Angela Ackerman's Blog: Writers Helping Writers, page 5

Writing 101: Semi-Colons & Other Tricky Punctuation Marks

Punctuation can be surprisingly difficult, especially when it comes to lesser-used marks like semi-colons, dashes, and colons. When these marks are used incorrectly, readers are either distracted or confused.

Because this isn���t the experience we want for our readers, let���s take a look at some of these marks so we know when and how to use them.

Colons

A colon connects two related clauses. The first one introduces an element and the second one elaborates on it. When you���re using this mark, the first clause should be independent (meaning it could stand as a sentence on its own), but the second one doesn���t have to be.

Use a colon when…

1. Something needs emphasis.

There was only one rule in Mother���s house: don���t get caught.

2. The first clause introduces something that needs to be restated, refined, or listed.

She left me a list of chores: wash the dog, fold the laundry, and vacuum.

Additional Note:

The first word following the colon always starts with a lower-case letter, even when the second clause is independent.

Semi-Colons

This mark connects two related independent clauses (each clause could stand on its own as a complete sentence).

Use a semi-colon when…

1. You want to show a close relationship between two complete thoughts without using a conjunction.

Jack was always late; he simply had no concept of time.

2. Stylistically, you want a smoother reading flow without the full-stop interruption of a period (see the previous example).

3. (BONUS) You���re listing items that are being separated by commas. This is a formal, almost technical way of writing, so this usage is best reserved for nonfiction.

They ran tests in Miami, Florida; Dublin, Ireland; and Oslo, Norway.

Additional Notes:

If the narrative flows better with a firmer break between the two ideas, just use a period and create two sentences.

Jack was always late. He simply had no concept of time.

If you’re not sure when to use a colon or a semi-colon, remind yourself of their purposes. Want to set up a ���here it comes��� moment? Use a colon. Want to connect two related, complete thoughts without using two separate sentences? Opt for a semi-colon.

Em Dashes

This mark is a long dash (���) used to indicate an interruption or add emphasis.

Use an em dash when…

1. You want to insert additional information that has weight.

Jack was always late���every single time���and always had an excuse.

2. A character���s words or thoughts are being cut off or interrupted.

I took a deep breath. ���You���re always������
���Not now,��� he snapped.

Additional Notes:Two hyphens together (–) aren���t the same as an em dash (���) so be sure you���re using the latter keystroke.Em dashes and parentheses are often used interchangeably to show an interruption, and there���s no hard-and-fast rule about their usage in this context. Generally, though, parentheses indicate more of an aside or an internal observation while em dashes accentuate what���s being stated.

A) Jack was always late (every single time) and always had an excuse.
B) Jack was always late���every single time���and always had an excuse.

If the interruption should be stronger or indicate higher emotion, a dash may be the better choice.

Commas

Commas are one of the most commonly used punctuation marks because they have a lot of applications, most of which are pretty straightforward. But I wanted to touch on two instances where they’re often misused.

Use a comma when…

1. You want to join two sentences into one. This is a good idea if you want to keep the pace moving, vary your sentence structures, or write dialogue with the character’s personal voice in mind. BUT, you can���t simply replace the period with a comma:

He wanted to stay, he knew it wasn���t a good idea. (incorrect)

When you connect two independent clauses with a comma, you end up with a run-on sentence���two complete sentences running together into one. In a run-on, the first complete sentence ends with a comma (not correct) and the second starts with a lower-case letter (also incorrect). To correctly connect two independent clauses with a comma, add a conjunction:

He wanted to stay, but he knew it wasn���t a good idea.

2. A pause is needed, particularly in longer sentences. Just be sure the comma doesn’t separate the subject of the sentence from its verb(s), as follows:

Beatrice drove like a maniac, and plowed right through the stop sign. (incorrect)

Think of the subject as a mom, and its verb is her needy toddler who’s hanging around all the time; the mom might lengthen the tether, but she’s always connected to her kid.

The same thing is true with the subject of a sentence (Beatrice) and its verbs (drove and plowed); for the sentence to read correctly and be clear, a comma can’t separate the two. In this case, the subject-verb connection trumps any potential pauses, and no comma should be used:

Beatrice drove like a maniac and plowed right through the stop sign.

But What About Personal Style?

This is a valid question. If your style lends itself to grammatical devices that are frowned upon, can you use them?

Technically, you can. And sometimes, you should. If your character is someone whose thoughts jump around or their speech tends to ramble into run-ons, you can write their words and thoughts to reflect that aspect of their personality. As you can see, I���m fond of starting sentences with contractions, which is on the list of Big No-Nos. But that���s how I talk, and in my blog posts, I want to sound like myself���not like a computer program.

But this bending of the rules only works when the decision is deliberate. If you break rules indiscriminately or randomly, you���re not making choices; you���re making mistakes. And that will read as amateurish and call attention to itself, distracting readers from the story you’re trying to tell.

Also, remember that rules of grammar exist to provide clarity for the reader. They help you convey exactly what you mean, without confusion. For this reason alone, it���s vital for you to know and understand the rules. Then you can decide when and if they should be broken.

Other Posts in This Series

Dialogue Mechanics
Effective Dialogue Techniques
Show-Don���t-Tell, Part 1
Show-Don���t-Tell, Part 2

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How to Hook New Readers with a Novel-Based Workshop

I’ve presented a lot of workshops over the years, mostly based on the nonfiction books I’ve written for writers. I���ve always found it easy to create a workshop based on a nonfiction book. But when it came to fiction, I hit a wall.

Like many authors, I���ve seen how easy it is to fall into one of two traps when presenting a fiction-based event: either we spend the whole time explaining the plot, which leaves attendees lost and often bored, or we talk about ourselves and our writing journey.

This may be all right for loyal readers, but doesn’t help bring in new readers. And that���s what I want to do at my next event.

I have a book signing coming up in about a week for my new release, The Gimirri Invasion. The bookstore supports local authors and ordered a lot of books, so I wanted to expand the event into something that would attract people beyond my existing readership.

But how do you do that with a novel?

That���s when it hit me: the answer isn���t in the plot. It���s in the themes.

Design Your Fiction Workshop by Focusing on Themes

When I say themes, I’m talking about the deeper emotional or psychological undercurrents that drive your story: grief, courage, betrayal, identity, healing, transformation, and more. These are the universal human experiences that readers connect with, often more than the plot itself. They���re what your characters wrestle with and what your story ultimately says about life���and they���re the perfect bridge between fiction and real-world relevance.

When you build a workshop around a strong theme, you���re not just talking about your book���you���re offering insight into something that affects everyone in some way. You give attendees something they can reflect on, learn from, and apply to their own lives. And that���s what makes your workshop not just interesting, but useful, even to people who have never read your work.

Once I understood that, the whole workshop began to take shape.

