| Category | Title | Speaker | Recorded | Summary | Notes | Handouts | Level Description | Rating Description |
|---|---|---|---|---|---|---|---|---|
| Alternative Markets | Alternative Markets Outside Book-Length Romance | Leila Davis, Sharon Brondos | 1992 RWA Conference | Advice on finding and writing for markets outside of romance novels. Good discussion of the confession market and world markets for short fiction. | All Levels | Good/Worth It | ||
| Alternative Markets | Alternative Markets: Acquiring Publishing Credits | Karen Morrell, Jack Heffron, Martha Johnson | 1996 RWA Conference | Tips on finding, writing for, and selling in such alternative markets as non-fiction books & articles, short fiction, children's, & fillers. | Tips On The Greeting Card Market, Reference Books For Writers, Short Mystery Tip Sheet, Confession Writing Tip Sheet | All Levels | Good/Worth It | |
| Alternative Markets | Screenwriting | Jolie Kramer, Stephanie Quinn-Westphal | 1992 RWA Conference | The differences between writing scripts and writing novels, and how to sell your script once it's written. | Tape ends abruptly on side two, but is still worthwhile if you want to write screenplays. | All Levels | Essential Information | |
| Alternative Markets | Screenwriting, Parts 1 and 2 | Katherine Greyle | 1999 ECWC | Information on what goes into creating a sellable screenplay — how to write it; how to sell it. | All Levels | Interesting | ||
| Beginnings, Middles, & Ends | From Lust to Love—Achieving Believable Resolution | Tami Cowden, Carolyn LaFever | 2002 RWA Conference | The necessary stages in the development of a believable, lasting love relationship | ||||
| Beginnings, Middles, & Ends | First Chapters: Love 'Em Or Leave 'Em For Somebody Else's | Emilie Richards | 1997 RWA Conference | The essential elements of a great first chapter. | First Chapters, Love 'Em...Or Leave 'Em for Somebody Else's Book | Beginner/Intermediate | Good/Worth It | |
| Beginnings, Middles, & Ends | Hit The Ground Running | Patricia Ryan | 1997 RWA Conference | What constitutes a good opening sentence, first page, andfirst chapter. | The First Line, The First Page, Start Your Book In TheMiddle Of The Story | Beginner/Intermediate | Good/Worth It | |
| Beginnings, Middles, & Ends | Hook, Line & Sinker | Janet Lane Walters, Jane Toombs, Amanda Hart | 1994 RWA Conference | Beginnings of five manuscripts are read and critiqued. | Tape ends before speakers are finished. | Beginner | Interesting | |
| Beginnings, Middles, & Ends | Hooks And Grabbers To The Rescue | Shelly Thacker | 1997 RWA Conference | Seven tips to help you grab and hold your reader. | Intermediate | Good/Worth It | ||
| Beginnings, Middles, & Ends | How To Cinch A Sagging Middle | Paula Detmer Riggs | 1996 ECWC | The necessary building blocks for creating strong middles. | Beginner | Good/Worth It | ||
| Beginnings, Middles, & Ends | How To Hook Your Reader: Knowing Where To Start | Jennifer Sawyer | 1993 | Basic overview of what constitutes a good beginning. | Beginner | Interesting | ||
| Beginnings, Middles, & Ends | Key Points To Great First Chapters | Jill Marie Landis | 1996 RWA Conference | How to construct great first chapters. | First Chapters | Beginner/Intermediate | Essential Information | |
| Beginnings, Middles, & Ends | Openings To Hook & Set The Tone | Jennifer Blake | 1996 RWA Conference | The elements of strong beginnings. | Openings To Hook And Set The Tone | Beginner/Intermediate | Good/Worth It | |
| Beginnings, Middles, & Ends | Plotting The Dynamic Ending | Meryl Sawyer | 1993 RWA Conference | How to create strong, emotional endings. | Intermediate | Essential Information | ||
| Beginnings, Middles, & Ends | Prescriptions For Sagging Middles | Susan Macias | 1996 RWA Conference | A thorough discussion of the elements of"middles" and their importance in creating compelling stories. | Prescriptions For Sagging Middles | Intermediate/Advanced | Good/Worth It | |
| Beginnings, Middles, & Ends | Pulling The Trigger | Linda Hilton | 1993 RWA Conference | Writing a good first chapter-the importance of a goodbeginning to writing a good novel. | Begins abruptly. | Beginner/Intermediate | Interesting | |
| Beginnings, Middles, & Ends | Start Your Book With A Hook | Susan Wiggs | 1995 ECWC | A discussion of what makes a good beginning using multipleexamples. | Beginner | Interesting | ||
| Beginnings, Middles, & Ends | The End Run: Plotting The Winning Ending | Meryl Sawyer | 1996 RWA Conference | The importance of a strong ending and tips on how to craftone. | Hot To Plot: The Dynamite Ending | Beginner/Intermediate | Good/Worth It | |
| Beginnings, Middles, & Ends | The Sagging Middle | Meg Chittenden | 1993 ECWC | Chittenden discusses how she avoids sagging middles. | Beginner | Interesting | ||
| Beginners | Aiming For Success | Judith Stern Palais | 1997 RWA Conference | Tips on creating a professional submission includinggrammar and mechanics. | Beginner | Essential Information | ||
| Beginners | Basic Novel Structure: Manuscript Preparation &Picking Nits, Pts. 1 & 2 | Dora Brown, Pamela Burford, Pat Ryan, Rita Gallagher | 1996 RWA Conference | Common grammatical errors, word choice/usage, manuscript preparation and submission, & basic novel structure. | Good review of scene & sequel. Beginners unfamiliarwith this plotting technique should read Techniques Of A Selling Writer byDwight Swain. | Where To Look It Up, Pamela Burford's Top Ten Ways ToExercise An Editor's Pitching Arm, The Writer's First Impression Better BeGood!, Critique Groups, Are You Ready For A Critique Group? | Beginner | Essential Information |
| Beginners | Beginningitis | Dee Holmes, Lucia Macro | 1992 RWA Conference | Things to consider when beginning a writing career and/ora novel. | Beginner | Essential Information | ||
| Beginners | Common Mistakes Of Beginning Writers | Janice Johnson | 1993 GSRWA Chapter Meeting | Points to consider when using dialogue, description, &point of view. | Beginner | Good/Worth It | ||
| Beginners | Fears Of The New Author | Rachelle Nelson | 1996 RWA Conference | Common fears and ways to cope with them. Inspirationalrather than practical. | Fears Of The New Author And How To Overcome Them | Beginner | Interesting | |
| Beginners | How To Write Popular Fiction That Sells | Alice Harron Orr | Undated; possibly late 1980s | Basic overview of the elements and writing techniquesnecessary to write successful popular fiction with an emphasis on romance. | Beginner | Essential Information | ||
| Beginners | New Writer's Mistakes | Rita Rainville | Undated | Common mistakes beginners make in market targeting,manuscript preparation, plot & dialogue. | Beginner | Good/Worth It | ||
| Beginners | Nuts & Bolts: How To Sell What You Write, Pts. 1 &2 | Lisa Hendrix | 1995 ECWC | Tips on networking, query letters, editor/agentappointments, writing a synopsis, writing to the market, andproofing/formatting your work. | Beginner | Good/Worth It | ||
| Beginners | Pitfalls Of The Novice Writer | Rita Rainville | Undated | What makes a novel sellable, including targeting themarket; show, don't tell; author intrusion; setting; research; anddialogue. | Beginner | Good/Worth It | ||
| Beginners | Sailing The Seven Cs | Emily Richards McGee, Erica Shindler | 1994 RWA Conference | The seven necessary ingredients for successful fictionwriting: confidence, creativity, craftsmanship, characters, conflict,content, and calories. | Side two has a break in the recording. | Beginner | Good/Worth It | |
| Beginners | So Close, But No Sale | Jennifer Sawyer Fisher | 1996 ECWC | Tips on creating a manuscript that will stand out in thecrowd, how to market that manuscript most effectively, and interpreting aneditor's rejection letter. | Beginner | Good/Worth It | ||
| Beginners | Steps To Becoming A Professional Writer | Kristin Hannah | 1993 | How to begin a career in writing romance. Especially goodfor those exploring the field or just getting started. | Beginner | Good/Worth It | ||
| Beginners | Structuring Your Novel | Rita Gallagher | 1997 | Essential novel structure information for beginningwriters -- premise, designing characters, scene and sequel, the importantfirst chapter. | Beginner | Essential Information | ||
| Beginners | Ten Most Asked Questions | Kathleen Eagle, Judy Baer, Pamela Baluer | 1992 RWA | A look at the writing life of professional writers in aquestion and answer format. | Beginner | Interesting | ||
| Beginners | The New Author's Approach To Today's Market | Jaclyn Reding | 1996 RWA Conference | Advice on all aspects of writing and publishing a firstbook. | Beginner | Essential Information | ||
| Beginners | The Shell Of Selling A Novel | Elizabeth Sinclair | 1997 RWA Conference | A brief delineation of the critical, basic elements of asellable novel. | Shell Of A Selling Novel | Beginner | Essential Information | |
| Beginners | What I Wish I'd Known When I Started | Jean Bradshear | 1997 RWA | Inspirational and practical tips for those new to andstruggling to stick it out in the romance writing business. | Sample Path Of A Manuscript Through A Publishing House,Dictionary Of Publishing Terms, Online Resources, Resources For FindingAnd Evaluating Agents, Conferences And Contests | Beginner | Essential Information | |
| Beginners | What It Takes: Talent, Hard Work, Persistence, & Luck | Ruth Glick | 1996 RWA Conference | Basic advice on what it takes to make a career of writing. | Beginner | Interesting | ||
| Beginners | What It Took To Write That First Publishable Book | Paula D'Etcheverry | 1996 RWA Conference | Basic advice on writing your first publishable book: e.g.,commitment, discipline, knowledge of craft. | Beginner | Good/Worth It | ||
