Summer Workshop Program Announced!

books by friendsSUMMER ONLINE WORKSHOP PROGRAM

Mix and Match: Take 1, 2, or all 3 workshops!

Tuition and Registration Information

*All classes use a combination of weekly email lectures and assignments, 24/7 email access as well as a private FB page for participants to interact with each other, and a once a week group conference call that allows us to “meet” in real time. (Conference call time will be adjusted to the schedules of those in class)

 

“Nancy has a way with words, certainly, but she also has a way with people that allows her classes to take on a spirit that exceeds instruction or even guidance. Her consistent support and empathy is tempered with gentle nudges to step out of our comfort zones and approach our work, not with abandon, but with careful attention and encouragement.”

~Mara Eve Robbins, winner of the Real Simple essay contest

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JUNE: FINISH THAT MANUSCRIPT

An Online Workshop on Re-visioning, Taking Risks, Taking Yourself Seriously, and Falling Back in Love with Your Vision.

Are you still sitting on that same manuscript? Are you stuck in the writing phase or in the revision process? Or have you “finished” but not gotten the response you wanted out in the world? Are you not sure what comes next? Most of us are better at starting manuscripts than we are at finishing them. But it’s only when we can conceive, create, and bring our projects to fruition that we begin to master the longer form known as a book. Each book we write brings us closer to understanding how to write a book. What phase of the finishing process are you in? And…are you ready to finish?

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JULY: SELF PROMOTION FOR THE SQUEAMISH

Launching Yourself and Your Work Into the World

You wrote the book…so you’re done, right? Wrong. Whether you are self-publishing, traditional publishing, or still undecided, today’s market requires that writers build and sustain their own readership. But how? Who are your readers? Who needs your book? And how do you find them? This workshop can help you uncover blocks to self-promotion, give you practical skills to approaching the market as a professional, and help you understand and take the necessary steps to not just writing a book but building a long term audience for your work.

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AUGUST: WRITING FLASH FICTION

Flash forms have arrived as a backlash to genre boundaries and flash fiction is leading the pack, redefining how we tell stories. By embracing the compressed form, all writers–from poets to novelists–are cultivating a new set of skills and creating an entirely new kind of story. In this workshop we will generate original flash pieces, examine what makes successful flash fiction, and try to differentiate flash from its cousin, the prose poem. This workshop is open to writers with all levels of experience in the form.

Registration and Tuition Information

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Launching Your Book Into the World

LAUNCHING YOUR BOOK INTO THE WORLD

Individualized Coaching To Help Your Work Succeed!

spotlight (1)You wrote the book…so you’re done, right? Wrong. Whether you are self-publishing, traditional publishing, or still undecided, today’s market requires that writers build and sustain their own readership. But how? Who are your readers? Who needs your book? And how do you find them? Personalized coaching can help you uncover blocks to self-promotion, give you practical skills to approaching the market as a professional, and help you understand and take the necessary steps to not just writing a book but building a long term audience for your work. Individualized coaching will explore:

• The difference between an amateur and a professional
• Who are your readers and how do you find them?
• Self-promotion: Are you avoiding it? (You’re not alone)
• Publication—is your manuscript ready to send into the world?
• Building a long-term fan base
• Creatively marketing your work
• What’s keeping you from taking the next steps?

Your work is worth it. Give your book the greatest chance of succeeding!

4 and 8-week individualized coaching packages tailored to you and your work.

Contact nancystohlman@gmail.com to discuss your needs.

To your success!

Nancy

“The Hostess”

Flash fiction by Nancy Stohlman

The hostess decided to throw a small dinner party, just the neighbors and a few friends, just something to lift her spirits. She made pot roasts and French Onion soup from scratch while he retreated to the basement.

There was a few weeks truce, an uneasy truce for the sake of the children, and then another all-night battle followed by a series of murder mystery parties, complete with costumes, wine tastings, realistic weapons rented by the hour, and yucca whipped into small hills as light and fluffy as French pastries.

By the end-of-summer-Hawaiian-luau, the hostess was holding back tears through her fake eyelashes and long, black wig as he moved his things into the spare bedroom: You invited them, you entertain them! he yelled, slamming the door. The guests tried to keep her glass filled with an assortment of specialty rums and freshly crushed papaya mixers.

