and thematic/theoretical concerns should kindly be checked at the door — and our goal will be to engage the means by which a reader’s attention is arrested, sustained, and rewarded.

LUNCH: 1:00 - 1:30 p.m.

Please select ONE of the following salad or sandwich boxed lunches (you will be prompted during the registration process):

Cobb Salad: Strips of Turkey Breast, diced Tomatoes, chopped Hard Boiled Egg, diced Celery, Scallions, and Bacon Crumbles served over a bed of Romaine Lettuce with Bleu Cheese Dressing. Includes Pita Bread, two freshly baked Cookies, and a Bottled Water.  

Greek Salad: Mixed Greens with Tabbouleh, Red Pepper, and Feta Cheese served with Pita Bread. Includes Pita Bread, two freshly baked Cookies, and a Bottled Water.

Grilled Chicken Cesar Salad: Julienne of Grilled Breast of Chicken on a bed of Romaine Lettuce topped with Croutons, grated Parmesan Cheese, and traditional Caesar Dressing. Includes Pita Bread, two freshly baked Cookies, and a Bottled Water.

Turkey, Cheddar BLT Wrap: Turkey, Bacon and Cheddar with Mayonnaise, Lettuce and Tomato wrapped in a Flour Tortilla. Includes Pasta Salad, two freshly baked Cookies, and a Bottled Water.

Sweet Beef on Ciabatta: Roast Beef, Caramelized Onions, Leaf Lettuce, and fresh Tomato slices, finished with a Dijon Mayonnaise on Ciabatta. Includes Pasta Salad, two freshly baked Cookies, and a Bottled Water.

Roasted Veggie Club Sandwich: Roasted Eggplant, Zucchini and Red Peppers with fresh Mozzarella and Artichoke Tapenade on Ciabatta. Includes Pasta Salad, two freshly baked Cookies, and a Bottled Water.

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SESSION 3: 1:45 - 2:45 p.m.

Regional Networking Sessions OR Agents & Editors Pitch Sessions. You may chose to attend either a regional Networking session or pitch your manuscript to an agent or editor.

NETWORKING SESSIONS:

Get to know the writers in your area. Make new friends, find or start a writing group, organize a Writers' Night Out... the possibilities are endless. Make your selection of ONE of the following regions during the online registration process.

Seacoast
Concord Area
Manchester/Nashua
Plymouth and North
Upper Valley
Keene Area

PITCH SESSIONS:

Pitch sessions are assigned on a first-come, first-served basis. Make your selection of ONE the following agents and editors during the online registration process:

Sold Out!

Rick Broussard
Ann Collette
David Corey
Erika Goldman
Lorin Rees

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SESSION 4: 3:00 - 4:15 p.m.

4Q. Agents and Editors Panel - Rick Broussard, David Corey, Erika Goldman, Lorin Rees and Ann Collette

This session is designed to help you understand what it takes to get a book editor or literary agent’s attention. Get the tips you need from the people who know. In this Q&A session, you will gain insights into the changing world of publishing from experts in the field. Bring your questions for these esteemed publishing professionals and hear what is on the minds of your fellow writers.

4R. Plotting: The Dark Art - James Patrick Kelly Sold Out!

Although, in some circles, plot is regarded as secondary to characterization and perhaps not even all that important, in most of the genres of popular fiction, deft plotting is a regarded as a virtue. Students of plot know that plots come in all sizes, from the fleeting incident of flash fiction to the tangled history of a trilogy of novels. What are the similarities? What are the differences? Of course, plot and character are to story as wave and particle are to the electron: they can’t be separated, because they are different aspects of the same thing. But for the dark purposes of this seminar, we will pretend this isn’t so and take a very mechanistic view of plot. Over the ages, writers have developed schemes and techniques and shortcuts and, yes, tricks of plotting. (What, mistaken identities again, Mr. Shakespeare?) We’ll look at some of the easiest, the best, and the most dangerous of these approaches. Only those who feel certain that they can resist succumbing to the dark art of plotting should plan to attend.

4S. Viva the DIY Revolution! (Also offered in Session 2K) - Steve Almond

For years, there’s been a stigma associated with self-publication. But as the traditional top-down publishing model continues to contract, that’s changing. The means of producing books has become cheaper and more accessible, similar to changes in CD production in the music industry a decade ago. In this informal (and hopefully freewheeling) lecture/discussion, we’ll discuss the risks and opportunities afforded by the print-on-demand revolution and what it means to build a readership “from the bottom up.”

4T. Writing Beyond Your Senses - Mary Johnson

“Write through your senses” is often good advice. But what does a writer do when the people he writes about or the characters she invents have experiences that seem to transcend the senses? We’ll explore several examples from religious texts, short stories, poetry, memoir, and science fiction. After discussing strategies, we’ll do some writing of our own. Suitable for writers of poetry or prose, fiction or nonfiction.

