Riley Adams's Blog, page 165
November 8, 2012
Writing in the Coffee Shop
by Elizabeth S. Craig, @elizabethscraig
Writing at home is difficult sometimes.
I do much of my writing at home, most of it before 5:30 a.m. But I’ve been trying to write a little extra each day for the past week or so (inspired by the intrepid NaNoWriMoers).
The problem is that my house can become pretty distracting during the day—likely one reason why I write so early in the morning. The week before the election was especially annoying with the automated phone calls. Then there’s the dryer buzzer, the cat who likes to sit on my keyboard, the housework that needs to be done…
So Wednesday, after dropping off a carpool at the middle school, I set off for the coffee shop. The library was still closed and I needed extra coffee anyway.
I haven’t been in Starbucks for a while, and felt that I’d accidentally stepped into another dimension. It seemed to be populated by young women named Dakota and striking men wearing sunglasses indoors. Unfortunately, I was wearing carpool couture and putting on makeup hadn’t crossed my mind. I just ordered my small coffee, dark roast (they managed to translate that order into Starbuck language) and settled down at a small table with my story.
I didn’t have my laptop with me so I pulled out a battered composition notebook that still had Math and my daughter’s name written on it (and many perfectly-good blank pages in it.)
And I wrote a good 1000 words there in about 30 minutes.
There are definitely different types of coffeehouse visits. To me, they fall in two groups—the visits where the writer is looking for characters and inspiration, and the visits where the writer needs to get some writing done, stat.
I used to fall more in the prior camp, but lately, the only times I find myself at the coffee shop is when I’m frantically trying to meet a deadline or two.
What helps if you’re trying to get work done at coffee shops:
Notebook—I do prefer to write in a notebook when I’m writing away from home. It’s just easier to manage and I don’t worry about sloshing coffee on my computer. And I don’t feel particularly conspicuous.
Several pencils—I haven’t gotten to the point where I want to write in pen.
Music and headphones—I’d forgotten how loud the coffee shop could be. Fortunately, I had earbuds in my pocketbook…and my phone, which has Pandora on it. I have a station for New Age music and I plugged into it. (Might want to make sure your data plan supports music streaming if you do this through your phone. But Pandora has saved me several times when I was writing in the carpool line and someone was having a noisy cellphone conversation in the next car.)
Having your manuscript or outline on the cloud—I’ve found it handy to be able to refer to my story or an outline when I’m away from home. You can upload your manuscript/outline to a place like Google Docs where you can access it from anywhere, using your laptop or smart phone. (It’s free…you only need a gmail address to use it.) Or you can access story planning software on your phone/laptop…like Mike Fleming’s Hiveword.
The rules I follow for writing in a coffee shop:
Watch the time—I try to make sure I’m not monopolizing a table for too long, unless the place is totally dead. This also has the benefit of providing me with a deadline of sorts and I write quicker.
Put my back to the room—If I’m doing deadline-writing and not finding-characters-writing, then I sit where I can’t see people and just focus on my notebook.
Purchase regularly—If the coffee shop is very quiet and I stay a little longer…I make sure I keep buying things so I don’t wear out my welcome. A coffee here, a pastry here.
Avoid connecting to the internet or using your smart phone…except when referring to your manuscript or outline on the cloud—I’m trying to avoid distractions by writing in a coffeehouse. And the internet is the biggest distraction of all.
Other posts on the topic:
Coffee Shop Etiquette by Bluestocking on the Bluestocking Blog.
10 Reasons Why Working at the Library is Better than the Coffee Shop—by April Borbon on Freelance Switch
That Jerk? C'est Moi –Malcolm Gladwell for Wall Street Journal
There are other places where I’ll write…the library, the diner, the park. Leaving home can definitely help me hit a word count goal.
Do you ever have to escape your house to be able to write? Where do you go?
Writing at home is difficult sometimes.I do much of my writing at home, most of it before 5:30 a.m. But I’ve been trying to write a little extra each day for the past week or so (inspired by the intrepid NaNoWriMoers).
The problem is that my house can become pretty distracting during the day—likely one reason why I write so early in the morning. The week before the election was especially annoying with the automated phone calls. Then there’s the dryer buzzer, the cat who likes to sit on my keyboard, the housework that needs to be done…
So Wednesday, after dropping off a carpool at the middle school, I set off for the coffee shop. The library was still closed and I needed extra coffee anyway.
I haven’t been in Starbucks for a while, and felt that I’d accidentally stepped into another dimension. It seemed to be populated by young women named Dakota and striking men wearing sunglasses indoors. Unfortunately, I was wearing carpool couture and putting on makeup hadn’t crossed my mind. I just ordered my small coffee, dark roast (they managed to translate that order into Starbuck language) and settled down at a small table with my story.
I didn’t have my laptop with me so I pulled out a battered composition notebook that still had Math and my daughter’s name written on it (and many perfectly-good blank pages in it.)
And I wrote a good 1000 words there in about 30 minutes.
There are definitely different types of coffeehouse visits. To me, they fall in two groups—the visits where the writer is looking for characters and inspiration, and the visits where the writer needs to get some writing done, stat.
I used to fall more in the prior camp, but lately, the only times I find myself at the coffee shop is when I’m frantically trying to meet a deadline or two.
What helps if you’re trying to get work done at coffee shops:
Notebook—I do prefer to write in a notebook when I’m writing away from home. It’s just easier to manage and I don’t worry about sloshing coffee on my computer. And I don’t feel particularly conspicuous.
Several pencils—I haven’t gotten to the point where I want to write in pen.
Music and headphones—I’d forgotten how loud the coffee shop could be. Fortunately, I had earbuds in my pocketbook…and my phone, which has Pandora on it. I have a station for New Age music and I plugged into it. (Might want to make sure your data plan supports music streaming if you do this through your phone. But Pandora has saved me several times when I was writing in the carpool line and someone was having a noisy cellphone conversation in the next car.)
Having your manuscript or outline on the cloud—I’ve found it handy to be able to refer to my story or an outline when I’m away from home. You can upload your manuscript/outline to a place like Google Docs where you can access it from anywhere, using your laptop or smart phone. (It’s free…you only need a gmail address to use it.) Or you can access story planning software on your phone/laptop…like Mike Fleming’s Hiveword.
The rules I follow for writing in a coffee shop:
Watch the time—I try to make sure I’m not monopolizing a table for too long, unless the place is totally dead. This also has the benefit of providing me with a deadline of sorts and I write quicker.
Put my back to the room—If I’m doing deadline-writing and not finding-characters-writing, then I sit where I can’t see people and just focus on my notebook.
Purchase regularly—If the coffee shop is very quiet and I stay a little longer…I make sure I keep buying things so I don’t wear out my welcome. A coffee here, a pastry here.
Avoid connecting to the internet or using your smart phone…except when referring to your manuscript or outline on the cloud—I’m trying to avoid distractions by writing in a coffeehouse. And the internet is the biggest distraction of all.
Other posts on the topic:
Coffee Shop Etiquette by Bluestocking on the Bluestocking Blog.
10 Reasons Why Working at the Library is Better than the Coffee Shop—by April Borbon on Freelance Switch
That Jerk? C'est Moi –Malcolm Gladwell for Wall Street Journal
There are other places where I’ll write…the library, the diner, the park. Leaving home can definitely help me hit a word count goal.
Do you ever have to escape your house to be able to write? Where do you go?
November 7, 2012
Getting Stuck and Working Through It
by Elizabeth S. Craig, @elizabethscraig
Last week I was working on my current project. I felt good about it. I was definitely in the writing zone and everything was going well.
Then I got to page eighty and I stopped cold. Something wasn’t right with the book’s pace. I was advancing plot points too quickly and wasn’t nearly far enough along in the book for the second body to be discovered….but it had been.
I got that familiar chill of what the hell am I doing? that I get for every book. I'll get the feeling that I’ve massively messed up and don’t know what I’m going to do to get out of the mess.
Then I did what I always do. I wrote the next scene. Because I did know what I wanted to write next—the suspects being questioned after the second body is found. I kept right on going, ignoring the mess for now.
I’ve found, for me, that the only way to fix a problem is just to go on and finish the skeleton for the book.
Then I’ll go back and adjust. Pace is going too fast in the first half of the book? What am I missing? Oh. I didn’t really flesh out who these suspects are, did I? I’ll add it. And…oh, I wanted a particular subplot to give my protagonist more opportunities to grow in this book, didn’t I? I’ll add it.
We can’t get crippled when our manuscript fails to live up to our imagined masterpiece. Finish it, fix it. But finish it, first. Others will disagree here, which is fine. Whatever works—if it works better for you to edit as you go, do that.
For me, though, if I get stuck trying to fix an unfinished book, I end up tinkering with the thing so much that the story never moves forward. For me, the big picture of the book in its entirety is crucial when I’m figuring out where I went wrong and what needs to be fixed.
Writing out of order: If I’m stuck because I’m not exactly sure how to move forward with my story (which sometimes happens when I don’t outline…and I frequently don’t outline), then I’ll sometimes skip ahead and write a major scene or even the ending…just something that I already am planning on writing and know the outcome of. Once I wrote a book completely out of order. I can’t really recommend doing that. It was a mess to put together again and fix the transitions.
Writing ‘backwards’: I’ve also written half of a book from the end to the point where I got stuck. If you’re thinking about your story in terms of scenes, this is easy enough if you know your ending better than your midpoint.
And then there’s always the old standby…outlining. I’m not a fan, but I’ve made my peace with outlining since I have an editor who requires it. I make mine as general as possible and keep my plot flexible in case I need to make big adjustments. It helps if I don’t think of it as an outline—if I think of it as brainstorming a plan.
These are ideas for moving the plot forward when we’ve realized there’s a problem with our story and are getting bogged down with the problem. I’ve also written about other ways to keep moving ahead when we’ve gotten stuck. In that post I recommended writing in different locations, changing around our writing schedule, and making lists (among other things.)
How do you keep moving forward with your story?
Image—MorgueFile—ZeroSilence3
Last week I was working on my current project. I felt good about it. I was definitely in the writing zone and everything was going well.Then I got to page eighty and I stopped cold. Something wasn’t right with the book’s pace. I was advancing plot points too quickly and wasn’t nearly far enough along in the book for the second body to be discovered….but it had been.
I got that familiar chill of what the hell am I doing? that I get for every book. I'll get the feeling that I’ve massively messed up and don’t know what I’m going to do to get out of the mess.
Then I did what I always do. I wrote the next scene. Because I did know what I wanted to write next—the suspects being questioned after the second body is found. I kept right on going, ignoring the mess for now.