Workshop #1: When Fiction Reveals the Truth About Grief

One of the workshops I created early on focused on the universal���and often misunderstood���experience of grief.

In The Gimirri Invasion, nearly every main character suffers some form of loss. But instead of centering the workshop on the book itself, I used the story as a mirror to explore how different people respond to grief in real life.

The session was titled When Fiction Reveals the Truth About Grief. The plan was to start with a personal story from my childhood���a memory I didn���t recognize as grief at the time, but which resurfaced later in life. That experience formed the emotional backbone of the session. From there, I was going to introduce characters from the novel and the three ���grief patterns��� they represented.

Each of these characters would offer a way for attendees to see themselves. Through interactive exercises, I could invite them to reflect on their own losses, map their personal grief timelines, and explore which character mirrored their own coping style.

The workshop was also going to incorporate psychological research and simple healing strategies, so it wasn’t just literary or reflective���it was practical. The hope was that attendees would leave with a better understanding of their own grief patterns and with tools to help process them.

While this workshop had the potential to be powerful, I worried it was risky because my potential audience may think it too somber. So I decided to lead with a different idea for my upcoming event���something that felt a little more energizing in the current climate.

Workshop #2: Finding Courage in Uncertain Times

In The Gimirri Invasion, courage is also at the core of nearly every major character arc. The kingdom is under siege. Old systems are collapsing. And yet, characters must act, often without certainty of the outcome.

As I thought more about it, I realized this paralleled something many of us are facing right now���huge changes around us that are fast-paced and difficult to manage.

I liked this idea, but rather than talk about bravery in big, dramatic terms, I broke it down into four very human, relatable types of courage, each represented by a character in the book:

Zoe, the Steadfast Flame: Courage rooted in duty and love���doing the ���right thing��� when everything feels uncertain.Elanur, the Open Heart: Courage in connection���choosing to love and nurture again after loss.Emir, the Reckoner: Courage born from self-honesty���facing one���s mistakes and choosing redemption.Xander, the Quiet Channel: Courage in embracing one’s gifts���especially the ones we’re afraid of���to help where we can.

I set up interactive exercises to help attendees see themselves in these types. We will also explore other characters from popular stories���Katniss, Frodo, Bridget Jones, Oskar Schindler���to show how courage takes many forms.

I���ve included reflection prompts, as well, that ask participants to consider which type of courage they most identify with, and what forces in their own lives have helped bring that courage to the surface.

One of my favorite touches? I bought a collection of miniature fantasy characters that can be used to represent each courage type. I plan to invite attendees to choose the one that feels most like them, giving them something to take home as a reminder of the courage they already have.

Even in the planning stages, this workshop came together with surprising ease. Once I identified the emotional thread, the ideas flowed. And it reminded me: when we ground our events in something that matters���to us and others���we create not just a launch or a signing, but a meaningful experience.

You Can Do This Too

If you’re a novelist, you can create a workshop that engages your audience and gently draws them toward your book. The key is to stop thinking like a promoter and start thinking like a teacher or guide. Ask yourself:

What emotional journey do your characters go on?What theme is woven through your novel that also speaks to real-life struggles?How can you build a conversation or experience around that?

Don���t worry if it feels intimidating at first. Once you identify the right theme, the rest comes surprisingly easily. You���ll be focused less on pitching your book, and more on offering value, connection, and insight. The book just becomes a natural extension of that experience.

And the best part? It���s deeply fulfilling. You get to see your fiction live in a new way���resonating with real people, in real time.

Note: Get FREE information to support your writing career when you sign up for Colleen���s newsletter for writers! And read more about The Gimirri Invasion here.

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Why You Deserve to Go on a Writing Retreat

So, You Want to Go on a Writing Retreat? 

A writing retreat is a designated period and space where writers gather to focus on their writing projects. Often such retreats take place in beautiful, inspiring locations. Alternatively, retreats may be virtual, where creatives are encouraged to take guided time out of their schedules in their own homes to write. 

Writers frequently complain they don’t have enough time to write due to day jobs, family commitments, or both. Others may suffer from a writer’s block; a lack of motivation; or burnout.

This means a writing retreat can be a great way of ensuring your project gets on the page. Retreats can help writers focus, become motivated, and more productive.��Here’s how and why:��

1) Uninterrupted Time to Write

Modern life is hectic. Many writers work full-time, have family or other caring commitments, or both. This means there is always something that needs doing. Many creatives may feel guilty if they write when their ‘To Do’ lists are so long.

Taking planned time out at a writing retreat can be invigorating. Carving out dedicated, guilt-free time to hone your craft and work on your story hits different. Escaping distractions and chores, many writers discover their wordcount increases, especially when they are away from home.

2) Reignite Your Creative Spark

There’s an old saying, ‘a change is as good as a rest’. A change of scenery then can be inspirational and motivating. It’s no accident many writing retreats take place in beautiful places. Being surrounded by nature, history or a new culture can breathe life into stalled projects.

I have taken part in many writing retreats myself, plus I’ve also taught on them. As someone who finds it hard to let go of everyday routine, a retreat has helped me with my writing output. Similarly, as a tutor on several writing retreats, I have seen many writers’ creative sparks ignite. Many of them make more progress in three or four days than they do in three to six months! 

3) Build Confidence and Momentum

Writing retreats may be tutored or untutored. The host or tutor may ask writers what their goals are when they arrive. Setting intentions like this, knowing there’s no interruptions, can be powerful. Accomplishing such goals can provide a much-needed morale boost. 

Daily writing sessions can also foster consistency and belief in your own ability. Being with your peers can also spur you on. When you may be dealing with family members who don’t ‘get’ writing, this is not to be underestimated. 

4) Connect With a Like-Minded Community

Writing can be a very solitary and lonely endeavour, but retreats remind us we are not alone. Retreats can also offer lasting friendships, critique partnerships and future collaborators. 

In the case of tutored retreats, you may also meet industry pros who are leading the sessions. Networking in a relaxed, creative setting often leads to new opportunities.

5) Get Expert Feedback and Support

Many retreats offer workshops, mentoring, and/or peer feedback. As mentioned, I’ve tutored on many writing retreats now in beautiful places such as England, Wales and Europe. 

I love to work with writers in retreats. Seeing so many ‘light bulb’ moments in a distraction-free environment is great! Not only do writers nearly always make BIG progress craft-wise on their projects, it helps their mindset too. 

Feeling seen and understood by fellow creatives reduces isolation and enables them to work on their career goals and see what they need to do next.

Last Points

If you’re feeling stuck and uninspired, perhaps it’s not YOU … perhaps you need to change your location! A writing retreat can get your creative juices flowing and words on the page. It may even lead to new friends and opportunities.