| Beginners | What The Tips Sheets Don't Tell You | Helen R. Meyers, Gina Wilkins | 1990 RWA Conference | The value of knowing and using the rules to write and sellyour first category romance. | Beginner | Good/Worth It | ||
| Beginners | Winning the First Sale War | Karen Drogin | 1999 RWA Conference | Practical suggestions provided for making the first sale,especially useful for the category author | Note - starts with a skit that is entertaining but overlylong | Beginner/Intermediate | Good/Worth It | |
| Career Management | Getting to the Point: Point of Sale Marketing Techniques | Jo-Ann Powers, Kathy Baker | 2002 RWA Conference | Discussion about marketing at the point-of-sale. What works and why. | To Be Determined | Not Rated | ||
| Career Management | From Aspiring to Multi-Published in Twelve Steps | Roxanne Rustand, Kathie DeNosky and Bob Cohen | 2002 RWA Conference | How to maximize your chances to move on to multiple sales. Steps to move past the dreaded second book syndrome | To Be Determined | Not Rated | ||
| CareerManagement | StandOut in the Crowd! | SuzanneBrockman | 2001RWA Conference | Tipson surviving the fierce competition in romance publishing. Brockman usesher linked/series books to illustrate her points. | AllLevels | Good/Worth It | ||
| Career Management | Auditing Your Publisher | Paul Rosenzweig, Contract Lawyer | 1996 RWA Conference | When, why, & how to audit your publisher in regards toroyalty statements, beginning with a technical discussion of romancewriters' contracts. | To Audit Or Not To Audit: Questioning The Paymaster | All Published | Good/Worth It | |
| Career Management | Biting The Bullet: Quitting Your Day Job | Debbie Cowan | 1996 RWA Conference | Advice on when, how, and if to quit your day job to writefull time. | All Published | Interesting | ||
| Career Management | Break Out and Cross Over | Emilie Richards | 1999 RWA Conference | Reasons for switching genres; making career choices -- thebenefits and pitfalls. | All Published | Essential Information | ||
| Career Management | Career Planning | Steven Axelrod, Damaris Rowland | 1997 RWA Conference | Two agents discuss the principles and how-tos of soundcareer planning. | Advanced/Published | Essential Information | ||
| Career Management | Career Planning For The Unpublished Writer | Margaret Brownlie | 1996 RWA Conference | Tips on getting started and staying on target in yourwriting career. | Career Planning For The Unpublished Writer | All Unpublished | Essential Information | |
| Career Management | Changing Publishers: Is The Grass Always Greener | Debra Martin, Nancy Gideon, Pamela Ahearn | 1993 RWA Conference | Reasons to stay with a publisher or leave, and how andwhen to do it. | All Published | Essential Information | ||
| Career Management | Creative Risk Taking: Why Did The Romance Writer Cross TheRoad? | Anne Stuart, Janis Reams Hudson | 1996 RWA Conference | Writing more than one type of romance for more than onehouse. | Advanced/Published | Interesting | ||
| Career Management | Crossing Genres: Aliens, Angels, Vampires & Crooks | Carole Nelson Douglas | 1996 RWA Conference | Tips on selling (to editors) mixed genre books withemphasis on mystery, science fiction, and paranormal romance. | Intermediate/Advanced | Interesting | ||
| Career Management | Down & Dirty Advice On Selling Your First Novel | Susan Kearney | 1996 RWA Conference | Tips on getting that first sale. | Speaker conducts a helpful pencil-and-paper activitylistener can do. | Intermediate/Advanced | Good/Worth It | |
| Career Management | Electronic Rights: When To Hold 'Em, When To Fold 'Em | Richard Curtis | 1996 RWA Conference | The potential effect of the new electronic technology onpublishing and tips on using this technology to enhance your career/sales. | All Published | Good/Worth It | ||
| Career Management | Financial Planning For The Writer | Alice Harron Orr | 1996 RWA Conference | Q & A session on taxes and the writer: e.g.,deductions, record keeping | All Levels | Interesting | ||
| Career Management | Growth & Expansion: From Home To Office | Debbie Macomber | 1996 ECWC | Reasons to have and how to organize an office outside thehome. | All Levels | Interesting | ||
| Career Management | How A "Gonna Be" Becomes A "Be" | Leanne Banks, Jean Price, Susan Shepherd | 1997 RWA Conference | Tips from an author, editor and agent on gettingpublished. | Beginner/Intermediate | Essential Information | ||
| Career Management | How To Deal With The Media | Carol Buckland, Julie Beard | 1994 RWA Conference | Hard hitting discussion on dealing effectively with themedia. | All Levels | Essential Information | ||
| Career Management | How To Keep From Shooting Yourself In The Foot | Pat Kay, Christina Dodd | 1993 RWA Conference | Tips on establishing a successful writing career: theimportance in reading romance, contests, targeting a line, agents andeditors, watching what you say, etc. | All Unpublished | Essential Information | ||
| Career Management | How to Make Money While Waiting to Sell Fiction | Nina Beaumont, Jane Porter-Gaskins, Jena MacPherson, GerriRussell | 1998 ECWC | Panel discussion on freelance writing. Writing about whatyou know. Includes many practical suggestions. | All Unpublished | Good/Worth It | ||
| Career Management | How To Stop Shooting Your Writing Career In The Foot | Alice Harron Orr | Undated; possibly late 1980s | Tips on establishing a writing career. | Beginner | Essential Information | ||
| Career Management | I Was Born To Be A Writer & 10 Other Lies | Sandra Marton, Bethany Campbell | 1990 RWA Conference | What to consider as you pursue a career in commercialfiction writing; e.g., studying your craft, self-promotion, revisions,dealing with the media. | Beginner | Good/Worth It | ||
| Career Management | If I Knew Then What I Know Now | Debbie Macomber | 1994 RWA Conference | Things to consider as you plan your writing career. | All Levels | Good/Worth It | ||
| Career Management | If It's Tuesday... | Stella Cameron | 1992 ECWC | Balancing writing contemporaries with writing historicals. | Advanced/Published | Interesting | ||
| Career Management | In It For The Long Haul: Publishers-Are They Geese OrGolden Eggs? | Sharon Sala | 1997 RWA Conference | Pros and cons of changing publishers. | All Published | Good/Worth It | ||
| Career Management | Is There A Place On The Best Seller List For You? | Sandra Canfield, Jayne Ann Krentz, Denise Little | 1992 RWA Conference | Tips on how to get on those best seller lists. | All Published | Essential Information | ||
| Career Management | Is There A Place On The Best Seller List For You? | Denise Little, Ceneta Lee Williams, Gerald Ratcliffe | 1993 RWA Conference | Q & A session with publishing business professionalson the challenges and reality of getting on the best seller list. | All Published | Good/Worth It | ||
| Career Management | It's Not Only What You Know: How To Make Contacts &Network Successfully | JoAnn Ferguson | 1996 RWA Conference | How to network at conferences, within chapters, and withbook sellers, editors, agents, and the general public. | All Levels | Essential Information | ||
| Career Management | Miseries Of A Writer: Patience 101 | Connie Rinehold | 1993 | Business aspects of writing, including agents andcontracts. | Beginner/Intermediate | Essential Information | ||
| Career Management | Partners In Writing | Mira Hermann, Phyllis DiFrancesco, Cheryl Bodine, ElaineSima | 1992 RWA Conference | Pros, cons, and how-tos of writing with a partner. | All Levels | Interesting | ||
| Career Management | Personal Financial Management | Thomas Perretta, Carol Konicki | 1994 RWA Conference | Managing your money through financial planning. | Long pause with faint music immediately afterintroduction. Fast forward. | All Published | Interesting | |
| Career Management | Setting Goals And Making Choices | Mary Jo Putney | 1992 RWA Conference | Discussion on the necessity and difficulty of blendinglife goals with writing goals and the need to make your goals reflect thechoices you make. Especially good for the newly published. | All Levels | Good/Worth It | ||
| Career Management | Seventy Plus, Plus Books Later | Nora Roberts | Undated OCC | What the writing life is really like. Nice mini-definition of the difference between category and mainstream. | All Levels | Good/Worth It | ||
| Career Management | So You've Sold A(nother) Book...Now What? | Eileen Dreyer | 1997 RWA Conference | Advice on managing your writing career after you've soldone or more books. | Advanced/Published | Interesting | ||
| Career Management | Survival In The Publishing World | Maggie Davis | 1992 RWA Conference | The realities of the publishing world-terms, conventions,etc.-and how to cope. | Advanced/Published | Good/Worth It | ||
| Career Management | Surviving The Long Haul | Ruth Ryan Langan, Helen R. Myers | 1996 RWA Conference | Balancing the demands of a writing career with those oflife. | All Published | Good/Worth It | ||
| Career Management | Ten Stupid Things Writers Do To Screw Up Their Careers | Haywood Smith | 1997 RWA Conference | Common sense tips on managing your writing career. | Ten Stupid Things Writers Do To Mess Up Their Careers,Paperback Publisher | Beginner/Intermediate | Interesting | |
| Career Management | The Business Of Being A Writer | Debra Dixon | 1993 RWA Conference | Steps to take to create a successful writing business,e.g., creating a business plan, dealing with the IRS, setting up businessfiles. | All Levels | Essential Information | ||
| Career Management | The Business Of Writing | Libby Hall | 1994 GSRWA Chapter Meeting | Business aspects of writing, including professionalbehavior, agents, money, taxes, record keeping, career planning, goalsetting, royalties, sell-thru, editors. | There is a brief fade-out on side two. | Beginner/Intermediate | Interesting | |
