KILLER INSTINCTS -- 2008 March

Cheryl: Is there anything you'd like to add to the above course description?

Margie: Such a simple question – and I have a gazillion responses.

I load my courses with fresh content – tons of content – information that writers need that is not available elsewhere. The list in the course description shares the topics, and each topic is packed with meat. I also include passages from authors, debut to award-winning, to show examples of things like how to write the full range of nonverbal communication, how to write fresh facial expressions, how to amplify a smile in ten ways, how to write para-language (vocal cues) in fresh ways and not fall into predictable patterns.

I have fun when I teach on-line. Everyone's learning new material, doing assignments, getting feedback from me – and we turn it into a good time.

Cheryl: How will multi-published authors benefit from taking your course?

Margie: I've analyzed over a thousand books. Dissected them. Scrutinized passages that worked and passages that didn't work. I analyzed body language and developed ways to teach writers how to effectively capture it on the page. I used my psychological expertise to figure out how writers can speak to the reader's unconscious, to write emotion and build tension to hook the reader viscerally.

From my research, I developed editing tools that all writers can use to add psychological power. I created an EDITS System, created Four Levels of Powering Up Emotion, created dozens of deep editing tips. Whether a new writer, newly published, multi-published, or award-winning author – all writers can improve their writing craft with these psychological techniques, add deep editing tools to their toolbox, and take their writing to a higher level.

Cheryl: Have you given a course like this before and learned of the success of one of the people who took it?

Margie: Yes! I frequently hear from graduates from my editing courses that they've finaled in contests, or better yet, gotten a contract, after applying what they learned to their manuscript. I'm thrilled for them! It's important to note that my editing techniques keep a writer's voice and style intact. I teach writers how to take what they have and make it better. I teach them how to edit what's on the page, and see what's missing. How to make their writing resonate with the reader, just like their favorite author's writing resonates with them. I can look at passages, dissect them, and show writers what the author did that made that passage stellar. I can teach writers how to create their own passages that are stellar.

I heard from one person today who credited my editing material with having a full manuscript requested by her dream agent. The same agent who previously rejected several partials from her. The agent told her: "This one hooked me. It's the writing. It really flows."

Ah – words that make your heart dance.

Cheryl: How does your course differ from other courses like this that might be available?

Margie:You probably have the idea by now that my editing courses are different than editing courses taught by others. I'm not teaching about adverbs or passive voice. I go deeper. I teach psychologically based deep editing. It's material I developed.

My courses are also different because they are structured like graduate level courses. I taught graduate courses to doctoral psychology students for six years. Both of my editing courses -- Empowering Characters' Emotions, and Deep Editing: The EDITS System, Rhetorical Devices, and More – are as organized and as content-loaded as any graduate course. They each have over 250 pages of lectures. They have assignments. The only difference between the graduate level courses and my editing courses is the assignments are optional, and there are no tests.

Hmm -- unless you consider the test -- improving your writing to the point that you final in contests, or get a contract, or get a better contract, or get on the New York Times Bestseller List. Since my courses are heavy on new content, a significant percentage of writers retake my courses. When any of us learn new material, the first time through, we can only absorb maybe 60% of it. Only retain 20%. I think of it like this: when writers take my courses for the first time, they are busy building shelves in their minds for this new material. They are able to put some information on those shelves. The second time taking the course, the shelves are ready. Writers are able to load the shelves with the material, assimilate it, and learn to apply it to their writing. I love teaching writers. Love watching them learn. Love watching them succeed.

Cheryl: What do you hope students will take away from your course?

Margie: I hope they take new skills -- as well as a renewed passion to apply these new deep editing skills. Passion drives learning. And learning drives passion. In my courses I light fires under learning and passion.

Cheryl: Stepping away from the course now, tell us a little about yourself. What kind of suspense do you like to read?

Margie: Fun question! Like most readers and writers, I love reading any books that fully draw me into a fictional world written so well, that I don't want to leave. I read some literary, some historicals, some women's fiction, some biographies, some romances, some fantasy, some mysteries, some romantic suspenses, some paranormal, and as many truly outstanding suspense and thriller novels as I can find. I write psychological suspense. Like most writers, I don't have time in my life to sit and read. That doesn't happen unless I'm pedaling an exercise bike while I'm reading. I am an avid audiobook reader/listener. I listen to at least two audiobooks a week on my daily commute. Librarians know my name. Know my favorite authors. Know I'm always on their lists for new releases.

Thank you for creating interesting questions for me. I'm looking forward to teaching for COFFIN again. I've got my matches ready. On March 1st, I'll be lighting fires under learning and passion.

Thank you, Margie!

Cheryl Wyatt

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