Sometimes retreats have a specific focus. As I am a script editor for film and television, I’ve done several retreats where I’ve worked with screenwriters or authors on adapting their novels. I will be running another on this topic in 2026 – details HERE.  

Pssst���Mindy popping in to say WOW! This looks like an amazing place to work on craft with a talented teacher like our Resident Writing Coach, Lucy V. Hay. It���s an all-inclusive fully catered retreat in North Devon, UK.

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Monthly Contest: Guest Editor, Show-Don’t-Tell Edition

Hey, wonderful
writerly people!

It���s time for Phenomenal First Pages, our monthly critique contest. But this is different than any contest we’ve had before. Winners will receive professional feedback on a page of their choice that needs help with show-don’t-tell…plus live coaching. How exciting is that?

Five winners will receive feedback on a page of their choice that needs help with show-don’t-tell…PLUS a 30 minute LIVE coaching/brainstorming session on Suzy Vadori’s Show, Don’t Tell Writing podcast!

*Together, you’ll brainstorm show-don���t-tell, but you’ll receive help in other areas if needed. You can check out Suzy’s podcast here, plus some popular episodes here and here.

Author, Editor, and Book Coach Suzy Vadori will provide detailed feedback on up to 250 words of writing, provide a 30-minute coaching session, and brainstorm any blocks you may be experiencing when writing your book! 

To get the most out of this experience: Don’t submit something you think is great already. Submit that one page where you have a niggling feeling it’s telling too much, it’s boring, or just isn’t working.

You’ll have a ton of fun brainstorming how to make your pages sing with Suzy while getting her always positive, incredibly supportive feedback, leaving you inspired and ready to keep writing.

Entering is easy. All you need to do is leave your contact information on this entry form (or click the graphic below). If you are a winner, we’ll notify you and explain how to send us your page.

Contest DetailsThis is a 24-hour contest, so enter ASAP.Make sure your contact information on the entry form is correct. Five winners will be drawn. We will email you if you win and let you know how to submit.Winners will send a page that needs professional guidance to Suzy within a week – and she will let you know when you’ll star in her podcast.  Unlike our usual monthly contest, this can be any page that could use show-don’t-tell help – it doesn’t need to be the first page.The editor you’ll be working with:Suzy Vadori

Suzy Vadori is the award-winning author of The Fountain Series. She is a certified Book Coach with Author Accelerator and the Founder of Wicked Good Fiction Bootcamp. Suzy breaks down important writing concepts into practical steps to make it easy for writers coming from outside the industry to get up to speed in a snap, so that they can realize their big, wild writing dreams!

In addition to her weekly newsletter encouraging writers, and online courses, Suzy offers both developmental editing and 1:1 Book Coaching. Discover how to connect with Suzy and all the resources she has to offer here.

Find Suzy on her website, YouTube, Facebook, Free Inspired Writing Facebook Group, Instagram, and Tiktok.

You can find Suzy���s amazing Writers Helping Writers posts here.

Sign Up for Notifications!

If you���d like to be notified about our monthly Phenomenal First Pages contest, subscribe to blog notifications in this sidebar. 

Good luck, everyone. We can’t wait to see who wins!

PS: Show-don’t-tell can be tricky to master. In addition to watching Suzy’s podcast, you can check out these helpful resources at Writers Helping Writers. Enjoy!

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Continuing a Series: Enticing Readers to Return

When writing a series, we need to adjust our writing techniques. Last year, we talked about the tricky balance of repeating information in a series from one book to another. We want to avoid giving readers a sense of d��j�� vu, but we also can���t assume that readers have read (or remember) previous books.

Similarly, if we hope readers of one book will be enticed to read the rest of the series, we may need to tweak our writing. Like the saying ���similar but different,��� books in a series need to be similar enough that readers who loved one book will find more of what they love in the other books, yet we also need to make the books different enough to not feel like reboots with just a few minor differences.

Today, let���s explore a few pointers to tempt readers into experiencing the rest of our series.

Series 101: Types of Series

To understand our options, we first need to determine the type of series we���re writing. In general, books are designated a series because they share at least one element:

Shared Setting:��These series take place in the same ���world��� but each feature different point-of-view (POV) characters. The characters of book two may or may not have been introduced in book one. The events of book two may or may not be dependent on the events of book one.Shared Character(s):��These series feature the same POV character(s). The events of book two may or may not be dependent on the events of book one.Shared Story Arc:��These series follow a story arc over several book installments. Each book usually features at least some of the same characters. Sometimes a story will end with a cliffhanger to be resolved in the next book. These books may need to be read in order.To Standalone or Not to Standalone?

Next, we should determine how ���standalone��� each book in the series is from a reader perspective, as that will determine how and what we can do to entice readers to continue our series.

To be considered a standalone-style series���

each book���s story should have a beginning, middle, and endeach book���s story should have a satisfying endingeach book can be read and understood in any order (even though readers may get the most enjoyment by reading in a certain order)

However, even standalone books can contain story threads that are not wrapped up within that book. For example, Shared Story Arc series are typically the least likely to be considered standalone���as they often need to be read in order because the overall series arc continues from one book to the next���but some variations will make each book more standalone than others.

In other words, while some Shared Story Arc series end each book in a cliffhanger, others have independent/semi-independent plot arcs self-contained in each book, with the Shared Story Arc slowly building in the background. Or some series start more independently and only the last book or two (when that backgrounded Shared Story Arc comes to the foreground) aren���t standalone stories. In these cases, the books will usually make sense in any order, up until the final book(s).

Either way���standalone or not (or something in between)���we should let readers know the type of series we���ve written. We can specify whether the books need to be read in order or give them a heads-up of cliffhangers. Setting expectations will encourage readers who enjoy our type of series to try our books, and if they first come across the second book in the series, they���ll know when it���s important to start at the beginning and avoid frustration.

Techniques for Non-Standalone Series

If readers find the overall story of a non-standalone series compelling���and aren���t turned off by the non-standalone nature of the series���they���re likely to continue reading, just to finish the bigger story. However, that easy encouragement to continue is also the biggest weakness of this type of series: There���s only one entry point to the series.

So if that single entry-point book doesn���t grab a reader���s interest, they won���t try other books in the series. That means we need to���

make the entry book the best it can possibly be, to avoid turning off readers with fixable problemsensure the entry book appeals to the types of readers we want for the remainder of the series (i.e., an epic sci-fi series shouldn���t kick off with a cozy-western-but-no-sci-fi-vibes entry book)use our marketing materials to point potential readers to the entry book, even with later releasesset expectations for any writing choices that will cause bad reviews when readers are unaware, such as the use of cliffhangersencourage readers to sign up for notifications of later releases, as most marketing dollars will go toward the entry booklet readers know about the need to read in order and/or if the series is finisheduse backmatter to point readers to the continuing story in the next book, and so on���Techniques for Standalone (or Near-Standalone) Series

A series of standalone books (or close enough to standalone to create multiple entry points for the series) requires more convincing for readers to return. While many of the above marketing bullet points still apply to standalone series, the ���similar but different��� balance can be trickier.