I’ve found, for me, that the only way to fix a problem is just to go on and finish the skeleton for the book.
Then I’ll go back and adjust. Pace is going too fast in the first half of the book? What am I missing? Oh. I didn’t really flesh out who these suspects are, did I? I’ll add it. And…oh, I wanted a particular subplot to give my protagonist more opportunities to grow in this book, didn’t I? I’ll add it.
We can’t get crippled when our manuscript fails to live up to our imagined masterpiece. Finish it, fix it. But finish it, first. Others will disagree here, which is fine. Whatever works—if it works better for you to edit as you go, do that.
For me, though, if I get stuck trying to fix an unfinished book, I end up tinkering with the thing so much that the story never moves forward. For me, the big picture of the book in its entirety is crucial when I’m figuring out where I went wrong and what needs to be fixed.
Writing out of order: If I’m stuck because I’m not exactly sure how to move forward with my story (which sometimes happens when I don’t outline…and I frequently don’t outline), then I’ll sometimes skip ahead and write a major scene or even the ending…just something that I already am planning on writing and know the outcome of. Once I wrote a book completely out of order. I can’t really recommend doing that. It was a mess to put together again and fix the transitions.
Writing ‘backwards’: I’ve also written half of a book from the end to the point where I got stuck. If you’re thinking about your story in terms of scenes, this is easy enough if you know your ending better than your midpoint.
And then there’s always the old standby…outlining. I’m not a fan, but I’ve made my peace with outlining since I have an editor who requires it. I make mine as general as possible and keep my plot flexible in case I need to make big adjustments. It helps if I don’t think of it as an outline—if I think of it as brainstorming a plan.
These are ideas for moving the plot forward when we’ve realized there’s a problem with our story and are getting bogged down with the problem. I’ve also written about other ways to keep moving ahead when we’ve gotten stuck. In that post I recommended writing in different locations, changing around our writing schedule, and making lists (among other things.)
How do you keep moving forward with your story?
Image—MorgueFile—ZeroSilence3
November 5, 2012
Adoption in Fiction, Part II--Guest Post by Laura Dennis
by Laura Dennis, @LauraDennisCA
Adoptees as ticking time bombs, “he’s
f---ed up because he’s adopted.” ... There’s
more to it than that!
In last Thursday’s guest post, I wrote about problems
inherent in using adoption as a literary device in fiction. Today I’ll offer
solutions for creating nuanced adopted characters and plotlines.
Before I get all writerly* and practical, it’s full-disclosure
time: I was adopted as an infant in a closed, private adoption.
Terminology
Within the adoption community, there’s ongoing
debate about nomenclature ... Who cares
more about words than writers?
There’s the issue of who’s the “real” parent—the
one who raised the child, or the one who birthed her?
Um ... Both are real, this isn’t the Easter Bunny we’re talking about! They both exist. Attempting to “give credit where
credit is due” overlooks the reality that a birth mother is a mother, just one who didn’t raise her baby.
There are alternative phrases such as first
and second parents, birth mom, biological mother and adoptive mom. Some adult
adoptees opt out and call everyone by their first names.
On the other end of the spectrum is a woman I
read about recently who got pregnant as a result of being raped. She refers to
herself as the “maternal source” for that particular relinquished child (with
whom she wants no contact). She calls herself “mom” for the rest of her kids. Go
figure.
With something as simple as terminology,
writers can add nuance to their characters’ personalities, address questions of
identity, and show change and growth.
Writer Stacy
Clafin says that in her
upcoming YA novel, Deception, the main
character, Alexis, begins her journey frustrated with her adoptive parents,
longing for her birth parents. But she learns that she wouldn't be the person
that she is without what each parent has given her.
As a way of
distinguishing, Clafin says, “Alexis calls her adoptive parents ‘mom and dad’
and her birth parents ‘mother and father.’”
Let’s get technical—literary
devices
Adoption can be used to great effect as a Chekhov's gun , in which a
seemingly insignificant aspect of a character's background becomes important
later on. In other words, the circumstances of the character’s adoption become
a plot twist, a "reveal."
But it’s important to not use adoption as a
cop-out. For example, blogger and adoption activist Amanda
Woolston takes issue with Christian, the adopted Fifty Shades of Grey character
Portraying
adoptees and fostered adults as psychotic, making the only representation of an
original mother as the stereotypical "crack wh*re" ... That's not all
that "gray" to me.
For people who have experienced the
life-altering complications of adoption, such simple explanations are dues ex machina , an unsatisfying
way of resolving a story’s conflict.
Truly, there are many interesting, creative
ways to write-in psychosis. Adoption doesn’t need to be the over-arching
explanation for a character’s mental issues. Have you ever written an adopted
character? What are your thoughts on adoption in fiction?
*
* * * *
Laura Dennis
was born and adopted in New Jersey, raised in Maryland. You can read more about
her adoption reunion and brief bout with insanity in Adopted Reality, A Memoir , now available in paperback and ebook.
November is NaBloPoMo, and we, the contributors at Lost Daughters,
are posting each day on a different adoption topic. It’s worth checking out.
* Yes, I know, writerly isn’t a word, but it
should be!
Adoptees as ticking time bombs, “he’s
f---ed up because he’s adopted.” ... There’s
more to it than that!
In last Thursday’s guest post, I wrote about problems
inherent in using adoption as a literary device in fiction. Today I’ll offer
solutions for creating nuanced adopted characters and plotlines.
Before I get all writerly* and practical, it’s full-disclosure
time: I was adopted as an infant in a closed, private adoption.
Terminology
Within the adoption community, there’s ongoing
debate about nomenclature ... Who cares
more about words than writers?
There’s the issue of who’s the “real” parent—the
one who raised the child, or the one who birthed her?
Um ... Both are real, this isn’t the Easter Bunny we’re talking about! They both exist. Attempting to “give credit where
credit is due” overlooks the reality that a birth mother is a mother, just one who didn’t raise her baby.
There are alternative phrases such as first
and second parents, birth mom, biological mother and adoptive mom. Some adult
adoptees opt out and call everyone by their first names.
On the other end of the spectrum is a woman I
read about recently who got pregnant as a result of being raped. She refers to
herself as the “maternal source” for that particular relinquished child (with
whom she wants no contact). She calls herself “mom” for the rest of her kids. Go
figure.
With something as simple as terminology,
writers can add nuance to their characters’ personalities, address questions of
identity, and show change and growth.
Writer Stacy
Clafin says that in her
upcoming YA novel, Deception, the main
character, Alexis, begins her journey frustrated with her adoptive parents,
longing for her birth parents. But she learns that she wouldn't be the person
that she is without what each parent has given her.
As a way of
distinguishing, Clafin says, “Alexis calls her adoptive parents ‘mom and dad’
and her birth parents ‘mother and father.’”
Let’s get technical—literary
devices
Adoption can be used to great effect as a Chekhov's gun , in which a
seemingly insignificant aspect of a character's background becomes important
later on. In other words, the circumstances of the character’s adoption become
a plot twist, a "reveal."
But it’s important to not use adoption as a
cop-out. For example, blogger and adoption activist Amanda
Woolston takes issue with Christian, the adopted Fifty Shades of Grey character
Portraying
adoptees and fostered adults as psychotic, making the only representation of an
original mother as the stereotypical "crack wh*re" ... That's not all
that "gray" to me.
For people who have experienced the
life-altering complications of adoption, such simple explanations are dues ex machina , an unsatisfying
way of resolving a story’s conflict.
Truly, there are many interesting, creative
ways to write-in psychosis. Adoption doesn’t need to be the over-arching
explanation for a character’s mental issues. Have you ever written an adopted
character? What are your thoughts on adoption in fiction?
*
* * * *
Laura Dennis
was born and adopted in New Jersey, raised in Maryland. You can read more about
her adoption reunion and brief bout with insanity in Adopted Reality, A Memoir , now available in paperback and ebook.
November is NaBloPoMo, and we, the contributors at Lost Daughters,
are posting each day on a different adoption topic. It’s worth checking out.
* Yes, I know, writerly isn’t a word, but it
should be!
November 4, 2012
Shorter Novels in the Digital Age?
by Elizabeth S. Craig, @elizabethscraig
The key to discoverability, at this point, seems to be either writing a blockbuster of a book (which we’d all clearly be doing, if it were such an easy endeavor), or owning a lot of real estate on Amazon. In other words, having a lot of books available for sale at Amazon.
Readers seem to like series. And readers are impatient for the next book…evidenced by semi-joking notes I’ll get on Facebook from readers: “Can’t you write faster?”
And I’m thinking, “Okay….but I’m writing four books a year. Isn’t that fast enough?” No, I’d never respond to a reader that way. I’ll usually answer back on Facebook by thanking them and encouraging them to read one of my other series. And I take their question as a compliment—although it stings a little, too.
I read a post last week by D.D. Scott on “The Writer’s Guide to e-Publishing” blog, entitled: Indie Epublished Authors: Build Your Backlist Quicker with Shorter-Length Novels.
In it, D.D. (who’s had a very successful e-publishing career) took an informal reader poll and found that:
I’m not going to put a book out every two months, no matter how much readers might like it. :) But at a shorter length…sure, I could write more books in a year.
My thoughts on this:
Readers don’t seem to mind short books. My shorter self-pubbed books have enjoyed a good reception from readers…several of whom even commented (in reviews and directly to me on Facebook, Twitter, and email) that they enjoyed the “quick reads.” One of mine is about 160 pages (according to Amazon), one is equivalent to 170 pages…and one is just listed as 366 kb. :) I know that book is roughly 59,000 words.
Shorter books mean that you can write more books in a shorter period of time. (Sometimes. If you’re a writer who naturally writes long, then it might be tough/time consuming for you to edit down to short length.)
For my genre (cozy/traditional mystery) my publisher expects a 75,000+ word book. No problem. I deliver those books, with that length, to them on a regular basis. But my first draft for those books was probably 55,000 words. That’s the basic story. That’s with no chapter breaks, little description, shorter hook time (if I’m incorporating food, quilting, etc. in a series…which I do for my two Penguin series), very little character description, sparse setting, and limited subplots.
If these books are poor quality, we’re going to end up in hot water. It doesn’t matter how much space you occupy on Amazon if readers hate your books. And readers remember. I think we all put out a book every once in a while that isn’t up to par. If every book we put out is a stinker, though, we’re cooking our own goose.
What I’m doing for now:
Continuing to write longer for my traditionally published books (as required by my contracts.)
Writing shorter books (but still, full-length novels) for my self-pubbed Myrtle Clover series (which started out as a traditional series).