| Career Management | The Hyperbole Of Publishing Or How To Hold YourPublisher's Tongue To The Fire | Maria Carvainis | 1996 RWA Conference | Tips on becoming a wise partner with your publisher. | All Published | Essential Information | ||
| Career Management | The Politics Of Getting Ahead | Maria Carvainis, Brenda Joyce | 1994 RWA Conference | An agent and author discuss what is necessary to gettingahead in the publishing industry with emphasis on developing a goodrelationship with your editor. | Long pause in the midst of the question/answer session.Fast forward. | All Published | Good/Worth It | |
| Career Management | When Is It Time To Change Publishers | Ethan Ellenberg, Denise Marcil, Joyce Flaherty | 1993 RWA Conference | Situations and conditions triggering a need to changepublishers and strategies for doing it. | All Published | Essential Information | ||
| Career Management | Writing The Collaborative Anthology | Stobie Piel, Elizabeth Ann Michaels, Denise Little | 1997 RWA Conference | The how-tos of writing a collaborative anthology. | Beginner/Intermediate | Interesting | ||
| Conferences/Travel | Avoiding Conference Faux Pas | New Jersey Romance Writers | 1997 RWA Conference | Through a series of hilarious skits, the NJRW tells youhow to avoid common conference faux pas. | How To Prepare For Your Interview With An Editor Or Agent,How To Keep Your Foot Out Of Your Mouth When Talking To Published Authors,How Not To Get A "Name" In The Industry Like Jessica Flasher | Beginner | Essential Information | |
| Conferences/Travel | Traveling Safely: Writers' Conferences & Book Tours | Marcia Morgan | 1992 Heart Of Oregon Conference | Tips on traveling safely either alone or with others. | All Levels | Good/Worth It | ||
| Characterization/Conflict | Bad Boys of Category | Joanne Rock, Catherine Mann | 2002 RWA Conference | How the heroes in Blaze and Intimate Moments differ in terms of conflicts, professions and lifestyle, even though both draw on the bad boy image. | To Be Determined | Not Rated | ||
| Characterization/Conflict | Tall, Dark and Believable | Suzanne Brockmann | 2002 RWA Conference | The importance of flaws and vulnerabilities in romance heroes | To Be Determined | Not Rated | ||
| Characterization/Conflict | The Enduring Allure of the Dark Hero | Anne Stuart | 2002 RWA Conference | An exploration of the eternal allure of the dark and dangerous hero. How to make him dangerous to love and impossible to resist. | To Be Determined | Not Rated | ||
| Characterization/Conflict | The Fine Art of Body Language | Patti Shenberger | 2002 RWA Conference | Discussion about body language signals, personality styles and behavior types | To Be Determined | Not Rated | ||
| Characterization/Conflict | Miss Kitty vs. Susan B. Anthony | Yvonne Jocks | 2001 RWA Conference | How to balance your heroine'sstrength with her historical reality. | To Be Determined | Not Rated | ||
| Characterization/Conflict | The Ultimate Villain | Sharon Sala | 1999 RWA Conference | How to make memorable bad guys andcreate the men we love to hate. | To Be Determined | Not Rated | ||
| Characterization/Conflict | Creating Military Characters,Tapes 1 & 2 | Candace Irvin | 2001 RWA Conference | Essential basics for creating abelievable contemporary military character. | Lots of Questions/Answers at theend of the lecture but the questions are seldom audible | All Levels | Essential Information | |
| Characterization/Conflict | There's Something About a Guy inUniform | Merline Lovelace, Maggie Price | 2001 RWA Conference | Information you need to know towrite cops and/or military heroes and heroines. | All Levels | Essential Information | ||
| Characterization/Conflict | Acting Techniques...Character | Diane Pershing | Undated OCC | Using acting techniques such as blocking, imaging, andsub-text to build characters and scenes. | Beginner | Interesting | ||
| Characterization/Conflict | Anatomy of an Escalating Relationship | Linda Needham | 2000 RWA Conference | Developing the characters' emotional conflict using theHero's Journey | Intermediate | Good/Worth It | ||
| Characterization/Conflict | Breathing Life Into Characters | Candice Hern, Patricia Oliver | 1997 RWA Beau Monde Conference | Building life into characters using back story and clearand layered motivations. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Character & Conflict | Ann Maxwell | 1992 ECWC | How to use character to build and drive your conflict. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Character and Story, Tapes 1 & 2 | Robert McKee | 1999 RWA Conference | In his inimitable style, McKee discusses elements of hisbook, Story. Valuable information as well as entertaining. | All Levels | Good/Worth It | ||
| Characterization/Conflict | Character Interviews | Alicia Rasley | 1993 RWA Conference | Developing character traits to bring depth to yourcharacters. | Beginner | Interesting | ||
| Characterization/Conflict | Characterization | Megan Chance | 1995 GSRWA | How to build a character. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Characterization: What Makes Men & Women Tick? | Pat Simpson | 1996 ECWC | The psychological differences between men and women basedon John Gray's Men Are From Mars, Women Are From Venus. | All Levels | Interesting | ||
| Characterization/Conflict | Characterization: Which Comes First, Plot Or Character? | Paula Detmer Riggs | 1992 Heart Of Oregon Conference | Creating believable characters and plotting usingcharacters with conflicting goals. Good, basic information. | Beginner | Good/Worth It | ||
| Characterization/Conflict | Characters Who Come Alive | Jodi Thomas | 1996 RWA Conference | Tips on creating living characters. | Beginner | Good/Worth It | ||
| Characterization/Conflict | Conflict | Adrianne Lee | 1992 ECWC | Creating and maintaining conflict in your book. | Beginner/Intermediate | Interesting | ||
| Characterization/Conflict | Conflict -- Who Needs It? | Anne Peters | 1998 ECWC | A good explanation of the function of conflict in fiction;GMC - Goal, motivation and conflict -- how all are necessary. | Much of the audience participation is not audible | Beginner/Intermediate | Interesting | |
| Characterization/Conflict | Conflict From Within | Judith Duncan | 1994 ECWC | Internal and external conflict, focusing on internalconflict as the key element in a book. Detailed explanation of how tocreate internal conflict. | Beginner/Intermediate | Essential Information | ||
| Characterization/Conflict | Conflict, Motivation & Pacing | Stella Cameron | 1996 ECWC | The basic ingredients of conflict and its importance to agood story. | Beginner | Good/Worth It | ||
| Characterization/Conflict | Conflict: The Core Of Your Novel | Sara Orwig, Georgina Gentry | 1997 RWA Conference | The elements and types of conflict in romance. | Beginner/Intermediate | Interesting | ||
| Characterization/Conflict | Cowboys and Cops: Characters Cut From the Same Cloth | Lynda Sue Cooper and Terri Sprenger | 2000 RWA Conference | Reasons for the appeal of the cop/cowboy hero;characterization in fct and fiction; discussion of job skills andbehaviors. Invaluable specifics for anyone writing the cop or cowboy hero. | All Levels | Good/Worth It | ||
| Characterization/Conflict | Creating a Hero | Nadine Miller | 1997 ECWC | Information on how to create a hero your heroine and yourreader will fall in love with | Beginner/Intermediate | Essential Information | ||
| Characterization/Conflict | Creating Compelling Heroines | Jacquie D'Alessandro and Pat Van Wie | 2000 RWA Conference | Ten ways to creating strong heroines and how to make themmemorable | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Creating Real Characters From The Nine Archetypes | Dan Millman | 1997 Maui Writers Conference | Understanding the basic human behavior domains (placeswhere the mind can exist/think)-sentiment, life/security, creativity,intellectual, social, work/rest, hierarchies, conduct/morals,spiritual-and psychological archetypes-team player/rebel; rigid/sent | All Levels | Good/Worth It | ||
| Characterization/Conflict | Creating Unforgettable Characters, Tapes 1 & 2 | Linda Seger | 2000 RWA Conference | Creating fresh multi-dimensional characters by drawingmodels and examples from life. Getting past appearances and stereotypes toget to the human being. | Seger uses filmclips in her presentation but the audio caneasily be followed especially if one is familiar with the movie. | All Levels | Good/Worth It | |
| Characterization/Conflict | Dark Heroes | Paula Detmer Riggs | 1996 RWA Conference | What is a dark hero and why use him in your book. | All Levels | Good/Worth It | ||
| Characterization/Conflict | Developing Conflict Out Of Character, Pts. 1 & 2 | Glenda Saunders | 1993 RWA Conference | Building characters strong enough to create conflictbetween them. Contains an excellent, succinct definition of conflict. | The latter 60% of the workshop is a brainstorming sessionusing two characters created by the audience. | Beginner/Intermediate | Interesting | |
| Characterization/Conflict | From so-so to Sensational | Casey Claybourne, Barbara Freethy | 1998 RWA Conference | How to make characters interesting and believable, usingthe Writer's Journey and archetypes to create characters that are beyondcliches. | Advanced/Published | Good/Worth It | ||
| Characterization/Conflict | He Feels, She Feels: Creating Internal Conflict | Shelley Thacker | 1996 RWA Conference | How to pinpoint, define and maintain a strong internalconflict between the hero and heroine. | He Feels, She Feels: Creating Internal Conflict | Beginner/Intermediate | Essential Information | |
| Characterization/Conflict | Hero & Heroine Together...Why? | Karen Pershing | Undated GSRWA Chapter Meeting | How to create a compelling, believable relationshipbetween hero & heroine. | Beginner | Essential Information | ||