For example, in a Shared Setting-style romance series, the premise of the shared setting can be a good draw for readers. But if later books don���t offer new twists, that same premise can feel too repetitive. Similarly, in a Shared Character-style mystery series, the character���s quirks, background, vocation, etc. can catch readers��� attention, but the repetition of the same mystery story beats with the same character over multiple books can lose its charm.

So how can we find that similar-but-different balance?

Tips for Making the Stories in a Standalone Series Feel Similar:The overall genre should remain the same from book to book (romance, mystery, etc.).Use a consistent big-picture premise (small-town romance, fated mates, cozy murder mysteries, medical mysteries, etc.)A common series theme should apply to all the books (finding love when you least expect it, fighting for justice, etc.).Let side characters (or future/past main characters), locations, and/or other worldbuilding details reappear across books.Be consistent with details of the shared elements���ensure the continuing characters and/or setting feel familiar from book to book.Tips for Making the Stories in a Standalone Series Feel Different: *Shared Character series: Give the main character ways to grow and change over multiple stories.Shared Character series: Address some aspect of the character���s development in each book���family issues, backstory wound, new/changing relationships, etc. (making the story deeper than just the plot).Shared Setting series: Give each book���s main characters different archetypes, personalities, voices, goals, false beliefs, backstory wounds, emotional flaws, etc.Shared Setting romance series: Swap the types of characters in the relationship (i.e., which member is ���the local��� in a small-town romance, which member is ���the soldier��� in a military/sci-fi romance, etc.).Vary the subgenres and/or subplots across books (a cozy mystery series can add thriller touches, a small-town romance series can also do a second-chance romance, etc.).Start each book with a different style of inciting incident to help the remainder of the story follow a unique path (a mystery triggered by a co-worker vs. a friend vs. a stranger, etc.).Use different tropes for each book���s framework or subplots (a mystery around a kidnapping, stolen treasure, family secrets, etc.).Focus on how the standard story beats of the plot, subplot, and/or emotional arcs can evolve differently in each book (i.e., ensure the ���realizing they���re in love��� moment in a Shared Setting romance doesn���t always rely on the best friend to point it out, etc.).

* Ignore tips for elements that are part of your series��� common premise (i.e., if all the books are supposed to have POV characters of the same archetype, the same inciting incident, etc.).

Additional Tips for Stories of a Standalone Series:Give hints to tempt readers into checking out earlier stories, but don���t give away the details of the other books��� endings. Leave readers curious enough to check out the other books.Ensure each book has a satisfying ending by resolving that book���s main story.If possible, mention at the end of the book any story threads that are purposely left dangling (so readers know we didn���t just forget to tie up that loose end) in a way that makes readers want to follow up with future books.Final Thoughts: Encouraging Readers to Continue a Series

There���s no specific type of series that ���better��� encourages readers to continue. What matters most is having a sense of what readers are looking for from our series, so we can deliver that similar-but-different balance throughout the books. Once we have that balance, everything comes down to communicating to readers through our marketing, book descriptions, backmatter, story threads, etc. to let them know how our series continues. *smile*

*psst* Want more examples of how to keep a series fresh and enticing for readers? Check out Jami���s companion post!

Have you thought about the different types of series and how those differences may affect what will encourage readers to continue our series? Have you struggled with that similar-but-different balance in your series? Does this post give you ideas for working with a series? Do you have any questions about series or how to entice readers to continue?

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The Importance of Beginning a Book with Publishing End Goals in Mind

Liz Alterman is here to share the importance of knowing your publishing end goals for a book before you start writing it. Plus, she’s giving away a query critique and an eBook to celebrate her newest release!

When we sit down to write a book, it���s typically because we feel called to share a story. That passion can fuel us as we draft those first daunting chapters and maybe even as we plot a detailed outline.

We often start off excited about the opening, perfecting it to intrigue and connect with readers. But I���ve learned (the hard way) that starting with the end in mind may be the smarter way to go.

When I say ���the end,��� I���m not talking about the actual d��nouement. I���m referring to the end goal for your book. Knowing how you���ll pitch it to agents and editors, who the audience is, understanding your book���s genre, and where it will sit on a shelf can serve as a guiding light as you work on your story. I say this having written a manuscript I was proud of only to later hear that it straddled multiple genres (women���s fiction, romance, romcom, chick-lit) making it very tough to sell as publishers were unclear how to market it.

Author Jamie Varon, whose novel Charlie Quinn Lets Go will be released this fall, discussed this scenario on Savannah Gilbo���s podcast Fiction Writing Made Easy. Varon acknowledged that as much as writers don���t love being ���put in a box,��� genre is vitally important.

���A reason you could be getting constant rejections is because your book might not fit into a genre,��� she said. ���And that’s impossible in the publishing industry because everything is based on if you like this, you’ll like this. And you can’t do that if you’re not fitting into a genre.��� 

Being told you need to ���pick a lane��� or start over can feel devastating. Fortunately, you can avoid these pitfalls by keeping a few things in mind from the onset.

Craft a Compelling Pitch

While writers shouldn���t let worries about marketability impede creativity and enthusiasm for the work itself, their story���s marketability should stay top of mind, noted Laurie Johnson, senior commissioning editor at Severn House.

���Is it commercial?��� she asked. ���If not, what���s going to sell it? The end goal for all writers and publishers is to sell books.���

Given that publishing is an extremely busy industry, it���s important to make the pitch as clear, compelling, and concise as possible.

���Editors/agents, booksellers, libraries, online retailers, whatever stage the book is at, all have very limited time to consider whether to buy a book or not,��� Johnson added. ���A decent pitch that can grab a reader���s attention in just a few short lines, is essential.���

Put Comp Titles to Work

In addition to a punchy pitch, comparative (comp) titles can do a lot of heavy lifting when it comes to helping agents and editors quickly conceptualize the work. Though it���s tempting to skip this part of the query letter, agents and editors agree that it’s crucial.

���Including comps in your query shows agents that you’ve done the important step of acknowledging that publishing is a business and you’ve considered how your manuscript will fit in the publishing marketplace,��� said Abby Saul, literary agent and founder of The Lark Group. ���It is also such a great way of helping to set an agent’s expectations – and ideally excitement! – for your book before they’ve read a word. We’re not looking for an exact match but truly a comparable project or two; a helpful way to think about it can be ‘fans of [Title or Author] would also be fans of my book.���”

Johnson agreed and added, ���Comp titles can help editors with briefing cover art, marketing materials, writing cover copy etc. It can also help plan where the book is going to sit in the market and if that meets their list requirements.���

The best way to find comps is to read widely in the genre in which you are writing, stay aware of recent releases, and ask for input from fellow writers and beta readers, Saul suggested.

