Jerry B. Jenkins's Blog, page 13

Tone in Writing: A Simple Guide for Authors

Guest blog by Tami Nantz

If you’re confused about the difference between “voice” and “tone” in writing, you aren’t alone. Many writers conflate the two. 

Whether you’re writing a novel, a blog post, an article, or a poem, it’s important to know the difference so you can communicate with readers in a way that resonates. 

Your writing voice reflects who you are, your unique personality and character that should flavor everything you write.

Tone is the attitude with which you write it. 

So, voice is what you say, and tone is how you say it. 

That sounds simple, so let’s dig deeper. 

What is Tone in Writing?

We communicate tone when we speak (whether we’re aware of it or not). 

Imagine you and I have an appointment and you get caught in traffic and show up half an hour late. 

“You always this punctual?” I say with a grin. 

My smile sends a clear message—I’m not upset, I’m being sarcastic. That’s tone. 

Communicating tone in writing is no different. 

Avoid the mistake of telling your reader what to feel. Instead, convey your attitude or emotion with carefully chosen words that create the perfect tone for your story.

Types of Tone in Writing

The list is nearly endless—show me a human emotion, I’ll show you a tone—

but here are the basic ones: 

FormalInformal OptimisticPessimisticJoyfulSadSincereHypocriticalFearfulHopefulHumorousSerious

While tones can vary with every character and scene, the overall tone of your story must remain consistent to keep from confusing your reader and hindering your message.

Examples of Tone in Literature 

Robert Frost begins his poem The Road Not Taken with a hopeful, contemplative tone.

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;

By the end, he’s switched to reflection and positivity. 

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I—

I took the one less traveled by,

And that has made all the difference.

In The Old Man and the Sea , his  final published work, Ernest Hemingway effects a tone of loneliness, sadness, defeat, and discouragement (at least on the part of the boy). 

But, you can also read into what’s not said and detect a tone of courage or expectation on the part of the old man. Who continues to fish day after day when they’ve caught nothing? 

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. In the first forty days a boy had been with him. But after forty days without a fish the boy’s parents had told him that the old man was now definitely and finally salao, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish the first week.

It made the boy sad to see the old man come in each day with his skiff empty and he always went down to help him carry either the coiled lines or the gaff and harpoon and the sail that was furled around the mast. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat.

In The Horse and His Boy, C.S. Lewis writes this passage with a clear tone of self-pity and sadness that shifts to fear. 

‘I do think,’ said Shasta, ‘that I must be the most unfortunate boy that ever lived in the whole world. Everything goes right for everyone except me…I was left behind…I was the one who was sent on…I got left out.’ And being very tired and having nothing inside him, he felt so sorry for himself that the tears rolled down his cheeks.

What put a stop to all this was a sudden fright. Shasta discovered that someone or somebody was walking beside him. It was pitch dark and he could hardly hear any footfalls. What he could hear was breathing. His invisible companion seemed to breathe on a very large scale, and Shasta got the impression that it was a very large creature. And he had come to notice this breathing so gradually that he had really no idea how long it had been there. It was a horrible shock.

How to Develop Your Writing Tone

Have you ever written something you realized later fell flat? Here’s how to avoid this:

1. Remember your audience. 

Every reader matters. Write in a straightforward, friendly manner as if having a conversation. Be real and avoid words that require a dictionary.

2. Layer in details.

Convey tone through descriptions that trigger the theater of your reader’s mind rather that being so specific that you leave nothing to his imagination.

3. Conflict is your friend.

Avoid a story that falls flat by creating what Bridget McNulty calls “an ebb and flow of tension”. 

Plunge your main character into terrible trouble from the get-go and spend the rest of your story having him try to remedy the situation. 

Tone can serve as one of the most important elements in writing because it gives life to a story. 

Tami Nantz is a freelance writer. She lives with her family near Washington, D.C. More of her work can be found at TamiNantz.com. 

Related Posts:

How to Develop a Great Story Idea

How to Improve Your Writing Skills: 15 Simple Tips

How to Write a Book: Everything You Need to Know in 20 Steps

The post Tone in Writing: A Simple Guide for Authors appeared first on Jerry Jenkins | Proven Writing Tips.

Masterfully Showing Emotion in Your Characters

Guest post by C.S. Lakin

Effectively rendering emotion is challenging, but it’s a necessary skill if you’re a fiction writer.

Readers want to be moved and never forget what reaches their hearts. If we writers don’t carefully, masterfully evoke emotion, we fail as storytellers.

There are three main ways you can reveal emotions in your characters:

1) Using body language (revealing internal sensations)

2) Naming the emotion

3) Via the character’s thoughts

Writers often use a combination of these, and each has its merits and drawbacks. 

Let’s look at the challenge of “showing” emotion—and it’s more than throwing into a scene a clenched fist or a pounding heart.

Emotions Are Often Hard to Detect

A person’s body both feels and reveals emotion. It can be felt internally without any outward sign. Conversely, emotions might be shown by body language without a person being conscious of the emotion. 

Physical tells can be powerful. Humans are keenly responsive to subtle gestures—a slight movement, even a flicker of the eyes can say so much. Intense emotions such as grief and fury can be revealed in barely noticeable expressions. We writers should take note.

What makes it challenging is that your POV character might talk and think in ways that show she’s clueless to what she’s feeling or what her body language is broadcasting. 

Just because I see you sigh or cry doesn’t mean I know what you are feeling. Body language can only go so far to effectively convey a character’s emotion.

It’s All about Your Character

Don’t feel the need to let the reader know the emotional state of everyone in every scene. 

Everything in a scene is shown through your POV character’s eyes—what she notices by paying attention at that moment. She may not notice others’ body language or be aware of her own emotions. 

Have you ever suddenly realized you were grinding your teeth, white-knuckling your steering wheel, or breathing fast? Often, someone else points out that we’re exuding emotion. We mostly pick up in ourselves a bodily sensation, not a visual. 

Let’s look at a passage from my drama Intended for Harm. Note the gestures, small actions implying emotion—both what the POV character notices in others and what you, the reader, notice in him:

Jake grabbed Simon’s T-shirt at the neckline. “Never meant what? Where is Shane?”

He didn’t need to hear their answer; the guilt saturated their faces, unmistakably.

Tears pooled in Levi’s eyes. “When Sh-shane came back to town about a w-week later, we arranged to m-m-meet him … up where he’d t-t-aken … taken Dinah …”

Levi gulped, closed his mouth. Jake saw him fight back those tears, knew he held them in not from embarrassment but from wanting to validate, not decry, his actions.

Simon stamped his foot, clearly did not want Levi to tell, but Jake would get it out of them.

Levi drew in a long breath that quavered. He continued. “We b-beat him up. But I guess we … got c-carried away.”

Jake opened his mouth but nothing came out. All his energy drained, and he wobbled on his feet. The words fluttered out his throat, like moths winging to flame, to their doom. “You killed him …”

Levi looked at the floor, but Simon met his gaze. “We carried the body to his car, then pushed it off the cliff. No one will find it—”

Jake’s knees gave way, and he collapsed on the concrete garage floor. He buried his face in his hands, disbelieving. “Oh, God … oh, God …”

Jake groaned, unaware and uncaring whether his boys were standing there or had left. The moment muddled, miring him like quicksand, sucking him down, down.

He heard Levi’s voice hovering near him. “Dad. It’ll b-be okay. There’s n-no way anyone can p-point to us. We wore g-gloves. No one knew Shane r-raped Dinah—no one b-b-but us. There’d be no r-reason for anyone to think we h-had anything to do with it—even if they f-find the c-car. They’ll think he d-drove off the cliff. He had d-drugs in his blood. They’d blame it on the d-drugs, Dad.”

The room went silent. “Just get out,” Jake said. He listened but heard no footsteps. He raised his head from where he lay curled up on the ground, looked at Simon, who stood there, thinking.

“What about Joey?” Simon asked, his voice thick with disgust.

“What about him?” Jake asked.

“How are we gonna get him to keep his trap shut? He blabs about everything, and he’ll tell someone.”

“I’ll talk to him,” Jake offered.

Simon snorted. “Like that will shut him up? You know how holy and righteous he is. He feels it’s his God-given duty to report all sin. To make sure evildoers are punished for their crimes—”

“I said I’ll talk to him!” Jake yelled through his dry throat, parched like the rest of his body, thirsting for relief but knowing not a single drop would be found.

“Levi, let’s go,” Simon said, stomping toward the garage door. 