I’m aiming for two traditionally published titles in a year and over two for my self-published titles (that’s two finished books and maybe be half-finished with a third. Or even have a finished third self-pub title ready for formatting.)
Keeping it in check:
I’ll watch out for burn-out and stale writing. I’ll ask my beta readers and freelance editors to tell me if my writing doesn’t seem fresh (I know my traditional editors will definitely let me know if it doesn’t.)
In the last couple of years, however, I’ve noticed that the more I write, the more I want to write. The more excited I get. The more confident I feel. The more I miss it when I have an odd day when it doesn’t get done (which means I squeeze it in at the end of the day, just to get that satisfied feeling. A writing addiction?)
The nice thing is that I think writing shorter books for my self-published series is giving me a creative shot in the arm. I’m thinking about new ways to explore writing the series—maybe holiday novellas. Traditional publishers can be leery about putting out holiday titles (short shelf life), but it’s something that’s always been interesting to me.
Do you write short? What are your thoughts about what the boom in digital publishing means for book length? As a reader, how frequently would you like to see titles release in your favorite series?
Image: Flickr: Biking Nikon
The key to discoverability, at this point, seems to be either writing a blockbuster of a book (which we’d all clearly be doing, if it were such an easy endeavor), or owning a lot of real estate on Amazon. In other words, having a lot of books available for sale at Amazon.Readers seem to like series. And readers are impatient for the next book…evidenced by semi-joking notes I’ll get on Facebook from readers: “Can’t you write faster?”
And I’m thinking, “Okay….but I’m writing four books a year. Isn’t that fast enough?” No, I’d never respond to a reader that way. I’ll usually answer back on Facebook by thanking them and encouraging them to read one of my other series. And I take their question as a compliment—although it stings a little, too.
I read a post last week by D.D. Scott on “The Writer’s Guide to e-Publishing” blog, entitled: Indie Epublished Authors: Build Your Backlist Quicker with Shorter-Length Novels.
In it, D.D. (who’s had a very successful e-publishing career) took an informal reader poll and found that:
1. Ideally, they would love to wait no longer than two months between new releases from their fave authors. (That keeps an author fresh in their minds.)
2. Because of their tight schedules as working moms and dads and/or grandmas and grandpas, and in today’s multi-media world, they love quick reads that they can (a) read or listen to during their commute or at lunch, (b) read while waiting on the kids at soccer practice, cheerleading practice, music lessons, dance lessons, etc., (c) read while in a doctor’s waiting room, and (d) read knowing that the characters they’ve come to love will be back very soon with a new adventure.
3. Their attention spans are getting shorter and shorter so they like something they can invest a relatively short time in. Get great laughs and move on.
4. They have no clue how long a book “should” be. As long as the story is great, they don’t care either. Except that, again, they do have short attention spans that are getting even shorter.
**********************
I’m not going to put a book out every two months, no matter how much readers might like it. :) But at a shorter length…sure, I could write more books in a year.
My thoughts on this:
Readers don’t seem to mind short books. My shorter self-pubbed books have enjoyed a good reception from readers…several of whom even commented (in reviews and directly to me on Facebook, Twitter, and email) that they enjoyed the “quick reads.” One of mine is about 160 pages (according to Amazon), one is equivalent to 170 pages…and one is just listed as 366 kb. :) I know that book is roughly 59,000 words.
Shorter books mean that you can write more books in a shorter period of time. (Sometimes. If you’re a writer who naturally writes long, then it might be tough/time consuming for you to edit down to short length.)
For my genre (cozy/traditional mystery) my publisher expects a 75,000+ word book. No problem. I deliver those books, with that length, to them on a regular basis. But my first draft for those books was probably 55,000 words. That’s the basic story. That’s with no chapter breaks, little description, shorter hook time (if I’m incorporating food, quilting, etc. in a series…which I do for my two Penguin series), very little character description, sparse setting, and limited subplots.
If these books are poor quality, we’re going to end up in hot water. It doesn’t matter how much space you occupy on Amazon if readers hate your books. And readers remember. I think we all put out a book every once in a while that isn’t up to par. If every book we put out is a stinker, though, we’re cooking our own goose.
What I’m doing for now:
Continuing to write longer for my traditionally published books (as required by my contracts.)
Writing shorter books (but still, full-length novels) for my self-pubbed Myrtle Clover series (which started out as a traditional series).
I’m aiming for two traditionally published titles in a year and over two for my self-published titles (that’s two finished books and maybe be half-finished with a third. Or even have a finished third self-pub title ready for formatting.)
Keeping it in check:
I’ll watch out for burn-out and stale writing. I’ll ask my beta readers and freelance editors to tell me if my writing doesn’t seem fresh (I know my traditional editors will definitely let me know if it doesn’t.)
In the last couple of years, however, I’ve noticed that the more I write, the more I want to write. The more excited I get. The more confident I feel. The more I miss it when I have an odd day when it doesn’t get done (which means I squeeze it in at the end of the day, just to get that satisfied feeling. A writing addiction?)
The nice thing is that I think writing shorter books for my self-published series is giving me a creative shot in the arm. I’m thinking about new ways to explore writing the series—maybe holiday novellas. Traditional publishers can be leery about putting out holiday titles (short shelf life), but it’s something that’s always been interesting to me.
Do you write short? What are your thoughts about what the boom in digital publishing means for book length? As a reader, how frequently would you like to see titles release in your favorite series?
Image: Flickr: Biking Nikon
November 3, 2012
Twitterific
by
Elizabeth S. Craig, @elizabethscraig
Twitterific is a compilation of all the writing links I shared the previous week.
The
links are fed into the Writer’s Knowledge Base search engine (developed by
writer and software engineer Mike Fleming) which has over 18,000 free articles
on writing-related topics. Sign up for our free newsletter for monthly writing
tips and interviews with top contributors to the WKB or like us on Facebook.
Try “My WKB”--a way for you to list and sort articles, view your read
articles, and see your search history. Read more about it here: http://bit.ly/S9thqS .
The free My WKB page is here: http://bit.ly/PV8Ueb . And check out Hiveword to help you organize your story.
Instances that might require
writing a longer scene: http://bit.ly/PSjaG5
@LynnetteLabelle
Beginnings: Action and Change: http://bit.ly/PSjfJZ @jodimeadows
Pros and cons of 1st person POV and 3rd person close: http://bit.ly/SeF03f
@JudgeHopkins
Write Fiction that Grabs
Readers from Page 1: http://bit.ly/R1ynPY
@writersdigest
5 observations from the big marketing world: http://bit.ly/Y1SzHr
@junglereds
Where were all the publishers
at #WDCW12? http://bit.ly/R2Ygz0
@Porter_Anderson @jamesscottbell @jpfine
Using diaries as clues in crime fiction: http://bit.ly/VhGrTs
@mkinberg
The fifteen professions that drink the most coffee. Yes, writers made the list. http://bit.ly/R1xFSP @i09
Tips for writers approaching a
transmedia future: http://bit.ly/PSWK7u
@Porter_Anderson @Jeff_Gomez
Tips for setting up a novel
series: http://bit.ly/R32CWR
Knowing when your script is
finished: http://bit.ly/PSYAWa
@gointothestory
10 ways to use a writer's
conference to market your work: http://bit.ly/R32NkW
@michellerafter
3 Ways To Create Incredible
Characters: http://bit.ly/PSYFcf
@woodwardkaren @thecreativepenn
How to Mind Map in 3 Small
Steps: http://bit.ly/WXinnK @lifehackorg
Make Your Own NaNoWriMo
Survival Kit: http://bit.ly/S6uddd
@LauraHoward78 @WriteNowCoach
Demystifying Science Fictional
Terms: http://bit.ly/S6qNai @KirkusReviews
@sfsignal
The 15-Minute Writer: Building
Your Platform: http://bit.ly/PT6f6F
The Fundamentals of Verbs: http://bit.ly/R3i5X3 @writing_tips
Making an emotional connection:
http://bit.ly/R3ig4x
Tips for
writers approaching a transmedia future: http://bit.ly/PSWK7u
@Porter_Anderson @Jeff_Gomez
Kitchen Sink That First Draft: http://bit.ly/PT6vmk @janefriedman
Create Key Moments with
Secondary Characters: http://bit.ly/PT6ChB
@livewritethrive
Is It Worth Converting an Old
Book Into an eBook? http://bit.ly/R3iHvF
@jfbookman
Are you world building or world
recycling? http://bit.ly/PT6NcR @WriterLor
Thoughts on Narrative Framing
Devices: http://bit.ly/R3j5Kz
@KgElfland2ndCuz
25 Ways To Get Your Creative
Groove Back As A Writer: http://bit.ly/R3jjS5
{lang}
12 Signs Your Blog Is a Social
Media Ghost Town (& Actionable Tips to Fix Them): http://bit.ly/SuzqK8 @heidicohen
Empathizing With Literary
Agents: http://bit.ly/U1d1TM
@passivevoiceblg
How Professional Writers Avoid
Distractions: http://bit.ly/U1d81O
@thecreativepenn
6 Ways to Make Researching
Easier: http://bit.ly/SceslM @janice_hardy
@AmieKaufman
Writing Historical Romance, Not
History Lessons: http://bit.ly/U1dlCb
@TexasDruids
Why Evernote is Great for
Writers: http://bit.ly/SceNoF @ava_jae
Tips for uncluttered prose: http://bit.ly/SceVV0 @JodieRennerEd
@angelaackerman
Weak words: http://bit.ly/U1dAgx
Tips for email mailing lists: http://bit.ly/Scf8rv+|+Duolit%29&utm_content=Google+Reader
@duolit
Using Life's Disasters to Add
Authenticity to Your Writing: http://bit.ly/ScffmH
@CMKaufman
Neil Gaiman's 8 Rules of
Writing: http://bit.ly/ScfkHa @brainpicker
Promote your writing business
through your email signature: http://bit.ly/Scfqyx
@michellerafter
Scoring the Book Review, Guest
Post or Interview: http://bit.ly/ScfvSW
@KristenLambTX
The Importance of Undisciplined
Thinking: http://bit.ly/ScfIpc
@creativitypost
How to Fascinate Others...and
Why Authors Should Take Note: http://bit.ly/U1e9qG
@jeanniecampbell
When Not to Show the Action: http://bit.ly/U1ekC5 @KMWeiland
9 Point Checklist for Book
Manuscripts: http://bit.ly/U1epWF
@AdriennedeWolfe
Creating story flow: the secret
power of cause and effect: http://bit.ly/U1eARz
@karenschrav
E-books in Libraries: They
Still Don't Get It: http://bit.ly/U1f6iA
@JAKonrath
Screenwriting--Why "The
Princess Bride" should not work as a movie: http://bit.ly/SchF50
http://bit.ly/U1fdL1 @gointothestory
10 Tips for Launching your
Steampunk Project on Kickstarter: http://bit.ly/U1fpdp
@Julia_Brannon
Want to benefit from criticism?