���Another good starting place can be to peruse sites like Bookshop, Amazon, The StoryGraph, and Goodreads, all of which have reader- and algorithm-generated lists in various genres and subgenres,��� she said. ���Dive into those descriptions and from there build your own list of possible comps that you can then refine to fit your manuscript.���

Find something that speaks to the book itself and doesn���t over/undersell it, Johnson noted. In other words, steer clear of calling your book the next Harry Potter or To Kill a Mockingbird.

In terms of timeframes, books that have been released within the last three years are best for comp titles, but it���s not a hard and fast rule.

Learn From My Mistakes

When I originally queried my new novel Claire Casey’s Had Enough in 2018, in the comp section I���d written it ���will appeal to fans of Allison Pearson’s I Don’t Know How She Does It and Liane Moriarity’s What Alice Forgot.��� 

That query letter landed me an agent, who, despite her best efforts, didn���t sell it. 

I continued working on the manuscript, adding subplots that placed it more squarely in the women���s fiction category. Originally, Claire and her husband were still married when she attended her reunion and reconnected with a former boyfriend. I received feedback that romance readers wouldn���t root for a main character who considers an affair. So, I had Claire and her husband separate early in the story, which also added more weight to Claire���s ultimate decision to fight for her marriage or embark on a new romance with her old beau. I also added an intergenerational friendship between Claire and a neighbor who is in her seventies and focused a bit more on Claire���s parents��� health issues, which balanced out some of the lighter parts of the story. 

When I pitched to the editor who acquired it in 2024, I wrote, ���This voice-y, high-concept Past Lives-meets-Bridget Jones tale will appeal to fans of contemporary romance and women’s fiction told with heart and humor.��� 

Loving your book idea and writing with passion can get you to the end of the draft but may not be enough to sell an agent or editor on your project. Like it or not, publishing is a business and starting with the end goal in mind can help avoid heartbreak.

To celebrate her new release, Liz is giving away two prizes.

One winner will receive a query critique.

Another winner will receive an EBook of Claire Casey’s Had Enough.

Back in the day, Claire had dreams. She was going to be somebody! Now a forty-something mom of three (four if you count her husband!), drowning in laundry and PTA chores, with a job she can’t stand, she’s finally had enough . . . A hilarious, heartwarming mom-com, perfect for fans of Sophie Kinsella and Fiona Gibson.

a Rafflecopter giveaway

Enter the Rafflecopter above for a chance to win. We’ll announce winners here on Tuesday, June 10. Good luck!

Liz Alterman is the author of the memoir, Sad Sacked, the young adult thriller, He���ll Be Waiting, the suspense novels The Perfect Neighborhood, The House on Cold Creek Lane, and You Shouldn’t Have Done That, as well as the momcom Claire Casey’s Had Enough. Her work has been published by The New York Times, The Washington Post, McSweeney’s Internet Tendency, and other outlets. Subscribe to her Substack where she shares the ups and downs of the writing life (and cat photos).

The post The Importance of Beginning a Book with Publishing End Goals in Mind appeared first on WRITERS HELPING WRITERS��.

The Importance of Beginning with the End in Mind

Liz Alterman is here to share how to begin your novel with the end goal in mind and avoid mistakes she’s made. Plus…she’s giving away a query critique and an EBook to celebrate her newest release, Claire Casey’s Had Enough.

When we sit down to write a book, it���s typically because we feel called to share a story. That passion can fuel us as we draft those first daunting chapters and maybe even as we plot a detailed outline.

We often start off excited about the opening, perfecting it to intrigue and connect with readers. But I���ve learned (the hard way) that starting with the end in mind may be the smarter way to go.

When I say ���the end,��� I���m not talking about the actual d��nouement. I���m referring to the end goal for your book. Knowing how you���ll pitch it to agents and editors, who the audience is, understanding your book���s genre, and where it will sit on a shelf can serve as a guiding light as you work on your story. I say this having written a manuscript I was proud of only to later hear that it straddled multiple genres (women���s fiction, romance, romcom, chick-lit) making it very tough to sell as publishers were unclear how to market it.

Author Jamie Varon, whose novel Charlie Quinn Lets Go will be released this fall, discussed this scenario on Savannah Gilbo���s podcast Fiction Writing Made Easy.

Varon acknowledged that as much as writers don���t love being ���put in a box,��� genre is vitally important.

���A reason you could be getting constant rejections is because your book might not fit into a genre,��� she said. ���And that’s impossible in the publishing industry because everything is based on, if you like this, you’ll like this. And you can’t do that if you’re not fitting into a genre.��� 

Being told you need to ���pick a lane��� or start over can feel devastating. Fortunately, you can avoid these pitfalls by keeping a few things in mind from the onset.

Craft a Compelling Pitch

While writers shouldn���t let worries about marketability impede creativity and enthusiasm for the work itself, their story���s marketability should stay top of mind, noted Laurie Johnson, senior commissioning editor at Severn House.

���Is it commercial?��� she asked. ���If not, what���s going to sell it? The end goal for all writers and publishers is to sell books.���

Given that publishing is an extremely busy industry, it���s important to make the pitch as clear, compelling, and concise as possible.

���Editors/agents, booksellers, libraries, online retailers, whatever stage the book is at, all have very limited time to consider whether to buy a book or not,��� Johnson added. ���A decent pitch, that can grab a reader���s attention in just a few short lines, is essential.���

Put Comp Titles to Work

In addition to a punchy pitch, comparative (comp) titles can do a lot of heavy lifting when it comes to helping agents and editors quickly conceptualize the work. Though it���s tempting to skip this part of the query letter, it���s crucial, agents and editors agree.

���Including comps in your query shows agents that you’ve done the important step of acknowledging that publishing is a business and then gone on to consider how your manuscript will fit in the publishing marketplace,��� said Abby Saul, literary agent and founder of The Lark Group. ���It is also such a great way of helping to set an agent’s expectations – and ideally excitement! – for your book before they’ve read a word. We’re not looking for an exact match but truly a comparable project or two; a helpful way to think about it can be ‘fans of [Title or Author] would also be fans of my book.���”

Johnson agreed and added, ���Comp titles can help editors with briefing cover art, marketing materials, writing cover copy etc. It can also help plan where the book is going to sit in the market and if that meets their list requirements.���

The best way to find comps is to read widely in the genre in which you are writing, stay aware of recent releases, and ask for input from fellow writers and beta readers, Saul suggested.

���Another good starting place can be to peruse sites like Bookshop, Amazon, The StoryGraph, and Goodreads, all of which have reader- and algorithm-generated lists in various genres and subgenres,��� she said. ���Dive into those descriptions and from there build your own list of possible comps that you can then refine to fit your manuscript.���

Find something that speaks to the book itself and doesn���t over/under-sell it, Johnson noted.