Jake observes emotional tells in his boys. He doesn’t try to name the emotions his sons are feeling other than the obvious guilt on their faces, but these tells indicate they are distressed—tears, gulping, stomping, snorting. 

Jake, also, becomes aware of some of his own bodily sensations, visceral reactions to what he witnesses. He feels the energy drain from his body, he wobbles, his knees giving way as he falls.

Then there are the words and phrases that show Jake’s body language, implying emotion: burying his face in his hands, groaning, yelling.

3 Ways to Show Emotion

Here we see three facets of showing emotion via body language or sensations

1) What the character observes in others

2) What the character senses in his own body

3) What the author shows in the character, from outside the character’s direct perspective

With this third component, your POV character has to be aware that he’s showing these physical tells. Jake would be aware he’s yelling. But I’ve pointed out to my husband that he’s yelling, and he doesn’t realize it. Some don’t realize they’re crying until they notice their face is wet. Sometimes we don’t know we are groaning, crying, moaning, sighing, gasping, or even clenching our hands or jaw. 

Does it matter whether your POV character knows he is emoting? That depends on your purpose for showing it. Is it for the reader to sense emotion in the character? If your character is grasping his child’s shirt collar so hard he’s nearly strangling him, it may serve your scene to have the character not realize it until someone pulls him away.

You have to be careful here, because everything in a scene is coming through your character’s senses when you’re in deep POV. You can’t truly be in his POV if you show something he isn’t aware of. So while a character might not be paying attention to his fists clenching, on some level he has to be aware he’s doing that. 

Think of ways to reveal emotion your character might not want noticed. Think of things that might trigger emotion in your POV character. When Jake sees Simon stomp, he knows he’s signaling to his younger brother to shut up. Simon doesn’t want him to see that. 

It’s important for POV characters to notice others’ tones, expressions, and gestures. And another reason you should use them is that readers can’t read your mind. 

Keep these tips in mind, and you’ll be on your way to emotional mastery.

C. S. Lakin is an editor, award-winning blogger, and author of twenty novels and the Writer’s Toolbox series of instructional books for novelists. She edits and critiques more than 200 manuscripts a year and teaches workshops and boot camps to help writers craft masterful novels. 

To become a masterful wielder of emotion, enroll in Lakin’s new online video course, Emotional Mastery for Fiction Writers, before September 1st, and get half off using this link.

Related Posts:

The Ultimate Guide to Character Development: 10 Steps to Creating Memorable Heroes

How to Write a Novel: A 12-Step Guide

How to Write Dialogue That Captivates Your Reader

The post Masterfully Showing Emotion in Your Characters appeared first on Jerry Jenkins | Proven Writing Tips.

Your Ultimate Guide to Writing Contests Through 2020

Regardless where you are on your writing journey—from wannabe to bestseller—you can benefit from entering contests.

Why?

Because the right contest can tell you:

Where you stand
How you measure up against the competition
What you still need to learn

Not to mention, you could win prizes. :)

That’s why my team and I conducted extensive research to not only find free, high-quality writing contests, but to also give you the best chance to win.

(We’ll update this post frequently with new writing contest details.)

Need help writing your novel? Click here to download my ultimate 12-step guide.
Free Writing Contests in 2019 (and Beyond)
53-Word Story Contest

Prize: Publication, a free book from Press 53

Deadline: Frequent contests

Sponsor: Prime Number Magazine

Description: Each month Prime Number Magazine invites writers to submit a 53-word story based on a prompt.

The Jeff Sharlet Memorial Award for Veterans

Prize:

1st: $1,000 and publication in The Iowa Review

2nd: $750

3rd (3 selected): $500

Deadline: 5/1/20 – 5/31/20

Sponsor: The Iowa Review

Description: Due to a donation from the family of veteran and antiwar author, Jeff Sharlet, The Iowa Review is able to hold The Jeff Sharlet Memorial Award for Veterans. Note: Only U.S. military veterans and active duty personnel may submit writing in any genre about any topic.

St. Francis College Literary Prize

Prize: $50,000

Deadline: TBD 2021

Sponsor: St. Francis College

Description: For mid-career authors who have just published their 3rd, 4th, or 5th fiction book. Self-published books and English translations are also considered.

New Writers Awards

Prize: The winning authors tour several colleges, giving readings, lecturing, visiting classes, conducting workshops, and publicizing their books. Each writer receives an honorarium of at least $500 from each college visited, as well as travel expenses, hotel accommodations, and hospitality.

Deadline: TBD 2020

Sponsor: Great Lakes Colleges Association

Description: Every year since 1970, the Association has honored newly published writers with an award for a first published volume of poetry, fiction, and creative nonfiction. Note: Publishers (not the writers) are invited to submit works that “emphasize literary excellence.” All entries must be written in English and published in the United States or Canada.

Young Lions Fiction Award

Prize: $10,000

Deadline: 9/6/19

Sponsor: New York Public Library

Description: Each Spring, the Library gives a writer 35 years old or younger $10,000 for a novel or a collection of short stories. This award seeks to encourage young and emerging writers of contemporary fiction.

The Iowa Short Fiction Award

Prize: Publication in the University of Iowa Press

Deadline: 9/30/19

Sponsor: University of Iowa Press

Description: Seeking 150-page (or longer) collections of fiction by writers who have not previously traditionally published a novel or fiction collection.

Pen/Faulkner Award for Fiction

Prize: $15,000

Deadline: 10/31/19

Sponsor: Pen/Faulkner Foundation

Description: Mary Lee established the Award in 1980 to recognize excellent literary fiction. It accepts published books and is peer-juried. The winner is honored as “first among equals.”

Friends of American Writers Literary Award

Prize: $1,000 – $3,000

Deadline: 12/10/19

Sponsor: Friends of American Writers Chicago

Description: Current or former residents of the American Midwest (or authors whose book takes place in the Midwest) are invited to submit to the FAW Literary Award. Published novels or nonfiction books are welcome. Authors must have three or fewer books published, including the submission.

Anisfield-Wolf Book Awards

Prize: $10,000

Deadline: 12/31/19

Sponsor: Cleveland Foundation

Description: The Award seeks fiction, poetry, and nonfiction books published the previous year (books published in 2019 are eligible for the 2020 prize) “that contribute to our understanding of racism and our appreciation of cultural diversity.” Self-published work not accepted.

Cabell First Novelist Award

Prize: $5,000

Deadline: 12/31/19

Sponsor: Virginia Commonwealth University

Description: Seeks to honor first-time novelists “who have navigated their way through the maze of imagination and delivered a great read.” Novels published the previous year are accepted.

The Gabo Prize

Prize: $200

Deadline: Every February and August

Sponsor: Lunch Ticket

Description: Awards translators and authors of multilingual texts (poetry and prose) with $200 and publication in Lunch Ticket.

Transitions Abroad Expatriate and Work Abroad Writing Contest

Prize:

First: $500

Second: $150

Third: $100

All Finalists: $50

Deadline: 9/1/19

Sponsor: Transitions Abroad Publishing, Inc.

Description: Seeking inspiring articles or practical mini-guides that also provide in-depth descriptions of your experience moving, living, and working abroad (including teaching, internships, volunteering, short-term jobs, etc.). Work should be between 1,200-3,000 words. All writers welcome.

Short Fiction Prize

Prize: $1,000 and a scholarship to the 2020 Southampton Writers Conference.

Deadline: TBD

Sponsor: Stoney Brook University

Description: Seeking short stories by undergraduates at American or Canadian colleges.

The Wallace Stegner Prize in Environmental Humanities

Prize: $5,000 and publication.

Deadline: 12/30/19

Sponsor: The University of Utah Press

Description: Wallace Stegner was a student of the American West, an environmental spokesman, and a creative writing teacher. In his memory, the University of Utah Press seeks book-length monographs in the field of environmental humanities. Projects focusing on the American West preferred.

Drue Heinz Literature Prize

Prize: $15,000 and publication

Deadline: TBD

Sponsor: University of Pittsburgh Press

Description: Seeks short fiction or novella collections. Writers who have published a novel or a book-length collection of fiction with a traditional book publisher, or a minimum of three short stories or novellas in magazines or journals of national distribution are accepted.

Ernest J. Gaines Award for Literary Excellence

Prize: $15,000

Deadline: 8/15/19, TBD 2020

Sponsor: Baton Rouge Area Foundation

Description: Honors novels and story collections by African American writers. Entries that will be published in 2019 are accepted.