Approach it like a scientist: http://bit.ly/U1fE8f
@AlexLickerman
The Balance Between
Authenticity and Creativity: http://bit.ly/Sciniw
@PatrickRwrites
The Future is Bright for
Writers: http://bit.ly/Scjj6H
10 frequently-confused words: http://bit.ly/Scjte4 @writerscramp1
Learning to Improve Your
Writing: http://bit.ly/ScjEGr @4YALit
Tips for getting exposure for
your book: http://bit.ly/ScjLl9
@LauraHoward78
Ebooks as native apps vs. web
apps: http://oreil.ly/RToMMU @jwikert
Don't Stop Writing in the Ugly
Middle: http://bit.ly/VP4mKW @joebunting
A No Stress Guide to World
Building: http://bit.ly/RTp9Hj
@howtowriteshop
Stuck for a word? http://bit.ly/VP4v13 @emergentpublish
Co-Authoring: The Good, the
Bad, and the Ugly: http://bit.ly/RTpFVV
@rachellegardner
Why You Need an Author Platform
– and How to Get One: http://bit.ly/VP4SJ3
Chapter One Analysis: The
Casual Vacancy: http://bit.ly/TM55pa
@mooderino
How To Write Every Day: Jerry
Seinfeld And The Chain Method: http://bit.ly/SoyVDd
@woodwardkaren
3 Steps to Living an Authentic
Life Online: http://bit.ly/TM5g3M
@geofftalbot
Testing Your Idea–Is it Strong
Enough to Make an Interesting Novel? http://bit.ly/SozaxY
@KristenLambTX
40 Tips to Boost Your Writing
Skills to Master Level: http://bit.ly/TM5kQY
@lifehackorg
How to Conquer Self Doubt And
Just Write: http://bit.ly/SozhJY
@writersdigest
An agent makes a case for the
importance of agents: http://bit.ly/TM6lIR
@passivevoiceblg
Analyst
less optimistic that publishers will adapt to changing industry: http://bit.ly/Txd2m2 @brianoleary @kevin2kelly
@Porter_Anderson
Why 1 writer is proud of her
chick-lit novel: http://slate.me/SoApxg
@salon
Can Posting Stories on Wattpad
Help You Sell Books? http://bit.ly/TM6ufl
@goblinwriter @cj_archer
Startups and Publishers: It
Ain't Easy: http://oreil.ly/SoAvoG
@hughmcguire
Screenwriting: Why "The
Princess Bride" should not work as a movie: Part 3: http://bit.ly/SoAwsE @gointothestory
Priming your Creativity: http://bit.ly/TM6BYo @MichaelMichalko
A beat sheet for a popular
song: http://bit.ly/TM6FaB
Why You Need an Author Platform
– and How to Get One: http://bit.ly/VP4SJ3
The strength of female
characterization: http://bit.ly/R0FiZX
@Riduna
What It Really Takes to Get
Published: http://bit.ly/Tgxcfp @jeffgoins
@MichaelHyatt
15 Familial Terms and Their
Other Meanings: http://bit.ly/VRC96r
@writing_tips
How to Make Writing More Like a
Real Job: http://bit.ly/TgxfYE
Physical Attributes Entry:
Knees: http://bit.ly/VRF2Em @angelaackerman
7 Completely Insane Golden and
Silver Age Superhero Origins: http://bit.ly/TgyV4s
@ToplessRobot
The One Thing Holding You Back
From Becoming a Successful Writer: http://bit.ly/VRFmmz
@krissybrady
How to speak publisher: F is
for Facebook: http://bit.ly/Tgz47Z
@annerooney
Jim Butcher On Writing: http://bit.ly/VRFClg @woodwardkaren
Fantasy in the short form: http://bit.ly/VRGWEZ @VickyThinks
How to Beat 7 Common
Self-Publishing Fears: http://bit.ly/TgzZ8q
@aliventure
Writing, Creativity, And The
Empowerment Of The Author In Publishing: http://bit.ly/VRHafk
@thecreativepenn
In praise of bad boys' books: http://bit.ly/TgA3oP @guardianbooks
How Writers Should Die: http://bit.ly/VRHASU @jamesscottbell
3 Types of Accidental Writing
to Avoid: http://bit.ly/S3s14C @writing_tips
A No Stress Guide to World
Building: http://bit.ly/RTp9Hj
@howtowriteshop
3 Obstacles to Writing an
Ebook: Too Overwhelming, Lacking Motivation, and Too Technical: http://bit.ly/S3YNT9 @KarenCV
Are Self-Published Books the
New Query Letter? http://bit.ly/PeUo1x
@LauraHoward78
Writers' Conference Tips: http://bit.ly/S3ZCeI
A Smart 8-Point Content
Marketing Strategy From a Failed TV Writer: http://bit.ly/PeUwy0
@copyblogger
Build Your Readership by
Simplifying Your Menu: http://bit.ly/PeUxC4
@writeitsideways
World Building Techniques —
Keep Your Reader Grounded In Your Story: http://bit.ly/S40fow
@FaeRowen
The Only 2 Things Authors Ought
to be Doing: http://bit.ly/S40TSU @JFBookman
Build Your Backlist Quicker
with Shorter-Length Novels: http://bit.ly/PeVf2e
Tips for writing sexual
tension: http://bit.ly/S41FiQ @laurahoward78
Freelancers--everything you
wanted to know about word counts: http://bit.ly/S46IzD
@michellerafter
How to Ask for a Blurb (Even
When You're Intimidated): http://bit.ly/S47v3F
@SarahPinneo
Great reasons to self-publish:
7 case histories: http://bit.ly/PeXNgR
Keeping Focused & Nailing
the Pitch–Understand Your "Seed Idea": http://bit.ly/S47SeC
@kristenlambTX
7 Things You Should Never Do
After Getting Revision Notes From An Editor: http://bit.ly/PeXVgy
@BryanThomasS
About Alliteration: http://bit.ly/PeY2sp @WriterSherry
Screenwriters: Set Pieces: Spin
the plot: http://bit.ly/S48zo9
@gointothestory
Indie publishing on the cheap: http://bit.ly/PeYeIf @sarahahoyt
4 Out Of 5 Publishers Now
Produce eBooks: Infographic: http://bit.ly/SorfSc
@galleycat
One Reason to Write Fantasy: http://bit.ly/YeLWkq
Read the Way You Write:
Classify It, Deconstruct It, Play with It: http://bit.ly/YeM03A
@susanjmorris
Apostrophe Placement in Proper
Names: http://bit.ly/SorxbL @writing_tips
3 Unexpected Ways to Quickly
Find Your Next Blog Post Idea: http://bit.ly/YeMgQ0
Why 1 reader enjoys reading YA:
http://bit.ly/YeMoPF @janine_ballard
6 Tests of a Solid Story
Premise and 8 Ways to Write One: http://bit.ly/SorVXX
@4YALit
12 tips for mastering the press
release: http://bit.ly/YeMMxq
@NatalieHartford
Different types of writer
platforms: http://bit.ly/YeNbjs
@woodwardkaren
7 Tips to Selling to a Stranger
at a Book Event: http://bit.ly/YeRFqf
@SouthrnWritrMag
When Should I Launch My Author
Website? http://bit.ly/SoT8d3 @authormedia
Analyst less optimistic that publishers will adapt to changing industry: http://bit.ly/Txd2m2@brianoleary @kevin2kelly @Porter_Anderson
Is Blogging a Time-Suck for
Writers? http://bit.ly/YfiDhz @jodyhedlund
10 Productivity Tips for
Writers: http://bit.ly/ScJ3Nu
@thecreativepenn @b3n3llis
The New World of Publishing:
Promotion: http://bit.ly/PiBOpe
@deanwesleysmith
Plots ~ Bigger Is Better: http://bit.ly/PiBSp9 @livewritethrive
Quick Tips for Promo Contests
& Giveaways: http://bit.ly/ScJG9X
@jfbookman
Why horror should be its own
genre: http://bit.ly/ScJZBG @AnnieNeugebauer
What
motives are behind the Penguin-Random House merger? What does it mean for
writers? http://bit.ly/Ul8T18 @dansabbagh
@Porter_Anderson @jwikert
How to get published? Finish
the story: http://bit.ly/ScKHik @chuckwendig
Writing lesson learned from
"A Lesson Before Dying": http://bit.ly/ScL1NV
@juliemusil
The importance of file backup: http://bit.ly/ScLcZI @behlerpublish
Bring on the digital overthrow
of publishing: http://bit.ly/PiCIlV
@passivevoiceblg
12 Gmail Plugins to Boost
Productivity: http://bit.ly/PiD0ZZ
@lifehackorg
Raise vs. Rise: http://bit.ly/ScMBiP @writersdigest
The Social Media 'Train Wreck'
That All Authors Must Avoid: http://bit.ly/ScNcRy
@jonathangunson
Creating momentum in writing: http://bit.ly/ScNp7s
Working with publishers is "soul-crushingly tough
and terminally slow": http://bit.ly/TxcHQg @gunzalis @Porter_Anderson
An agent with submission
suggestions: http://bit.ly/ScNGqZ
@SaraMegibow
October 31, 2012
Adoption in Fiction: Guest Post by Laura Dennis
Available here
by Laura Dennis, @LauraDennisCA
Christian Grey is “fifty
shades of f---ed up” according to EL James ... because he’s adopted. Popular fiction
(eh hem, Twilight) uses adoption as a
cop-out to explain vampires living among humans.
If we desire to inspire, surprise,
and even educate our audience, why not learn
more about adoption, and flesh out adopted characters’ inner life?
Why care about adoption in fiction?
Nearly six of every ten Americans have had "personal
experience" with adoption (Adoption
Institute). These potential readers have a close friend or a family member who adopted a child,
was adopted, or placed a child for adoption.
This 6-in-10 figure
doesn’t even include co-workers, friends, and the extended family of adoption.
Guess what? I'm
adopted. So congratulations! By meeting
me, reading this blog (drumroll please)—you, however
peripherally, are connected to adoption.
Understanding adoption = dynamic characterization
Elizabeth Craig recently
posted great advice on how not to
be boring, listing of “ingredients
that can help spice up a story.” Out of eleven items, at least seven relate to
characterization.
Brainstorming an adopted character? Whew, here we have a vibrant, conflicted personality with
a secret past, who changes as the story progresses. Throw in a biological
family reunion for an instant subplot.