In other words, steer clear of calling your book the next Harry Potter or To Kill a Mockingbird.

In terms of timeframes, books that have been released within the last three years are best for comp titles, but it���s not a hard and fast rule.

Learn��From My Mistakes

When I originally queried my new novel Claire Casey’s Had Enough in 2018, in the comp section I���d written it ���will appeal to fans of Allison Pearson’s I Don’t Know How She Does It and Liane Moriarity’s What Alice Forgot.��� 

That query letter landed me an agent, who, despite her best efforts, didn���t sell it. 

I continued working on the manuscript, adding subplots that placed it more squarely in the women���s fiction category. Originally, Claire and her husband were still married when she attended her reunion and reconnected with a former boyfriend. I received feedback that romance readers wouldn���t root for a main character who considers an affair. So, I had Claire and her husband separate early in the story, which also added more weight to Claire���s ultimate decision to fight for her marriage or embark on a new romance with her old beau. I also added an intergenerational friendship between Claire and a neighbor who is in her seventies and focused a bit more on Claire���s parents��� health issues, which balanced out some of the lighter parts of the story. 

When I pitched to the editor who acquired it in 2024, I wrote, ���This voice-y, high-concept Past Lives-meets-Bridget Jones tale will appeal to fans of contemporary romance and women’s fiction told with heart and humor.��� 

Loving your book idea and writing with passion can get you to the end of the draft, but may not be enough to sell an agent or editor on your project. Like it or not, publishing is a business and starting with the end goal in mind can help avoid heartbreak.

To celebrate her new release, Liz is giving away two prizes.

One winner will receive a query critique.

Another winner will receive an EBook of Claire Casey’s Had Enough.

Back in the day, Claire had dreams. She was going to be somebody! Now a forty-something mom of three (four if you count her husband!), drowning in laundry and PTA chores, with a job she can’t stand, she’s finally had enough . . . A hilarious, heartwarming mom-com, perfect for fans of Sophie Kinsella and Fiona Gibson.

a Rafflecopter giveaway

Enter the Rafflecopter above for a chance to win. We’ll announce winners here on Tuesday, June 10. Good luck!

Liz Alterman is the author of the memoir, Sad Sacked, the young adult thriller, He���ll Be Waiting, the suspense novels The Perfect Neighborhood, The House on Cold Creek Lane, and You Shouldn’t Have Done That, as well as the momcom Claire Casey’s Had Enough. Her work has been published by The New York Times, The Washington Post, McSweeney’s Internet Tendency, and other outlets. Subscribe to her Substack where she shares the ups and downs of the writing life (and cat photos).

The post The Importance of Beginning with the End in Mind appeared first on WRITERS HELPING WRITERS��.

Three Strategies for Creating Progressively Escalating Complications

Unputdownable stories keep readers off balance, as one scene tips into another, and another, and the next. Each scene���s challenge demands a response, and each response spirals into fresh complications.

But compelling stories don’t pile on problems in random fashion. Complications flow organically from one scene to the next in a chain of action and reaction. The upshot for your novel? This chain of progressively escalating complications transforms a mere assemblage of scenes into an unstoppable narrative.

Why Complications Matter

Your protagonist acts, the world reacts. The world acts, your protagonist reacts.

Action, reaction. Stimulus, response. Scene, complication, next scene . . . This is the heartbeat of compelling storytelling. Each cycle creates new complications that demand fresh choices, building momentum that pulls readers deeper into the story.

A compelling story makes the character happen to the plot , not the plot happen to the character. A protagonist must have agency to drive the story forward ���the power to choose, and the power to act.

Strong, clear action-reaction dynamics create stories where:

Protagonists have agency : Characters actively respond and make decisions that drive the story forward, rather than simply enduring whatever happens to them.Character choice matters: Each complication requires the protagonist to make meaningful decisions that shape what happens next.Readers stay engaged: Readers connect with characters who act and react, not just victims of circumstances.Momentum builds naturally: Action-reaction creates that ���can���t put it down��� quality, because readers are invested in how the character will respond to each new challenge.

A strong, connected chain of events empowers your protagonist as an active agent in their own story. Here are three techniques you can use to forge a chain that holds weight.

Technique 1: The Fortunately/Unfortunately Method

The simplest plotting technique for creating progressive complications is the fortunately/unfortunately strategy. It goes like this: A good thing happens, but then something bad happens as a result. This outcome creates a new complication that demands a new response.

Fortunately/unfortunately generates a constant stream of opportunities for your characters to make decisions and take actions that move the story along. They���re never stuck waiting for the next thing to happen. Every scene hands them a new snag to deal with.

Here���s how fortunately/unfortunately might work in a story about a musician:

Fortunately, Maya���s band gets offered a record deal after their breakthrough performance.

Unfortunately, the contract requires them to fire their longtime drummer, who happens to be Maya���s best friend.

Fortunately, Maya convinces the label to give her friend one more chance.

Unfortunately, during the crucial audition, he chokes under pressure and plays the worst set of his life.

Fortunately, Maya discovers the drummer has been struggling with severe anxiety and finds him a therapist.

Unfortunately, the therapy sessions conflict with their recording schedule, and the label threatens to drop them entirely.

Each fortunately creates hope and forward momentum for Maya. Each unfortunately yanks that hope away and forces her into a new, even stickier situation. She can never rest���she���s constantly reacting to new challenges that arise from her previous choices.

Technique 2: Choosing Consequences Over Continuations

Technique #2 builds story momentum by choosing consequences over continuations���consequences like therefore and but rather than continuations like and then. This approach, popularized by South Park creators Trey Parker and Matt Stone, ensures that every scene builds on what came before.

Your mission in every scene is to generate some twist���the outcome of the scene, its fallout, its consequences���that forces the character to deal with it in the next. You���ll know you���ve succeeded when you can express the cause and effect using words like therefore or but.

THEREFORE creates a consequence: The performance goes incredibly well; therefore, a talent scout approaches Maya with an offer.

BUT creates a complication: The performance goes well, but Maya discovers the talent scout is actually her ex-boyfriend���s new partner, setting up a personal conflict.

Therefore and but create genuine story momentum because they force every scene to build on what came before. In this way, nothing in the story happens in isolation. Every action ripples forward into new complications that make readers wonder what will happen next.

Technique 3: The ���Yes/But��� and ���No/So��� Dynamic

The third technique for building complications is the ���yes, but��� / ���no, so��� dynamic. Yes, the character succeeds, but there���s a complication���or no, they don���t succeed, so here���s what happens as a result.

Yes, Maya���s band gets the recording contract, but they have to relocate across the country, leaving behind everything familiar.