Brooklyn Nonfiction Prize

Prize: $500

Deadline: TBD

Sponsor: Brooklyn Film & Arts Festival

Description: Showcases essays set in Brooklyn. Five authors will be asked to read their pieces at the Brooklyn Film & Arts Festival.

International Flash Fiction Competition

Prize:

First: $20,000

Three runners-up: $2,000

Deadline: TBD

Sponsor: The César Egido Serrano Foundation

Description: With over 40,000 participants last year, this prize invites authors to submit flash fiction in Spanish, English, Arabic, and Hebrew.

David J. Langum, Sr. Prize in American Historical Fiction

Prize: $1,000

Deadline: 12/1/19

Sponsor: The Langum Foundation

Description: To make American history accessible to general educated readers, the Foundation seeks American historical novels published in the previous year. Novels should take place in America before 1950 (split-time novels accepted). Novels set outside American but including American values and characters accepted (such as about the American military). Self-published novels not accepted.

W.Y. Boyd Literary Award

Prize: $5,000

Deadline: TBD

Sponsor: American Library Association

Description: The Association seeks Military fiction published in the previous year. Children’s books not accepted—young adult and adult novels only.

Thomas and Lillie D. Chaffin Award

Prize: $1,000

Deadline: 12/1/19

Sponsor: Morehead State University

Description: Accepts outstanding books of all genres by Appalachian writers. Writers will have the opportunity to interact with students.

BCALA Literary Awards

Prize: $500

Deadline: 12/31/19

Sponsor: Black Caucus of the American Library Association

Description: For literary fiction, nonfiction, and poetry books as well as first novels. Books written by African Americans and published the previous year accepted.

Desert Writers Award

Prize: $5,000

Deadline: TBD 2020

Sponsor: Ellen Meloy Fund

Description: Accepts proposals for creative nonfiction about the desert that reflects the spirit and passions embodied in Ellen’s writing and her commitment to a “deep map of place.”

John Gardner Fiction Book Award

Prize: $1,000

Deadline: Accepts submissions September 1, 2019 through February 1, 2020.

Sponsor: Binghamton University

Description: Seeks original novels or collections of fiction published the previous year.

Nelson Algren Short Story Award

Prize:

First: $3,500

Finalists (5): $750

Deadline: TBD 2020

Sponsor: Chicago Tribune

Description: Original, unpublished short stories under 8,000 words accepted for this award given in honor of the late Chicago writer.

Graywolf Press Nonfiction Prize

Prize: $12,000 and publication

Deadline: TBD 2020

Sponsor: Graywolf Press

Description: Awarded to the most promising and innovative literary nonfiction project by a writer not yet established in the genre. Accepts memoirs, essays, biographies, histories, and more, but emphasizes innovation over straightforward memoirs.

New Voices Award

Prize: $2,000 and publication ($1,000 for the Honor Award winner)

Deadline: 8/31/19

Sponsor: Lee and Low Books

Description: Seeks a children’s picture book manuscript by a writer of color or a Native/Indigenous writer. Only U.S. residents who have not previously published a children’s picture book are eligible. Fiction, nonfiction, and poetry accepted that addresses the needs of children of color and Native nations by providing stories with which they can identify and which promote a greater understanding of one another. Work should be under 1,500 words.

St. Martin’s Minotaur / Mystery Writers of America First Crime Novel Competition

Prize: Publication and a $10,000 advance

Deadline: TBD 2020

Sponsor: Minotaur Books and Mystery Writers of America

Description: Seeks mysteries by writers who have never published a novel (not including self-publishing). Serious crime must be at the heart of the work.

Stowe Prize

Prize: $10,000

Deadline: TBD

Sponsor: Harriet Beecher Stowe Center

Description: Named for the abolitionist and author of Uncle Tom’s Cabin, recognizes a U.S. author whose work has made a tangible impact on a social justice issue critical to contemporary society. Can be for a single work or a body of work (fiction or nonfiction) within two years of submission.

ServiceScape Short Story Award

Prize: $1,000

Deadline: 11/29/19

Sponsor: ServiceScape

Description: Accepts original, unpublished work (5,000 words or fewer) in any genre.

The Marfield Prize

Prize: $10,000

Deadline: TBD

Sponsor: The Arts Club of Washington

Description: Celebrates nonfiction books about an artistic discipline published the previous year.

The Glenna Luschei Prize for African Poetry

Prize: $1,000

Deadline: TBD

Sponsor: African Poetry Book Fund

Description: Honors published books by African poets.

The Roswell Award

Prize: $500

Deadline: TBD

Sponsor: Light Bringer Project and Sci-Fest L.A.

Description: Explore the future of humankind with science fiction short stories between 1,500 and 500 words by authors over 18. Also includes prizes for translated work and feminist work.

Narrative Prize

Prize: $4,000

Deadline: 6/15/20

Sponsor: Narrative

Description: Awarded annually for the best short story, novel excerpt, poem, one-act play, graphic story, or work of literary nonfiction published by a new or emerging writer in Narrative.

Bacopa Literary Review Contest

Prize: $300

Deadline: TBD (Spring 2020)

Sponsor: The Writers Alliance of Gainesville

Description: Seeks work in the categories of haiku, poetry, prose poetry, fiction, and creative nonfiction

Jim Baen Memorial Short Story Award

Prize: $.07 per word and publication

Deadline: 2/1/20

Sponsor: National Space Society and Baen Books

Description: The National Space Society and Baen Books applaud the role that science fiction plays in advancing real science and have teamed up to sponsor this short fiction contest in memory of Jim Baen.

Black Orchid Novella Award

Prize: $1,000 and publication

Deadline: 5/31/20

Sponsor: The Wolfe Pack and Alfred Hitchcock’s Mystery Magazine

Description: Seeks mystery novellas in the tradition of the Nero Wolfe series.

Hektoen Grand Prix Essay Competition

1st Prize: $3,000

2nd Prize: $800

Deadline: TBD 2020

Sponsor: Hektoen Institute of Medicine

Description: Seeks essays about medicine under 1,600 words. Topics might include art, history, literature, education, etc., as they relate to medicine.

James Laughlin Award

Prize: $5,000, an all-expenses-paid weeklong residency at The Betsy Hotel in Miami Beach, Florida, and distribution of the winning book to approximately one thousand Academy of American Poets members.

Deadline: Submissions accepted yearly between January 1 and May 15

Sponsor: The Academy of American Poets

Description: Offered since 1954, the James Laughlin Award is given to recognize and support a second book of poetry forthcoming in the next calendar year.

Parsec Short Story Contest

Prize: 

First: $200

Second: $100

Third: $50

Deadline: TBD 2020

Sponsor: Parsec, Inc.

Description: This annual contest seeks science fiction, fantasy, and horror short stories from non-professional writers.

Owl Canyon Press Short Story Hackathon

Prize: 

First: $3,000

Second: $2,000

Third: $1,000

Finalists (24): Publication

Deadline: 9/30/19

Sponsor: Owl Canyon Press

Description: Seeks stories with 50 paragraphs, but the first and twentieth paragraphs are provided by the judges.

Tony Hillerman Prize

Prize: Publication and a $10,000 advance

Deadline: TBD 2020

Sponsor: Western Writers of America and St. Martin’s Press, LLC

Description: Seeks unpublished mystery novels set in the Southwest by authors who haven’t previously published a mystery novel.

Need help writing your novel? Click here to download my ultimate 12-step guide.

Related Posts:

How to Write a Book: Everything You Need to Know in 20 Steps

How to Publish a Book: My Ultimate Guide from 40+ Years of Experience

How to Overcome Writer’s Block Once and for All: My Surprising Solution

The post Your Ultimate Guide to Writing Contests Through 2020 appeared first on Jerry Jenkins | Proven Writing Tips.

How to Write a Short Story That Captivates Your Reader

Trying to write a short story is the perfect place to begin your writing career.

Why?

Because it reveals many of the obstacles, dilemmas, and questions you’ll face when creating fiction of any length.

If you find these things knotty in a short story, imagine how profound they would be in a book-length tale.

Most writers need to get a quarter million clichés out of their systems before they hope to sell something.

And they need to learn the difference between imitating their favorite writers and emulating their best techniques.

Mastering even a few of the elements of fiction while learning the craft will prove to be quick wins for you as you gain momentum as a writer.

I don’t mean to imply that learning how to write a short story is easier than learning how to write a novel—only that as a neophyte you might find the process more manageable in smaller bites.

So let’s start at the beginning.

Need help fine-tuning your writing? Click here to download my free self-editing checklist.
What Is a Short Story?