Need a complex antagonist?
Try a loving adoptive mom, conflicted about her daughters’ biological reunion. Our
protagonist feels guilty, wondering how to reunite without seeming ungrateful
to the woman who raised her.
Or a birth father who
wants nothing to do with the adoptee. Facing rejection, how will our
protagonist cope?
With these subplots as
fodder, an imaginative fiction writer can up the stakes, adding drama to the
adopted protagonist’s adventures.
Brief history of adopted characters
Does all this adoptee family
conflict sound a lot like women’s fiction, or even memoir? You got me; those ideas
above are true stories.
“Upping
the stakes” in my memoir was fairly straight-forward.
After I reunited with my birth mom, I entered a paranoid delusion that I was a bionic spy
responsible for 9/11. No joke.
Memoir aside, exploring the political, emotional and social issues connected to
adoption can work in any genre. For
historical fiction, look to Roman and medieval aristocrats who used adoption to
solidify political ties and enable smooth transitions of power.
The 19th century Catholic
Church developed institutionalized foster homes and orphanages. Think Oliver Twist, Little Men, and the orphaned Jane Eyre living with her cruel aunt
and cousins.
In the last forty years, we've seen a shift from closed adoptions
like mine—clouded in secrecy and shame, to reality TV teen moms participating
in open adoptions.
Then there’s the ever-fashionable
Jolie-Pitt transracial adopted/non-adopted family. Add in zombie paparazzi, and you’ve got your next
best-selling YA fantasy!
Seriously, though, the
“mystery” and secrecy that surrounds adoption in media could also be re-told in
today’s fiction. Writer and adoption activist Amanda
Woolston points out that this
portrayal “has contributed to the cultural atmosphere that says mystery is ‘normal’
in adoption. It's not normal, nor should
it be.”
Food for thought? I hope
so. In Part II on Tuesday, November 6, I’ll discuss solutions for using adoption as a literary device in fiction.
* *
* * *
I’m so happy to be guest
posting, as November is National Adoption Awareness Month. If you have a question
about adoption, please comment below.
To learn more about my adoption
reunion and brief bout with insanity, read Adopted
Reality, A Memoir, available in paperback and ebook on Amazon. Or check
out my blog, The Anxious Expat Mommy.
October 29, 2012
My Favorite Points of View--Guest Post by Bill Hopkins
by Bill Hopkins, @JudgeHopkins
Favorite Points of View:
FIRST
PERSON
First person: This is a story that
is usually narrated by the protagonist. If you use this, then your first
sentence--or certainly your first paragraph--should make it clear.
"Sally whirled around and slapped me in the face." You know that
someone (the narrator) has incurred Sally's wrath and he's going to tell the
reader about it.
Advantages: First person allows the
narrator to develop a distinctive voice that no one else in the story has
(or should have). The reader will learn to like or at least understand why
the narrator acts the way he does. He can ramble on about relevant points
inside his own head without anyone else but the reader knowing what he's
thinking. The reader also witnesses the stress placed on the narrator and
how that causes him to act in a certain way. The reader learns about the
world of the narrator quickly.
Disadvantages: The narrator must
be in every scene or he and the reader will be subjected to a lot of
retelling by other characters what happened off-stage. But even that may
be skillfully handled so that the narrator doesn't appear to be just a
listening post where different folks come to tell their tales. Also, other
characters and not the narrator must describe him or the narrator must
slip in hints at his appearance. "Sally slapped me so hard that I
thought my scrawny mustache had been knocked off my face." And,
please, avoid the cliché of having the narrator look in a mirror and
telling the reader what he sees. Finally, avoid as many "I's" as
you can. "I went to the store. I bought some eggs. I took the eggs to
Sally." That soon becomes boring.
THIRD
PERSON CLOSE
Third Person: An unknown narrator
is telling the story. Generally, the narrator is never identified. Writers
and readers have an unspoken agreement that this is one of those
"willing suspension of disbelief" that someone witnessed and is
able to tell the story. There are different kinds of third person. What
makes my favorite version of third person "close" (other people
have different terms for it) is that the narrator is in only one
character's head at a time. "Sally slapped him." That would be
the first line of a book written in third person (close or otherwise). Further
on in the story, the reader realizes that the narrator can see into only
one person's mind. "He felt the stinging blow and didn't like the
look on Sally's face." In fact, third person close is almost a first
person viewpoint using different pronouns.
Advantages: You can describe your
character in the narration. As a reader of fiction, I rarely remember what
a person looks like while reading the story. As a writer, my descriptions
of people tend to emphasize oddities of their appearance or perhaps one or
two nods to a physical description. Another advantage that draws me to
this point of view is that you can still show the direct thoughts of the
person. "Sally slapped him. That's
the second time she's done that to me!" or "Sally slapped
him. That's the second time, he thought, that she's done that to me."
Disadvantages: You must be
especially careful not to get into anyone else's head. You must show us
what the other person is doing to determine his reaction to what is going
on or, of course, have the other person say something that presents his
state of mind. This sounds easy, but it's tricky. In one story, I had
written about the protagonist and two companions doing something like
"trudging dispiritedly" (it wasn't really that bad). My most
heartless editor (my wife, Sharon Woods Hopkins) pointed out that I was
expressing the thoughts of the other two people as well as the
protagonist. Which, of course, I was.
Play around with different points of view. See
what fits your protagonist the best. You'd be amazed how a character changes
when you change that character's point of view!
For more information, read these two articles:
Fiction: Point of View (Writer's Digest)
http://www.writersdigest.com/writing-articles/by-writing-goal/write-first-chapter-get-started/fiction-point-of-view
Point of View in Fiction (Fiction Writers' Mentor)
http://www.fiction-writers-mentor.com/point-of-view-in-fiction.html
Courting Murder by Bill Hopkins
A Judge Rosswell Carew Mystery
Available October 2012
ISBN 978-0-9830504-38
Southeast Missouri University
Press
When Judge Rosswell Carew makes the gruesome discovery of
two corpses on a riverbank in the Missouri Ozarks, he’s plunged into a storm of
deadly secrets that threaten both him and his fiancée, Tina Parkmore.
Unsatisfied with the way the authorities are conducting the investigation,
Rosswell, who’s always nurtured a secret desire to be a detective, teams up
with an ex-con, Ollie Groton, to solve the case before the killer can murder
again. Rosswell uncovers a maze of crimes so tangled that he must fight his way
to a solution or die trying.
Bill Hopkins is retired after beginning his legal career in
1971 and serving as a private attorney, prosecuting attorney, an administrative
law judge, and a trial court judge, all in Missouri. His poems, short stories,
and non-fiction have appeared in many different publications. He's had several
short plays produced. A book of collected poetry, Moving Into Forever, is available on Amazon. Bill is a member of
Mystery Writers of America, Dramatists Guild, Horror Writers Association,
Missouri Writers Guild, and Sisters In Crime. Bill is also a photographer who
has sold work in the United States, Canada, and Europe. He and his wife, Sharon
(a mortgage banker who is also a published writer), live in Marble Hill,
Missouri, with their dogs and cat. Besides writing, Bill and Sharon are
involved in collecting and restoring Camaros. Courting Murder is his first mystery novel.
Favorite Points of View:
FIRST
PERSON
First person: This is a story that
is usually narrated by the protagonist. If you use this, then your first
sentence--or certainly your first paragraph--should make it clear.
"Sally whirled around and slapped me in the face." You know that
someone (the narrator) has incurred Sally's wrath and he's going to tell the
reader about it.
Advantages: First person allows the
narrator to develop a distinctive voice that no one else in the story has
(or should have). The reader will learn to like or at least understand why
the narrator acts the way he does. He can ramble on about relevant points
inside his own head without anyone else but the reader knowing what he's
thinking. The reader also witnesses the stress placed on the narrator and
how that causes him to act in a certain way. The reader learns about the
world of the narrator quickly.
Disadvantages: The narrator must
be in every scene or he and the reader will be subjected to a lot of
retelling by other characters what happened off-stage. But even that may
be skillfully handled so that the narrator doesn't appear to be just a
listening post where different folks come to tell their tales. Also, other
characters and not the narrator must describe him or the narrator must
slip in hints at his appearance. "Sally slapped me so hard that I
thought my scrawny mustache had been knocked off my face." And,
please, avoid the cliché of having the narrator look in a mirror and
telling the reader what he sees. Finally, avoid as many "I's" as
you can. "I went to the store. I bought some eggs. I took the eggs to
Sally." That soon becomes boring.
THIRD
PERSON CLOSE
Third Person: An unknown narrator
is telling the story. Generally, the narrator is never identified. Writers
and readers have an unspoken agreement that this is one of those
"willing suspension of disbelief" that someone witnessed and is
able to tell the story. There are different kinds of third person. What
makes my favorite version of third person "close" (other people
have different terms for it) is that the narrator is in only one
character's head at a time. "Sally slapped him." That would be
the first line of a book written in third person (close or otherwise). Further
on in the story, the reader realizes that the narrator can see into only
one person's mind. "He felt the stinging blow and didn't like the
look on Sally's face." In fact, third person close is almost a first
person viewpoint using different pronouns.
Advantages: You can describe your
character in the narration. As a reader of fiction, I rarely remember what
a person looks like while reading the story. As a writer, my descriptions
of people tend to emphasize oddities of their appearance or perhaps one or
two nods to a physical description. Another advantage that draws me to
this point of view is that you can still show the direct thoughts of the
person. "Sally slapped him. That's
the second time she's done that to me!" or "Sally slapped
him. That's the second time, he thought, that she's done that to me."
Disadvantages: You must be
especially careful not to get into anyone else's head. You must show us
what the other person is doing to determine his reaction to what is going
on or, of course, have the other person say something that presents his
state of mind. This sounds easy, but it's tricky. In one story, I had
written about the protagonist and two companions doing something like
"trudging dispiritedly" (it wasn't really that bad). My most
heartless editor (my wife, Sharon Woods Hopkins) pointed out that I was
expressing the thoughts of the other two people as well as the
protagonist. Which, of course, I was.
Play around with different points of view. See
what fits your protagonist the best. You'd be amazed how a character changes
when you change that character's point of view!
For more information, read these two articles:
Fiction: Point of View (Writer's Digest)
http://www.writersdigest.com/writing-articles/by-writing-goal/write-first-chapter-get-started/fiction-point-of-view
Point of View in Fiction (Fiction Writers' Mentor)
http://www.fiction-writers-mentor.com/point-of-view-in-fiction.html
Courting Murder by Bill Hopkins
A Judge Rosswell Carew Mystery
Available October 2012
ISBN 978-0-9830504-38
Southeast Missouri University
Press
When Judge Rosswell Carew makes the gruesome discovery of
two corpses on a riverbank in the Missouri Ozarks, he’s plunged into a storm of
deadly secrets that threaten both him and his fiancée, Tina Parkmore.