Soon the invitations started going unanswered; the guests found excuses for not attending the 1950’s sock hop, the M*A*S*H party, the “1001 Arabian Nights” celebration complete with whole roasted goat. Come spring, the 25-foot-tall Maypole looked desolate, pastel ribbons hanging limply like unwashed hair.

But today, the sound of hammers. It would be the greatest party she had ever thrown. Everyone would come. A crew of a dozen was sawing, hammering, painting, and creating a to-scale facsimile of the Titanic. Another crew was bringing in 500-gallon tanks of water that would, at the appropriate moment, be released into the back yard, while the guests, in full pre-World War I formalwear (as specified in their invitation) would get into actual lifeboats and attempt to row themselves to the safety of the house. A caterer was reconstructing an iceberg two stories high, and, at 11:40 pm, the gong she rented would sound, the string orchestra would begin to play, the water would begin to rise and the guests would file into lifeboats, of which there would, of course, be too few.

Originally published by Pure Slush. Read original here.

Nancy StohlmanNancy answers The Hue Questionnaire:

What is your favourite colour? Why?

Red. When I was 10 I was told by the Avon Lady that I was a “winter”

Do you wear this colour? How often and when?

As often as I possibly can. Lipstick. Boots. Red sparkles if I can get away with it.

What does the colour suggest to you?

Wonder Woman at a voodoo German sparkle party.

What does it not suggest to you?

Barfing out the window of a moving RV.

How long has it been your favourite colour?

I’m pretty sure my placenta was red.

When does it work best?

Here’s the thing: Red is both celebrity and paparazzi. When a person walks into a room embodying red, everyone secretly feels better: Red has arrived. It’s kind of like when someone brings the Hot Damn Cinnamon Schnapps to a wedding reception. Maybe you wouldn’t have done it yourself, but you’re glad to know that someone else has, and you might crowd around that person and even take a swig because it will make your story better later.

When does it not work for you?

When I want to disappear. There are plenty of days I just can’t live up to the expectations of red.

How does the colour relate to you, or you relate to it? Are you this colour or is this colour you?

At my best, I am always red.

Self Promotion or Self Prostitution? Why We Resist Putting Ourselves Out There

Do you hate the idea of self-promotion? Do you tell yourself that you’re not good at it? That you shouldn’t have to do it? If you hate self-promotion, or even the prospect of self-promotion, you are not alone. No matter the genre, all artists seem to share a similar aversion. Most of us are still waiting for an agent/manager/publicist to come and rescue us from the prospect of having to promote…ourselves?

But why?

As artists, we have internalized certain agreed-upon stories, certain cultural mythologies that may be blocking our ability to put ourselves and our work out into the world. And since most of us agree that self-promotion is necessary, it’s worth taking a look at these stories and deciding whether perpetuating them is serving our art and our careers—or not.

1. The Starving Artist Story: “I’m not going to make any money at this, anyway.”

The-Lemonade-Stand1If we were running a company, a large portion of our budget would go to marketing, right? If we were selling shoes, our livelihood would depend on us getting out there and selling some shoes. Even if we were running a lemonade stand, we would understand that, in order to sell lemonade, we would need to make signs or hire neighborhood kids with megaphones to let people know that lemonade is available. If no one knows about our lemonade, then no one will buy it no matter how fantastic it might be.

But when it comes to our art, we’ve swallowed a toxic “starving artist” story, which tells us that we’re probably not going to make any money at this, anyway, so we don’t take the task of promotion seriously. In fact, most of us would probably do a better job promoting the lemonade than we would the art that we have poured our blood and souls into.

It’s crucial to realize that if you want to make a career out of your art, then you have gone into businesswith yourself. I am now the CEO of Nancy Stohlman, Inc., and my product is my work. If no one knows about my product, they can’t buy it. And then I am out of business.

But as long as we are stoking the starving artist story, then we’re going into the game already defeated. If we believe we cannot make a living out of our art…then we probably won’t.

2. The Overnight Success Story: “Once I’m famous someone else will do this.”

This is the story of the mythical artist who is catapulted into fame from obscurity with no promotional effort of their own. While this mythology is exciting, and the media loves to dangle it as some warped version of the American Dream, it’s also a bit like expecting to win the Powerball.

This overnight success story is a darling of artists and runs deep in our culture. But if you look carefully behind most successes, you will usually find a different story. Madonna made hundreds of demos with her own money and personally brought them to every DJ in New York City; Truman Capote sat for 8 hours a day in the lobby of the publisher who refused to see him. Even Rosa Parks, our favorite little old lady who wouldn’t give up her seat on the bus and thus triggered the Civil Rights Movement, was actually a veteran activist for 15 years when she was finally delivered to the right place at the right time.