Don’t make the mistake of referring to short nonfiction articles as short stories. In the publishing world, short story always refers to fiction. And short stories come varying shapes and sizes:

Traditional: 1,500-5000 words
Flash Fiction: 500-1,000 words
Micro Fiction: 5 to 350 words

Is there really a market for a short story of 5,000 words (roughly 20 double-spaced manuscript pages)?

Some publications and contests accept entries that long, but it’s easier and more common to sell a short story in the 1,500- to 3,000-word range.

And on the other end of the spectrum, you may wonder if I’m serious about short stories of fewer than 10 words (Micro Fiction). Well, sort of.

They are really more gimmicks, but they exist. The most famous was Ernest Hemingway’s response to a bet that he couldn’t write fiction that short. He wrote: For sale: baby shoes. Never worn.

That implied a vast backstory and deep emotion.

Writing a compelling short story is an art, despite that they are so much more concise than novels. Which is why I created this complete guide:

9 Steps to Writing a Great Short Story
1. Read as Many Great Short Stories as You Can Find

Read hundreds of them—especially the classics.

You learn this genre by familiarizing yourself with the best. See yourself as an apprentice. Watch, evaluate, analyze the experts, then try to emulate their work.

Soon you’ll learn enough about how to write a short story that you can start developing your own style.

A lot of the skills you need can be learned through osmosis.

Where to start? Read Bret Lott, a modern-day master. (He chose one of my short stories for one of his collections.)

Reading two or three dozen short stories should give you an idea of their structure and style. That should spur you to try one of your own while continuing to read dozens more.

Remember, you won’t likely start with something sensational, but what you’ve learned through your reading—as well as what you’ll learn from your own writing—should give you confidence. You’ll be on your way.

2. Aim for the Heart

The most effective short stories evoke deep emotions in the reader.

What will move them? The same things that probably move you:

Love
Redemption
Justice
Freedom
Heroic sacrifice
What else?

3. Narrow Your Scope

It should go without saying that there’s a drastic difference between a 450-page, 100,000-word novel and a 10-page, 2000-word short story.

One can accommodate an epic sweep of a story and cover decades with an extensive cast of characters.

The other must pack an emotional wallop and tell a compelling story with a beginning, a middle, and an end—with about 2% of the number of words.

Naturally, that dramatically restricts your number of characters, scenes, and even plot points.

The best short stories usually encompass only a short slice of the main character’s life—often only one scene or incident that must also bear the weight of your Deeper Question, your theme or what it is you’re really trying to say.

Tightening Tips

If your main character needs a cohort or a sounding board, don’t give her two. Combine characters where you can.
Avoid long blocks of description; rather, write just enough to trigger the theater of your reader’s mind.
Eliminate scenes that merely get your characters from one place to another. The reader doesn’t care how they got there, so you can simply write: Late that afternoon, Jim met Sharon at a coffee shop…

Your goal is to get to a resounding ending by portraying a poignant incident that tell a story in itself and represents a bigger picture.

4. Make Your Title Sing

Work hard on what to call your short story.

Yes, it might get changed by editors, but it must grab their attention first. They’ll want it to stand out to readers among a wide range of competing stories, and so do you.

5. Use the Classic Story Structure

Once your title has pulled the reader in, how do you hold his interest?

As you might imagine, this is as crucial in a short story as it is in a novel. So use the same basic approach:

Plunge your character into terrible trouble from the get-go.

Of course, terrible trouble means something different for different genres.

In a thriller, your character might find himself in physical danger, a life or death situation.
In a love story, the trouble might be emotional, a heroine torn between two lovers.
In a mystery, your main character might witness a crime, and then be accused of it.

Don’t waste time setting up the story. Get on with it.

Tell your reader just enough to make her care about your main character, then get to the the problem, the quest, the challenge, the danger—whatever it is that drives your story.

6. Suggest Backstory, Don’t Elaborate

You don’t have the space or time to flash back or cover a character’s entire backstory.

Rather than recite how a Frenchman got to America, merely mention the accent he had hoped to leave behind when he emigrated to the U.S. from Paris.

Don’t spend a paragraph describing a winter morning.

Layer that bit of sensory detail into the narrative by showing your character covering her face with her scarf against the frigid wind.

7. When in Doubt, Leave it Out

Short stories are, by definition, short. Every sentence must count. If even one word seems extraneous, it has to go.

8. Ensure a Satisfying Ending

This is a must. Bring down the curtain with a satisfying thud.

In a short story this can often be accomplished quickly, as long as it resounds with the reader and makes her nod. It can’t seem forced or contrived or feel as if the story has ended too soon.

In a modern day version of the Prodigal Son, a character calls from a taxi and leaves a message that if he’s allowed to come home, his father should leave the front porch light on. Otherwise, he’ll understand and just move on.

The rest of the story is him telling the cabbie how deeply his life choices have hurt his family.

The story ends with the taxi pulling into view of his childhood home, only to find not only the porch light on, but also every light in the house and more out in the yard.

That ending needed no elaboration. We don’t even need to be shown the reunion, the embrace, the tears, the talk. The lights say it all.

9. Cut Like Your Story’s Life Depends on It

Because it does.

When you’ve finished your story, the real work has just begun.

It’s time for you to become a ferocious self-editor.

Once you’re happy with the flow of the story, every other element should be examined for perfection: spelling, grammar, punctuation, sentence construction, word choice, elimination of clichés, redundancies, you name it.

Also, pour over the manuscript looking for ways to engage your reader’s senses and emotions.

All writing is rewriting. And remember, tightening nearly always adds power. Omit needless words.

Examples:

She shrugged her shoulders.

He blinked his eyes.

Jim walked in through the open door and sat down in a chair.

The crowd clapped their hands and stomped their feet.

Learn to tighten and give yourself the best chance to write short stories that captivate your reader.

Where to Sell Your Short Stories
Need help fine-tuning your writing? Click here to download my free self-editing checklist.
1. Contests

Writing contests are great because the winners usually get published in either a magazine or online—which means instant visibility for your name.

Many pay cash prizes up to $5,000. But even those that don’t offer cash give you awards that lend credibility to your next short story pitch.

2. Genre-Specific Periodicals

Such publications cater to audiences who love stories written in their particular literary category.

If you can score with one of these, the editor will likely come back to you for more.

Any time you can work with an editor, you’re developing a skill that will well serve your writing.

3. Popular Magazines

Plenty of print and online magazines still buy and publish short stories. A few examples:

The Atlantic
Harper’s Magazine
Alfred Hitchcock’s Mystery Magazine
The New Yorker
Ellery Queen’s Mystery Magazine
Woman’s World

4. Literary Magazines

While, admittedly, this market calls for a more intellectual than mass market approach to writing, getting published in one is still a win.

Here’s a list of literary magazine short story markets.

5. Short Story Books

Yes, some publishers still publish these.

They might consist entirely of short stories from one author, or they might contain the work of several, but usually tied together by theme.

Regardless which style you’re interested in, remember that while each story should fit the whole, it must also work on its own, complete and satisfying in itself.

What’s Your Short Story Idea?

You’ll know yours has potential when you can distill its idea to a single sentence. You’ll find that this will keep you on track during the writing stage. Here’s mine for a piece I titled Midnight Clear (which became a movie starring Stephen Baldwin):

An estranged son visits his lonely mother on Christmas Eve before his planned suicide, unaware she is planning the same, and the encounter gives them each reasons to go on.

Need help fine-tuning your writing? Click here to download my free self-editing checklist.

In the comments below, write the one-sentence essence of your short story.

Related Posts:

How to Write a Book: Everything You Need to Know in 20 Steps

How to Overcome Writer’s Block Once and for All: My Surprising Solution

Book Writing Software to Help You Create, Organize, and Edit Your Manuscript

The post How to Write a Short Story That Captivates Your Reader appeared first on Jerry Jenkins | Proven Writing Tips.

Voice in Writing: How to Find Yours

Based on what I hear wherever I speak, it’s clear that beginning writers agonize as much over find their writing voice as over any other issue. 

Trust me, while it’s crucial you find your unique writing voice, it really isn’t all that complicated. 

You wouldn’t be able to tell that from the plethora of blogs, articles, and books on the subject.

Google “writing voice” and you’ll spend the rest of the day and night immersed in opinions. 

So let me make this simple. 

What is Voice in Writing?

It’s you…

It’s your distinct:

Personality CharacterPassionEmotionPurpose

It’s the lens through which you see yourself and the world. 

Your voice sets the tone and conveys your message in your own unique way. 