Unsatisfied with the way the authorities are conducting the investigation,
Rosswell, who’s always nurtured a secret desire to be a detective, teams up
with an ex-con, Ollie Groton, to solve the case before the killer can murder
again. Rosswell uncovers a maze of crimes so tangled that he must fight his way
to a solution or die trying.
Bill Hopkins is retired after beginning his legal career in
1971 and serving as a private attorney, prosecuting attorney, an administrative
law judge, and a trial court judge, all in Missouri. His poems, short stories,
and non-fiction have appeared in many different publications. He's had several
short plays produced. A book of collected poetry, Moving Into Forever, is available on Amazon. Bill is a member of
Mystery Writers of America, Dramatists Guild, Horror Writers Association,
Missouri Writers Guild, and Sisters In Crime. Bill is also a photographer who
has sold work in the United States, Canada, and Europe. He and his wife, Sharon
(a mortgage banker who is also a published writer), live in Marble Hill,
Missouri, with their dogs and cat. Besides writing, Bill and Sharon are
involved in collecting and restoring Camaros. Courting Murder is his first mystery novel.
October 28, 2012
Getting the Hang of the Business End of Things
by Elizabeth S. Craig,
@elizabethscraig
I’m not going to say that all writers are a
little foggy when it comes to the business side of writing. But I will say that
many writers are tentative when it comes to business.
I’m one of those writers. I read a lot (a lot) of
articles on the business end of publishing. If there’s a post on taxes and
writers, I’m reading it. A series on decoding contracts and royalty
statements? I’m all over it.
Still…it’s tough. One reason it’s tough is because I have an
agent that handles the business end. And that’s a poor excuse for me not to
follow what’s going on, so I’ve been trying to bring myself up to
speed.
Every few months, I’ve gotten notices from my agent about
different things that have happened with editions of my books—last week I heard
that one of my books was selected for a book-of-the month club. I hear about
audio editions being made, about large-print editions, and foreign editions of
some titles.
What do I have to do with any of these deals? Absolutely
nothing. I did have to approve of the book-of-the-month club arrangement (not
sure why my okay was needed). I wasn’t even aware these deals were in the works
until they were all arranged.
Now I’m branching off and doing self-publishing as well as
traditional, and I’m realizing I need to pay more attention. I started
by asking myself some questions:
Why haven’t I arranged any print editions for my self-published
books?
Why haven’t I checked into creating audio books?
Why do I have one of my books available solely on Nook and
Kindle?
What can I do to broaden my exposure on Amazon UK and into other
overseas markets? Why haven’t I addressed this so far?
The answer to most of the questions is: because
I don’t have any time. :) This is compounded by the fact that I’m not sure
what I’m doing—and it will take a little time to figure out how to approach
these different areas.
I think if I put this stuff down on my to-do list, break it down
into manageable steps, and lump it in with my promo time each day I can start
branching out a little bit more.
And there are resources available to learn more. (And
you can find many more by searching on the Writer’s Knowledge
Base.)
Audio book info:
On “The Writing Bomb” blog: “Creating Audio Books is Easy Peasy Lemon Squeezy”
On “Writer’s Fun Zone” : Making Audio Books From Your Novels
On “The Writer’s Guide to E-Publishing”: How Does Audio Book Narration Work?
Multiple Sources of Writing Income (Expanding our
Markets)
Dean Wesley Smith’s blog: Killing the Sacred
Cows of Publishing: You Can’t Make Money Writing Fiction
The Tribal Writer blog: How a writer (or other creative) can develop multiple sources of revenue,
part two
Print On Demand (Print Copies of Our Ebooks):
Dean Wesley Smith’s blog: The New World of
Publishing: Reasons for a Trade Paper Edition
Bob Mayer’s blog: Why is Cool Gus Publishing switching from Lightning Source to
CreateSpace?
Let’s Get Digital: Making Money From Paperbacks
Blood Red Pencil: Which is Right for You - Lightning Source, CreateSpace, or
Both?
What’s on your to-do list that isn’t particularly creative or is
completely business-related? How do you make time to knock them out?
Image—MorgueFile—mconnors
@elizabethscraig
I’m not going to say that all writers are a
little foggy when it comes to the business side of writing. But I will say that
many writers are tentative when it comes to business.
I’m one of those writers. I read a lot (a lot) of
articles on the business end of publishing. If there’s a post on taxes and
writers, I’m reading it. A series on decoding contracts and royalty
statements? I’m all over it.
Still…it’s tough. One reason it’s tough is because I have an
agent that handles the business end. And that’s a poor excuse for me not to
follow what’s going on, so I’ve been trying to bring myself up to
speed.
Every few months, I’ve gotten notices from my agent about
different things that have happened with editions of my books—last week I heard
that one of my books was selected for a book-of-the month club. I hear about
audio editions being made, about large-print editions, and foreign editions of
some titles.
What do I have to do with any of these deals? Absolutely
nothing. I did have to approve of the book-of-the-month club arrangement (not
sure why my okay was needed). I wasn’t even aware these deals were in the works
until they were all arranged.
Now I’m branching off and doing self-publishing as well as
traditional, and I’m realizing I need to pay more attention. I started
by asking myself some questions:
Why haven’t I arranged any print editions for my self-published
books?
Why haven’t I checked into creating audio books?
Why do I have one of my books available solely on Nook and
Kindle?
What can I do to broaden my exposure on Amazon UK and into other
overseas markets? Why haven’t I addressed this so far?
The answer to most of the questions is: because
I don’t have any time. :) This is compounded by the fact that I’m not sure
what I’m doing—and it will take a little time to figure out how to approach
these different areas.
I think if I put this stuff down on my to-do list, break it down
into manageable steps, and lump it in with my promo time each day I can start
branching out a little bit more.
And there are resources available to learn more. (And
you can find many more by searching on the Writer’s Knowledge
Base.)
Audio book info:
On “The Writing Bomb” blog: “Creating Audio Books is Easy Peasy Lemon Squeezy”
On “Writer’s Fun Zone” : Making Audio Books From Your Novels
On “The Writer’s Guide to E-Publishing”: How Does Audio Book Narration Work?
Multiple Sources of Writing Income (Expanding our
Markets)
Dean Wesley Smith’s blog: Killing the Sacred
Cows of Publishing: You Can’t Make Money Writing Fiction
The Tribal Writer blog: How a writer (or other creative) can develop multiple sources of revenue,
part two
Print On Demand (Print Copies of Our Ebooks):
Dean Wesley Smith’s blog: The New World of
Publishing: Reasons for a Trade Paper Edition
Bob Mayer’s blog: Why is Cool Gus Publishing switching from Lightning Source to
CreateSpace?
Let’s Get Digital: Making Money From Paperbacks
Blood Red Pencil: Which is Right for You - Lightning Source, CreateSpace, or
Both?
What’s on your to-do list that isn’t particularly creative or is
completely business-related? How do you make time to knock them out?
Image—MorgueFile—mconnors
October 27, 2012
Twitterific
by Elizabeth S. Craig, @elizabethscraig
Twitterific
is a compilation of all the writing links I shared the previous week.
The
links are fed into the Writer’s Knowledge Base search engine (developed by
writer and software engineer Mike Fleming) which has over 18,000 free articles
on writing-related topics. Sign up for our free newsletter for monthly writing
tips and interviews with top contributors to the WKB or like us on Facebook.
Try “My WKB”--a way for you to list and sort articles, view your read
articles, and see your search history. Read more about it here: http://bit.ly/S9thqS .
The free My WKB page is here: http://bit.ly/PV8Ueb .