| Characterization/Conflict | Heroes & Heroines | Paula Detmer Riggs | 1995 ECWC | Using the wounded hero in a book. | Beginner/Intermediate | Interesting | ||
| Characterization/Conflict | Heroes & Heroines: Contemporary | Kathleen Eagle, Anne Stuart, Tahti Carter | 1989 RWA | Using the different characteristics of men and women tocreate authentic contemporary characters; good guys and bad guys; and thesensitive hero. | Beginner/Intermediate | Interesting | ||
| Characterization/Conflict | Heroes You Hate To Love | Jimmie Morel, JoAnn Power | 1993 RWA Conference | Discussion of the dark & dangerous hero, the badboy-who he is and why readers/editors like him. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Heroes: It Takes More than a Million Bucks, A Stetson, andTight Fittin' Jeans | Leanne Banks | 1998 RWA Conference | An author, editor and agent panel discuss thecharacteristics of the perfect hero and what qualities make him soappealing to the reader. | All Levels | Good/Worth It | ||
| Characterization/Conflict | Heroines We Love and Why | Editor Panel | 1998 RWA Conference | Editors discuss the importance of having a heroine thereader can identify with; the differences between the category lines,;examples of favorites in romance and literature. | All Levels | Interesting | ||
| Characterization/Conflict | He's Not My Type | Janece Hudson, Emily Richards McGee | 1993 RWA Conference | Using personality types to build characters. | Very useful in conjunction with the book, "PleaseUnderstand Me." | Beginner/Intermediate | Good/Worth It | |
| Characterization/Conflict | Historical Characterization | Sylvie Sommerfield, Janelle Taylor | 1987 RWA Conference | Tips on creating strong, realistic, historical characters,including tips on using real historical figures, e.g. Abraham Lincoln | This is one of our oldest tapes, but it's still worthlistening to. The second side has a blank spot; fast forward on to thegood stuff. | Beginner/Intermediate | Good/Worth It | |
| Characterization/Conflict | Holding Out for a Hero | Sharon Sala | 2000 RWA Conference | Discussion about creating larger than life heroes readerswant to read about | Beginner/Intermediate | Interesting | ||
| Characterization/Conflict | How One Of You Can Bring The Two Of You Together | Susan Page | 1997 RWA Conference | This workshop deals with repairing and maintainingrelationships and has more the flavor of a personal counseling sessionthan advice for writers. | All Levels | Interesting | ||
| Characterization/Conflict | Living Characters | Jill Marie Landis | Undated OCC | Creating living characters through the use of charactercharts and general writing techniques such as "show, don'ttell." | Beginner | Interesting | ||
| Characterization/Conflict | Making People Out Of Characters | Linda Howard, Kathleen Eagle, Nora Roberts, Ruth RyanLangan | 1987 RWA Conference | Overview of what constitutes strong, believablecharacters. | Beginner | Interesting | ||
| Characterization/Conflict | Motivation - The Driving Force | Anne Peters | 1998 ECWC | Explores the "why" behind our character'sactions, attitudes and behaviors. Peters discusses the three levels ofemotional reasoning. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Psychology Of Characterization | Blaize Clement | 1996 RWA Conference | The concept of five types of "Thinkers," howdifferent personality types process information, and how that playsa vital role in action and reaction. | Psychology Of Characterization | Intermediate/Advanced | Interesting | |
| Characterization/Conflict | Slugging It Out Between The Covers: Conflict &Motivation | Debra Dixon, Pat Keelyn | 1996 RWA Conference | The elements of good conflict. | The speakers use humorous, short dramatizations to make apoint. | Beginner/Intermediate | Essential Information | |
| Characterization/Conflict | Tall, Dark, And Believable | Suzanne Brockman | 1997 RWA Conference | How to build a wonderful, believable hero byexploring/using his values and beliefs to create conflict andcharacter growth. | Tall, Dark & Believable-Creating The Perfect RomanceHero, Self-help For Creating Compelling Characters | Beginner/Intermediate | Essential Information | |
| Characterization/Conflict | Tension: Walking The Tightrope That Balances Your Story | Jane Robson, Christine Healy, Susan Yansick | 1994 RWA Conference | What is conflict, the importance of conflict to creatingtension, and tips on building and maintaining good conflict. | Beginner | Essential Information | ||
| Characterization/Conflict | The Psychology of Creating Characters | Laurie Schnebly Campbell | 1998 RWA Conference | Explores the concepts of birth order, priorities,enneagrams and Jungian personality scales, and examines what automaticallycreates conflict between characters. | All Levels | Interesting | ||
| Characterization/Conflict | The Warrior Poet As Hero | Mary Jo Putney, Eileen Charbonneau, Susan King | 1997 RWA Conference | What is a warrior poet hero and how to construct and usehim to create a good story. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | Trouble Inside: Using Inner Conflict To Build Can't-FailStories | Naomi Horton | 1993 GSRWA Chapter Meeting | Discussion of internal conflict-what is it, and itsimportance to your story. Horton gives many examples of strong potentialinner conflicts. | Tape begins abruptly. | Beginner/Intermediate | Good/Worth It | |
| Characterization/Conflict | Unforgettable Characters | Susan Elizabeth Phillps | 1992 RWA Conference | How to create unforgettable heroes & heroines. | Beginner/Intermediate | Good/Worth It | ||
| Characterization/Conflict | When Characters Become People | Kathleen Eagle, Nora Roberts, Ruth Ryan Langan, LindaHoward | 1987 RWA Conference | Timeless information on creating characters by leaders inthe field. | Beginner/Intermediate | Interesting | ||
| Characterization/Conflict | Why Tom, Dick & Harry Never Get the Girl -- Art ofNaming Characters | Megan Chance | 1998 ECWC | Explores how reader's perceptions about character isprofoundly affected by the character's name; how a character's name is ashortcut to characterization. Includes information on where to find namesand their meanings. | All Levels | Good/Worth It | ||
| Characterization/Conflict | Write with Archetypes, Not Stereotypes | Tami Cowden and Caro LaFever | 2000 RWA Conference | Definitions and examples of the male and female heroicarchetypes; techniques to weave characterization of them into your book | Beginner/Intermediate | Good/Worth It | ||
| Contests | Conquering Contests | Valen A. Cox | 1996 RWA Conference | Reasons for entering contests and how to stack the odds inyour favor. | Conquering Contests | Beginner | Interesting | |
| Contests | Contest to Contract | Elizabeth Boyle | 1998 ECWC | Using contests to capture an editor's attention;Developing skills needed for submitting to editors and agents. Using sceneand sequel to improve your contest entry. | All Unpublished | Good/Worth It | ||
| Contests | Making the Golden Heart Contest a Golden Experience | Jane Porter-Gaskins/Panel | 1999 ECWC | Information on the GH contest and how to prepare for it.Includes advice from 13 GH winners and finalists, many whom have beenpublished | All Unpublished | Essential Information | ||
| Creativity | Stories | Keesler | 2001 RWA Conference | A panel discussion on how tocreate genre-bending story concepts while staying firmly rooted in therealm of romance. | To Be Determined | Not Rated | ||
| Creativity | How To Capture A Good Idea: Tips For Writers, Authors,Amateur To Pro | Felicia Mason | 1996 RWA Conference | A series of exercises to stimulate your creativity. | This is a hands-on workshop, not a lecture. Best use is toskim through to find the ideas that appeal to you. | Felicia Mason Presents How To Capture A Good Idea | All Levels | Interesting |
| Creativity | Left Brain, Right Brain: Which Are You? | Eileen Dreyer, Karyn Witmer-Gow | 1994 RWA Conference | Discussion of how right brain/left brain orientationaffects the way you write. | Break in the sound on side two. | All Levels | Interesting | |
| Creativity | Perspiration And Inspiration | Meg Chittenden | 1996 RWA Conference | The value of inspiration to the writing process. | All Levels | Interesting | ||
| Creativity | Rocking The Boat: Writing Outside The Lines | Jolie Kramer | 1997 RWA Conference | Exercises to stimulate your creativity. | Rocking The Boat Exercises | All Levels | Good/Worth It | |
| Creativity | The Artist's Way | Sonia Simone | 1996 RWA Conference | Introduction to and tips on using The Artist's Way, aprogram to unlock creativity. | The Artist's Way: Creative Visualization | All Levels | Interesting | |
| Creativity | The Magic Of Your Imagination | Stella Cameron, Robin Lee Hatcher | 1993 Unknown | Techniques to increase creativity. | All Levels | Interesting | ||
| Creativity | Unconscious, Not Subconscious, Pts. 1 & 2 | Robin Lee Hatcher, Stella Cameron | 1993 RWA Conference | Hands-on workshop giving techniques and exercises to tapyour creativity. | All Levels | Good/Worth It | ||
| Creativity | Vanessa Grant Creativity Seminar: A Writer's Creativity --4 Tape Set | Vanessa Grant | 1999 | Suggestions and exercises to enhance creativity and evictyour internal critic | All Levels | Interesting | ||
| Critiquing | All The Ways To Get Critiqued | Pam Toth | 1992 ECWC | Where to look and what to consider when seeking a critiqueof your manuscript. | All Levels | Good/Worth It | ||
| Critiquing | Critiquing And Partners: Avoiding A Murder Rap | Rosalyn Alsobrook, Eve Gaddy | 1997 RWA Conference | Where to look and what to consider when seeking a critiqueof your manuscript. | Critique Questionnaire, Twisted Sisters Online CritiquingRules, Critique Pointers For Hard-copy Critiques! | All Levels | Good/Worth It | |