How to Find Your Writing Voice

Try this exercise. Consider:

The coolest thing that has ever happened to youThe most important person you told about itWhat you sounded like

That’s as complicated as it needs to be. 

How it works and a personal (embarrassing) example: 



The highlight of my life was realizing that I’d met the woman who would become my wife. I couldn’t wait to tell my best friend, who happened to work overnight at a gas station. I sounded as interested in my story as in anything else I’d ever said. 

After leaving my beloved, I drove nearly three hours in the wee hours, pulled into that gas station, and made my friend give me his full attention. 

I hopped atop a 55-gallon oil drum and told him all about Dianna—and I mean everything.

What she looked like, sounded like, how she acted, how much I loved her, that he would be in the wedding…

“Wedding?” he said. “Does she know about this?”

“She will soon enough,” I said, and for two hours I rhapsodized about a woman with whom I’d spent not much more time than that. (We’ve been married since 1971.)

When I climbed down off that drum I realized I‘d been sitting in a quarter inch of motor oil the entire time. It had soaked through my pants and down my legs. 

When I arrived home at dawn, my mother took one look at me and said, “You’re in love.”

My voice in this anecdote is obvious. I was smitten. 

You have an idea for a novel or a nonfiction book—but how do you go about telling the story?

What should your writing voice sound like? 

Imagine telling your best friend, “Have I got something to tell you…”

What comes next will be in your most passionate voice. 

You at your most engaged is the voice we want on the page. 

How do you use your own writing voice in fiction?

You transfer your voice to your perspective character. If you don’t know your protagonist well enough to do that yet, you have more work to do. 

Examples of Voice in Writing

1. Hometown Legend   is a novel I wrote from the perspective of a football coach:

“Name’s Cal Sawyer and I got a story starts about thirteen years ago when I was twenty-seven. Course, like most stories, it really starts a lot a years before that, but I choose to tell it from Friday, December 2, 1988, when I’m sitting with my kindergarten daughter Rachel in the stands of my old high school. We’re watching the state football championship in Athens City, Alabama, almost as south as a town can be without being ocean.”

2. New York Times bestselling author of the Junie B. Jones children’s series, Barbara Park, was known for her sense of humor. She once told a fan, “I’m not sure I’m grown up enough to write grownup books.” 

From Junie B. Jones, First Grader: Toothless Wonder:

“Yikes! It’s a loose tooth! One of Junie B. Jones’s top front teeth is loose! Only, Junie B. is not that thrilled about this development. Because what if she looks like toothless Uncle Lou? And even worse…what’s all this tooth fairy business? Like, who is this woman, really? And what does she do with all those used teeth? So many questions, so little time.” 

3. Mark Twain wrote with a distinct voice. From The Adventures of Huckleberry Finn : 

You don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. 

4. John Grisham is known for his legal thrillers. From The Testament (1999), written from the perspective of billionaire Troy Phelan:

Down to the last day, even the last hour now. I’m an old man, lonely and unloved, sick and hurting and tired of living. I am ready for the hereafter; it has to be better than this.

Whether writing nonfiction or crafting fiction from the perspective of your main character, your unique voice should set you apart. 

Related Posts:

How to Publish a Book: My Ultimate Guide From 40+ Years of Experience

Writing Tips 40 Experts Wish They’d Known as Beginners

Your Ultimate Guide to Writing Contests Through 2019

The post Voice in Writing: How to Find Yours appeared first on Jerry Jenkins | Proven Writing Tips.

How to Write a Winning Book Proposal

You’ve poured your entire self (and a ton of time) into writing your book.

Now it’s time to shop your manuscript to agents and publishers.

The next step is to write a winning book proposal—designed to persuade an agent to ask to see your manuscript and consider representing it to publishers.

Book proposals vary in approach, length, and style, but certain key elements must be included for yours to succeed.

In 10 to 25 pages, you must describe what you have to offer.

Your proposal should answer:

Why this book? Why the world needs what you have to say. How does your book differ from others in its genre?Who might buy it? What kind of reader will devour it and tell their friends? (Hint: “everyone” is the naive, unrealistic answer agents don’t want to hear.)Why you? What qualifies you to write this book and what kind of following do you bring to the table?

Your proposal has one job—to pique an agent’s interest in seeing your manuscript.

Need help getting more words on the page when you write? Click here to download my free guide: How to Maximize Your Writing Time.



Before You Begin:



Follow literary agencies’ submission guidelines religiously. Details matter. Agents tell me they read a lot into whether a writer follows directions.  Submit your proposal only to agents who represent your genre . This may appear obvious, but violating this is common.Be sure your proposal is easy to read. More complicated does not equal more impressive. Properly format your document : white background, black ink, 12-point type (Times New Roman or another serif type), 1-inch margins all around, double spaced, little or no bold-facing or mixing type styles. Use bullets where you can.Keep sections and paragraphs short and make generous use of subheads.Write in the third person .



The NonFiction Book Proposal

Elements that must appear in any non-fiction book proposal:

1. Cover Page

Keep it simple and clean; no graphics, fancy fonts, or inspiring quotes. Just the basics:

Label it a Book Proposal Your title ideaAuthorIndicate series or a standalone titleGenreYour contact information



2. Synopsis

A one-page summary of your book, focused on persuading the agent to solicit your manuscript.

3. Target Market

Paint the picture of who might buy your book. Be as specific as possible about why certain audiences would be interested.

If your book is about life as a veterinary surgeon, its primary target would be aspiring vets, the second practicing vets, and the third animal lovers.

Include statistics on the numbers of people who populate these categories.

4. Comparative Analysis

Tell how your book differs from or complements competing books. Focus on its strengths and distinctives without disparaging the competition. Present data and resist the temptation to exaggerate.

For example, existing works might skew clinical while yours is more personal and anecdotal, focused on the emotional side of veterinary medicine “they don’t teach you in veterinary school.”

5. Author Bio and Platform

Explain why you’re the person to write this book. Your platform matters.

Use tools such as Google Analytics to track your blog or website traffic and reveal the extent of your visibility both on and offline.

For instance, maybe you’ve been a vet for 25 years and are known for your sense of humor and pet rescues. Your “Day in the Life of a Vet” blog gets 5,000 hits a month and 25 comments a day.

You may also be known for your Twitter account (run by a grumpy English bulldog persona), which has over 25,000 followers.

6. Marketing and Promotion Plan

What do you bring to the marketing mix?

Include speaking engagements and audience numbers. If you have organized outreach and a tribe strategy, include that with numbers.

Review your resources and offer a solid plan. Express enthusiasm and outline your strategy for promoting your book.

Example:

I am committed to promoting this book through my wide network of peers [and be specific].

I will be one of the speakers at the American Veterinary Medical Association next year, which attracts over 20,000 professionals.

I host a webinar for about 300 vet students once a week. I also broadcast live while performing pet surgery every other month on Facebook Live, which gets upward of 1,500 views. I plan to use both online platforms to promote my book during the launch.

I am also an adjunct professor of veterinary medicine at Amherst College. The department head has expressed interest in using my book as required reading.

You might also list professional associations, your number of email subscribers, and any public or media appearances. Assure the agent that you’ll be an enthusiastic and available promoter.

7. Contents with Chapter Bullets

Offer concise one to two sentence summaries of each chapter of your book, written in present tense (Here I present the idea that…).

Also include your projected word count and completion date of your manuscript or state that it’s already finished.

8. Sample Chapters

Some agents suggest including your first three chapters; others ask for your first and then two others of your best chapters.

Need help getting more words on the page when you write? Click here to download my free guide: How to Maximize Your Writing Time.



The Fiction Proposal

If you’ve written a novel, the proposal is less complicated.

From first-time authors, most agents expect a query letter pitching an already-completed novel.

It can be as simple as:

I have written a novel about a judge who is trying a man for a murder that the judge herself has committed. The main character is her daughter, who knows the truth, and the narrator is her fiance. It’s 90,000 words and is aimed at adult females who enjoy mystery and romance.    

Also include, all in just a one-page query:

A brief synopsis of your bookInformation about yourself and your platformCompetitive titles and how your book is similar or differentPotential marketing opportunities

If you succeed in getting an agent to ask to see the manuscript, simply submit it with a simple cover letter that reminds them of the request to see it: I have attached the manuscript you solicited in our correspondence of [date]. I look forward to hearing from you.