No, Maya���s band doesn���t get the contract, so their lead singer quits to join the band that beat them out.

Each scenario creates a new situation that demands action from your protagonist. The ���yes, but��� gives them success���but with strings attached. The ���no, so��� compounds their failure with additional complications.

Either way, the characters can���t sit still. They must react, and that reaction creates the next link in your narrative chain.

The Chain of Complications

These three complication- and connectivity-building techniques work because they mirror real life. Success at anything rarely comes without complications, and failure often brings unexpected consequences. Real life feels like a cascade of consequences, where every choice creates new challenges that demand fresh decisions.

A singular, strong narrative throughline is the primary byproduct of an unbroken chain of action-reaction dynamics. You���ll know you���ve succeeded if plucking out a single scene and moving it to a new location would break the story���s continuity, requiring considerable revision. Your domino effect would be missing a chunk of dominos, and you���d need to reconstruct new connections from Point A to Point B.

These three techniques all serve one purpose: Make your character happen to the story by giving them the agency to respond, choose, and act in some minute way in every scene. This dynamic will transform a collection of scenes into a narrative with relentless momentum.

The post Three Strategies for Creating Progressively Escalating Complications appeared first on WRITERS HELPING WRITERS��.

Communication is the Key to Critique Partner Success

Author Accelerator Certified Coach Julie Artz shares great ways to get the most out of critiques.

Here on Writers Helping Writers, you���ll find a lot of folks extolling the virtues of getting feedback on your writing through either a critique partner or a critique group. Joining a critique group is, in my opinion, second only to reading widely in the list of free ways to improve your writing. Whether you���re just starting out or you���ve been writing for decades, critique groups can help you process feedback from agents, editors, and other readers. They can provide great support and perspective. And they can gently, kindly, offer feedback on how you can improve. Still not convinced? Check out this post on Building Your Writing Support Triangle.

Most writers have been through the dreaded critique group break-up. It���s both a right of passage in the writing world and an incredibly difficult situation to find yourself in. You���ve invested the time in getting to know other writers, to critique their work, and to receive feedback on your own work, and still, something���s not quite working. It can feel like such a setback to go back to the beginning and get to know a whole new group. I know. I���ve been there. Like I said, most writers have.

As with most types of interpersonal relationships, good communication is at the heart of critique group / critique partner success. Today, I���d like to share an Author Accelerator tool I typically use with my clients and students to help gauge the type of feedback I give them. I recently realized it could be helpful for critique partner communication too and this blog post was born.

Introducing the Hierarchy of Editorial Concerns

The Hierarchy of Editorial Concerns is a self-assessment tool to help you identify where in the revision process you are so that you understand what type of revisions you need to complete to progress to the next level. Doing so will help you get the kind of feedback you need, allow your critique partners to understand what they should comment on, and help everyone get the most out of their critique group experience.

Most writers come to a new critique group thinking they���re going to get feedback on the top two levels of the Hierarchy of Editorial Concerns���the grammar, style, and sentence rhythm, with a dash of pacing/tightening thrown in. And to be honest, many writers are most comfortable giving that level of feedback because let���s face it, it���s easier to make one sentence pretty than it is to write a whole book that compels readers to turn pages.

And yet, getting this type of feedback when you���re writing your initial draft can not only be frustrating, but it can keep you stuck working on sentence level concerns when you���ve got big-picture story level issues to address first. So for the same reason I recommend against getting a copy editor when you���re still doing structural edits, I recommend against critique partners giving feedback in those top two levels of the hierarchy when the focus should be on the bottom two levels.

Where Does Your Story Fit in the Hierarchy

If it was easy to self-assess, to figure out what your story weaknesses are and fix them yourself, you wouldn���t need a critique partner, beta readers, a book coach, or an editor. So I won���t pretend this type of self-assessment is easy. But I will say having the Hierarchy of Editorial Concerns can help.

Here are a few things to think about as you try to figure out where you fit in the hierarchy. First, let go of judgement. A story that still needs foundational work on the narrative drive, the cause-and-effect trajectory, the main character, her story goal, and the obstacles standing in her way is not less than a story that���s working on polishing the grammar and style. It���s just earlier in the process. Getting the right kind of feedback at the right time will help you move through the process.

There are no short cuts. If this is your first novel (or even if it���s your tenth), it may take you one revision pass (or more) to move through each level of the hierarchy. That is OK. If you are:

writing a first draft, you���re probably working on that foundational level of the Hierarchy. Getting it right is crucial because this is the story scaffolding upon which the rest of your story will be built. Take your time to get it right!writing multiple points of view, especially for the first time, spend an extra round of revision focused on the bottom two levels of the Hierarchy. You���ll thank me later, I promise!getting feedback about your character���s actions or motivations being unclear, have a sense that the middle is saggy, or are using a lot of telling, your story probably still needs work at those foundational levels.getting feedback that something���s wrong, but the reader is not sure what, that often means your scene-level writing is strong (congratulations!) but you have a structural problem that can be fixed by looking at those foundational levels.revising to add or change a POV, you may be in the middle of the Hierarchy. Focusing on dialogue, voice, writing emotion, and showing can help bring those characters to life.writing an nth draft, it���s possible you���re stuck in the endless polishing loop. While many writers send their work out too soon, a few special ones hang on too tight, afraid to send their words into the world. If your critique partners only have feedback on that top-level of the Hierarchy, it may mean you���re ready. (Again, congratulations!)Where Does Your Feedback Fit in the Hierarchy

If you try this out in your critique group, I���d love to hear about it in the comments. But I���d also like you to keep the following things in mind:

Correcting misplaced commas and typos is low-hanging fruit and it���s hard for those of us with editorial minds not to mark those types of issues. But if you want your critique partner to really absorb your big-picture feedback on story structure, character motivation, and cause-and-effect story logic, let those missing commas slide until you���re giving feedback higher up in the Hierarchy.Getting a chapter back with so many comments and corrections that it looks bloody can be overwhelming. What are the most important things you think your critique partner needs to address in order to progress to the next level? Are they mainly in the lower levels of the Hierarchy or more toward the top? Can you gear your feedback toward those levels of the Hierarchy and let the upper levels go for now?It���s OK to frame your feedback as questions when you know something���s wrong, but aren���t sure what. In fact, that can be more helpful than prescriptive feedback because you���re leaving room for your critique partner to come up with the solutions that work best for their vision for the story.

This post has a great checklist of the types of things to look for as you critique pages. Consider using it alongside the Hierarchy of Editorial Concerns to really make some critique partner magic.

Remember: All Relationships Require Communication

All relationships, including critique partner relationships, require communication. And clear communication is even more important when we���re talking about our precious story babies. No one wants to hear their baby is ugly and go away crushed and discouraged. On the flip side, no one wants to fix the three commas their critique partners pointed out, think they���re ready to query, and miss their chance with their dream agent or editor due to a giant plot hole no one pointed out.

