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What you can Expect from Creative Writing Institute
• The individual attention you so richly deserve
• Your own private tutor six days a week
• Prodding when you lag behind
• Motivation to become more than you are
• A personal relationship with your tutor
• Unbeatable prices
• Rapid progress
• Personal encouragement
• Start your course within 24 hours
• Save time and money
To rescue storm tossed lives, one by one, and escort writing students from their present level to their highest potential.
* I took two Creative Writing courses at our local college several years ago and made no advancement in creative writing skills. Once I found Creative Writing Institute, and sent a short manuscript for evaluation by Lynn Carroll, I knew this was the most hopeful doorway for me and signed up. After only three lessons of Creative Writing 101, the drive to become a student and writer again was confirmed and on I went. My tutor, Jo Popek, cheered me every inch of the way. Even the busy CEO, Deborah Owen, took time to write encouraging words. What a great staff. Betty C.
* I just wanted to let you guys know I was assigned to create a newsletter in my technical writing class. We had to write articles based off a fake company we created. I, of course, chose to "own" a used bookstore. So the articles in my newsletter had to be about things people who shop at a used bookstore would read. I wrote several articles, turned them in, and got and 100%! She said my articles were amazing, informative but encouraging, and she absolutely loved them. I wanted to thank both of you and let you know. You really have trained me well! You given me skill that will help me with future jobs, and school! Thanks!! Arial P.
* This is exactly what I've searched for - [Introduction to Poetry] - poetry forms and rules, punctuation and line breaks. I constantly stumble over the latter. I deeply appreciate your comments and suggestions. There is nowhere else for me to turn for help. Thank you for spending your valuable time teaching this class. I've searched hard for a [poetry] class like this one and am excited to find it at CWI. Terri C.
* I have been absorbing more than I ever dreamed. The dynamic non-fiction course is just that. Dynamic. My dearest friend and writing buddy has her master's thesis in the Library of Congress and has been reviewing my assignment analyses with me at the end of each lesson. She can't get over how extensive the material is that is being taught. > Lynn answers all my questions promptly, satisfactorily, and with humor. Thanks for everything. Shirley D.
* The [Creative Writing 101] course provided the kind of detailed comments and suggestions for my writing that I have been craving and have not received in other face-to-face classes. Diane M.
Is it possible to make a living at writing today?
If so, where should you begin?
Everything you need to know is in this article.
Making a Living at Writing
Hundreds of thousands of writers have had one united thought - "I wish I could make a living writing."
Here’s a NEWS FLASH: Even mediocre writers can make a living writing! So why do writers fail? Because they don’t try hard enough and have not received the proper training. However, there is one more good reason writers we fail, and that’s because they are drowning in credit card debt.
For the sake of argument, let’s say you are not encumbered with such debt, and that you would be satisfied with making a moderate living at writing. The question then becomes, how do you do it? Believe it or not, the answer is relatively simple.
Most articles don’t sell the first time out, so pretend you submit an article to a magazine three times before it is accepted. Since each submission takes about three months response time, you have nine months tied up in that one article. The publisher will usually pay upon publication, which will be another three to six months of waiting. That’s a 12-15 month wait for one article. That’s why magazines cannot be a full-time writer’s primary source of livelihood.
The secret lies in selling articles to newspapers for $15 to $20 a shot, plus $5 extra for each picture. The articles will be shorter and quicker to write. Newspapers won’t be so picky as to whether you have sold the article before. Further, there is an inexhaustible supply of newspapers to sell to. Check them out at http://en.wikipedia.org/wiki/List_of_newspapers_in_the_United_States_by_circulation and pick the ones with big circulation. They buy faster, print daily or weekly, and pay immediately.
Keep the articles rolling constantly, and RESELL the ones that have sold already. Over a period of time, you'll learn the editors by name and will know more of what they are looking for. That’s when almost every article will sell on first submission. And, while you're making a living that way, you can submit to magazines in your spare time.
Some writers have heard this before, yet there they sit, still wishing they could write full time. Why is that? Maybe it’s because writing for a living isn’t as romantic as it sounds. Maybe it’s because it’s very hard work. Maybe it’s because you would be satisfied barely eeking out a living with writing... if you didn't have that credit card debt.
Or maybe it’s because you are still saying, "I can’t do that," when what you really mean is – "I choose not to put myself on the line."
Brief bio: His agency’s clients include Stephen King, George R. R. Martin, and Robin Hobb.