Nook's entry into UK off to a
bad start: http://bit.ly/T1BFmg
@Porter_Anderson @eoinpurcell @mattwarman @philipdsjones
Would Hemingway Blog? http://bit.ly/S6jrn7 @kristenlambtx
Another Pitfall of Multi-POV
Stories: http://bit.ly/T1Q5CL @KMWeiland
Unexpected
murderers in crime fiction: http://bit.ly/RcObD7 @mkinberg
How to Avoid Distractions and
Create a Career in Fiction: http://bit.ly/T1Q95B
@joebunting
A Checklist for
Self-Publishing: http://bit.ly/S6kt2q
@susankayequinn
7 Steps To Writing An Author
Business Plan: http://bit.ly/S6kFPc
@SusanSpann
Social media--don't put all
your eggs in one basket: http://bit.ly/T1QGo3
@StinaLL
Back To Smashwords After KDP
Select: http://bit.ly/S6q8FJ @Derek_Haines
3 more
Twitter hashtags for writers: http://bit.ly/QBsLy3 @writeangleblog
Are books the new business
cards? E-publishing makes it easier than ever to buy credibility: http://bit.ly/T1TQIm @popcultini
Why sidekicks are useful: http://bit.ly/T1U2Y0 @juliettewade
Science
Fiction Themes and Metal Music: http://bit.ly/RcY1F8 @mithrilwisdom @AlexJCavanaugh
Demystifying Science Fictional
Terms: http://bit.ly/S6qNai @KirkusReviews
@sfsignal
No More Excuses—Write That
Novel: http://bit.ly/S6qVXa @noveleditor
On Being an Unpublished Writer:
Enjoy it While You Can: http://bit.ly/S6t7hv
@ava_jae
To NaNo or Not? NaNoWriMo
Decoded: http://bit.ly/S6tusm @EdieMelson
#nanoprep
Campbell, Vogler, the Hero's
Journey, The Writer's Journey and Narrative Structure Cheat Sheet: http://bit.ly/T1VSYZ @AlexSokoloff #nanoprep
How much Worldbuilding before
you write? (especially for NaNo folk): http://bit.ly/S6tSHf
@juliettewade #nanoprep
Ready Or Not, Here It Comes:
NaNoWriMo: http://bit.ly/T1W2zL @joebunting
#nanoprep
Make Your Own NaNoWriMo
Survival Kit: http://bit.ly/S6uddd
@LauraHoward78 @WriteNowCoach
NaNoWriMo 2012: Choosing Your
Story: http://bit.ly/T1Wxtv #nanoprep
A good scare for a good cause: http://bit.ly/U14lwR @joannelessner
NaNoWriMo: 5 Tips for Getting
Ready: http://bit.ly/S6utbU @woodwardkaren
#nanoprep
90+ Published Novels Began as
NaNoWriMo Projects: http://bit.ly/S6uvRk
@galleycat @jasonboog
How (Not) to Be a NaNoWriMo
Champ: http://bit.ly/S6uD3c @ava_jae
Hold your fire: reporters
sometimes overly-eager to bash Amazon: http://bit.ly/R1yxH2
@Porter_Anderson
Fear of NaNoWriMo: http://bit.ly/T1WDRT @cjtreggett #nanoprep
#Nanoprep: Novel Creation: http://bit.ly/T1WL3S @ivinviljoen
7 reasons to use writing prompts: http://bit.ly/Sc1x3p @DIYMFA
Nail NaNoWriMo –3 old hands
share their tips: http://bit.ly/S6uZqr
@dirtywhitecandy #nanoprep
4 Tips for Writing a Quick
First Draft: http://bit.ly/S6v4ug
@rachellegardner #nanoprep
NaNoWriMo – The Pitfalls and
How to Deftly Avoid Them: http://bit.ly/T1WVIp
@LisaCron
Nanowrimo Prep: What's Your
Premise? http://bit.ly/T1WYE4 @alexsokoloff
#nanoprep
NaNoWriMo Cometh: A
Terribleminds Primer: http://bit.ly/T1X12N
@chuckwendig #nanoprep
How to outline your story for
National Novel-Writing Month – checklist: http://bit.ly/S6vsJ6
@dirtywhitecandy #nanoprep
Nanowrimo Prep: First, you need
an idea: http://bit.ly/S6vuB0 @alexokoloff
#nanoprep
Pre-Plot for NaNoWriMo: http://bit.ly/T1X9iG @plotwhisperer #nanoprep
Nanowrimo Prep: The Index Card
Method and Structure Grid: http://bit.ly/S6vG31
@alexsokoloff #nanoprep
What's in your NaNo survival
kit? http://bit.ly/T1XaTN #nanoprep
#NaNoWriMo Comic Archives: http://bit.ly/S6vO2z @inkyelbows
NaNoWriMo Prep: Story Elements
Checklist: http://bit.ly/T1XcLF
@alexsokoloff #nanoprep
How to Fake Confidence for
Creatives: http://bit.ly/T1ZrhO
@denisedesigns @EmilyWenstrom
Horror and Thriller: Walking
the Fine Line Between Similar Genres: http://bit.ly/S6AwNK
@YAHighway
Write Or Die: http://bit.ly/T1Zw56 @marcykennedy
What You, J.K. Rowling And
George Lucas Have In Common: http://bit.ly/S6ADJ2
@fuelyourwriting
Tips N Tricks: Using HTML to
Guest Post: http://bit.ly/S30kZp
@susankayequinn
The Perils
and Pitfalls of Writing with a Partner; http://bit.ly/SuvGZ7
Tips for self-pubbed
writers--giveaways: http://bit.ly/S31hkr
The Art of the Content Edit: 10
Ways To Make Sure You're Doing It Right: http://bit.ly/OP9db0
@robwhart
How To Add Subtitles To Your
Book Trailer On YouTube: http://bit.ly/S31vb4
@galleycat
Self-Publishing:--4 Writers
Share Their Experiences: http://bit.ly/OP9AlX
"Strong Female"
Fallacies: http://bit.ly/OP9Ilp @sjaejones
How Writers Can Reach Readers
Without Self-Promotion: http://bit.ly/S380Lb
Self-Publishing And Marketing
Tips: http://bit.ly/OPcUxp @cathryanhoward
@thecreativepenn
Conflict and Suspense Belong in
Every Kind of Novel: http://bit.ly/S38jp9
@jamesscottbell
Enough with "Us vs.
Them": http://bit.ly/OPd5sC
@AimeeLSalter
The Theology of Screenwriting:
Hell: http://bit.ly/S38Ebz @gointothestory
Ax Your Cliches: Why and How: http://bit.ly/OPddIH @margielawson
How to Get the Most Out of a
Writing Conference: http://bit.ly/QAF65s
@writersdigest
Leaving an Agent and Choosing
to Self-Publish: http://bit.ly/WXi1O2
@KendraHighley @goblinwriter
The Theology of Screenwriting:
Redemption: http://bit.ly/QAFa5b
@gointothestory
How to Mind Map in 3 Small
Steps: http://bit.ly/WXinnK @lifehackorg
Your Memoir Is Too Much About
You: http://bit.ly/QAFjFY @ethanfreak
Structure–Plot Problems: http://bit.ly/WXjsvO @kristenlambtx
2 common writing errors: http://bit.ly/QAHPvT @instntcheckmate
@nickthacker
Is KDP Select a Long-Term
Answer? http://bit.ly/ScH6lN
Prioritizing prepositions: http://bit.ly/QAK0iW @aliciarasley
Collective Nouns And
Impracticality (Word Choice Matters): http://bit.ly/ScHfpv
@BryanThomasS
10 of the Creepiest Ghosts in
Literature: http://bit.ly/QAK4za @flavorpill
5 Best Practices for Fresh
Freelancers: http://bit.ly/ScHhxH
@elanalancer
Great Character: Alex DeLarge
("A Clockwork Orange"): http://bit.ly/QAKaa4
@gointothestory
Don't Create a Cliché: http://bit.ly/ScHpgw @ava_jae
35 Synonyms for
"Look": http://bit.ly/QAKnKg
@writing_tips
6 Clever Tricks for a Better
To-Do List: http://bit.ly/RV8OV8 @JWhite
Starting Off With a Bang: Is
This Opening Working? http://bit.ly/RV9QR4
@janice_hardy
Rebounding from Roadblocks: http://bit.ly/TKMj1M
Likable protagonists: http://bit.ly/RVabDc @wordforteens
Physical Attribute Thesaurus:
Hands: http://bit.ly/QBuvHB @beccapuglisi
@angelaackerman
Tips for more effective guest
posting: http://bit.ly/QBuzHo @problogger
4 ways to never outgrow poetry:
http://bit.ly/RcVhHS @Woozie_M
10 Inspirational Disabled
Characters From Sci-Fi And Fantasy: http://bit.ly/QULF1C
@sfxmagazine
Libraries and ebooks--do they
own them or license them? http://bit.ly/PSWxRL
@Porter_Anderson @naypinya @mmasnick
Characterization Tools: http://bit.ly/RcVr1Q
How Nonfiction Authors Can
Build Niche Authority through Content Marketing: http://bit.ly/RcVydE
@BookMarketer
Tips for long sentence
wrangling: http://bit.ly/QBx4JA
@theresastevens
Skip the Paris Cafés And Get a
Good Pen: http://on.wsj.com/Tgr6Ag @wsj
7 Things That Make the Chronic
Finisher Put Down a Book: http://bit.ly/SuwL2U
@roniloren
5 reasons to consider
audiobooks: http://bit.ly/Tgru1B
@rachellegardner
Getting Agented in Multiple
Categories: http://bit.ly/SuxDo9 @kid_lit
3 Reasons Why You Should Write
When You're Tired: http://bit.ly/TgrzT5
@krissybrady
10 Queries in 10 Tweets recap: http://bit.ly/SuxT6B @literaticat
7 things 1 writer has learned
so far: http://bit.ly/TgrMWc @writersdigest
Brainstorm Somebody Else's
Problems: http://bit.ly/TgrQ8s @kaitnolan
6 mysteries that could be
solved with time travel: http://bit.ly/SuyF3K
@i09
The Importance Of Sympathetic
Heroes: http://bit.ly/TgrZZn @woodwardkaren
The Role of Suspense in Stories
and Music: http://bit.ly/SuyYvf @SamMcNerney
7 Effective Steps to Taking
Action When You Don't Know What to Do: http://bit.ly/Tgs9QF
@JWhite
Professional Resources for
Writers: http://bit.ly/Suzk50 @KMWeiland
12 Signs Your Blog Is a Social
Media Ghost Town (& Actionable Tips to Fix Them): http://bit.ly/SuzqK8 @heidicohen
Editors Support the Author's
Voice: http://bit.ly/TgsoLx @IlieRuby
Why you shouldn't rush your
writing: http://bit.ly/SuzSrP @juliettewade
How to Become a Writer: http://bit.ly/Tgswe3
How to create creepy
characters: http://bit.ly/T9kVJU @p2p_editor
Essential Characteristics of a
Thriller Hero: http://bit.ly/SuAKMS
@JodieRennerEd
An editor's tips for writing
horror: http://bit.ly/R0E3tM @aliciarasley
The 10 Most Mentioned Songs in
Books: http://bit.ly/PRXpGl @publisherswkly
Tips for blogging more
consistently: http://bit.ly/R0EkwO
@michellerafter
A Proven Method That Helps
Writers to Research Their Books: http://bit.ly/PRXB8K
@bubblecow
17 tips for marketing your book
online: http://bit.ly/R0EDHN
@emergentpublish
Tips for self-pubbing your
poetry: http://bit.ly/PRXFFw @karencv
@magdalenaball
Writing Retreat Lessons: http://bit.ly/R0FaJX
The strength of female
characterization: http://bit.ly/R0FiZX
@Riduna
If the Muse is Late for Work,
Start Without Her: http://bit.ly/R0Wxdo
@AimeeLSalter
Rockin' That Steampunk: http://bit.ly/PS47fq @TheKJA @tordotcom
Genres are artificial
distinctions: http://bit.ly/R0X4Mp
@johnottinger
Things that Scare Writers: http://bit.ly/R0XkLD @rileymagnus
Stay motivated after rejection:
http://bit.ly/PS4kze
Our characters shouldn't live
in a void: http://bit.ly/R0XWkr
@dirtywhitecandy
Why Writers Disappear: http://bit.ly/R0Y1Vc @kristinerusch
Cowardice, Laziness and Irony:
How Science Fiction Lost the Future: http://bit.ly/R0Yre4
@RuthlessCult
3 Tests to Determine Readiness
for Publication: http://bit.ly/PS4AhO
@jodyhedlund
How to build your Sci-Fi world:
http://bit.ly/R0YM0k @louise_wise
9 Easily Preventable Mistakes
Writers Make with Dialogue: http://bit.ly/PS4GpR
@aliventure @thecreativepenn
Your Book Publicity Timeline: http://bit.ly/PS4HKb @SarahPinneo
5 Obnoxious Marketing
Techniques Writers Should Avoid: http://bit.ly/PS7O4Z
@jodyhedlund
Is Marketing the Writer's
Enemy? http://bit.ly/R18znd
Self-pubbing mistake--not
understanding your target markets: http://bit.ly/PShvjQ
@BookMarketer
Mad, Glad, Sad? Show, Don't
Tell. http://bit.ly/R1v23E @angelaackerman
@MarileeB
How Writing can Change the
World: http://bit.ly/PShFYu
Non-Writing Spouses: http://bit.ly/PShIDE @kaitlin_ward
A writer's relationship to his
publisher or agent is not a marriage: http://bit.ly/PShRHb
@sarahahoyt
How To Compose A Steampunk
Musical: http://bit.ly/R1vKxG
@steampunkopera
Conquer the Synopsis Summit: http://bit.ly/R1vRJJ @juliemusil
Characters--it's the motivation
that counts: http://bit.ly/PSifpa
@AimeeLSalter
Do you fit the Profile of a
Successful Self-Published Writer? http://bit.ly/R1wCm7
@bubblecow
Should publishers enhance
ebooks? http://bit.ly/R1xffc @philipjones
Consider breaking complex
sentences in two: http://bit.ly/PSiVuG
@aliciarasley
Why Publishers Don't Like
Working With Start-ups: http://bit.ly/R1xRBw
@passivevoiceblg
October 25, 2012
7 Reasons to Use Writing Prompts--by Gabriela Pereira
by Gabriela Pereira, @DIYMFA
Some writers love doing prompts. They sit in writing classes, pencils poised to start writing the moment the teacher gives an assignment. And when time is up, they shoot their hands into the air, waving madly to get the teacher's attention so they can read aloud what they wrote.