Because that’s what it comes down to: “It’s not enough to be at the right place at the right time—you have to be the right person at the right place at the right time,” says musical agent Justin Sudds in his interview for “Take Your Talent to the Bank”. The truth of the overnight success story is that it is usually not overnight at all.

But what’s most problematic about the Overnight Success Story is that it is ultimately disempowering because it takes the responsibility for our careers out of our hands. Our careers become like playing roulette, and we feel powerless to affect real change. And I like playing roulette, but only with what I am prepared to lose.

3. “It’s Not Polite To Brag.” This country is still influenced by our Puritan roots, and so this story is the one that often paralyzes us into non-action.

Here’s the truth: Will some people be annoyed by your promotional efforts? Yes. But usually the ones who are annoyed, offended, or otherwise triggered by your efforts are the ones who have not yet embraced their own self-promotion. So it’s important to remember that their support or non-support for you and your work really has little to do with you and much more to do with where they are on their own path. It’s pretty hard to jump on someone else’s bandwagon when your own bandwagon is rusting in the garage. It’s pretty hard to muster up zest and enthusiasm for someone else when you haven’t put your own work out there in a big way, yet. So when you encounter this kind of resistance—and it can come from the most surprising places—be kind, and remember this quote: “Those who have abandoned their dreams will always discourage yours.”

But the rest of the people won’t care, and in fact they will be happy that you’ve made it so easy for them to support you and your work. It is said that a person needs to hear about something five times (yes, five!) before it sticks, and most people are happy for the reminders.

Self-promotion is not bragging. It’s asking for the support we need to make the careers we want.

In this Puritan society we are told that “it’s better to give than receive,” so we give, we give, we give…but most of us have a hard time receiving. And most of us have an even harder time asking for the support we need with clarity and confidence. If I want people to read my latest story—I have to ask. If I want people to come to my my website, my lecture, or buy my latest book—I have to ask. “Hey, I’d love it if you checked out my work and passed it along.”

In our everyone-for-himself society we have attached a stigma to asking for help. In order to get over this stigma, we have to remember that artists must exist in community, and in order to create and sustain a community, you have to put yourself out there with honesty and authenticity. Self-promotion is truly about asking for the support we need, and building relationships with those who are excited about us and our work. It’s the greatest thing you can do for the promotion of art outside of creating the art itself.

So when self-promotion starts to feel like self-prostitution, remember: We promote our work because we aren’t okay with the mythology of the starving artist; we respect our work enough to take control of its dissemination, not leaving it to the agent fairies to rescue us; we have both the confidence and humility required to put it out there in the world and ask for support.

Many of us don’t promote because we would rather fail privately than publicly  We fear rejection and ridicule; we retreat into craft instead. And yes, it’s true that Emily Dickinson did no promotion. But then again, she never got to enjoy the rewards, respect, and recognition of her work while she was alive.

I want more for myself and my art.

And I want more for you, too.

Finish That Manuscript (And Get it Out Into The World): A Virtual Workshop

Do you have a manuscript you’ve been sitting on forever? Are you stuck in the writing phase or in the revision process? Or have you “finished” but not gotten the response you wanted out in the world?

In this workshop on finishing we will explore:
• What’s keeping you from finishing?
• Are your blocks telling you something about your manuscript?
• How to fall back in love with your work and your vision
• Allowing your manuscript to transform
• Publication—is your manuscript ready to send into the world?
• The different stages of “finishing” a manuscript
• Self-promotion—are you afraid of rejection? (You’re not alone.)
• Finding the support you need to take the next steps

writers-blockIn this 4-week virtual workshop I’ll give you the deadlines you might need, help you structure your writing time into your life, help you transition more easily between creation and revision, and help you become your own best editor. Whether you are planning to submit or self publish, you’ll learn writing tips, editorial and publication advice, how to excerpt and query, and even when to let a manuscript go. And most importantly, you’ll finally rescue your work from the desk drawer and give yourself the satisfaction of completion.

The workshop format will include weekly online instruction, telephone check-ins, and professional line edits (limited). Both fiction and nonfiction manuscripts are welcome.