| Critiquing | Making The Most Of Your Critique Group | Mary Chase Comstock | 1996 ECWC | How to critique in a manner that is not only helpful butkind. | Beginner | Interesting | ||
| Critiquing | Productive Critique Groups | Vicki Thompson, Constance O'Day Flannery, Nancy Knight | 1987 RWA Conference | Tips on organizing and maintaining a critique group. | All Levels | Good/Worth It | ||
| Critiquing | Uses & Abuses In Critiquing | Sandy Chvostal | Undated OCC | The elements of being a good critiquer and a goodcritique. | All Levels | Good/Worth It | ||
| Dialogue | Dialogue as aTool in Romance | Jeffries | 2001 RWAConference | Unreviewed | To BeDetermined | Not Rated | ||
| Dialogue | He Said, SheSaid: Writing Dialogue That Sizzles | Jon Salem,Lisa Jackson, Karen Young | 2001 RWAConference | With examplesfrom their own books and screenplays, the panel shows how to bring yourcharacters to life and how to captivate your reader. | Beginner/Intermediate | Good/Worth It | ||
| Dialogue | Creating Dramatic Dialogue | Ann Chamberlin | 2000 RWA Conference | Key points to writing dialogue that ups the conflict anteand helps to move the plot along. | Beginner/Intermediate | Interesting | ||
| Dialogue | Dialogue Basics | Alicia Rasley | 1996 RWA Conference | Rambling discussion of the basic elements of gooddialogue. Most useful in its improvised demonstration and discussion ofhow basic personality traits affect speech patterns. | Beginner | Interesting | ||
| Dialogue | Look Who's Talking | Judith Duncan | 1993 Unknown | Basic, practical advice on how to write dialogue, and whatmistakes to avoid. | Begins abruptly; very short tape. | Beginner/Intermediate | Good/Worth It | |
| Dialogue | The Seven Virtues of Dialogue | Jean Rennick | 1996 RWA Conference | Types of dialogue and how, where, when to, and when not touse it to keep your reader hooked. | Intermediate | Good/Worth It | ||
| Electronic Publishing | Publishing in Cyberspace | Nancy Radke | 1998 ECWC | Good information about electronic publishing. What it is,how it works, how to submit, etc. Includes discussion about the variouse-publishers and electronic readers. | All Levels | Good/Worth It | ||
| Editors/Agents | First Sale: With an Agent orWithout | Moning | 2000 RWA Conference | Discussion of what anagent does and how an agent can help build an author's career. | Beginner/Intermediate | Interesting | ||
| Editors/Agents | Howto Manage Your Editor | KarenSolem | 1999RWA Conference | Discussionabout how to make the editor/author/agent relationship a good one.Includes practical advice about dealing with issues that may arise in anauthor's career. | Advanced/Published | Good/WorthIt | ||
| Editors/Agents | Agents--Howto Pick One & Why | KatherineGreyle, Pattie Steele-Perkins | 2001RWA Conference | Whyyou need an agent. Questions to ask when picking an agent. | ToBe Determined | NotRated | ||
| Editors/Agents | Accordingto the Editors: The Perfect Author | JenniferEnderlin, Brenda Chin | 2001RWA Conference | Apanel of editors describe what they look for in the perfect author. | ToBe Determined | NotRated | ||
| Editors/Agents | WhatCan an Agent Do For You | L.Diver, L. Kruger, D. Knight, E. Ellenberg, J Jackson | 2001RWA Conference | Apanel of agents explain what an agent can do for your career; how to findthe right agent for you. | ToBe Determined | NotRated | ||
| Editors/Agents | Agents | Libby Hall | 1994 Seattle Chapter | Discussion of the business aspects of working with agents. | Tape begins with a long session of chatter | Intermediate/Advanced | Good/Worth It | |
| Editors/Agents | Agents: Responding To Today's Market | Ethan Ellenberg, Natasha Kern, Karen Solem | 1996 RWA Conference | How writers and agents can cope with today's uncertainmarket. | Advanced/Published | Good/Worth It | ||
| Editors/Agents | Agents: What Can They Do For Me? | Anne Eames | 1997 RWA Conference | Tips on how to find/acquire an agent, when and how theycan help you, basic contract information, and a brief bit on terminatingan agent. | Agents: What Can/Should They Do For Me? | Beginner/Intermediate | Good/Worth It | |
| Editors/Agents | Agents: What They Can Do For You | Elizabeth Cavanaugh | 1996 ECWC | All the things an agent can do for writers, from helpingyou refine a book to offering advice on which career path to choose. | Beginner/Intermediate | Essential Information | ||
| Editors/Agents | An Inside Look At Agenting | Alice Orr, Linda Kruger, Ricia Mainhart, Kelly St. Clair | 1996 Beau Monde Conference | Orr asks and agents answer critical questions you shouldask when you hire an agent. | Intermediate/Advanced | Essential Information | ||
| Editors/Agents | Analyzing the Synopsis: Inside an Editor's Mind | Leslie Wainger | 2000 RWA Conference | Wainger reads and evaluates one page synopses, discussingwhat works and what doesn't | Intermediate/Advanced | Essential Information | ||
| Editors/Agents | Analyzing the Synopsis: Inside an Editor's Mind | Leslie Wainger | 1998 RWA Conference | Wainger reads and evaluates one page synopses, discussingwhat works and what doesn't | Intermediate/Advanced | Essential Information | ||
| Editors/Agents | Author Editor Relationships | Anne Stuart, Audrey Lafehr | 1994 RWA Conference | Various types of editors an author can encounter and tipson how to deal successfully with them. | Beginner/Intermediate | Good/Worth It | ||
| Editors/Agents | Author/Editor Relationship | Stef Ann Holm, Caroline Tolley | 1997 RWA Conference | Wide ranging Q & A session on working succesfully witheditors and publishing houses. | Intermediate/Advanced | Good/Worth It | ||
| Editors/Agents | Balancing The Triangle | Hilary Ross, Rob Cohen, Karen Harper | 1992 RWA Conference | Good discussion of how agents/editors/authors worktogether. Includes how to approach an agent and questions to ask. | All Unpublished | Good/Worth It | ||
| Editors/Agents | Everything You Didn't Know About Agents & Publishers,But Should | Evan Fogelman | 1995 ECWC | The nitty-gritty of how to successfully fit into thepublishing world as an author. | Some out-of-date info on trends, etc. | Advanced/Published | Good/Worth It | |
| Editors/gents | Getting Agented from the Inside Out | Alice Orr | 1998 ECWC | Good advice for the unpublished on finding an agent youwant to work with. | All Unpublished | Good/Worth It | ||
| Editors/Agents | Hook, Line & Clincher | Debra Robertson | 1998 ECWC | Hooking the editor with a book with "heart".Explores salable story premises and effective ways to attract an editor'sattention.. | All Levels | Essential Information | ||
| Editors/Agents | How To Approach An Editor Or Agent | Karen Rose Smith, Lucia Macro, Irene Goodman | 1994 RWA Conference | An editor, agent, and author talk about how to approachand work with an editor and agent. | Beginner/Intermediate | Essential Information | ||
| Editors/Agents | Inside an Editor's Mind: Analyzing Synopses | Leslie Wainger | 1999 RWA Conference | Wainger reads and evaluates one page synopses, discussingwhat works and what doesn't | Intermediate/Advanced | Essential Information | ||
| Editors/Agents | Literary Agent - Partner or Parasite? | Laura Blake Peterson | 1998 ECWC | A literary agent talks about the agent/author/editorrelationship. Why an author needs an agent. What to expect from an agent | All Levels | Essential Information | ||
| Editors/Agents | Manuscript: Brought vs. Rejected | Birgit Davis-Todd | 1998 ECWC | Birgit Davis-Todd lists the reasons why she buys orrejects a manuscript, including the importance of good characters,sufficient conflict, good pacing and rising action. | Beginner/Intermediate | Essential Information | ||
| Editors/Agents | On Agents & Other Details Of The Writing Life | Meg Ruley | 1996 ECWC | The ideal agent and what to consider when searching forand working with him/her. | Beginner/Intermediate | Good/Worth It | ||
| Editors/Agents | Putting Your Best Foot Forward | Denise Little | 1997 RWA Conference | What to do and what not to do when approaching an editoror agent. Little relates some wonderfully funny horror stories about whatwriters have done to her. | Beginner | Good/Worth It | ||
| Editors/Agents | The Agent/Author Relationship | Patti Steele-Perkins | 1994 Seattle Chapter | The elements of a good author/editor relationship.Steele-Perkins illustrates her points with interesting anecdotes. Q &A session has good information. | All Levels | Interesting | ||
| Editors/Agents | To Agent Or Not To Agent | Robin Lee Hatcher, Connie Laux, Rosalyn Alsobrook | 1996 RWA Conference | Excellent discussion on what an agent can do for you,severing the relationship, finding an agent. | To Agent Or Not To Agent, Finding The Right Agent | Beginner/Intermediate | Essential Information | |
| Editors/Agents | What Do We Get Paid For? | Pamela Ahearn, Alice Orr, Jean Price, Irene Goodman | 1997 RWA Conference | A look at what agents can/should do for you. | Beginner/Intermediate | Essential Information | ||
| Editors/Agents | Writing Basics: Agents: Who Needs Them? | Steven Axelrod | 1991 RWA Conference | Axelrod presents the benefits writers accrue from having agood agent. He also discusses when and why writers do not need an agent.Some insight into what Axelrod-the-agent likes and how he operates as anagent. The market information is obsolete. | All Unpublished | Essential Information | ||
| Editors/Agents | Writing Basics: Etiquette With Your Editor | Eileen Dreyer, Alison Hart, Lucia Macro | 1991 RWA Conference | Two writers and a editor discuss how to work successfullyand professionally with editors with emphasis on first sales. | Distracting chatter in the background, but does not override speakers. | All Unpublished | Essential Information | |
| Emotion | Once More With Feeling: Adding Emotion, Making a Sale | Virginia Kantra | 2002 RWA Conference | Practical strategies for writing to capture your reader's heart or catch an editor's eye | To Be Determined | Not Rated | ||