Other writers--like me, for instance--would rather tap-dance on an alligator's nose.
Who needs prompts? They're the writing equivalent of eating your vegetables, not so much fun but good for you. They also get in the way. Just like the veggies that fill you up and leave no room for dessert, prompts take up time you could be using to write something that really matters, like your novel.
The truth is, writing prompts might be about as appealing to you as soggy brussels sprouts but they do serve a purpose. Seven, in fact. Here a few good reasons why you should use prompts in your writing.
1) Lower Stakes, Higher Output
When we work on a project that we care about, the stakes are high. We want to produce something worthy of this amazing idea so we put all sorts of pressure on ourselves. This kind of pressure can actually decrease our ability to write, sometimes leading to full-blown writer's block. Instead, if we warm up with an exercise, there's little pressure and mistakes are expected so we're less likely to get performance anxiety.
2) Boost Your Confidence
Most of the time when you write from a prompt, you go into it knowing that the writing will be awful. Then you reread what you wrote and discover a handful of gems buried in the garble. Suddenly your writing isn't quite as hopeless as you thought. If you go into a writing session expecting the result to be truly horrible, then it's a pleasant surprise when what you get is not so bad. Writing prompts can help you set those first-draft expectations extra-low.
3) Less Attachment, More Room for Improvement
Prompts are usually "throw-away" writing. You're just warming up, you're not writing for real. This means that whatever you produce is not going to be as dear to your heart as that turn of phrase in your work-in-progress that you agonized over for the last two hours. The more darling something is to you, the harder it will be for you to kill it. If, on the other hand, you're revising something you just tossed on the page during a ten-minute exercise, you'll be much more open to making broad, sweeping changes. Who cares if you have to rewrite it? It's just an exercise.
4) Learn to Think "On the Fly"
Want to learn how to write on demand? Here's a secret no one tells you: creativity has nothing to do with being a "creative person," it's all about practice. Forget being inspired by the muse, if you want to be creative you have to build discipline. The more you train your brain to produce ideas and throw them on the page, the better at it you will get. And the best way to practice is by doing prompts.
5) Hone Your Craft
Is there a particular writing technique that has you stumped? Rather than trying to learn it as you work on your novel, do a practice run (or two, or ten) using writing prompts. Is point of view confusing ? Write the same prompt using different points of view until you get it straight. Need practice writing dialogue? Choose a couple of prompts and write all of them with nothing but dialogue. Use a prompt as a low-pressure testing ground, where you can try out techniques without fear of failure.
6) Try Something Wild
Prompts are a great way to get the crazies out of your system. You can use prompts as a forum for trying ideas that might seem out of place in your work-in-progress. I've done this many times with my own characters, letting them go nuts in a writing prompt, then dialing it back and channeling that prompt into something I can actually use in my novel or short story. Use prompts to try ideas on for size or to let your characters do something that might seem wildly out-of-character.
Use prompts to write freely and see where it leads. In the end, you'll probably find something of value buried amid the crazy and you'll be able to extract it and mold it into something that you can use. This is a great way to test your characters' boundaries and see how far you can push them until they break, and it can be less intimidating to try something wild in the low-pressure environment of an exercise than to try it in your novel or story.
7) Think on Paper
The other day I was scribbling in my notebook when someone asked me what I was writing. I replied with: "I'm not writing, I'm thinking." Thinking on paper can be far more effective than thinking in your head. For starters, thinking on paper engages more senses: you see the words and doodles on the page, feel your hand holding the pen and forming the words, even hear the words in your mind as you write them.
Why is sensory input important? First, associating these sensory stimuli with writing will help you be more productive and make you better able to get creative on demand. Also the more senses you use to process your ideas, the more likely you will be to come up with creative new ideas or solutions. By engaging as many senses as possible in your creative process, you can increase your creative output. Thinking on paper is a great way to do this.
And guess what? Writing prompts are a great way to learn how to think on paper.
Build prompts into your writing routine.
Not sure where to find them? Don't worry, there's a app for that. Check out the Writer Igniter at DIY MFA for a nearly endless supply of story prompts and ideas.
Gabriela Pereira is the Creative Director at DIY MFA, the do-it-yourself alternative to a master's degree in writing. She develops tools and techniques for the serious writer, to help you get the knowledge without the college. With an MFA in creative writing, Gabriela is also a freelance writing teacher, and has led workshops throughout New York City via writing programs like: 826NYC, East Harlem Tutorial Program and Everybody Wins. When she's not working on DIY MFA, she loves writing middle grade and teen fiction, with a few short stories for "grown-ups" thrown in for good measure.
Some writers love doing prompts. They sit in writing classes, pencils poised to start writing the moment the teacher gives an assignment. And when time is up, they shoot their hands into the air, waving madly to get the teacher's attention so they can read aloud what they wrote.
Other writers--like me, for instance--would rather tap-dance on an alligator's nose.
Who needs prompts? They're the writing equivalent of eating your vegetables, not so much fun but good for you. They also get in the way. Just like the veggies that fill you up and leave no room for dessert, prompts take up time you could be using to write something that really matters, like your novel.
The truth is, writing prompts might be about as appealing to you as soggy brussels sprouts but they do serve a purpose. Seven, in fact. Here a few good reasons why you should use prompts in your writing.
1) Lower Stakes, Higher Output
When we work on a project that we care about, the stakes are high. We want to produce something worthy of this amazing idea so we put all sorts of pressure on ourselves. This kind of pressure can actually decrease our ability to write, sometimes leading to full-blown writer's block. Instead, if we warm up with an exercise, there's little pressure and mistakes are expected so we're less likely to get performance anxiety.
2) Boost Your Confidence
Most of the time when you write from a prompt, you go into it knowing that the writing will be awful. Then you reread what you wrote and discover a handful of gems buried in the garble. Suddenly your writing isn't quite as hopeless as you thought. If you go into a writing session expecting the result to be truly horrible, then it's a pleasant surprise when what you get is not so bad. Writing prompts can help you set those first-draft expectations extra-low.
3) Less Attachment, More Room for Improvement
Prompts are usually "throw-away" writing. You're just warming up, you're not writing for real. This means that whatever you produce is not going to be as dear to your heart as that turn of phrase in your work-in-progress that you agonized over for the last two hours. The more darling something is to you, the harder it will be for you to kill it. If, on the other hand, you're revising something you just tossed on the page during a ten-minute exercise, you'll be much more open to making broad, sweeping changes. Who cares if you have to rewrite it? It's just an exercise.
4) Learn to Think "On the Fly"
Want to learn how to write on demand? Here's a secret no one tells you: creativity has nothing to do with being a "creative person," it's all about practice. Forget being inspired by the muse, if you want to be creative you have to build discipline. The more you train your brain to produce ideas and throw them on the page, the better at it you will get. And the best way to practice is by doing prompts.
5) Hone Your Craft
Is there a particular writing technique that has you stumped? Rather than trying to learn it as you work on your novel, do a practice run (or two, or ten) using writing prompts. Is point of view confusing ? Write the same prompt using different points of view until you get it straight. Need practice writing dialogue? Choose a couple of prompts and write all of them with nothing but dialogue. Use a prompt as a low-pressure testing ground, where you can try out techniques without fear of failure.
6) Try Something Wild
Prompts are a great way to get the crazies out of your system. You can use prompts as a forum for trying ideas that might seem out of place in your work-in-progress. I've done this many times with my own characters, letting them go nuts in a writing prompt, then dialing it back and channeling that prompt into something I can actually use in my novel or short story. Use prompts to try ideas on for size or to let your characters do something that might seem wildly out-of-character.
Use prompts to write freely and see where it leads. In the end, you'll probably find something of value buried amid the crazy and you'll be able to extract it and mold it into something that you can use. This is a great way to test your characters' boundaries and see how far you can push them until they break, and it can be less intimidating to try something wild in the low-pressure environment of an exercise than to try it in your novel or story.
7) Think on Paper
The other day I was scribbling in my notebook when someone asked me what I was writing. I replied with: "I'm not writing, I'm thinking." Thinking on paper can be far more effective than thinking in your head. For starters, thinking on paper engages more senses: you see the words and doodles on the page, feel your hand holding the pen and forming the words, even hear the words in your mind as you write them.
Why is sensory input important? First, associating these sensory stimuli with writing will help you be more productive and make you better able to get creative on demand. Also the more senses you use to process your ideas, the more likely you will be to come up with creative new ideas or solutions. By engaging as many senses as possible in your creative process, you can increase your creative output. Thinking on paper is a great way to do this.
And guess what? Writing prompts are a great way to learn how to think on paper.
Build prompts into your writing routine.
Not sure where to find them? Don't worry, there's a app for that. Check out the Writer Igniter at DIY MFA for a nearly endless supply of story prompts and ideas.
Gabriela Pereira is the Creative Director at DIY MFA, the do-it-yourself alternative to a master's degree in writing. She develops tools and techniques for the serious writer, to help you get the knowledge without the college. With an MFA in creative writing, Gabriela is also a freelance writing teacher, and has led workshops throughout New York City via writing programs like: 826NYC, East Harlem Tutorial Program and Everybody Wins. When she's not working on DIY MFA, she loves writing middle grade and teen fiction, with a few short stories for "grown-ups" thrown in for good measure.
