Everything You Didn’t Know to Ask About Milford by Anthony Francis

Big fan of Milford. Have attended a few times and can’t wait to go back!

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Are you interested in the Milford SF Writer’s Conference? A year ago, I definitely was! I was in the middle of the Taos Toolbox Writer’s Workshop and couldn’t get enough of its “Milford-Style Critique” – a collaborative process in which a dozen or so writers critique each other’s stories in a circle of peers. For each story, every attendee offers 2-3 minutes of commentary (timed) to which the writer listens (quietly), at which point they may respond, followed by open discussion.

VLUU P1200  / Samsung P1200 Milford Group 2018

Taos Toolbox tweaks this a little bit by having two experienced authors – Walter Jon Williams and Nancy Kress – moderate the critiques. They follow student critiques with free-form critiques of their own, giving the students a role model to follow. But I still wanted to be prepared, so I looked up what Milford-Style Critique was and how to do it constructively – and while I…

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The Art of Writing Fight Scenes by Marie Brennan

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So you’re working on a story, and it really ought to have a fight scene. But you’re sitting there thinking, “I’m not a martial artist! I’m not a member of the SCA! I have no idea how to fight!” Or maybe you’re thinking, “Fight scenes are so boring. I’d rather skip over this and get back to the actual story.” Or something else that makes you dread writing that scene, rather than looking forward to it with anticipation.

To the first group, I say: the details of how to fight are possibly the least important component of a fight scene. The crucial components are the same ones you’re already grappling with in the rest of your writing—description, pacing, characterization, all that good stuff.

To the second group, I say: it’s only boring if the author does it wrong.

A fight is part of the story. Just like any other scene…

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First Chapter Checklist by Ed McDonald

Great advice!

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Typewriter 3The first chapter of your book needs to be a bit special. All of the chapters need to be special, but Chapter 1 needs to be extra special. This is your agent-catcher. It’s the chapter where you need to hook that agent’s attention – or reader’s attention – and then keep them going. Your first chapter should be so polished that water can’t even settle on it, it just slides right off without any friction at all.

So, without further ado, here’s a checklist for your own first chapter that you might find useful to work through, to see if you’re doing common things that generally don’t work. This comes with the usual caveat that everybody’s writing process is different, and what works for me may not work for you etc… but I’d be willing to bet that if (like me with my previous 1.5 million words of novels!) you’ve…

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