| Emotion | Emotional Intimacy in Men | Alan Chaput | 2002 RWA Conference | An exploration of the many dimensions of emotional intimacy present within all men | To Be Determined | Not Rated | ||
| Emotion | Climbing theSlippery Slope: Building the Emotional Black Moment, Tapes 1 & 2 | Debra Dixon | 2000 RWAConference | Containsechoes of Dixon's GMC book with emphasis on developing the story to buildto the big black moment. | Slightvariation of speed on a section of one of the tapes but you can still makemost of it out. | Beginner/Intermediate | Essential Information | |
| Emotion | Adding Emotion To Your Book | Megan Chance | 1994 ECWC | Technique of adding emotion through showing, not telling.Chance lists six ways to put emotion into writing. | Beginner | Essential Information | ||
| Emotion | Communicate Emotion | Charlotte Loeb | Undated OCC | Techniques for communicating emotion in your book. | Beginner | Interesting | ||
| Emotion | Make Them Laugh, Make Them Cry | Barbara Dawson Smith | 1997 RWA Conference | How to create emotions that hook the reader and hold heruntil she reaches "the end." | Make Them Laugh, Make Them Cry | Beginner/Intermediate | Essential Information | |
| Emotion | Read Me & Weep: How To Tug On Readers' Emotions | Sharon Sala aka Dinah McCall | 1996 RWA Conference | Sala discusses the importance of emotion to romance andhow she uses it. Unfortunately, her tips are not well delineated andfollow an inspirational lecture that has nothing to do with her topic. | Read Me And Weep | Beginner | Interesting | |
| Emotion | Writing Basics: Emotion | Mary Anne Wilson, Linda Randall Wisdom | 1991 RWA Conference | Tips on incorporating emotion in your book. | Beginner | Essential Information | ||
| Ethnic Romance | Merging The Ethnic Romance With Traditional Lines | Shirley Hailstock | 1996 ECWC | Advice on melding ethnic romance with traditional lines.Good Q&A. | Beginner | Interesting | ||
| FF&P\Time Travel | Elements of a Legend | Pam Binder | 2002 RWAConference | Interactive workshop to create your own legend | To Be Determined | Not Rated | ||
| FF&P\Time Travel | Balancing Fantasy With Romance | Jane Toombs | 1997 RWA Conference | Tips on writing and marketing fantasy/paranormal romance. | All Unpublished | Interesting | ||
| FF&P\Time Travel | Balancing Paranormal Elements With The Romance | Laura Hayden | 1996 RWA Conference | What paranormal elements are currently marketable and theimportance of intertwining those elements with the romance. | Beginner | Interesting | ||
| FF&P\Time Travel | Pitching The Paranormal Romance | Margaret Benson, aka Maggie Shayne | 1997 RWA Conference | Market, story, synopsis and query elements critical to asellable paranormal. | Intermediate/Advanced | Good/Worth It | ||
| FF&P\Time Travel | Plotting Paranormal Books | Anne Stuart | 1994 GSRWA | Elements of and rules governing a good paranoramal plot. | Beginner/Intermediate | Good/Worth It | ||
| FF&P\Time Travel | Science Fiction, Fantasy, And Time Travel Romance | Carole Nelson Douglas, Jayne Ann Krentz, Constance O'DayFlannery, Diane Cary | 1987 ECWC | Excellent tips on writing P/TT/F unfortunatelyinterspersed with now out-dated marketing issues. | Tape ends abruptly. | Beginner/Intermediate | Good/Worth It | |
| FF&P\Time Travel | Suspending Disbelief In Time Travel And Paranormal Plots | Amy Tucker | 1996 ECWC | Rules for creating believable P/TT/F stories. | Beginner | Good/Worth It | ||
| FF&P\Time Travel | Suspending Disbelief Through Character Motivation InParanormal Romance | Lynn Michaels | 1996 RWA Conference | Tips on creating credible, believable, exciting P/TT/Fbooks interspearsed with interesting scenes that illustrate Michaels'tips. | Beginner/Intermediate | Interesting | ||
| FF&P\Time Travel | The Secret of Writing Occult Romance | Patricia Simpson | 1992 ECWC | Elements for a unique paranormal as well as discussion ofthe dark hero. | Beginner/Intermediate | Essential Information | ||
| FF&P\Time Travel | The Witching Hour | Gia Raterman | 1994 RWA Conference | All about the practice of Wicca, a white form ofwitchcraft. | All Levels | Good/Worth It | ||
| FF&P\Time Travel | Time Travel | Diana Gabaldon | 1994 RWA Conference | Issues to consider when writing a time travel, e.g.,political correctness, historical culture, the effect of a time traveleron history, and adapting historical facts to fit a story. | Beginner/Intermediate | Interesting | ||
| FF&P\Time Travel | Time Travel Paradox | Coral Smith Saxe | 1997 RWA Conference | The philosophical and physical paradoxes of time travelnovels; e.g., "how can I be alive if I've yet to be born," theimpact of the time traveler on historical people and events, the technicalelements of time travel. | Intermediate/Advanced | Essential Information | ||
| FF&P\Time Travel | Using Folktales In The Supernatural | Nancy Gideon | 1994 RWA Conference | The history and types of superstitions and ways toincorporate them in romance. | All Levels | Interesting | ||
| FF&P\Time Travel | We're Not In Kansas Anymore: Futuristic, Fantasy, &The Supernatural In | Coral Smith Saxe, Kathleen Morgan | 1993 RWA Conference | Types of futuristics, dos and don'ts of writing them, thepossibilities of fantasy and the limitations that will spice up yourconflict. | All Levels | Interesting | ||
| FF&P\Time Travel | What Makes A Good Paranormal | Maggie Shayne, Leslie Wainger | 1994 RWA Conference | The important elements and the dos and don'ts of writingfantasy/futuristics. | Beginner/Intermediate | Good/Worth It | ||
| FF&P\Time Travel | World Building: Researching Futuristics | Nancy Cane | 1997 RWA Conference | How to build realistic settings for futuristics fromcollecting ideas through creating the details to finding appropriateresources for technical information. | Includes a discussion of the currently dismal market forfuturistics and the difficulty of switching from futuristic romance intothe science fiction/fantasy genre. | Writing The Futuristic Romance: World Building | All Levels | Essential Information |
| General Writing Technique | Bounce! Ten Tricks That Help When Your Book Falls Apart | Annette Broadrick & Ann Major | 2002 RWA Conference | What to do when your book stops working. How to breathe life back into your story. | To Be Determined | Not Rated | ||
| General Writing Technique | What RomanceWriters Can Learn From the Fantasy Genre | Ann Chamberlin | 2001 RWA Conference | How fantasygenre concepts of world building, resonance and the quest to enlivenromance storytelling. | To BeDetermined | Not Rated | ||
| General Writing Technique | Suspension ofDisbelief | Laura Baker | 2001 RWA Conference | Goodinformation on plot, character, theme, etc; tips and techniques to getyour reader to believe in your story world and become emotionally engaged. | Beginner/Intermediate | Good/Worth It | ||
| General Writing Technique | From Start toSuccess: Ten Secrets of Dynamic Writing | Sheila Viehl,Marilyn Jordan | 2001 RWA Conference | Methods torevitalize yourself and make your writing more enjoyable and satisfying. | To BeDetermined | Not Rated | ||
| General Writing Technique | Writing theBreakout Novel | Donald Maass | 2001 RWA Conference | How to improvethe scale of your storytelling; techniques to enlarge your writing andraise the stakes in your story. | All Levels | Good/Worth It | ||
| General Writing Technique | Book in a Week: Rediscovering Our Passion for Writing | April Kihlstrom | 2000 RWA Conference | Need a kick-start to finish your rough draft? The speakerexplains what the "book in a week" writing method/challenge isall about. | All Levels | Good/Worth It | ||
| General Writing Technique | When to Show, When to Tell, and What's the Difference | Anne Frazier Walradt | 2000 RWA Conference | A writing instructor explains the importance of lettingthe scene be seen by using value-revealing detail. Good information andexamples. | Beginner/Intermediate | Essential Information | ||
| General Writing Techniques | A Sense of Place: The Relationship Between Setting andStory | Lisa Hendrix | 1999 ECWC | How to use the selection and portrayal of setting tofurther your plot, and add layers to your story and characters. | Note - there are some sound quality problems and somesilences on the tape, but it's still worth a listen. | Intermediate/Advanced | Essential Information | |
| General Writing Techniques | Active Vs. Passive Scene Writing | Jimmie Morel, Margaret Watson | 1992 RWA Conference | How to turn your writing into strong, active, elegantprose. | Beginner | Good/Worth It | ||
| General Writing Techniques | Before Page One | Jolie Kramer | 1994 RWA Conference | Prewriting things to do to help make the writing processeasier. | Intermediate/Advanced | Good/Worth It | ||
| General Writing Techniques | Before The Sale | Thea Devine | 1996 RWA Conference | Common flaws to eliminate from your manuscript. | Before The Sale...Why Your Manuscript Gets Rejected | Beginner/Intermediate | Good/Worth It | |
| General Writing Techniques | Changing Gears | Nora Roberts | 1992 RWA Conference | Using mood, tone, and atmosphere to set the genre, i.e.horror, mystery, romance. | Advanced/Published | Interesting | ||
| General Writing Techniques | Characterization Using Acting Techniques | Sherry Roseberry | 1994 ECWC | Using drama techniques, such as beats, to build a betterbook. | Beginner/Intermediate | Interesting | ||
| General Writing Techniques | Choosing The Right Structure For Your Novel | Penny Richards | 1996 RWA Conference | A look at the required ingredients of various types ofnovels and techniques for switching from one to another, e.g. find &stop, montage, odessey, dynasty, & family. | Choosing The Right Structure For Your Novel | Advanced/Published | Good/Worth It | |