Works for Lotts Agency. Looking for sci-fi and fantasy. Contact Information: Query via email@example.com and first 5-10 pages of story, no attachments.
Brief bio: She has worked with Curtis Brown since 2005. She currently lives in Brooklyn and graduated from Bryn Mawr College.
Works for Curtis Brown Ltd. Looking for Juvenile (young adult and middle grade) science fiction, horror, romance, and fantasy.
Contact information: send query letter, synopsis of work, sample chapter, and brief resume to firstname.lastname@example.org.
Brief bio: Sarah earned her MFA in Creative Writing from The New York School, and has worked with Bradford Literary Agency since May of 2013. Works for Bradford Literary Agency.
Looking for young adult and adult fiction. On the adult side, she is looking for literary fiction, science fiction, magical realism, dark/psychological mystery, and upmarket commercial and/or women’s fiction. For YA, she is interested in contemporary/realistic fiction that doesn’t shy away from the darker side of adolescence. YA sci-fi, horror, mystery, and magical realism are also welcome; and she would love to find a modern Judy Blume for the MG market.”
Contact Information: Send a query, first chapter, and synopsis to email@example.com
Brief bio: Pooja graduated from Nottingham Trent University with a BA and later received her MFA from The Otis School of Art & Design. She’s worked with Kimberly Cameron & Associates since 2011. Works for Kimberley Cameron & Associates
Looking for fantasy novels that are original and layered, with worlds as real and alive as the ones created by Philip Pullman and J.K. Rowling. In YA, she’s eagerly looking for submissions across all genres (contemporary, adventure, realist, paranormal romance, gothic, horror, historical, steampunk, dystopian, magical realism, urban fantasy, and new age). Pooja is also acquiring nonfiction adventure and travel memoirs, journalism and human interest stories, and self-help books addressing relationships and the human psychology from a fresh perspective.
Contact Information: Send query letter, one page synopsis and 50 pages as an attachment to firstname.lastname@example.org
Defining the Young Adult Genre
by Victoria Pakizer
Young adult literature is named after its target audience: young adults. These stories have an adolescent protagonist, written with young adults as the primary audience. They focus on tangible story elements like character, plot, and setting rather than theme and style. Plots explore problems that adolescents face, such as young love gone wrong. These issues are never devalued and always treated seriously.
This genre is usually found outside the children and middle grade section and never included in them. Separating the genres places a barrier between them, stating that these are not books written for children, but for adults.
One reason for the separation is controversial content. Many young adult books contain swearing, drugs, sex, and violence. Some argue the content is inappropriate for books targeted at younger audiences, while others say young adult literature should explore such topics because it’s what adolescents struggle with.
Another controversy surrounding the genre is defining it. Some people claim it’s not a real category, but a marketing tool. Part of this stems from the wide variety offered. Current bestsellers include The Fault in Our Stars by John Green, a book about two cancer patients falling in love, and Divergent by Veronica Roth, a series about a dystopian universe. Some people argue that Rick Riordan’s bestselling series, Percy Jackson, is young adult, but others say it’s middle grade. People argue that classics like William Golding’s Lord of the Flies and J. D. Salinger’s Catcher in the Rye count as young adult literature.
Despite all the controversy, young adult is a thriving genre. Currently, five of ten best sellers on Amazon.com are young adult literature. This year alone, adaptations of young adult books, such as The Maze Runner, The Book Thief, The Fault in Our Stars, Divergent, and Mockingjay: Part 1 among others, are all coming to theatres near you. The genre is here to stay.
Creative Writing Institute just hired tutor Emily Orford, who is an expert in this department. She has already written our Writing for Young Adult Course and it will debut in the next week or two.
Getting Started in Writing
What would you give to be a good writer? Would you be willing to study hard? Would you be willing to start at the bottom? Would you be willing to invest in yourself? That’s what learning the writing trade is all about, and you can learn it in two years or less at Creative Writing Institute.
Deborah Owen and Creative Writing Institute, Inc., its board and staff make no warranties or guarantees of any kind. Writing success comes from knowledge and persistence. We endeavor to be accurate in every way, but the publishing industry and research material fluctuates almost daily. Therefore, Deborah Owen, Creative Writing Institute, Inc., its board and staff may not be held liable for damages of any kind.
Travel the writing road at your own risk. We all do. Direct questions to our CEO, DeborahOwen@CWinst.com.