Use the Hierarchy of Editorial concerns to get really honest about where you are in your story���s revision process. Let it guide your revisions, the type of feedback you ask for, and the type of feedback you give in your critique group. And watch as each of you makes real progress toward a reader-ready story!

Meg LaTorre has a great post on the difference between critique partners and beta readers that has lots of suggestions for how to find people to critique your work.

I have one more suggestion to add to the list: my free critique partner matching service, CP Meet Cute. I run this service a few times each year and have, over the history of the program, made hundreds of successful matches. It���s open now if you���d like to join the fun at https://tinyurl.com/Writers-Helping-W....

Julie Artz is an Author Accelerator Certified Founding Coach. The Hierarchy of Editorial Concerns is an Author Accelerator tool used with permission.

Julie Artz has spent the past decade helping writers like you slay their doubt demons and get their novels and memoirs reader-ready. She���s worked with both award-winning and newer authors across the publishing spectrum from Big Five to small and university presses to indie and hybrid. She is an Author Accelerator-certified Founding Book Coach, a sought-after speaker and writing instructor, and a regular contributor to Jane Friedman and Writers Helping Writers, and a regular instructor for AuthorsPublish, IWWG, and more. Her work as a Pitch Wars and Teen Pit mentor, a former SCBWI Regional Advisor (WWA), and her memberships in The EFA, the WFWA, AWP, and the Authors Guild keep her industry knowledge sharp. A consummate social and environmental justice minded story geek, Julie lives in by an enchanted stream in Fort Collins, Colorado with her husband, two strong-willed teenagers (when they���re not off at university!), and two naughty furry familiars. She���s built a thriving book coaching business based on her values, her editing chops, and her knowledge of story. 

Julie���s stories have been published in Crow Toes Weekly, the Sirens Benefit Anthology Villains & Vengeance, and the speculative anthology Beyond the Latch and Lever. Subscribe to Julie���s weekly newsletter, Wyrd Words Weekly, or connect with her below:

Facebook | Instagram | YouTube | Substack 

The post Communication is the Key to Critique Partner Success appeared first on WRITERS HELPING WRITERS��.

Refilling Your Creative Well with Artist Dates

Monica Cox popped in to share several ways to refill your creative well.

As writers, we mine our experiences and observations, pour our emotions into words, and fill up the blank page with story. If we aren���t careful to replenish all that we exert in our writing, we run the risk of our creative well running dry. When we have nothing left to give creatively, we may experience writer���s block, avoidance, frustration, and procrastination. 

Bestselling author Tayari Jones was stuck during her work on An American Marriage. Despite knowing she wanted to write a particular topic and years of research, the story was not coming together. The answer to her story problem wasn���t revealed in a craft book or by continued brainstorming, but rather a trip to the mall. She overheard a snippet of an argument in the food court that sparked her imagination and ultimately revealed the novel structure to her. 

Despite the perennial advice of butt in chair, sometimes we need to get away from our desks to find the solution to our writing frustrations. Julia Cameron in The Artist���s Way recommends just that with her concept of Artist Dates���weekly, solo outings doing something that intrigues or enchants you. 

These dates aren���t necessarily writing related, in fact, the best ones aren���t. An Artist Date outing should, however, engage your senses, employ your observation skills, and make space for a creative spark. 

When to Use an Artist Date

Artist Dates can be used during any part of your writing process. 

Going on regular writing dates as part of your creative life will spur new ideas before you start a story.��When you find yourself running on empty and in need of a creative boost in the middle of a draft, you can take advantage of an Artist Date that is specific to your work in progress.��If revision has you feeling stumped, stepping away from your desk and out into the world of your story by visiting a setting in your novel or spending the day as your protagonist would, can reconnect you to the emotional heartbeat of your manuscript.��Between projects is also a great time to go on an Artist Date to rest your writing mind while still engaging your creative muse.��How to Incorporate an Artist Date Into Your Writing Routine

While the weekly timeframe Julia Cameron recommends may be a strain on your schedule if you���re also balancing a day job, caregiving, and a multitude of additional responsibilities on top of your writing, consider scheduling regular outings at a pace that works for you. 

Pick a class or activity with a firm date that you can put on your calendar for accountability. Or perhaps brainstorm a list of activity ideas that you keep on slips of paper in a jar. Designate one day a month for a random outing based on your blind pick. 

The act of deciding on your Artist Date is a creative endeavor itself. Lean into it and let your creative juices flow. 

5 Ideas for Your Artist Date

Here are a few ideas of activities that would make great Artist Dates: 

Visit a Cemetery ��� Historical cemeteries are full of forgotten stories. On one of my outings to Oakland Cemetery in Atlanta, I came across a gravestone that read, ���He was a fool, but Julia loved him.��� There is so much story in that epitaph! Wander the grounds of an old cemetery and look for interesting engravings, sayings, or anything else that catches your eye.��

People Watch ��� Like Tayari Jones at the mall, people watching is a great source of inspiration. Go to a coffee shop, museum, or my personal favorite, the arrivals area of an airport. Note interesting mannerisms, practice writing descriptions, imagine the dialogue between the couple at the corner table, create backstories to fill in gaps of overheard conversations. Don���t worry about making it a story, just play.

Museums ��� Art, history, and science can spark all manner of creative questions to activate your muse. Spend a day in front of a favorite painting or learn about a certain time period. Wander a science museum and keep a list of what if questions.��

Cooking ��� Engaging your senses can be a wonderful way to fill your creative well. Watching how a list of ingredients can be turned into a delicious meal is also like how writers take elements of craft and create a story. Take a cooking class or check out a cookbook from the library for a cuisine outside your normal routine. When you make the dish, think about the story the dish tells.

Music ��� Whether it���s your favorite artist in an arena concert, a small quartet in a jazz club, or an amateur line-up at an open mic night at the local bar, live music can speak to our emotions. Listen to music outside the genres of your normal playlist. Journal on the emotions various songs elicit for you, or imagine the artists your characters might have on their playlist.����

Whether the results of these dates are used in your specific story or not isn���t really the point. Instead, the act of adding to your experiences and appreciating the creative effort of others in unlikely spaces will sow seeds in your creativity garden. Experiment and find the activities and places that fill your well and watch your stories bloom.��

Monica Cox is a writer and Author Accelerator Certified book coach who firmly believes the real writing happens in revision. She loves helping writers through the thorny process of revision to find the rose of their story. She shares weekly craft and writing mindset tips in her weekly newsletter. Explore her website to learn more about her revision course and one-on-one coaching services and additional ways to connect with Monica. 

The post Refilling Your Creative Well with Artist Dates appeared first on WRITERS HELPING WRITERS��.