| General Writing Techniques | Enriching/Fleshing Out Your Story, Parts 1 and 2 | Rita Clay Estrada | 1999 ECWC | Improving your story to draw your readers further intoyour novel. | Beginner/Intermediate | Essential Information | ||
| General Writing Techniques | Hands On: Characterization & Conflict-Putting It AllTogether | Judy DiCanio, Lisa Hollis McCulley | 1997 RWA Conference | A method of developing characters and plotting a story. | Intermediate | Good/Worth It | ||
| General Writing Techniques | How Does His Hand Get From Here To There | Nina Gettler | 1996 RWA Conference | How, when and where to use body language in your writing. | Beginner | Interesting | ||
| General Writing Techniques | How To Make A Book Work | Denise Little | 1994 GSRWA | A discussion of the ingredients and techniques critical tomaking your book work. | Beginner/Intermediate | Interesting | ||
| General Writing Techniques | How To Write Non-Verbal Communication | Holly Newman | 1992 RWA Conference | How to use non-verbal communication (body movements,gestures, facial espressions) to reveal character and to manipulateviewpoint and character attraction. | Beginner/Intermediate | Interesting | ||
| General Writing Techniques | Invisible Writing | Rita Rainville | 1996 RWA Conference | Avoiding author intrusion, effective transitions, handlingflashback, layering scenes. | Author Intrusion And/Or Tell Vs. Show | Intermediate/Advanced | Good/Worth It | |
| General Writing Techniques | Leading The Reader On: Cues, Clues & Foreshadowing | Merline Lovelace | 1996 RWA Conference | Techniques to use and avoid in order to increasetension/suspense in your book. | Beginner/Intermediate | Good/Worth It | ||
| General Writing Techniques | Making Setting Work | Suzanne Fox, Birgit Davis-Todd | 1997 RWA Conference | Using setting to add breadth and depth to your characters,conflict and plot. | Intermediate | Good/Worth It | ||
| General Writing Techniques | Making Your Story Come Alive | Jennifer Enderlin | 1995 ECWC | The critical elements of a selling book: voice, character,concept, openings, conflict. | Beginner/Intermediate | Good/Worth It | ||
| General Writing Techniques | Mixing Genres | Meg Chittenden | 1997 RWA Conference | Tips on adding different genre elements into a singlestory. | Layering | All Levels | Interesting | |
| General Writing Techniques | Narrative Writing: Show, Don't Tell | Anne Peters | 1993 GSRWA | Good introduction to "showing" narrativeelements of your novel. | Beginner | Good/Worth It | ||
| General Writing Techniques | Nitty Gritty | Sally Hawks | 1992 RWA Conference | The important ingredients for getting your book published. | Beginner | Interesting | ||
| General Writing Techniques | Pivotal Scenes & The Dark Moment | Justine Dare Davis | 1996 ECWC | The elements of pivotal scenes and their best placement ina romance. | The Q&A section is missing; tape ends on side one.Unfortunately, Davis tends to swallow her words; reviewer found she couldcatch most of them by cranking up the volume. | Beginner/Intermediate | Good/Worth It | |
| General Writing Techniques | Planning Ahead: How To Write A Series | Peg Sutherland, Leigh Greenwood | 1996 RWA Conference | A checklist of things to consider while planning for aseries of any kind. | Beginner/Intermediate | Interesting | ||
| General Writing Techniques | Power Up Your Story, Tapes 1 & 2 | Lynn Kerstan, Alicia Rasley | 1999 RWA Conference | Information/advice about writing techniques to make yourbook more powerful -- covers goal, motivation, backstory, etc. | Intermediate | Essential Information | ||
| General Writing Techniques | Pushing The Button | Laura Kinsale | Unknown | The importance of saying what you mean and meaning whatyou say to control the reader's experience and techniques to do this. | The information in this tape is dense. | Advanced/Published | Good/Worth It | |
| General Writing Techniques | Setting As Character | Karyn Wittmer-Gow, Karen Harper | 1997 RWA Conference | Eleven tips on using setting to create a stronger story. | Intermediate/Advanced | Good/Worth It | ||
| General Writing Techniques | Show, Don't Tell | Barbara Dawson Smith | 1996 RWA Conference | Using specific details, the five senses, and action words(rather than passive words and construction) in your novel. | Seeing Is Believing | Beginner/Intermediate | Good/Worth It | |
| General Writing Techniques | Show, Don't Tell | Nina Beaumont | 1999 ECWC | Tips and interactive exercises to not only give yourreader a visual, but elicit a much stronger emotional response. | BeginnerIntermediate | Essential Information | ||
| General Writing Techniques | Show, Don't Tell | Christina Dair, Lou Kaker | Undated OCC | The difference between the techniques of"showing" vs. "telling." | Beginner | Essential Information | ||
| General Writing Techniques | Smoothing Out Your Narrative Style | Karen Leabo, Karen Morrell | 1994 RWA Conference | Effective transistions, point of view changes, and findingand eliminating basic flaws such as redundancies, anachronisms, faultylogic and wandering body parts. | Side two has a gap in the recording. | Beginner | Good/Worth It | |
| General Writing Techniques | Super Similes, Marvelous Metaphors | Anne Walradt | 1994 RWA Conference | Tips on constructing and using smilies and metaphors.Multiple examples. | Tape continues running through the hands-on exercises; notalking heard. | All Levels | Good/Worth It | |
| General Writing Techniques | Ten Foolproof Ways to Polish Your Manuscripts | Alicia Rasley, Lynn Kerstan | 1998 RWA Conference | Points to help you perfect your manuscript | Intermediate | Good/Worth It | ||
| General Writing Techniques | Texturing Your Novel | Kristin Hannah | 1996 RWA Conference | Adding the five senses and other dimensions to your novel. | Beginner/Intermediate | Good/Worth It | ||
| General Writing Techniques | The 9 Essential Ingredients Of A Best Selling Novel | Bryce Courtenay | 1997 Maui Writers Conference | The essential ingredients of a blockbuster novel. | Advanced/Published | Interesting | ||
| General Writing Techniques | The Romance Of Action Scenes | Susan Wiggs | 1996 RWA Conference | Construction of actions scenes, including the two mostcritical questions about an action scene: Is this an irreversable event?and How does it change the course of events in the story? | The Romance Of Action Scenes | Beginner/Intermediate | Essential Information | |
| General Writing Techniques | The Secret Of A Scintillating Book | Jennifer Enderlin | 1997 RWA Conference | The seven secrets of writing a scintillating romance. | Intermediate/Advanced | Essential Information | ||
| General Writing Techniques | The Top Ten Tools in A Writer's Toolbox | Laura Baker | 1998 RWA Conference | From planning your story, writing it, and selling it, whatyou need to know, plus the keys to building a career. | Beginner/Intermediate | Good/Worth It | ||
| General Writing Techniques | Turning Real Life Experiences Into Fact Or Fiction | Meg Chittenden, Jean Marie Lament | 1992 RWA Conference | Tips on incorporating real life experiences into yourwriting. | Beginner | Interesting | ||
| General Writing Techniques | Using Settings And Description To Enhance Characters | Catherine Davenport, Evelyn Rogers, Andrea Parnell,Barbara Hatton Craven | 1988 RWA Conference | How to use details and/or descriptive phrases/words toset/enhance tone, settings, and character in your novel without boringyour reader. | Beginner/Intermediate | Good/Worth It | ||
| General Writing Techniques | Using Your Own Past In Fiction | Mary Chase Comstock | 1996 ECWC | Ideas for using past experiences with strong emotionalcontent to bring intensity to the emotional content of your book. | Intermediate | Interesting | ||
| General Writing Techniques | Writer's Journey: Mythic Structures Screenwriting | Christopher Vogler | 1997 Maui Writers Conference | Excellent review/summary of the information in ChrisVogler's The Writer's Journey. | Advanced/Published | Essential Information | ||
| General Writing Techniques | Writing From The Male Perspective | Pat Wynn | 1996 RWA Conference | Using the general male traits to create and presentauthentic male characters. | All Levels | Essential Information | ||
| General Writing Techniques | Writing In A Collaborative Series | Marcia Zinberg, Penny Richards, Sandy Steen | 1993 RWA Conference | How to write in a collaborative series where writers penbooks in a designated setting and with characters suggested by theoriginator of the series, usually a publisher. | All Levels | Interesting | ||
| General Writing Tecniques | The Last Technique I Learned Before Selling: Scene &Sequel | Anne Eames | 1996 RWA Conference | A detailed discussion of building a story using DwightSwain's scene & sequel technique. | Intermediate/Advanced | Good/Worth It | ||
| Historicals | ATouch Of Class | JoanWolf, Edith Layton, Barbara Hazard | 1989RWA Conference | Thoughtprovoking discussions on the difference between straight historical andhistorical romance, the importance of creating characters true to theirtimes, and sex in the historical romance. | Intermediate/Advanced | EssentialInformation | ||
| Historicals | FromResearch To Story Line | ElizabethKary | UndatedOCC | Howto use research to create a strong historical. Includes a list of lesscommon resources. Tape ends abruptly. | AllLevels | EssentialInformation | ||
| Historicals | GettingTo Know You | PatPotter, Karen Harper | 1994RWA Conference | Creatingstrong, believable historical heroes & heroines. | There'san abrupt, mid-sentence silent spot on side 2. Q & A session is afterthat. | Beginner/Intermediate | Good/WorthIt | |