4U. Oh the Places You’ll Go … in Your Writing! - Joni Cole

This workshop uses the time-tested device of a writing prompt to stimulate your creativity, tap into your story ideas, create fresh characters, and celebrate your own unique writing voice. You’ll also pick up lots of tips on technique and feedback and experience firsthand how useful and motivating being part of a community of other writers can be. Open to fiction and nonfiction writers, from beginning to blocked to best-selling.

4V. Stories All Around Us: The Joys and Rewards of the Nonfiction Profile - John Walters

In every neighborhood, community, and family, there are stories worth telling, sharing, and preserving. For the last ten years, telling people’s stories has been the heart of John Walters’s work — in radio and in print. The more you look for stories, the more stories you will find. The potential is limitless. Some stories have commercial potential. Others may fulfill another purpose: developing your skills or exploring a story that’s particularly important to you (that of a family member, for instance). If you are a serious fiction writer, learning the real-life experiences of others will enrich your understanding of the world and deepen your own writing. In this session, we’ll talk about how to find people with stories worth telling, how to research and interview these people, and how to write their stories.

4W. It’s All About Platform, Baby! - Catherine Blake

Do you have a book written and need to market it? Are you in the idea phase and need to write that proposal letter? In either case, you’ll need to come up with a clear and concise platform for your material. We can accomplish this via your value proposition. Join us to explore how to develop this concept, clarify it, and articulate it verbally and in written format. Hear how your platform sounds to others, looks on paper, and resonates with the group. You can start with a concept in your head or with a platform that you’ve already developed that you wish to get feedback on. What convinces us, draws us in, and entices us to read on? You’ll leave with a bulletproof platform that you can rock the world with!

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Literary Flash: Three Minutes to Fame from 4:15-5:30 p.m.

Join the fun! Watch the five regional champions duke it out with one lucky Writers' Day contestant in search of the Literary Flash crown.

The regional champions will read their complete 3-minute flash fiction pieces in front of the audience and our panel of esteemed judges, including James Patrick Kelly, Jacquelyn Benson and Joni Cole.

How will the lucky contestant be selected? By a drawing held right before Literary Flash starts. Buy your raffle tickets at the door any time during the day and help support NHWP!

Literary Flash is free and open to the public, so be sure to invite your family and friends. What an amazing end to an inspiring day!

Book Sales (All day)

Gibson's Bookstore will be on site all day selling books by our Writers' Day presenters.

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Directions to Southern New Hampshire University

2500 River Road, Manchester, NH 03106

From I-93
Take I-93 to NH exit 9N onto US3/RT 28 heading north.
At the first intersection, go left onto West Alice Drive, which becomes Donati Drive at the sharp curve.
Follow Donati to the end, and then go right onto Bicentennial Drive.
Follow Bicentennial to the stop sign
Take a right onto North River Road.
The university is 1/4 mile down the road on the left.

From the East
Take I-95 New Hampshire, to Route 101W to I-93N.
Follow the I-93 directions.

From the West
Take NH-10/NH-9/RT9/Franklin Pierce Hwy.
Continue to follow NH-9.
Merge onto I-89S.Merge onto I-93 S.
Follow the I-93 directions.

From the South (Everett Turnpike/Route 3)
Take U.S. Route 3 to I-293 North to exit 6.
Cross the Amoskeag Bridge, then turn left onto Elm Street.
Follow Elm for 1 mile,
Turn left onto Bennington Road. Go 1 block,
Turn right onto North River Road.
The university is 1.5 miles down the road on the left.

From Boston (1 hour)
Follow the I-93 directions.

From Worcester, Massachusetts (1.25 hours)
Take I-290 to I-495N to I-93N.
Follow the I-93 directions.

From Hartford, Connecticut (2.5 hours)
Take I-84E to I-90E to I-495N to I-93N.
Follow the I-93 directions.

From New York City (4-4.5 hours)
Take I-95N in New York
Then follow the same directions as from New Jersey.

From New Jersey (5-6 hours)
Take the George Washington Bridge in New York City
Take I-95N to I-91N to I-84E in Hartford, CT to I-90E to I-495N to I-93N.
Follow the I-93 directions.

From Bangor, Maine (5 hours)
Take I-95S (Maine Turnpike) to Portsmouth, New Hampshire, to Route 101W to I-93N. Follow the I-93 directions.

Look for event parking signs when you arrive.
Registration, keynote address, book sales, lunch and Literary Flash take place in the new Cafeteria Building. Classes take place on campus. The campus is wheelchair accessible. If you have mobility concerns, please call our office at 603-314-7980 before you register, so that we can discuss your needs.