Make every word count. Resist the urge to sell (This is destined to be a bestseller…) or state the obvious (I hope you like it… or I’ll change whatever you suggest to make it better…). They know. :)  

1. Sample Chapters

Most agents want to see the entire manuscript of a first novel, but check their submission requirements. Some ask for the first three chapters or fifty pages.

2. Synopsis

Agents read hundreds of proposals every month, so less is best. In as few as one to three pages, summarize your book.

If sending only your first three chapters, synopsize the rest and don’t pose questions—as you would if writing back cover or sales copy.

An agent is your potential publishing partner and wants answers, not teases like, Will she survive? or generalities like The future of civilization is at stake… Tell the agent what happens.

Miscellany



Transmit electronically unless hard copy is requested; in that case,  no bindings or staples, only loose pages, numbered.Mention (briefly) any personal connection with the agent.Include only copies of original artwork or documents you need returned.It should go without saying that you want to submit only ferociously self-edited copy with which you’re entirely happy.



Now What?

Waiting for an agent’s response is like waiting for Christmas!

But what if you don’t hear back?

Some agents stipulate on their sites that if you get no response after a certain period, you may assume they’re passing.

In this technological age, when an acknowledgment of receipt can be triggered by a keystroke, I find a no-response rude. Sometimes you’re not even told they received your material.

In this case, wait six weeks and send a kind note inquiring whether they received it.

If you get a response, even negative, consider whatever advice they offer, and be grateful you heard something.

And don’t be defeated by a handful of setbacks. Many bestsellers were rejected multiple times before they sold.

A Wrinkle in Time by Madeleine L’Engle, one of the bestselling children’s books in history, was rejected 27 times before it was published in 1962.

Andy Andrews’s The Traveler’s Gift was rejected 51 times before it was published in 2002.

Don’t give up.

Need help getting more words on the page when you write? Click here to download my free guide: How to Maximize Your Writing Time.

Related Posts:

How to Launch a Writing Career

Your Ultimate Guide to Writing Contests Through 2019

Book Writing Software to Help You Create, Organize, and Edit Your Manuscript

The post How to Write a Winning Book Proposal appeared first on Jerry Jenkins | Proven Writing Tips.

How to Write a Book Proposal

You’ve poured your entire self (and a ton of time) into writing your book.

Now it’s time to shop your manuscript to agents and publishers.

The next step is to write a winning book proposal—designed to persuade an agent to ask to see your manuscript and consider representing it to publishers.

Book proposals vary in approach, length, and style, but certain key elements must be included for yours to succeed.

In 10 to 25 pages, you must describe what you have to offer.

Your proposal should answer:

Why this book? Why the world needs what you have to say. How does your book differ from others in its genre?Who might buy it? What kind of reader will devour it and tell their friends? (Hint: “everyone” is the naive, unrealistic answer agents don’t want to hear.)Why you? What qualifies you to write this book and what kind of following do you bring to the table?

Your proposal has one job—to pique an agent’s interest in seeing your manuscript.

Before You Begin:



Finish your final draft and be certain you’re happy with every word. Follow literary agencies’ submission guidelines religiously. Details matter. Agents tell me they read a lot into whether a writer follows directions.  Submit your proposal only to agents who represent your genre . This may appear obvious, but violating this is common.Be sure your proposal is easy to read. More complicated does not equal more impressive. Properly format your document : white background, black ink, 12-point type (Times New Roman or another serif type), 1-inch margins all around, double spaced, little or no bold-facing or mixing type styles. Use bullets where you can.Keep sections and paragraphs short and make generous use of subheads.Write in the third person .



The NonFiction Book Proposal

Elements that must appear in any non-fiction book proposal:

1. Cover Page

Keep it simple and clean; no graphics, fancy fonts, or inspiring quotes. Just the basics:

Label it a  Book Proposal Your title ideaAuthorIndicate series or a standalone titleGenreYour contact information



2. Synopsis

A one-page summary of your book, focused on persuading the agent to solicit your manuscript.

3. Target Market

Paint the picture of who might buy your book. Be as specific as possible about why certain audiences would be interested.

If your book is about life as a veterinary surgeon, its primary target would be aspiring vets, the second practicing vets, and the third animal lovers.

Include statistics on the numbers of people who populate these categories.

4. Comparative Analysis

Tell how your book differs from or complements competing books. Focus on its strengths and distinctives without disparaging the competition. Present data and resist the temptation to exaggerate.

For example, existing works might skew clinical while yours is more personal and anecdotal, focused on the emotional side of veterinary medicine “they don’t teach you in veterinary school.”

5. Author Bio and Platform

Explain why you’re the person to write this book. Your platform matters.

Use tools such as Google Analytics to track your blog or website traffic and reveal the extent of your visibility both on and offline.

For instance, maybe you’ve been a vet for 25 years and are known for your sense of humor and pet rescues. Your “Day in the Life of a Vet” blog gets 5,000 hits a month and 25 comments a day.

You may also be known for your Twitter account (run by a grumpy English bulldog persona), which has over 25,000 followers.

6. Marketing and Promotion Plan

What do you bring to the marketing mix?

Include speaking engagements and audience numbers. If you have organized outreach and a tribe strategy, include that with numbers.

Review your resources and offer a solid plan. Express enthusiasm and outline your strategy for promoting your book.

Example:

I am committed to promoting this book through my wide network of peers [and be specific].

I will be one of the speakers at the American Veterinary Medical Association next year, which attracts over 20,000 professionals.

I host a webinar for about 300 vet students once a week. I also broadcast live while performing pet surgery every other month on Facebook Live, which gets upward of 1,500 views. I plan to use both online platforms to promote my book during the launch.

I am also an adjunct professor of veterinary medicine at Amherst College. The department head has expressed interest in using my book as required reading.

You might also list professional associations, your number of email subscribers, and any public or media appearances. Assure the agent that you’ll be an enthusiastic and available promoter.

7. Contents with Chapter Bullets

Offer concise one to two sentence summaries of each chapter of your book, written in present tense (Here I present the idea that…).

Also include your projected word count and completion date of your manuscript or state that it’s already finished.

8. Sample Chapters

Some agents suggest including your first three chapters; others ask for your first and then two others of your best chapters.

The Fiction Proposal

If you’ve written a novel, the proposal is less complicated.

From first-time authors, most agents expect a query letter pitching an already-completed novel.

It can be as simple as:

I have written a novel about a judge who is trying a man for a murder that the judge herself has committed. The main character is her daughter, who knows the truth, and the narrator is her fiance. It’s 90,000 words and is aimed at adult females who enjoy mystery and romance.    

Also include, all in just a one-page query:

A brief synopsis of your bookInformation about yourself and your platformCompetitive titles and how your book is similar or differentPotential marketing opportunities

If you succeed in getting an agent to ask to see the manuscript, simply submit it with a simple cover letter that reminds them of the request to see it: I have attached the manuscript you solicited in our correspondence of [date]. I look forward to hearing from you.

Make every word count. Resist the urge to sell (This is destined to be a bestseller…) or state the obvious (I hope you like it… or I’ll change whatever you suggest to make it better…). They know. :)  

1. Sample Chapters

Most agents want to see the entire manuscript of a first novel, but check their submission requirements. Some ask for the first three chapters or fifty pages.

2. Synopsis

Agents read hundreds of proposals every month, so less is best. In as few as one to three pages, summarize your book.

If sending only your first three chapters, synopsize the rest and don’t pose questions—as you would if writing back cover or sales copy.

An agent is your potential publishing partner and wants answers, not teases like, Will she survive? or generalities like The future of civilization is at stake… Tell the agent what happens.

Miscellany



Transmit electronically unless hard copy is requested; in that case,  no bindings or staples, only loose pages, numbered.Mention (briefly) any personal connection with the agent.Include only copies of original artwork or documents you need returned.It should go without saying that you want to submit only ferociously self-edited copy with which you’re entirely happy.



Now What?

Waiting for an agent’s response is like waiting for Christmas!

But what if you don’t hear back?

Some agents stipulate on their sites that if you get no response after a certain period, you may assume they’re passing.

In this technological age, when an acknowledgment of receipt can be triggered by a keystroke, I find a no-response rude. Sometimes you’re not even told they received your material.

In this case, wait six weeks and send a kind note inquiring whether they received it.

If you get a response, even negative, consider whatever advice they offer, and be grateful you heard something.

And don’t be defeated by a handful of setbacks. Many bestsellers were rejected multiple times before they sold.

A Wrinkle in Time by Madeleine L’Engle, one of the bestselling children’s books in history, was rejected 27 times before it was published in 1962.

Andy Andrews’s The Traveler’s Gift was rejected 51 times before it was published in 2002.