| Historicals | Historical/Regency:The Difference | MariaGreene, Garda Parker, Judith Stern | 1992RWA Conference | Ahistorical author, a Regency author, and an editor discuss historicals andRegencies. Particularly good description of what constitutes a Regencyromance. | Submissioninformation on the tape is outdated. | Beginner | Interesting | |
| Historicals | NewTrends in Historical Romance | CarolineTolley | 1999RWA Conference | Editorsdiscuss their lines and authors, what they are looking for, what readersseem to be looking for. | Advanced/Published | Good/WorthIt | ||
| Historicals | PlottingHistory | CijiWare | UndatedOCC | Writingand researching books using real people in history as major characters. | AllLevels | Interesting | ||
| Historicals | SoClose, But No Sale: Historical Submissions, Pt. 1 & 2 | AdriennedeWolfe | 1996RWA Conference | Thecommon flaws in submissions and suggestions on how to correct them. | WritingTo Catch An Editor's Eye | Beginner | Interesting | |
| Historicals | WhatMakes A Good Historical | StephanieKip | 1996ECWC | Theelements of a good historical. | Beginner/Intermediate | Good/WorthIt | ||
| Humor | So You Think You're Funny | Holly Jacobs, Kathryn Lye | 2002 RWAConference | Essential information for writing the romantic comedy -- especially for anyone targeting Duets. Discussion includes pacing, balancing the romance and the comedy, dialogue, etc. | Beginner/Intermediate | Essential Information | ||
| Humor | You Don't Have to be a Comedian | Jacquie d'Alessandro | 2002 RWAConference | Tips and techniques to incorporate humor into your writing | Beginner/Intermediate | Essential Information | ||
| Humor | Between TheLaugh Lines | Cheryl AnnePorter | 2001 RWAConference | Tips andtechniques for getting the people right in your book to fuel the humor. | All Levels | Good/Worth It | ||
| Humor | Adding Humor To Your Writing | Gina Wilkins | 1992 RWA Conference | Types of humor and how to use humor in your writing todraw out other emotions. | All Levels | Good/Worth It | ||
| Humor | Adding Humor To Your Writing | Noreen Brownlie | 1993 ECWC | The benefits and risks of adding humor to your writing. | All Levels | Good/Worth It | ||
| Humor | Dying's Easy, Comedy's Hard | Renee Roszel, Karen Wittenburg | 1997 RWA Conference | Techniques of writing humor. | Parts Of This Manuscript May Be Sung | All Levels | Essential Information | |
| Humor | Freudian Slips -- Understanding Humor Through Psychology | Tracy Mounts | 1998 ECWC | Exploration of humor; how women's humor is different frommen's humor; the various techniques that can be used to inject humor intobooks. | Beginner/Intermediate | Interesting | ||
| Humor | Humor - Poking the Embers | Nadine Miller | 1999 ECWC | Explores the various kinds of humor and how they canenhance even the darkest romance. Tips for writing successful humor inromance. | All Levels | Essential Information | ||
| Humor | Humor in the Historical | Katie Rose | 2000 RWA Conference | Overview on writing humor; tips on developing the comedicconflict and pacing -- relevant for writing humor in any genre. | All Levels | Good/Worth It | ||
| Humor | Laugh All The Way To The Bank | Jill Barnett | 1996 RWA Conference | Tips on writing humor. | Distracting audience participation segment in the middle. | All Levels | Interesting | |
| Humor | Writing Comedy - Getting the Full Monty | Bonnie Tucker, Brenda Chin | 1999 RWA Conference | How humor works in both in drama and comedy, and devicesthat work to engage the audience. | Beginner/Intermediate | Good/Worth It | ||
| Inspiration | The Lies That Keep Us From Becoming Published | Debbie Macomber | 2002 RWAConference | Debbie dispels common myths that can hamstring an unpublished author and provides tools to help aspiring authors maximize their chances of success. | All Unpublished | Good/Worth It | ||
| Inspiration | Perspective,Passion & Persistence: The 3 P's of Success | ReneeHalverson, Jan Scarbrough | 2001 RWAConference | Good advice ondealing with fear and rejection. How to retain your motivation andperspective while dealing with rejection. | Intermediate | Good/Worth It | ||
| Inspiration | Do You ReallyWant to Get Published | GabriellaAnderson | 2001 RWAConference | Inspiringadvice for authors on the brink of publication. | To BeDetermined | Not Rated | ||
| Inspiration | Author's Roundtable | Darlene Layman, Angie Baer, Jackie Morel | 1988 RWA Conference | Sample rejection letters, good and bad; tips on settinggoals; creating an image of yourself as a professional writer. | All Unpublished | Good/Worth It | ||
| Inspiration | Battling The Demons | Mary Bracho | 1996 ECWC | The major common demons that plague even the mostsuccessful writers, such as envy, fear, procrastination and self-doubt. | All Levels | Interesting | ||
| Inspiration | Coping With Stress | Margaret Moore Wilkins | 1997 RWA Conference | Why writers feel stress and common sense ways to deal withit. | Coping With The Stress We Feel Because We're Writers | All Levels | Good/Worth It | |
| Inspiration | Depression And The Writer | Katherine Greyle | 1996 RWA Conference | What to do when depression keeps you from writing. | It's Not What You Write, But How You Write It | All Levels | Good/Worth It | |
| Inspiration | Get Thee To A Keyboard: Motivating Yourself To Write | Felicia Mason | 1997 RWA Conference | Setting goals, affirmations, and other ways to "getthee to a keyboard." | Get Thee To A Keyboard: Motivating Yourself To Write | All Levels | Good/Worth It | |
| Inspiration | Get Thee To A Keyboard: Motivating Yourself To Write, Pts.1 & 2 | Tara Taylor Quinn, Felicia Mason, Sharon Sala | 1996 RWA Conference | Tips to keep yourself writing even when it seemsimpossible. | Get Thee To A Keyboard: Motivating Yourself To Write | All Levels | Interesting | |
| Inspiration | Getting Serious About Staying Published | Erica Spindler, Celeste Hamilton | 1997 RWA Conference | Ways to maintain a healthy, positive attitude about yourcareer through the ups and downs of a depressed market. | No More Mickey Mousing Around | All Published | Interesting | |
| Inspiration | How To Be An Overnight Success In Just Seven Years | Janis Reams Hudson | 1993 RWA Conference | On the value of doing what writers do - write. | Beginner/Intermediate | Good/Worth It | ||
| Inspiration | How To Keep Writing When The Writing Gets Tough | Debbie Macomber | 1993 GSRWA | Nine tips to keep you striving toward your goal. | Begins abruptly. | All Levels | Good/Worth It | |
| Inspiration | How To Keep Your Spirits Up | Terri Valentine | 1993 RWA Conference | Inspiring and practical advice on how to keep writing, nomatter what happens in your personal life. | All Levels | Good/Worth It | ||
| Inspiration | Muse On The Run | Terry Sprenger | 1996 RWA Conference | Right brain/left brain exercises to stimulate creativity. | You will need the handouts. | Ten Minute Magic | All Levels | Interesting |
| Inspiration | Riding The Roller Coaster: Coping With The Ups And DownsOf Your Career | Carla Cassidy, Alfie Thompson, Robin Lee, Ann Wiete | 1993 RWA Conference | How professional behavior can help you deal with jealousy,rejection, and the other bad moments in your career. | Advanced/Published | Interesting | ||
| Inspiration | Room At The Top | Rita Rainville, Kathleen Eagle, Jan Millela, BarbaraDelinsky | 1988 RWA Conference | Tips on coping with the changes in your writing career. | All Levels | Good/Worth It | ||
| Inspiration | Seven Ways To Train Your Muse | Marshall Cook | 1986 RWA Conference | Coping with writer's block and disciplining yourself towrite even when your muse says no. | All Levels | Good/Worth It | ||
| Inspiration | Staying Alive In Shark-Infested Waters | Glenda Saunders | 1997 RWA Conference | Dealing with the blips in a writing career, from theirritating to the devastating. | A Writer's Pragmatic Guide To Decision Making | All Published | Good/Worth It | |
| Inspiration | Surviving the Rough Times | Sheila Rabe | 1998 ECWC | How to keep going between sales, survive rejections etc.Rabe describes her experiences and offers advice and encouragement. | Most of the audience participation is not audible | All Levels | Interesting | |
| Inspiration | The Shortest Distance Between You And A Published Book | Susan Page | 1997 RWA Conference | Dealing with envy, procrastination and writer's block, thevalue of acquiring an agent and tips on acquiring one. | All Levels | Good/Worth It | ||
| Inspiration | The Ten Most Important Things A Writer Can Do | Terry Brooks | 1997 Maui Writers Conference | Ten tips for becoming or remaining a successful writer,e.g. the value of outlining and how to deal with writer's block. | All Levels | Good/Worth It | ||
| Inspiration | Time After Time | Allison Hart, Sandra Brown, JoAnn Ross, Georgia Bachoven | 1988 RWA Conference | How to keep going and growing as a writer when the wellthreatens to go dry after your tenth, fifteenth, or even twentieth book. | All Published | Good/Worth It | ||
| Inspiration | Why I Write Those Silly Little Books | Barbara Bretton, Renee Rozel | 1993 RWA Conference | If you're depressed, if you are wondering why you eventry, listen to this tape and you will know. | All Levels | Good/Worth It | ||
| Inspiration | Why Writers Write | Ann Maxwell | 1992 ECWC | A humorous look at the reality of a writer's life. | All Levels | Good/Worth It | ||
| Inspiration | Writing More And Enjoying It Less | Barbara Bretton, Sandra Martin, Dallas Schulz, IreneGoodman | 1992 RWA Conference | Recognizing and dealing with burn out. | All Published | Good/Worth It | ||
| Inspiration | Writing Through The Fear | Chrystal Duvall | 1997 RWA Conference | Ten tools to help you keep writing when you feeldiscouraged or afraid. | Writing Through The Fear Workshop (bibliography) | All Levels | Good/Worth It | |
| Issues | Avoiding Character Stereotypes | Karen Young | 1996 RWA Conference | Thought provoking discussion (with audience p |