Begins July 1. For late registration or a free info call contact me ASAP at nancystohlman@gmail.com.

Let’s do it.

Finish That Manuscript: Free Workshop Preview Tuesday, June 25th

Summer Project #1: Finish That Manuscript

Each book we write brings us closer to understanding how to write a book. What phase of the finishing process are you in? And…what’s it costing you to not finish?

Three Types of “Finishing”

1. Crossing the Finish Line. In this phase, you’re creating, allowing, and writing yourself to the finish line of that first draft, where you can write The End and give yourself that well deserved glass of port.

In this phase you need the support, motivation, and commitment to get to the end. A first draft is like a lump of clay—it doesn’t have to be perfect, but it does need to be complete before you can start shaping it into the grand vessel it will become.

2. Alligator Wrestling. In this phase you’ve finished a first draft and now you’re in the revision—re-visioning—process. Re-vision. Seeing again. Sometimes it’s hard to see your manuscript with fresh eyes—like looking for your sunglasses when they’re on your head. Yet the true writing magic usually happens in revisions.

In this phase you need new ways of seeing your manuscript differently, both in pieces and as a whole, as well as identifying your strengths and weaknesses as a writer and inviting the potent potential of unexpected possibilities into your work.

3. Becoming a Player. In this phase you and your manuscript prepare to enter the public arena, and the “finishing” has just as much to do with you as a professional. This is the point where we usually long for an agent to swoop in and do all the uncomfortable work of promoting ourselves, but the catch here is that if we want to be taken seriously, we have to start playing seriously.

In this phase you need help with promotional and professional materials including bios, queries, how and why to excerpt, and learning how to avoid the mistakes of looking like an amateur—regardless of your publishing goals.

*Tuesday, June 25th at 7 pm MST, join me for a 30-min FREE WORKSHOP PREVIEW.

Contact me for registration information at nancystohlman@gmail.com

 

Friends vs. Fans: What’s the Difference?

Fans of German rock band Tokio Hotel scream during a concert in LisbonA friend loves you. A fan loves your work.

It’s as simple as that.

Now if you’re lucky you will have both: friends who are also big fans of your work, and fans who become friends. But the distinction is important, and as artists, I believe our level of success is tied to how well we understand the difference.

And I’m not just talking to writers, here. I’m talking to all artists. For example, when Kinky Mink was in its infancy, we relied heavily on our friends to fill our audiences. This is normal—fans don’t just find you because you make a Facebook page after all, they have to be cultivated. And you do this by starting wherever you are.

But it’s a bit like your mother telling you how talented your death metal band is, or how your novel/sculpture/painting/play is brilliant. You’re always left with the lingering question: Does she love me or my work?

At some point an artist has to cut the umbilical cord and find his or her true fans. And I hate to break it to you, but these may or may not be your friends.

Don’t believe me?

Writers: How many of your friends bought your book but didn’t read it? Or read it but didn’t have much to say?

That’s because they are your friends, not your fans. They love you, not your work.

Think about it from their point of view: Imagine I have a friend who’s an amazing country singer. Well, I don’t like country music. So while I may genuinely wish her all the success in the world, and I may even go to some of her shows to show my support, I will never be a true country music fan. She may be brilliant, and I may be proud of her, but what she ultimately needs is a room full of country music fans, not a room full of others like me who would never attend if our friend wasn’t playing.

This is where many of us go wrong. During those early Kinky Mink shows when I was still relying heavily on friends, I would be hurt when certain friends wouldn’t come (and here’s a big loving shout out to all those who did!). Now when Kinky Mink plays I cast a much wider net, cultivating those who resonate with our music, not just warm bodies to fill the seats. This is true of literary readings, gallery showings, film screenings, and every other kind of event where an audience–live or not–is needed.

The truth is if we can’t expand our audience/readership/patrons beyond those we have a personal relationship with, then we aren’t reaching our full potential as artists. If you don’t find your fans, then you will be forced to make 10,000 new friends if you want to sell out an arena or a first-run of your book! Whew!

And this is why self-promotion is so important. If you continue to rely solely on your friends, you are doing everyone a disservice: 1. You are keeping yourself from finding your fans, and 2. You are keeping them from finding your work.

A true fan will resonate with your work whether they ever meet you or not. So thank your friends for holding down the fort while you got started (thanks!) and commit to finding your true fans.

And for every person who is (or becomes) both, consider yourself doubly blessed.