Don’t give up.

Related Posts:

How to Launch a Writing Career

Your Ultimate Guide to Writing Contests Through 2019

Book Writing Software to Help You Create, Organize, and Edit Your Manuscript

The post How to Write a Book Proposal appeared first on Jerry Jenkins | Proven Writing Tips.

How To Launch A Writing Career

So, you want to become a full-time writer…

You have your reasons. You’ve long loved to write, and people have told you you have a way with words.

But how do you know the time is right or whether you have what it takes?

I urge you to immerse yourself in the craft. If you really want to make a career of it, make sure you know what you’re getting yourself into.

Full-time writing is not a hobby, a diversion, an avocation. It means discipline. It’s a job.

And it’s not easy.

But, oh, the rewards…

I’m one of the lucky ones, knowing I wanted to be a writer from my early teens and going at it with a passion I’d shown for nothing else.

But even that didn’t guarantee success. It guaranteed only that I would not quit, could not be dissuaded, would never give up regardless.

I became a sports writer before I was old enough to drive, sports editor of a daily newspaper at 19, a magazine editor at 22, a magazine publisher at 28, a book publisher at 31.

On the side I pursued book writing and became an author at 24, a novelist at 29, and decades later I’ve had nearly 200 books published, 21 of those New York Times bestsellers (including The Left Behind Series), and more than 70 million copies sold.

Several of my novels have been made into movies, and I’ve written the first-person as-told-to autobiographies of countless superstar athletes (Hank Aaron, Walter Payton, Orel Hershiser, Nolan Ryan, Meadowlark Lemon, et al).

I tell you all that not to brag but to say I’ve been in the game for decades and have enjoyed a career most people only dream of.

The bottom line? Dreamers talk about writing. Writers write.

You don’t have to be overly prolific to enjoy a writing career. But you do have to produce, and that takes knowledge and training.

I wasn’t born a good writer, and VERY few are.

So if you want a writing career, where do you start?

Among the steps necessary to grow as a writer, you’ll want to:

Read as many books on the craft as you can get your hands on, starting with with my favorites .



Spend time writing—maybe even take a journalism class or online writing course.



Avoid starting with a book. Beginning your writing career with a book is like enrolling in graduate school when you should be in kindergarten. You have a lot to learn first.

You may dreamt of this for years, putting it off because you’re not sure you’re good enough.

Would you believe I didn’t become a full-time writer until after my 90th book was published? Until then, I worked full-time and wrote during my extremely limited free time.

Only after I lined up enough book projects to pay me three times what I was making in salary did I feel in a position to quit my day job. Even then, the decision wasn’t easy.

Because it’s not just your salary that must be replaced. It’s ALL your expenses, including your pension, benefits, supplies, even your off days and vacations.

And my biggest breakout project , Left Behind, was hardly my first book, or even my 50th. It was my 125th.

Again, you don’t have to aim for dozens and dozens of books to have a writing career. But here’s….

How To Start A Writing Career in 10 Steps

Writing is hard work, but becoming known as a writer is even harder.

You won’t likely begin with many cheerleaders.

So, how badly do you want this?

1. Don’t wait to call yourself a writer.

You don’t have to be published to be a writer. You’re a writer if you’re writing—working at it, learning, progressing.

It doesn’t matter if you’re a novice.

Every writer you can name began unknown and unpublished.

2. Don’t quit.

You’ll find more than enough reasons to give up. Determine to write no matter what.

Study, research, grow, develop a thick skin, work hard, accept  editing and input—painful as they can be, and learn to become an aggressive, even ferocious self-editor.

Get your seat in the chair every day and get words on the page. They’ won’t all be perfect, but writing is the only way to get better at it.

3. Write from your passions.

I was a sports fanatic as a kid, dreaming of becoming a big league baseball player. Every book report I wrote in junior high was about baseball, until my teacher insisted I broaden my reading.

I read Sports Illustrated, the sports section of our local newspaper, and anything else sports-related.

My father created a dice baseball game that occupied me for hours. I wrote about each game as if I were a sports writer.

At age fourteen, I talked my way into a sports stringer job covering high school sports for the local newspaper. I was paid a dollar per column inch that survived the sports editor’s edits, making me a professional writer.

At nineteen, I became sports editor for that paper. My passion had become my profession.

4. Work at it every day.

Would you believe I still work at honing my writing skills every day?

I believe that if I’m not growing, I’m stagnating. Writers who think they have arrived get lazy and become obsolete.

5. Create your writer’s website.

When you begin pitching your work to agents and publishers, they’ll look you up on the Internet.

Your website becomes your calling card, your portfolio, and it also allows you to begin building the following you need to become a full time writer.

6. Look for opportunities.

Do you volunteer with an organization that could use writing help? Is your local newspaper looking for content?

Opportunities, paid and unpaid, can give you valuable experience.

Be willing to do what nobody else will do.

7. Seek like-minded writers.

Most writers I know are surrounded by a helpful community that helps them deal with:

FrustrationDiscouragement Procrastination Wanting to quit

Another pair of eyes on your work can prove invaluable. Ten pairs of eyes are even better.

That’s why I recommend finding a writers critique group or a mentor.

Be prepared to take an ego-bruising at first. You’ll become a better writer by being held accountable and encouraged to stick with it.

One caveat: Be sure at least one person in the group—preferably the leader—is experienced and understands the writing business. A group of all beginners risks the blind leading the blind.

8. Network, network, network.

Meet people in your community. Get involved. Volunteer. Build relationships.

Introduce yourself and get to know writers who you admire.

Gaining experience isn’t just about writing; it’s about building relationships. The more people you know, the more opportunities will come your way.

9. Focus.

A writer career can mean more than just writing books. You could become a journalist, a medical writer, a translator, a business plan writer—all niche markets need writers.

As a freelancer, you can’t be all things to all people (especially when you’re first starting out). So, you need to pick an area of focus.

Here are a few of the most popular writing career paths:

Novelist  

Do you have a story idea that so captures you you can’t get it out of your mind?

Maybe you’re meant to write a novel.

Start by immersing yourself in short stories and trying your hand at writing them. You’ll learn the business, how to interact with an editor, and you can benefit from the feedback.

Nonfiction Writer  

Categories include, but aren’t limited to: articles, autobiographies, biographies, essays, memoirs, nature writing, reviews, profiles, reports, sports writing, how-to, self-help, and travel writing.

The demand for nonfiction is huge—and nonfiction writers have produced some of the most influential books of our time.

Comic Book Writer

This is an art form best accomplished through teamwork. The writer is the visionary—he creates the plot, characters, and story. Illustrators create the art.

Video Game Writer

Like comic book writing, video game writing is an art form in which teamwork is a given.

The video game writer works with developers, animators, graphic designers, and voice actors and creates the plot, characters, and scripts dialogue.

Journalist  

Do you love news and have the ability to be objective?

The best journalists have stellar research skills and the ability to detach from the story in order to give the most accurate, neutral account possible.

Journalists write for newspapers, magazines, news websites, or creates scripts for television news broadcasters.

Web Content Creator

Individuals, companies, and organizations need content for blogs, social media, and websites and often hire freelance writers.

It helps to be versed in SEO, HTML, CSS, and WordPress and also be a social media specialist.

Columnist

As opposed to a journalist, a columnist writes opinions and perspective on current events.

Songwriter (Lyricist)

A songwriter is a poet who writes song lyrics.

Greeting Card Writer

This is a competitive art form that requires writing a concise, moving message—humorous or compassionate—that appeals to a broad audience.

Speechwriter  

Politicians aren’t the only ones who need speeches written. So do government officials, business executives, celebrities, and PR firms. Some even hire writers to craft wedding speeches and toasts.

An excellent speechwriter gets to know the voice of the person doing the speaking, researches the subject, and prepares the speech.

Screenwriter

Writing scripts for movies, cartoons, and television programs may be the most collegial of all freelance writing. Up to a dozen people may have a role in producing a script.

Working on a movie set or the stage and learning the business is helpful for writing in this field.

Technical Writer  

If you can turn complicated jargon into something readable and understandable, technical writing might be for you.

Grant Writer  

A grant writer finds funding sources, conducts research, and writes proposals seeking money for foundations, nonprofit organizations, government agencies, and corporations.

Ghostwriter  

A ghostwriter writes but doesn’t get the credit.

He’s often the writer behind social media posts, scripts, speeches, blog posts and other web content, and even books. He could be doing any of the jobs listed here, but remains behind the scenes.

Ghostwriting requires you to get excited about someone else’s message, to write in their voice, and to be quiet about the work you do.

Copywriter  

A copywriter creates publicity and advertising copy, including brochures, billboards, websites, emails, and catalogs. He must know how to say a lot with few words, conveying a powerful message that invokes action.  

10. Respect the profession.

Writing is hard, exhausting work, and if it isn’t, you’re probably not doing it right.

Writing a book is especially daunting because of the sheer magnitude of it. Attack it the way you would eat an elephant—one bite at a time.

Don’t let fear of failure stop you. Even the most successful writers are afraid there’s too much competition and that they’re not good enough.

Don’t try to overcome that fear. Embrace it! It’s valid! Let it motivate you to do your best work every time.

Follow these steps, and you may find there’s room for you in this business.

Welcome to the writing career you’ve always wanted..

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The post How To Launch A Writing Career appeared first on Jerry Jenkins | Proven Writing Tips.

Setting Goals to Finish Writing Your Book

Guest Post by Brian Tracy

Over the course of writing more than 70 books, I have found two things essential to turning my ideas into published books. The first is following a proven system to plan, write, edit, and publish my manuscripts. The second is setting goals and scheduling time to stay committed to the system.

It takes self-discipline, but it’s worth it.

Even the most basic goals, such as waking up earlier to write a single page each day, can be effective. Over time, these pages add up, and if you write even just one per day you can have a book ready to go to the publisher within twelve months. But if you’re ambitious, you might prefer more advanced goals.

You may have found, as I have, that the hardest part of writing a book is getting started. No matter how strong your motivation or how compelling the topic, motivating yourself to start is a Herculean task. If you’re struggling to overcome your fear of writing a book, the simplest way is to break the writing process into small objectives.

I schedule blocks of two, three, or four hours each and set SMART goals (Specific, Measurable, Attainable, Relevant, Time-bound).

Defining Your Market

If you’re wondering how to start writing your book, the first step must be to gain a clear idea of whom it is intended for. Ask yourself the following questions:

What’s their Motivation? What would motivate someone to buy and read your book.



What’s their Background? If you’re writing a book about improving your health, for example, likely readers may have tried to lose weight, quit smoking, or achieve other difficult health goals.



How Will This Be Read? Will people read the book cover to cover, or will they read portions of it and treat it as a reference work? Knowing this will help determine both your writing style and how you organize your text.

The better you define your market at the outset, the easier it will be to produce a work that will appeal to the people most likely to benefit from it.

Cultivate Core Concepts

Distill your book idea into points easy to understand. The simplest way is to come up with two or three core concepts. This should give you enough detail to expand into a book while remaining simple enough to include all your concepts concisely and effectively.

Say you’re writing a book that will help readers find and run their own business. Distill all your advice into overarching concepts. Advice like “pursue all sales, large and small” or “cut costs wherever you can,” could be combined into a concept like “take advantage of small victories.” Likewise, if you advise “hire trustworthiness over intelligence” or “conduct background checks for all new employees,” you might synthesize it as “put together a team you can trust.”

Core concepts make it easier to know what has to be included in the book, as well as how that information can be organized.

Outline the Work

Outlining prevents your having to rethink and rewrite your book. It also makes more confident about your ideas, so you can write quickly and effectively from the start. Decide the order in which you want to address each core concept. Then flesh out those concepts, listing all the points to illustrate and defend each of them.

Create Your Timetable

Having addressed your common publishing questions above, the final step is to consider roughly how long it will take you to accomplish each item and assign dates when you intend to finish each. While you may not stick exactly to this schedule, it should help you stay on task throughout the process.

Conclusion

Writing a book is a long road trip, not a drag race. Keep yourself revved up and focused on each step along the way. If you focus only on the finish line, you risk burning out.

Following my road trip analogy, do this by driving according to a schedule and planning frequent stops, as I did when I crossed the Sahara many years ago. To write a book, that means following a proven system and sticking to it.

Eventually, you will find yourself on the last leg of your writing journey and you’ll suddenly realize you’re at the finish line.

Brian Tracy, renowned speaker, international best-selling author, and CEO of Brian Tracy International has helped over 5,000,000 people achieve their goals for business and personal success. He specializes in book writing, public speaking, time management, leadership, business, and sales training for individuals and organizations.

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The post Setting Goals to Finish Writing Your Book appeared first on Jerry Jenkins | Proven Writing Tips.

How to Develop a Great Story Idea

If you jumped online to find writing prompts or story ideas, you’re in the right place.

But what I’m about to tell you may surprise you.

Novelists must think differently from other writers.

Our aim is to create a world our readers can get lost in. But it’s easy to become overwhelmed before we even start.

Do you struggle with ideas?

Or is your list so long you don’t know where to start?

Writing fiction is not about rules or techniques or someone else’s ideas on the internet.

It’s about a story well told.

Ideas are all around you, and you can learn to recognize them. Then you can write with confidence and love the process.

How to Wrangle Your Big Story Idea

Suzanne Collins says her idea for The Hunger Games came while channel surfing between reality TV and war coverage. Both featured young people, images blurred, and Katniss Everdeen came to life in her mind’s eye.

J.K. Rowling got the idea for Harry Potter travelling by train from Manchester to London King’s Cross in 1990.

William Faulkner says The Sound and the Fury began with the image of a young girl in muddy drawers up a tree, peering through a window at a family gathering. He had no idea who the girl was or what she was watching, but she intrigued him enough to cause him to create his novel.

I can’t promise story ideas that rival those classics, but you CAN unearth story ideas buried in your head. Here’s how:

1. Recognize the germ.

Most fiction starts with a memory—a person, a problem, tension, fear, conflict that resonates and grows in your mind. That’s the germ of an idea that can become your story.

My first novel was about a judge who tries a man for a murder that the judge committed.

That’s all I had—along with its obvious ramifications. I knew guilt. I recalled being caught in a lie. I could imagine the ultimate dilemma—desperate to hide the truth while being responsible for stewarding it.  

That imagining became Margo, the novel that launched my fiction career.

Learn to recognize those germs as they emerge.

I know a novel idea has legs when it stays with me and grows. I find myself telling my wife or sons the idea and embellishing the story more each time. If it fades or loses steam, I lose interest in it and know readers will too.

But if it holds my interest, I nourish and develop it until it becomes a manuscript and eventually a book.

2. Write it down.

Free write without worrying about grammar, cliches, redundancy or anything but getting down the basics. (In fact, until you complete your first draft, take off your perfectionist cap and turn off your internal editor.)

And carry a writing pad, electronic or otherwise. Being old school, I like the famous Moleskine notebook. Ideas can come at any moment. Record ideas for:

Characters Settings Plot Twists Dialogue Anything that might expand your story



3. Invent characters from people you know.

Fiction must be believable, even if set in a land far, far away centuries from now. That means characters must feel real so readers will buy your premise.  

Two failsafe ways to build credible characters:

Base them on people you know Be fair with antagonists

Characters live inside you because of the people you’ve met.

Brainstorming interesting, quirky, inspiring, influential people and mix and match them. A character might be an amalgam of one person’s gender, another’s look, another’s personality, another’s voice…

Don’t allow your villains to be one-dimensional, evil just because they’re the bad guy. Have credible skeptical characters. Give them motivations as strong as your hero’s. The best villains don’t see themselves as villains. They think they’re right.

4. Get writing.

The note-taking and research has to end at some point.  

You’ve got to start getting words onto the page.

Try the Greyhound Bus Challenge for Writing Ideas

Perhaps you’re struggling to come up with a viable idea.

Imagine a crossroads in the middle of nowhere. What’s on the corners? Corn? How high? Dusty fields? Snow? Mud?

A dot appears on the horizon and comes into focus as a Greyhound bus. Where’s it coming from? Where is it going?

It stops at the intersection. Is anyone waiting there?

Who gets off?

A man? A woman? A child?

How old?

Anxious? Excited? Scared? Relieved?

Carrying luggage?

Where are they coming from? Where are they going?

Are they dressed appropriately for the weather?Are they running from someone?Are they running to someone?

By now a character should begin forming for your novel. Decide on the worst trouble you can plunge them into and see where that takes you.

You Have What It Takes to Come Up With Great Story Ideas

Few pleasures in life compare to getting lost in a great story.

The story worlds you and I create and the characters we birth can live in the hearts of readers for years.

I can’t wait to see what you come up with.

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The post How to Develop a Great Story Idea appeared first on Jerry Jenkins | Proven Writing Tips.